Field recording includes recording audio on-location whether it be outdoors or inside an office, field recording takes place in uncontrolled environments where external factors could potentially impede or if you're lucky, compliment your acoustics and quality.

TERMS & PROCESSES

The following terms are applicable to audio production, and may help you navigate or better recognize audio unfamiliar audio terms you may encounter as you produce your projects.

44.1 / 48 / 96 kHz

Kilohertz is one way sampling frequency is measured and refers to how many cycles per second a wave is measured, it's similar to frames per second as a video equivalency.

44.1 is often considered CD Quality
48 is often used for video
96 can be mastering level quality

Ambient Audio

The background noise present in a scene or recording location.

Amplitude

The waveform signal (audio ) level. It can refer to acoustic sound levels or electrical signal levels.

Decibals (dB)

Decibels (written as dB) are used to measure sound level. The dB is a logarithmic way of describing a ratio. The ratio may be power, sound pressure, voltage, or intensity, for example. Humans can (typically) hear sounds between 0 and 120-140 dB.

Diagetic Sound

Diegetic sound is any sound presented as originating from the visible source. Think of the sound of a car horn, as you see someone honking the horn.

Dialogue

This can refer to a conversation, general talking or the vocals in a recording, but it is most often used to indicate speaking parts.

EQ

Abbreviation for equalizer or equalization, where audio waves are altered to manipulate the ranges of amplitude in a sound wave.

Line vs Mic

Line level refers to the typical level (strength or amplitude) of the audio signal from mixers, signal-processing equipment and other consumer and professional audio gear. There are two line level types: consumer and professional.Mic level is the typical level (strength) of a microphone signal. Mic level is generally significantly lower than line level, although that is not always the case.

Mixing

the process of editing and arranging audio clips in a way that sounds seamless and natural to a listener.

Mono / Stereo

References the number of channels or inputs an audio file has. Mono indicates only 1 channel, where Stereo could be 2 or more. Think the sound from a voice call on your cell phone as Mono. Stereo might have drums and beats in one ear, but then vocals or piano in the other ear.

Mute

Silences audio.

Non-Diagetic Sound

Sound whose source is NOT visible or relatable to the scene, and does not seemingly have presence to the action. Think of a narrator's voice, or a film score.

Omni / Cardioid / Super-Cardioid

These terms refer to the pickup patterns or "the shape area of listening" by which microphones pick-up sound. - An omni mic listens in a sphere all around itself - A Cardioid Mic is aimed at a sound source, and resembles a cone on either end of the mic, which limits the surrounding areas - A Super-Cardioid is just a much more focused cone and limited version of a cardioid. These are often long stick-like mics- "shotgun", although they can technically come in any shape.

Phantom Power (+48v)

Phantom Power is a method of supplying power to microphones through the cable connection, which can be used as an alternative to plugging in a unique or separate power source.

Room Tone

Room tone is background audio, recorded on set, during production, using the same microphone that is used for dialogue. It is used for filling holes in the production audio that are created during dialogue editing, or replacing unwanted noises (during non-speaking moments) in your production audio.
Backgrounds and atmospheres are recorded separately and/or designed to reflect the location.

SFX / Foley

an abbreviation for sound effects, and reference to sounds that compliment an action, scene or object. Foley is often everyday sound effects that are added to films, videos, and other media in post-production to enhance audio quality.

Solo

Isolates a single audio channel, segment, or sound to hear the audio by itself.

VU Meter

Volume unit (VU) meter or standard volume indicator (SVI) is a way of displaying a representation of the signal level in audio equipment.

PRODUCTION TECHNIQUES

When creating recordings, consider these practices and how they might improve your audio quality and your recording approach.

Know Your Surroundings

Your brain can and will discern the sounds that are distractions in your environment, but microphones don't, so likely to not hear everything that may be recorded, which is why you should try to use the right tool for the right job.

Headphones are a must

When you take a picture with your phone, you can see it immediately after and know whether you want to keep it or take another, which is sort of how headphones work for audio. It's often surprising to see how different things sound when listening through headphones, rather than using your naked ear.

Proximity is key

Sound travels in waves, and those waves flatten out the further it travels, so get close to your subject to hear them best. Also sometimes it may be helpful to muffle the sound if you're too close, which is where foam or wind screens can come in handy.

Don't Hate, Isolate

Following up from the first technique, if you're indoors, try to isolate as much of the space around where you're recording as possible. There are a number of DIY solutions you can use, but if you're on campus, check out the Audio Recording Booth.

THE VU (VOLUME UNIT) & METER

When you record audio, you'll often get a visual read-out of how low or high your audio levels are. This is a measurement of the VU (Volume Unit) and the visualization of that is called the VU meter. It measures how much audio your recording device is receiving, and often uses color codes to indicate appropriate levels. Most commonly, red bars or red colors are used to indicate a level is too LOUD, and you should avoid recording levels in the red. While the VU meter tool is EXTREMELY helpful for quick reference, it should not be relied upon solely. Use of Headphones in conjunction to a quality mic is always best practice.

KNOW YOUR MIC's

COMMON MICROPHONE TYPES & PATTERNS

There are 4 main types of microphones: cardioid, super cardioid, omni and figure 8. These names describe where and how much the mic will pick up.

Cardioid: Imagine a Japanese fan coming from the tip of the mic. That’s the pattern it will hear sound from.
Super Cardioid means the fan is not fully unfurled – a tighter pickup area.
Omni means all around, from everywhere – think a globe around the mic as it’s pick up range.
And finally, Figure 8. Put the mic in the center of the 8 and it’s a visual to the pattern it will pick up – not much if anything from the side and everything in front and in back. Very useful in rejecting sound you don’t want coming in from the side.

There are three different categories for mics: Dynamic, Condenser and Ribbon.

-Derek Chafin, Via Sessionville

MIC CATEGORIES

Dynamic mics

Dynamic mics are what you usually see a singer singing into during a show. They are the hammer and screwdriver in your tool chest. They can be used on absolutely everything, but there are some parameters. Usually dynamic mics are best when used close to the source – not too distant for the sound. They can generally take a beating both in sound level and if you happen to need something to pound a nail in on stage. They are awesome and beloved. Snare drum to Marshal stack to Adele’s live vocals. Dynamic mics are not very good with the more subtle stuff or with something that needs more “air”, room or ambience. They generally have a cardioid pattern to what they “hear”.

Condenser mics

Condenser mics come in all forms from pencil to big diaphragm. They need phantom power to work (48V). Usually there’s a button on a console or audio interface to power them – if not, you’ll need a phantom power box which you’ll plug the mic into and then from the box to your audio interface/mic pre/consol/whatever. Condenser mics come in patterns of super cardioid, cardioid, omni and figure 8, and some do all patterns or some of the above in one mic. Condenser mics are built to pick up detail – usually fantastic, but sometimes it can be a frustratingly truthful thing - the mirror can hurt! But they are precision tools. Most recordings have mostly these types of mics on them. Vocals, acoustic guitar, strings, piano, drum overheads, hat, kick drum, snare drum, room mics, guitar cabs, bass rig and on and on. Size matters. Diaphragm size, that is. (Oh, you can tell yourself it doesn’t but it does.) Pencil condensers (named for their thin, tubular shape) have smaller diaphragms and are great on acoustic instruments. Large diaphragms are amazing on vocals, rooms, bass and even guitar cabs. The typical “in studio” vocalist, pretending to sing to her newest track, adds to the fantasy by using the real large diaphragm condenser hanging there full of unrealized promise. Condenser = da bomb. But, as for the choices between them, think top of the line Buick to Bentley. There are some really great and inexpensive mics in this category and then there are some classics that will make you understand the price of coming to the dance.

Ribbon mics

Ribbon mics have been around forever. Old news reels have a large mic in front of the road-hardened newsman, along with pic of our greatest singers from the 30’s, 40’s and 50’s singing into a ribbon mic. They are all figure 8 in pattern. In recent years ribbon mics have come back into favor like Travolta after Pulp Fiction but more so. The new generation isn’t noisy and doesn’t take a bunch of gain to get them to a recordable level. They are also amazing on guitar cabs, rooms and drum overheads. The modern idea to these mics is to make the top end sweet and musical, and the low end rich and usable. (Like that isn’t ever a worthy thing.)

-Derek Chafin, Via Sessionville