You spend an average of 3 minutes on NoiseJockey.net. This suggests you actually listen to the sounds. :-)
60% of you are directed here from other sites; of that, over 20% of you are arriving from DesigningSound.org.( I thank everyone who runs sites in this increasingly vibrant sound recording/design community who read and support Noise Jockey! You rock!)
60% of you use MacOS, and 35% of you use some flavor of Windows. I’m gonna assume the 2% of you who visit Noise Jockey on the iPod, iPhone, or iPad are lamenting Apple’s refusal to support Flash.
42% of you use Firefox, 36% of you use Safari, and and less than 7% of you use Internet Explorer. There’s a word for that: Progress.
Almost half of you use laptops to view this site, but at least a quarter of you have big-ass monitors, too.
Noise Jockey’s visitors are quite international. A hearty “merci beaucoup” goes out to the 10% of you that parlez Français, possibly visiting from SoundDesigners.org. (A personal thanks to Benoit is appropriate here, and apologies for not having taken French since middle school!)
Numbers only tell so much. How many of you are female vs. male? How many of you are professionals vs. hobbyists? What else do you do for fun? That’s what’s most meaningful, and the statistics above only paint part of the picture.
If you want to share more, do so in the comments below. But more importantly, visit each other’s sites and blogs. Join an online sound community. (Some of my favorite blogs and communities are listed in the “Aural Linkage” sidebar.) Record something and start your own blog!
Or, at the very least, just listen. To where you are, every day. Your life will be richer for it.
I'm killing this platter slowly with a screwdriver, and it never sounded so good.
Nothing puts Moore’s Law in perspective like ripping an 80 gigabyte hard drive out of an enclosure and swapping with a 2 terabyte drive. 80GB isn’t even big enough to act as a Photoshop scratch disk in 2010.
It’s not new ground by any means, but I did get some pretty interesting results, ranging from IDM-like chirps and squeaks to all sorts of weird drive vocalizations when I slowed the platter down with a screwdriver – much to my surprise, the damn thing came to a stop, jittered around, and then spun right back up again. Most of the sounds were pretty subtle (perfect for the MKH 50), surprisingly, but with lots of surprises. [I shot video of the whole thing, a still of which can be seen above, but really, a hard drive spinning is not that interesting. Trust me on this one.]
I had a great time until Chuck Russom suggested on Twitter what might happen if the 7200rpm drive would have come loose…
These sounds have only been normalized and no sound processing has been applied.
I learned a long time ago to share my mistakes with others. It keeps me humble, and reaches two groups of people: Those more experienced than me who can help correct my errors, and those who might not have tread these waters before and who can learn from my experiences.
Which brings us to today’s post: recording ambiences using a pair of miniature omnidirectional microphones in boundary layer mounts. I learned a ton doing this, but the end results weren’t great. Today we’ll talk about what I accomplished and why it might not have worked out as well as I had hoped.
After my recent post on urban ambiences, I decided to record some fresh ambiences using a pair of DPA 4060 microphones using two techniques I hadn’t tried before: spaced-pair stereo and boundary-layer microphones.
"Sump pump." I mean, ewww. What is "sump," anyway? Sure sounds like it's something in need of pumping!
Our house is very poorly placed on its lot. Since our place is downslope from the street, water runs down the driveway towards the house. Â Thankfully, someone long ago put a pretty good drainage system with an electric pump that pumps the water back to the curb, where it can run to a drainage grate in the street.
In the midst of a week of spring rain, I decided to toss the ol’ hydrophone into the drain box and record the pump, which is activated when a bobber reaches a certain height. The drain box is poured concrete, so it’s acoustically reflective. The pump kicking in is my favorite part, sure to be used for something later on. The big dropoff in volume is where the hydrophone was left high and dry when the water level dropped. Notice how the sound of air bubbles become more pronounced as the water level meets the capsule, and then passes by it. Water turbulence right on the capsule tends to be very loud, as it imparts direct mechanical vibrations to the mic element itself.
[soundcloud url=”http://soundcloud.com/noisejockey/sump-pump” params=”show_comments=true&auto_play=false&color=dd0000″ width=”100%” height=”81″ ] [Aquarian Audio H2a-XLR hydrophone into Sound Devices 702 field recorder]
Posted: April 6th, 2010 | Author:Nathan | Filed under:news
Just wanted to thank everyone for the amazing response to yesterday’s video. A hearty welcome to all new visitors, and much respect to my longtime readers! More posts and videos are coming in the future.
Speaking of longtime readers, many of them are linked in the Aural Linkage sidebar of this page, and you should visit their sites for Serious Sound Wisdomâ„¢. If you haven’t done so, also read Designing Sound’srecent post on the growing online sound design and field recording community. All these links belong to people who are way smarter than I am, and their insights and techniques are legendary. Check ’em out.
It’s also worth noting that a couple of the sound design elements of yesterday’s clip has been previewed before in previous posts on this site…
I’m pleased to offer the first video content on Noise Jockey, and outgrowth of an earlier post on recording bicycles. More to come.
Audio nerd bonus quiz: This was recorded double system with two microphones. The visible one was for the sound effect itself, aimed at the bike wheel. Where’s the other mic?
Ready for recording in San Francisco's Mission District on a rainy winter day.
Urban ambiences benefit from focused listening. Every city has its own sonic palette, and every neighborhood’s aural character is as unique as a fingerprint.
I work right in the heart of San Francisco’s Mission District, a culturally rich and very urban part of the city. Best known as the hub of the city’s Latino community, it has its good and bad sides. The good includes more eateries than one could possibly explore, great boutique shops, art studios, and amazing diversity. The bad includes drug dealing, prostitution, and gang violence. As you can imagine, that makes recording opportunities galore.
This post’s track is a compilation of urban ambience recorded out of my office’s windows, at varying times of day. This is only a small snippet of my huge library of urban San Francisco ambiences, every one of which reveals another aspect of the City’s character.
The deeper I get into field recording (or, in the words of some, a “phonography“), the more the parallels between it and how I approach photography comes into focus. I feel that the differences between these media, while significant, are outnumbered by the similarities.
Photographs are single moments in time and sound is a stream of realtime stimuli. They reach different senses. One could argue that cinematography has more in common with audio recording, in terms of perception of the media over time, but I think that’s more in how it is consumed than how it’s captured.
I actually find that the physical activities and workflow of field recording, specifically, is conducted far more like nature photography. The two activities are also among the few digital creative endeavors that actually can yield some degree of exercise!
For me, the parallels between field recording and photography are most visible in fieldwork, temporal abstraction, recontextualization, and introspection.
Blackstone Canyon, my local refuge from Bad Things.
I live at the foot of a number of hills that converge into a canyon not five minutes from my house. We have a very Mediterranean climate, so this canyon is dry in the summer. In the winter, the canyon is alive with creeks, streams, and small waterfalls. These winding watercourses have quite varied voices, from deeply resonant hydraulics to burbling, rock-strewn runs. Its sound never ceases to calm me.
This short piece is an aural tour of my local watershed. It crossfades from one water “tone” to another, from the rivulets at the end of the canyon to some of the waterfalls at its head. Of course, the limitations of MP3 encoding sadly adds some warbling and artifacting to the higher frequencies.
When doing this kind of recording, a medium to long boom pole is essential to get nice up-close perspectives without going into the drink yourself.
[soundcloud url=”http://soundcloud.com/noisejockey/voicesofwater” params=”show_comments=true&auto_play=false&color=dd0000″ width=”100%” height=”81″ ] [Røde NT4 stereo mic into a Sound Devices 702 field recorder]
Antennae on Big Rock Ridge, Lucas Valley, Marin County, California. I'm lucky to have found this damn thing in fog like that!
As mentioned in earlierposts, Ben Burtt famously made the Star Wars blaster sounds out of hitting tensioned wires. Who wouldn’t want to do the same? My interest was really in how much or little processing it might have taken to get such an iconic sound, so I had to give it a go.
Well, it turns out that the answer is “precious little.”
Here’s some more audio fun from my recording session in dense fog and high wind with guywires that were stabilizing an antenna array. (I highlighted some wind-in-the-wires drones from this session in a previous post.) This very short collection of samples hasn’t been processed beyond than normalization for loudness. It makes a feller want to go around hitting everything with a wrench!
