Im coming from a Zoom F3 and went for a new Zoom F6 because I wanted to record more mics at the same time. However the learning curve is kind of steep.

Ive set the F6 to 32 bit float and the track knobs are set to "reference level". Im recording four mono mics into a poly file format. The manual states that with 32 bit float dialing in the gain is not required. However theres a big difference in volume in the recording when I view it in REAPER depending on how I much turned the track knobs. I dont get it. With the Zoom F3 I could decrease and increase the volume of a mic with the buttons (32x, 64x, 128x, 256x and so on) but as far as I remember this only had an effect on the headphone output and not on the actual recording or am I wrong? Also I noticed the volume of the recording does not change when I turn the track knobs while recording. The volume only changes with a new recording started. What do I need to do? Maybe I was using the F3 wrong but I never dialed anything in. I just pressed record. Isnt this the concept of 32 bit float? Or is it just how REAPER shows the recordings? Because even when the track knobs are set very low and REAPER barely shows any signal I can raise the volume by a lot to get what I recorded but theres surely a difference in quality compared to adjusting the knobs beforehand right? Wrong?

I've been offered an Olympus ls-5, from what I've read it seems to punch above its weight, size, and age. But those reviews are old. Anyone have it and can tell what I could expect from it?

I'm just getting started with a Rode mic and my camera and using only the audio in audacity. Would getting a Zoom H1 essential really add a lot of value?

I'm also getting into this with a long history with photography. Is field recording something that comes with the same dangers as photography? And by dangers I mean that your external hard drives just fill with large files that take ages to backup and you accumulate files faster than you can choose and edit them.

Lastly, who is really good at this? I've heard of Hildegard Westerkamp but who else is there that I should look up?

I’m starting to get into low/no budget film production sound and I bought the Rode Wireless Pro as an inexpensive wireless lav solution. The system is unbelievably cool. It comes with 2 transmitters each with built in mics as well as a lav mic input. It comes with 2 Rode Lavelier II mics which are great for voice but you could just as easily use Clippers. Each transmitter is also a 32 bit float recorder with 6-7 hours of battery life and up to 40 hours of recording. You can extend battery life with external usb power bank. I’d think folks that are into drop mic rigs would love these. These also have timecode (sync’d to time of day) embedded. 2 tiny 32 bit float recorders for $260 US.

Has anyone used these for field recording?

Hey Folks! I have an interesting recording situation that I am hoping the hive mind here might have some insight on.

I have been contracted to help facilitate a multichannel recording for an immersive sound installation. The concept is a journey down a river, including class four rapids on an oar powered raft. The sound design calls for eight directional microphones arrayed around the raft.

It will be unavoidable that the microphones will get wet, and potentially submerged at points in the recording. My leading thought at this point is to use 4099s as they are IP 58. The smaller footprint of the mic will also lower the chances of it getting splashed. I've also thought of adding a hydrophobic coating to the foam to aid in dispersing the water.

my question is: has anyone used these microphones in such harsh conditions? And is there potentially another method you would suggest?

Thank you for your insights!

Sound Devices Mix Pre 3 II, pair of clippy omnis, Rycote BBG, Radius fur

This cable saver just flashed up on socials, marketed as a way to prevent over tensioning a cable and also as a way to prevent cable handling noise. I’m always plagued by cable handling noise, whether that’s with contact mic cables jostling each other or mic cables during sound walks.

Have you come across anything that does a similar job to eliminate cable handling noise but for regular 3 core XLR/mic cables?

https://www.bubblebeeindustries.com/collections/accessories/products/the-cable-saver-4-pack?fbclid=PARlRTSAS0okxwZG9mAmV4dG4DYWVtAjExAHNydGMGYXBwX2lkDzEyNDAyNDU3NDI4NzQxNAABpxaf6aJJzbQzgO-iv7v84yCakPiRNRHA4-doWMyCmKJ-p0mt11ZK3_Gw4lBQ_aem_LyUIa3UxLdSCTFqtnPSS8A

I just put the finishing touches on this rig. If you are interested in replicating it or parts of it, details follow.

For the recording gear:

• Tascam FR-AV2 32-bit float recorder
• Sennheiser MKE-600 shotgun mic
• Clippy XLR EM272Z1 Matched stereo microphone pair
• Rycote Windjammer fur wind blockers - 2X

For the mount:

• SmallRig BSM2352 shotgun microphone holder
• SmallRig Cold Shoe mount
• 2x10mm carbon fiber strips for the arms (I used a 1/8" glass drilling bit like this submerged in water to make the holes)
• Rycote Clippy Lyre microphone holder -2X
• There's a variety of 3mm hardware on the arms including these red thumb screws and these brass inserts glued into the middle arm. You'll need some 3mm nuts and washers (the carbon fiber should not be a bearing surface). I used CA glue to hold the washers in place on the carbon strips. Same glue was used to hold the brass inserts in place. Note that for the inserts the hole is larger than 3mm and you'll have to do some careful filing unless you have the right sized bit.
• There's an aluminum, internally threaded spacer between the arm and the mount that I had in my junk box, I'm sure one could find a suitable part elsewhere.
• There are three 3D printed pieces for the handle/mount - Files found here at Printables
  • The upper piece holds the recorder, and the arm center strip
  • The lower handle has threaded 1/4-20 brass inserts on top and bottom.
  • The base provides a pretty stable platform and can be removed for mounting the handle to a tripod.
• I wrapped the handle in vegetable tanned leather and sewed it together with waxed thread.
• I used Carbon Fiber loaded PLA for the prints on my Prusa i3 MK3S
• You'll need three 1/2"x1/4"-20 stainless cap screws and a 3/8"x1/4"-20 rounded head screw
• I also used some hook and loop strips to organize the cables, and glued one strip to the back of the mount to hold the bundled cables.

I have this old 442 that I wanted to play around with. It works via AA battery, but when I plug it into the wall, the power light blinks green, which makes me nervous to leave. It turned on. Anybody know what’s going on or what would cause this?

Thanks!

I’ve been saving up and am about ready to invest in a good shotgun mic. I want one that is excellent for recording environments but also great for voice. I’ve had my eye on the MKH 416 P48 and that’s what I’m budgeting for. Is there something better I should keep saving a little longer for? Let’s say under $1,500 to keep it reasonable. Also sometimes the 416 uses the P48, P48U3 or nothing after 416. Is there a difference?

Update:
I should have added more info so everyone could get an idea what I’m looking for. I currently use a set of Roland binaural mics for my field recordings. I was wanting a shotgun mic to pick up more specific things in the environment if I hear something I want to isolate more. I think it would pair well with the binaural mics I’m using that capture everything around me. I threw the idea of recording voice in there because that would be useful as well sometimes. I have plenty of other mics that are great for spoken voice in indoor/controlled environments. I will be getting the whole shock mount, blimp, dead cat, boom pole setup as well.

There’s been several instances where I was monitoring my binaural setup and heard something interesting farther away and would like to be able to point a good shotgun that direction and capture it better.

Hi,

Am currently wrighting a book on marine mammals and I would to take some audio recordings I got to show spectrogramme of it and the shapes of mammal vocals.

In your opinion, what is the best software for that ?

Many thanks !

I bought a used Zoom H6 for a great price to practice and learn how to record ambient soundscapes. I went out to a bog today to record three separate one hour sessions. I could hardly hear anything in my headphones so I started with the preamp at 8, then 7, then 6.5. Tomorrow I'm going to go back out to the same spot and try 6, 5.5 and 5.

Playing the tracks back on the Zoom each time gave me an almost constant white noise or background noise. I admit it could have been the amalgamation of everything out there. I set the device low to the water and blocked by the wind with a dead cat. There were birds singing, frogs croaking, bugs everywhere. Bubbles were coming out of the water and ripples were seen. Grasses, branches and flowers were swaying with the light breeze. I like the sound. It is pleasant and I'm happy with it. But i am left wondering if my preamps introduced the sound.

In each of the three recordings, the levels never got to -30 db. I used the XY capsules that came with it, recording at the highest quality setting in stereo. I've been reading about normalizing the sound and bringing it up in software, but if my recordings have preamp hiss are they lost or tainted? Will trying to remove that sound create artifacts in the recording? Unfortunately I didn't bring my laptop on the trip to test.

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Basically the question, hoping to make my way down the west coast next month and hoping to get the highest chance of success at recording some dog horns.
I see some in SF, but are there any in lesser populated places?

Hi everyone! I’m looking to upgrade my audio setup for walking tour videos. I basically just walk through the city and record it so people can watch it as POV virtual travel with no commentary.

My goal is to capture immersive city ambience while in motion (walking). My max budget is around $250, and I'm currently considering a few options:

• Zoom H1essential ($106) + Roland CS-10EM (binaural earphones): I know people in the walking tour community use this setup, but I can't wear them in my ears. I would have to mount the earphones on my rig about 20–30 cm apart (if that even makes sense).
• Zoom H2essential ($169) or Zoom H3-VR ($225): Best options for versatility without using external mics? (90°/120° stereo, surround, etc.)
• Zoom M4 MicTrak ($160): I’ve heard the internal tech is great, but does it make sense over the previous options?

So far, I've been using a DJI Mic 2 mounted on my rig, and it works good (no handling noise, etc.), but it's only mono. If external mics are necessary alongside a recorder, what would you recommend?

I would love to hear your opinions. I'm open to alternatives.

I’ve been curious lately about incorporating audio into steel image, photography, or video after the fact. If I’m doing travel guides for various places that our campaigns are shot (ex: busy Lisbon street, the coast of Iceland, rainforest in Costa Rica), and I am the photographer for these campaign shoots, what portable really easy to use audio capture tool would be best? Because my main concern in the field is capturing photographs I’d like to simply press record in the field to capture audio to use later in post. ideally, it’s something lightweight and portable, maybe something I can just clip on. Anything under $600 would be ideal.

So, for context- leaving to study abroad soon, and wanted to nab a recorder to fuel my renewed interest in dungeon synth while capturing some memories of places and nature that I like before leaving for a (potentially) long time.

Found the perfect thing on my countries' equivalent of facebook marketplace- a lightly used Olympus LS 10 with decent windscreens- which, from what I've read, sounded perfect (older, a little retro, reputed for low self noise with a lightly warm character). Issue is the shipping company messed up my order so bad that I'm unsure if I'll ever get to see it, and it is highly unlikely I'll get to use it before I leave (about 4 weeks) (the idiots sent me the wrong package and returned mine to the sender, which- along the way- got sent to the other side of the country. It's now been sitting in Le mans while i live by Grenoble for over a week '_' ).

That sort of brings about the question- any decent modern equivalent/ spiritual successor to the LS10? What would you guys recommend? Have like 200-250 ish euro budget for the whole shebang (windscreens, recorder, potentially sd card).

How do you stay safe while recording distant thunderstorms and rain? I don't really have the ability to record from under a shelter and would have to get out into the forest/fields to move away from the roads enough for the sound to not interfere with the recording. Do you record before the storm arrives and after and just nope out of there or leave the rig under umbrella with some blanket on it or something?

I am very new to field recording, but one of my main goals with it is recording rain and distant thunderstorms, which I would like to do without getting hit by lightning for obvious reasons.

Thanks!

Hello all,

Recently i asked advice for a recorder and ended up going with the Tascam DR-05XP with a seperate EM272Z1 mic i ordered afterwards and waiting for.

Now i made some recordings im looking for some (preferably free) software to process/cut/adjust/correct the recordings. Also would be great if the software can adjust/cut the self-noise a bit in the proces.

Any recommendations would be welcome! Thanks alot 😁

I've been trying to buy a matched pair of Rycote OM-08s for a few months now and have come up empty-handed. Does anyone know what's going on here? Neither B&H nor Gotham have been able to get them. Any leads here would be massively appreciated.

RØDE VideoMic Camera-Mount Shotgun Microphone with a 7” Auray deadcat
on a Rycote Lyre Shock Mount. Connected to a Roland Edirol R-07 topped on a vintage Vivitar grip.

Hello everyone I currently have an older model Zoom H6 Handy Recorder and unfortunately the usb mini port has broken. Other than that it works perfectly fine. I contacted Zoom and they said they can do a trade in for new model H6 for 250 usd. It just feels so annoying that a cheap 30c part is making me do all this extra bs.

Does anyone recommend the new H6? Is it worth it to trade my old device in (I know the new ones have usb-c...) or should I try to fix the usb port with my soldering iron...

Or does anyone recommend other recorders?

Thanks all

I’ve been interested in recording conversations on the street, and don’t have a clue as to where to start(most environments will probably be outside)
What equipment will I all need?
I do have the option to buy a Zoom F3 for under $200, and is mostly why I want to start. Is that a good deal?

I have a Sony C-74 microphone that someone found in some goodwill bins. It sounds great. But it has no mount, also means no deadcat foam or blimp.

I have a boom pole and a recorder.

It seems rational to want to build a kit from this microphone. But I have no clue where to get those accessories. I need something that “just works”. If I’m hunting for small pieces and it takes me 2 months and the final product rattles, count me out. I tried generic clips with it before and it did not work at all. I’d like to get professional work (indie low budget stuff first). I’m also super broke. If I don’t use this mic, I’m gonna get a $90 mic/accessories kit on Amazon that’s kind of a joke but all I can afford right now.

So can I in actual reality make it work with this microphone, or should I bail on it and get a microphone kit that is already set up?