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KCR Field Recording Manual
October 2000

Preparing for Field Recording

1. Find out as much as possible in advance about the recording situation, and what adaptations it might require.

2. Make sure you have the following BARE ESSENTIAL items, in addition to the machine itself.
* good batteries
* AC adapter (the power plug)
* microphone and mic cable
* spare minidiscs or blank tapes (Type II/CrO2 cassettes give a much better sound than Type I)
* headphones

Additional very very useful items include:
* extra tape
* extension power cord
* duct tape (to tape down cables/cords)
* notebook and pen (to log material)

3. Make sure tape deck is set for the tape type you're using.
4. Remove shrinkwrap from all cassettes and attach labels to them.
5. Test to make sure everything is working: Put a tape in and record a 30 seconds or so of sound, and listen to it. Rewind. Do this test in a situation that is as similar as possible to where you'll be doing the recording.
6. Forward the tape for about 30 seconds and leave it in the machine. That way you won't forget the tape, and you'll be ready to go as soon as possible once you're in the field.
7. Set Tape Counter to Zero: This will help you log your material as you go (see "logging" below).

Recording Situations - Setting Up
There are three main types of field recording situations:
* spoken word (meetings, readings, interviews, press conferences)
* musical events
* soundscapes/streeters

Spoken Word Set-ups
Always try to record interviews in the quietest possible place -- e.g., a living room or bedroom with lots of carpeting and the door shut. Record in the least echoey place possible (with lots of furniture, rugs, etc.) - echoey rooms sound terrible. When you're visiting a person and trying to decide where to do the interview, explain what you're looking for sound-wise. You might want to say something like, "This is radio. The room doesn't have to look nice, just sound nice."

When arriving at the recording site give yourself extra time to appraise the situation before you have to start. Sit still for a minute or two, becoming conscious of what competing sounds there are - lights humming, fans blowing, babies crying, etc. This is crucial as our hearing can focus on a particular sound and ignore other sounds, but mics pick up all sounds in their range, and editing can't remove these sounds once they make it onto your tape.

Do what you can to eliminate the worst competing sounds. Generally you want the least possible noise competing with your subject. However, appropriate background sounds can sometimes be very effective (for example, grumbles of protest from a speaker's audience).

A major consideration in setting up the mic is vibration. Microphones are in the business of transforming vibrations (sound waves) into recorded sound. Any vibration of the mic will result in sound on the tape. This includes moving the mic in your hand, thumping the cord, or setting the mic on a hard surface. So protect the mic from unwanted vibrations when you set it up. Mic stands are great. If none is available, the mic can be set on a soft surface, scarf, jacket, etc. Try to ensure that no one will bump the mic, its cord, or the surface they're sitting on.

The mic should be positioned close to the subject in most situations. 6 to 8 inches away is best. Position the mic so the speaker is not speaking directly into it. Keep the mic at least 45 degrees away from your mouth, so that no air hits the mic directly. If the mic is pointing straight at the mouth, you will get popped P's and hissed S's - guaranteed. (As you read this you can show yourself the general "danger zone" for P's and S's by saying the letter "P" with your hand directly in front of your mouth, then slowly moving your hand off to either side, and up and down, as you repeat "P". The danger zone for the mic is where you feel your breath distinctly on your hand.)

It is also a good idea, when possible, to position the tape deck where you can see the VU meter, wear the headphones, adjust settings, and change tapes. Make sure you do monitor the sound quality and operation of the deck! Check to make sure the tape is moving. If you can do it without disrupting the event or confusing yourself, wear the headphones. That way you can adjust your settings to each new element, and hear if something goes wrong with the machine. Setting the monitor switch on "tape" is best, though it creates a time delay that may be confusing.

For press conferences, presentations, and speeches, you may not be able to arrange for positioning the mic near the person speaking. In this case you may still get good results by setting the mic up near a public address speaker, if there is one. Using the external condenser mic also can bring good results in these types of situations.

Try different things and compare results. You could even try different approaches for different portions of a single event such as a forum or workshop, if you can afford to make a few mistakes.

Duct tape any of your cords or cables that pose a tripping or mic-bumping hazard.

Set up your equipment as quickly as possible. Don't make a big deal of it -it makes people nervous. If you are conducting an interview try to put your interviewee at ease. Start a conversation with them before the actual interview begins so you can set the recording levels.

Once you've set up try to concentrate on the subject, not the equipment.

If anything sounds weird through the headphones while you're recording, something is definitely wrong. In most cases you should stop and figure the problem out. There's usually no point in proceeding - the tape will not be usable on air.

Record 30 seconds of ambient sound (even if it's dead silence) for use in transitions during the editing phase.

Music Set-ups
Music can be recorded using the the hand-held microphone, the condenser mic, or feeding a line directly from a mixing board into the deck. There are strengths and pitfalls with all methods. Much will depend on the venue, the type of music and what you plan to do with the recording. This is a vast area, and too lengthy for words here.

1.Get permission from the musician(s) before taping,
2.and work with the soundperson if there is one.

Soundscapes/Streeters
These situations have you out in the street/forest/park, recording the the acoustic environment. These recordings can be used in a wide array of finished audio projects and are creatively very rewarding.

If you want to record the totality of the sounds heard at your chosen recording site, then the external condenser mic will do that for you. You'll be surprised at how many different sounds it picks up at the same time. If sufficiently eventful, this type of field recording might stand alone for a few minutes of the final project. Alternatively, during editing and production this type of recording can be used as a background to provide continuity, or to set moods or scenes. Lots of other effects can be achieved.

If in the field you want to bring specific sounds to the forefront while still retaining a background of other sounds (for example in doing street interviews with passersby), the hand-held mic will help to direct the ears of the tape deck.

In streeter type interviews, as for Spoken Word situations, the hand-held mic should be held 6 to 8 inches away from the speaker. Since this type of interview usually requires you to hold the mic in your hand, be sure not to move the mic too much, or you'll get a lot of unplanned noise. Position the mic so the interviewee is not speaking directly into it. Keep the mic at least 45 degrees away from your mouth, so that no air hits the mic directly. If the mic is pointing straight at the mouth, you will get popped P's and hissed S's-guaranteed. Wind can also create unplanned noise, so try to shelter the mic as much as possible.

Logging Your Recordings
This can be a huge timesaver when you proceed to editing your piece!

During preparation for the field recording, be sure to set the tape counter to zero.

Once you've begun recording, note down especially interesting moments, transitions, etc., and the corresponding counter readings. You can also note down contextual factors such as location, time of day, etc. Note that counters on different machines are NOT synchronized - an event at "320" of the Marantz counter will not be found at the same count on a different machine.

If the event you're covering includes a flyer/agenda/program, keep copies of these.

Label your cassettes as you go - don't wait till you're back home.

Protect a cassette from erasure by removing the plastic tabs at the top edge of the cassette - you can always bypass this protection later by re-covering the tab-holes with scotch tape or the like. To protect just one side, remove the tab at the upper left edge as you look at that side's label.

Discipline yourself when collecting material. The more you record, the more you'll need to review and manipulate during the editing stage. Keep this in mind. On the other hand, leaving the tape rolling may let you catch a spontaneously beautiful moment outside the main recording plan.

Interviewing Technique
Discipline yourself during the interview.
If your guest says something that triggers a response in you wait until she's finished and the mic is back to you. Off-mic comments and the deadly uh-huhs are very disturbing and unprofessional.

Start an interview by having the subjects introduce themselves, "Who are you, how old are you, what do you do and how long have you been doing it?"

Be absolutely silent (ie, not like Micheal Enright) when your subject is talking (unless this is a personal interview where your interaction with the interviewee has a lot of significance to the story).

Don't laugh when someone is talking.
Never say "uh huh." Don't interrupt (unless you're certain that what's being said will not be used in the story).

If a truck passes or sirens or some noise, just stop and let it pass. If you're in the middle of something important, let the speaker finish, then have them repeat what they've said.

Always end the interview by getting room-tone: have your subject sit quietly while you record at least 30 seconds of quiet.

The piece will consist of "cuts" (quotes) -- about 1/10th (at best) of what's been recorded. When the interview picks up something dynamite that you have a strong feeling will be used in the final piece, stick with it. Have the subject talk about it as much as possible.

For visually descriptive information, it's good to ask your subject to "paint a picture" with words of whatever you need them to describe.

Take careful notes about how people/things look (you can write them or speak them into tape recorder).

The Streeter - Project Design
The streeter is one of the formats that shows off radio at its most spontaneous. It's also a fast way to learn many of the skills for public affairs programming (interviewing, mic work, recording, editing, and program focus). Streeter elements can also enhance audio art projects.

A streeter usually consists of choosing a topical, humorous, or controversial question, and approaching people for their views on the subject. The differences or uniformity of opinion then are used to focus the final message of the edited piece.

One of the beauties of the streeter is that it's fun and easy to do. Just grab a tape recorder and the attachments you need and find a recording site where you'll find people willing to offer their opinions.
Streeters make excellent introductions to a piece (for example, an in-studio interview) on the same subject. You might begin a longer piece by playing several different voices from the street saying things like, "it's an outrageous insult!" and "I couldn't agree more."

Popping the Question
You should have one succinctly worded main question that people can't answer with a simple yes or no. Try to make the question directly relevant to the person you're asking. Don't ask, for example, "Is Streetfest good or bad for Nelson?" Ask instead, "How does Streetfest affect you?"

Prepare one or two follow-up questions.

Where to Go
Choose your recording site(s) to suit the type of question you're asking. Don't go to Winlaw to ask people what they think of Neslon city transit.

Malls, concourses, and buildings are private property, and you may or may not be asked to leave. Keep it in mind.

If you're in a noisy area, keep the microphone close to your subject, and turn your back to any loud noise.

On the Street
When you've found a promising location, hit pause and then record and play together. Keep it on pause as you approach individuals, introduce yourself and KCR, and ask them if they are willing to give a short, anonymous comment on your topic.

If yes, release the pause button and ask your question so that it's recorded. Recording your question is useful for two reasons: a) sometimes a person's response - a laugh or a snort of disgust - requires the context provided by the question; b) during the broadcast of your piece, listeners need to know what you're talking about.

Try to keep each interview brief. There's no sense in getting into a conversation with each person - it probably won't be used anyway.

Don't turn off the recorder immediately after each person finishes. Record 5 seconds of ambient sound. This is helpful during editing.

Keep notes on who you talk to and what kind of response they give. For example: 1 - funny snowboarder; 2 - outraged businesswoman; 3 - confused teenager; 4 - etc.

You should also try to note the counter reading at any especially useful comment, change of question, change of location, etc. However, you also don't want to be constantly craning your neck to check the counter.

Be alert throughout the interviews to whether people are answering the question of your focus. If they're not, then maybe the question needs rewording.

Editing
Remember, the more organized you were prior to and during the interviews, the easier your editing will be.

Using your written log of the material, you can save time by dubbing/loading into the computer only the comments you think you'll use. This is your preliminary edit, and it will save a lot of memory space on the computer. The final edit involves moving the comments around and paring them so they fit together as a whole, and create the flavour you want.

The question you asked should be given twice during the course of the streeter. First should be a paraphrased question in the introduction, and the second should be included about halfway through the piece.

Be careful to make changing background noises flow as well as possible from one segment to another.

Listen to the finished product. The result should be a brief (usually 2-3 minute), snappy, entertaining streeter that tells its own story.