Location Sound Recording Workshop
1 – Location Sound Recording Workshop
Thrown together by David Tamés, Revision 4 (September 4, 2024)
See also: Sound Fundamentals
This slide deck is updated periodically; if you have any comments or suggestions for improvement, please contact me: https://davidtames.com/contact/
© 2024 by David Tamés, some rights reserved, shared under a Creative Commons Attribution-NonCommercial-ShareAlike License, https://creativecommons.org/licenses/by-nc-sa/4.0/legalcode.en, some materials included herein may be copyright and are being used under the terms of the fair use provisions of U.S. Copyright Law. Third-party works are attributed whenever possible.
2 – Table of Contents
Part 1. What’s in the kit? + Identifying parts and controls
Part 2. Zoom H4n Pro set-up guide
Part 3. Recording in stereo with the Zoom built-in microphone
Part 4. Recording with external microphones (RE50, TR-50, MKE-600)
Part 5. Location Sound Recording Activity
Part 6. Additional Topics and Resources
3 – Part 1. What’s in the kit? + Identifying parts and controls
4 – Reserve and checkout the kit from the CAMD Media Center
The complete kit is provided in a rolling case*
For a tour of the kit, see:
Audio Location Kit Video (video, CAMD Media Center, 6:07), https://www.youtube.com/watch?v=-srYWxQ9nL0
Always go over the kit and make sure it is complete before leaving the Media Center with the kit. Doing a sound recording test before every recording session is highly recommended.
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IMPORTANT: The Boom Pole must be reserved as a separate item, however, it is an integral and essential part of the kit in the context of this course. Always reserve the a boom pole along with the Audio Kit. The pole can be tucked in the side strap of the rolling case with the bottom in the side pocket for easy transport with the rolling case.
5 – What’s in the kit? — Zoom H4n Pro sound recorder
Zoom H4n Pro Features:
Built-in X/Y stereo microphones, adjustable 90˚ or 120˚
Two microphone/line level inputs with XLR/TRS combo connectors (with +24 or +48V phantom power)
Capable of four-track simultaneous recording (built in mic with two external microphones)
Stereo 3.5mm microphone/line input (with 2.5V plug-in power)
Stereo 3.5mm headphone output with volume control
Built-in speaker for playback
Records to SD and SDHC cards up to 32 GB (Note: start-up and card formatting times are much faster with smaller cards. e.g. 4 GB, 8 GB max is recommended for this recorder)
Recording modes: 16-bit/44.1 kHz WAV in Stamina mode (without limiter and limited menu options, not recommended) Up to 24-bit/96 kHz WAV with limiter on or off (48 kHz/24-bit recommended)
USB port for file transfer to computer
2-in/2-out USB audio computer interface
Powered by 2 AA alkaline or Ni-MH rechargeable batteries or AC adapter
NOTE: 4GB SD cards are recommended, larger SD cards require very long start-up and formatting times. Always format cards before use.
6 – What’s in the kit? — Zoom H4n Pro sound recorder
Accessories include windjammer, two AA rechargeable batteries, and an SD Card.
USB Cable pictured is not provided in the kits. If you need to use the Zoom as an audio interface or to connect to a computer in USB Transfer mode, consult with the Media Center or Production Studio to see if a cable is available.
UPDATE: The kits are currently sent out with only one set of AA NiMH rechargeable batteries, however, you should always have spare AA batteries with you when recording on location. The H4n Pro is a power-hungry recorder. If you switch between NiMH rechargeable and single-use alkaline batteries, don’t forget to change the battery type in the menu. Otherwise, the battery level meter will not give a correct reading.
NEVER place single-use alkaline batteries in a NiMH battery charger; they may explode and leak nasty chemicals!
As far as disposal of single-use alkaline batteries, the EPA recommends sending used alkaline and zinc carbon batteries to battery recyclers; Northeastern has battery collection containers at many locations, see: https://pref.northeastern.edu/new-battery-drop-offs/
7 – What’s in the kit? — Headphones
Sony MDR-7506 headphones
A pair of professional studio headphones known for sound accuracy and affordability. They have been a standard in audio production, mixing, and recording for many years. They offer a fairly neutral sound profile, which is ideal for monitoring. The bass is tight and well-defined, while the mids and highs are clear without being overly sharp. The closed-back, over-ear design, provides good isolation from external noise. They are foldable and come in a carrying case, making them portable.
8 – What’s in the kit? — Lavaliere microphone
Tram TR-50 condenser lavaliere microphone kit (more on this later)
9 – Reporter’s microphone
What’s in the kit? — Electro-Voice RE50N/D-B (RE50 for short) dynamic microphone microphone (more on this later)
10 What’s in the kit? – Short shotgun
Sennheiser MKE 600 condenser shotgun microphone w/ foam windscreen (more on this later)
11 – What’s in the kit? — Rycote Pistol Grip and Windjammer
Rycote Pistol Grip and Rycote Softie Windjammer with comb and “mic-tail” cable
12 – Boom pole
What’s in the kit? — K-Tek Avalon boom pole w/ internal cable
13 – What’s in the kit? — Microphone cables
microphone cables (XLR, balanced)
14 – What’s in the kit? — Complete Inventory
What’s in the kit? — Complete Inventory
Zoom H4n Pro sound recorder in case
Windjammer for Zoom H4n Pro
two AA rechargeable batteries (installed) — see note
SD Card (installed)
USB Cable pictured is not provided in the kits. If you need to use the Zoom as an audio interface or to connect to a computer in USB Transfer mode, consult with the Media Center or Production Studio to see if a cable is available.
UPDATE: The kits are currently sent out with only one set of AA NiMH rechargeable batteries, however, you should always have spare AA batteries with you when recording on location. The H4n Pro is a power-hungry recorder. If you switch between NiMH rechargeable and single-use alkaline batteries, don’t forget to change the battery type in the menu. Otherwise, the battery level meter will not give a correct reading.
15 – Zoom H4n Pro: Identifying parts and controls (1/2)
Zoom H4n Pro sound recorder — Identifying parts and controls — front and back, including battery compartment
Zoom H4n Pro Operation Manual (PDF) can be downloaded from https://zoomcorp.com/media/documents/E_H4n_Pro_REV3.pdf
the manual offers a guide to all of the functions and is worth a look when configuring the recorder or troubleshooting.
16 – Zoom H4n Pro: Identifying parts and controls (2/2)
Zoom H4n Pro sound recorder — Identifying parts and controls, right side, left side, and bottom.
Zoom H4n Pro Operation Manual (PDF) can be downloaded from https://zoomcorp.com/media/documents/E_H4n_Pro_REV3.pdf
17 – Electro-Voice RE50N dynamic microphone
Electro-Voice RE50N/D-B handheld dynamic omni microphone — We will call it the RE50 for short!
Contents of the pouch:
RE50 Microphone
5/8”-27 socket to 3/8” socket adapter (for connecting to a boom pole, may already be threaded inside the Microphone Stand Adapter)
Microphone Stand Adapter with 5/8”-27 threaded socket (connects to standard microphone stands or to the boom pole with the 5/8”-27 socket to 3/8” socket adapter)
18 – Tram TR-50 condenser lavaliere
Tram TR-50 condenser omnidirectional lavaliere microphone kit — all parts go in box with a solid snapping lock
TR-50 Microphone with TR79 Power Supply (hardwired)
Lavaliere Windjammer
Clip Windscreen
Clip Tie Bar
Clip Tie Tac
Clip Tape Down
Clip Mic Holder with Vampire Pins
Cable Holder with Vampire Pins
RM675/PX675 Battery (not needed when using Phantom Power) best removed from TR79 and placed in the battery slot inside the case.
NOTE: Always keep the mounting accessories (a.k.a. “jewelry”) in the storage case (and keep it closed) to avoid losing them!
NOTE: Do not depend on battery power, it’s better to power the TR-50 with phantom power, if the battery is installed, remove it and place it in the battery slot inside the case. The battery compartment is opened by twisting the plastic end of the TR79 counter-clockwise.
19 – Sennheiser MKE 600 condenser shotgun mic
Sennheiser MKE 600 condenser shotgun microphone kit in a pouch
Foam Windshield — only for indoor use, use the Rycote Softie for outdoor use
Shock mount with accessory shoe adapter (for mounting on a camera, not recommended)
XLR-3F to 3.5mm plug adapter
AA Battery — not recommended, better to power this microphone with Phantom Power and not deal with battery issues
K-Tek Squid — stretchy silocone for mounting Zoom H4n Pro on the end of the boom pole for hands-free operation of the recorder.
20 – Rycote Pistol Grip and Fuzzy Windjammer
Microphone Mounting Kit (for MKE600)
Rycote Pistol Grip with Lyre Shock Mount
Mic Tail (XLR-3F connector end snaps into grip)
Rycote Softie Windjammer
Comb (for keeping the windshield fluffy)
21 – Microphone cables in the kit
Mic Tail (fits in pistol grip)
Short Microphone Cable (handy for use with RE50 and TR-50)
Microphone Extension Cable
Boom to Mixer/Recorder Cable
Balanced microphone cables with XLR connectors are widely used for professional audio. Balanced wiring has two conductors and one ground plus special circuitry on each end in order to reduce susceptibility to electromagnetic interference (EMI) and allows for longer cable runs. The best cables use twisted pairs for each conductor (“star-quad”) for even better EMI rejection. Consumer gear uses wiring with only one conductor and one ground and is therefore more susceptible to interference. For a technical explanation of how this works, see “What’s the Difference Between Balanced and Unbalanced?,” Aviom Blog, https://www.aviom.com/blog/balanced-vs-unbalanced/
22 – Wrapping the gear
Return gear in the same configuration as you found it when you checked it out
Power off the recorder and make sure batteries are not installed in the microphones (Note: you normally don’t need to use batteries with the shotgun or lavaliere in this kit since the Zoom provides phantom power, it’s also a best practice to store gear without batteries to prevent damage from battery corrosion, dead alkaline batteries are particularly good at this)
Wrap all microphone cables using the over-under technique
Make sure all of the accessories (a.k.a. jewelry) are returned to the lavaliere microphone case
Make sure all accessories are returned to the shotgun and handheld microphone pouches
Do not wrap the coiled cable around the headphones (a.k.a. cans), instead, fold the cans, drop them into the pouch, and then drop the coiled cable on top of the cans in the pouch. Wrapping the cable around the cans damages the cable, and the proper technique is less effort
Store the boom pole on the side of the rolling bag for easy transport
Double check kit is complete (review kit inventory) before closing case
Keep TRAM case closed to avoid losing accessories!
microphone cables are always wrapped using over-under technique
boom pole slides through side strap with bottom in side pocket for ease of transport
Do not damage the MDR-7506 Coiled cable by wrapping it around the headphones, keep it loose and simply throw the clump of cable into the bag after inserting the headphones.
23 – Part 2. Zoom H4n Pro set-up guide
24 – Zoom H4n Pro set-up
Zoom H4n Pro Operation Manual (PDF) can be downloaded from https://zoomcorp.com/media/documents/E_H4n_Pro_REV3.pdf
the manual offers a guide to all of the functions and is worth a look when configuring the recorder or troubleshooting.
Step 1 // Set the Stamina switch to OFF (in the battery compartment)
Step 2 // Insert batteries (2 AA alkaline or 2 Ni-MH rechargeable) if not already installed in the recorder (observe polarity; little ribbon goes under the batteries to facilitate removal)
Step 3 // Insert SD card if not already installed in the recorder
Step 4 // Power on the recorder by sliding the power switch down for a couple of seconds. Start screen will appear. To turn off, do the same move on the power switch as you did to turn it on.
Note: Stamina Mode locks you into recording 44.1 kHz / 16-bit without a limiter and without MonoMix configuration and there is a possibility of sync issues with 44.1 kHz vs. 48 kHz in some scenarios (but not with Adobe Premiere Pro), with Stamina Mode ON you will get longer battery life and simpler setup, but with severe tradeoffs in terms of configuration options.
Note: 4GB SD cards are recommended, larger SD cards require very long start-up and formatting times. If smaller SD cards are not available from the CAMD Media Center, consider using your own. Always format cards before use.
25 – Zoom H4n Pro set-up (continued)
Step 5. Check the battery level indicator and make sure you’re starting with fresh batteries, and if not, you should have an extra pair in the kit (make sure of this when you check out the gear)
Step 6. Verify the SD card is recognized and the card can be written to.
If the recorder is reporting “Card Protected” then the write-protect tab on the card is set to not allow recording, remove the SD card and disable the write-protect tab. If the recorder is reporting “No Card” try removing and replacing the card. The H4n can be finicky with SD cards. Repeated removal and insertion should resolve the issue. Make sure the contacts on the SD card are clean and free of contaminants.
26 – Zoom H4n Pro set-up (continued)
Step 7. Perform Factory Reset (MENU ⇒ SYSTEM ⇒ FAC RESET ⇒ Are you sure? [YES/NO])
Since other people have used this recorder, you want to start with a baseline of known settings which is achieved with the Factory Reset followed by the specific settings you want to change based on your recording scenarios.
27 – Zoom H4n Pro set-up (continued)
Step 8. Format the SD card (MENU ⇒ SD CARD ⇒ REC FORMAT ⇒ REMAIN | FORMAT) ⇒ CARD FORMAT Are you sure? [YES | NO]
It’s a best practice to format the card prior to beginning your recording session. You don’t want to start your recording session with a corrupted card or media from another project.
The recorder works best with 4GB or 8GB cards. With larger cards, the formatting and start-up (as the recorder verifies the card) will take a very long time. If your kit comes with a large capacity card, consider using your own 4GB or 8GB card if long start-up and formatting times are an issue for your production.
28 – Zoom H4n Pro set-up (continued)
Step 9. Set the date and time (MENU ⇒ SYSTEM ⇒ DATE/TIME ⇒ [Adjust and Select each of Year, Month, Day, Hours, Minutes, Seconds]
Trivia: With Firmware 1.1 (the latest as of 10/4/2021) the Zoom sets the Modified Date for files based on the DATE/TIME, however, the Creation Date will be set to January 1, 1970 (curiously the beginning of time in the Unix operating system, with time zone variations).
29 – Zoom H4n Pro set-up (continued)
Step 10. Set the battery type (MENU ⇒ SYSTEM ⇒ BATTERY ⇒ [ALKALINE / Ni-MH] so the Zoom can properly calculate the time remaining on the battery
Alkaline single use and Ni-MH Rechargeable batteries have very different discharge characteristics, therefore, if the battery type is not set properly, then the battery level indicator will not be accurate.
Pro Tip: The recorder draws a lot of current from the batteries. Always have an extra set of fresh Alkaline or fully-charged Ni-MH Rechargeable batteries on hand when recording!
Never place Alkaline batteries in a Ni-MH battery charger or invert the polarity of Ni-MH batteries in the charger. This can lead to chemical leaks or possible fire!
30 – Zoom H4n Pro set-up (continued)
Step 11. Select the record format (Press WAV/MP3 ⇒ REC FORMAT [Select Option]
Choose either WAV 48 kHz/16-bit or WAV 48 kHz/24-bit (Currently the pro video production standard; provides more dynamic range than 16-bit (though with the noisy preamps of the Zoom H4n the difference is not as dramatic as you would expect)
(you can also select this in the menu:
MENU ⇒ REC ⇒ REC SETTINGS ⇒ REC FORMAT ⇒ [Select Option])
31 – Zoom H4n Pro set-up (continued)
Step 12. STEREO MODE: The H4n has four operational modes
STEREO* — this mode was enabled when we set factory defaults; this mode enables one pass stereo or mono recordings. For this workshop and class this mode is recommended for recording with the Zoom H4n. Be aware that WAV file recorded will be mono or stereo based on the the MONO MIX setting and input sources.
STAMINA — can only record/playback in WAV 44.1kHz/16-bit and MP3 format with limited configuraiton options — disable this to allow 48kHz/24 recording and custom configurations.
4 CH (CHANNEL) — for simultaneous recording with both external inputs and the built-in microphone, good for capturing a mix of stereo ambience and dialogue or specific speaker or instruments during a live event.
MTR (MULTI TRACK) — Record one track at a time and then combine them with tother tracks (overdubbing), also allows for record using effects and mixing track levels after recording.
NOTE ON FILE NAMES: STE-nnn.wav file name confirms stereo recording (as long as you don’t change the file name format to dates which is not recommended)
32 – Zoom H4n Pro set-up (continued)
Step 13 a. Enable the LIMITER on the built-in microphone (MENU ⇒ INPUT ⇒ INPUT SETTINGS ⇒ COMP/LIMIT ⇒ COMP/LIMITER: MIC ⇒ MIC COMP/LIMITER ⇒ LIMIT1
Step 13 b. Enable the LIMITER on the external inputs (MENU ⇒ INPUT ⇒ INPUT SETTINGS ⇒ COMP/LIMIT ⇒ COMP/LIMITER: INPUT ⇒ INPUT COMP/LIMITER ⇒ LIMIT1
LIMIT1 is recommended when starting out.
Step 14. We’re finally ready to start making some recordings!
33 – Part 3. Recording in stereo with the Zoom built-in microphone
34 – To record stereo, follow these steps:
1 // Select built-in microphone as the input (confirmed by red LED)
2 // Verify stereo mode (STEREO LED should be activated)
Note: Not the same as recording stereo, more on that later!
3 // Connect headphones to monitor recording
4 // Adjust headphone level as needed (does not affect recording)
5 // Position recorder with microphones pointing towards the source
6 // Press record once, this will enter RECORD STANDBY Mode (Record Button will FLASH); this allows you to listen to the sound and adjust input levels as needed prior to recording.
Note that the timecode will not change during Record Standby Mode, indicating that you are not yet recording!
35 – To record stereo, follow these steps (continued)
7 // Evaluate the level meter while listening with the headphones for any problems (background noise, distortion, cable crackle, etc.)
8 // Adjust the recording input gain as needed (based on your evaluation of the input level meters, more about adjusting levels on the next slide)
9 // When you are ready to start recording, press the REC Button (the button will now glow solid and timecode numbers will begin to ascend), you are now recording!
10 // Pressing the REC Button during recording will set a Marker in the file at the timecode when you pressed the button*
11 // Press STOP to stop the recording, your recording will be in a WAV file with the name shown in the LCD display
Note that timecode will ascend during recording (get into habit of confirming you are “rolling” by checking this after pressing REC)
- These markers can be accessed by apps like Adobe Audition, however, Adobe Premiere Pro ignores these markers when you import WAV files
36 – Setting the input gain
1a. A signal with good dynamics, the levels have been set properly during recording
1b. In the final mix, this signal sits well above noise floor and mixes well with other audio elements in the mix
2a. A signal with poor dynamics, the input sensitivity was set too low during recording
2b. Signal in the final mix, When level is raised in order to match other sounds, noise is also raised and becomes more audible
37 – Setting the input gain (continued)
Figure 1. Input signal with peaks over 0 dBfs
Figure 2. Recorded signal w/ Automatic Gain Control (AGC), level of recorded signal is normalized
Figure 3. Recorded signal w/ manual settings and Limiter enabled, peaks of recorded signal are compressed
Figure 4. Recorded signal w/ manual settings and limiter disabled, peaks of recorded signal are clipped
38 – Setting the input gain (continued)
Setting the right input gain. Note that these guidelines are ‘hotter’ than often recommended, this is because the Zoom H4n has a high noise floor, so it’s best to record a tad on the hot side as long as you can avoid triggering the limiter to ensure the nest signal to noise ratio.
39 – Choosing a stereo field width with built-in microphone (1/1)
Can be set to 120˚ or 90˚ by twisting the microphone casing
Be careful: If you set MONO MIX to ON in the INPUT Menu (useful when using a single external microphone that you want panned both Left and Right) the stereo light remain lit even though you’ll be recording in dual-mono, the recorder lets you know it is recording dual mono by naming the file MONO-nnn instead of STE-nnn. This is why I don’t recommend changing the default file name convention to date, as you will lose this valuable feedback of what’s going on.
40 – Choosing a stereo field width with built-in microphone (2/2)
120˚ and 90˚ polar diagram
X-Y Stereo recording
41 – Reviewing your recordings in the field
1 // Press the FILE button, a list of files in the current folder will be displayed
2 // Scroll to the file you want and then SELECT it
3 // Choose SELECT from the menu and the file will be loaded and ready to play
4 // Use the transport controls to review the file
- If already powered on, go to MENU ⇒ USB ⇒ STORAGE and the Zoom will mount as a device on the desktop. Press MENU to disconnect.
42 – Transfer audio from recorder to computer
1 // Start with the Zoom powered off*
2 // Connect the USB cable between the Zoom and your computer
3 // The Zoom will power on on it’s own (when powered on and connected to the computer, you are given the choice of entering STORAGE Mode or AUDIO I/F Mode)
4 // Enter STORAGE Mode
5 // The SD card in the Zoom will appear as a mounted storage volume on you computer
6 // If you recorded WAV files in STEREO MODE, they will appear in the /H4N_HD/STEREO/FOLDER01 folder (both stereo and dual-mono recordings) Note: You can change the destination folder in the menu in order to keep your projects in separate folders, however, FOLDER01 is the default)
7 // Copy the audio files to your project media folder
8 // Press the MENU button to return to normal operation
Note: Unless you re-configured the recorder, all stereo files will be placed in STEREO/FOLDER01 folder
NOTE Alternative method: Remove the SD card and place it in a SD card reader. Don’t forget to put the SD card back in the Zoom when you are done!.
- If already powered on, go to MENU ⇒ USB ⇒ STORAGE and the Zoom will mount as a device on the desktop. Press MENU to disconnect.
43 – Part 4. Recording with external microphones (RE50, TR-50, MKE-600)
44 – Comparison of microphones in the kit
Zoom H4n Pro built-In
Technology: Electret Condenser
Pick-up Pattern: Cardioid (X-Y Stereo)
Power: Built-in
Sensitivity: High
Sonic Characteristics: high-frequency response is exaggerated with a brittle sound; not as smooth as TR-50 or MKE 600
Differentiation: width of stereo field can be adjusted (90˚ or 120˚)
Use Cases: ambience, SFX, and music recording in stereo
Electro-Voice RE50 handheld
Technology: Dynamic
Pick-up Pattern: Omnidirectional
Power: Not Required
Sensitivity: Low
Sonic Characteristics: overall frequency response not as smooth as TR-50 or MKE 600 but does well in voice applications
Differentiation: rugged; low handling noise; high weather resistance; integrated wind protection and pop filter
Use Cases: hand-held on-camera reporting, VOXPOP; voice-over; also good for HIGH SPL SFX due to sensitivity
Tram TR-50 Lavalier
Technology: Electret Condenser
Pick-up Pattern: Omnidirectional
Power: RM675/PX675 Battery (not recommended) or +48V Phantom (preferred)
Sensitivity: High
Sonic Characteristics:
smooth frequency response with a high-frequency boost that compensates for typical lavaliere placement scenarios
Differentiation: small, flat, and easy to hide; kit comes with variety of mounting clips
Use Cases: worn on speaker for interviews, cinéma-vérité, on-camera reporting, may also be used as a hidden mic
Sennheiser MKE 600 Shotgun
Technology: Electret Condenser
Pick-up Pattern: Super-Cardioid (lobar)
Power: AA Battery (not recommended) or +48V Phantom (preferred)
Sensitivity: High
Sonic Characteristics: smooth on-axis frequency response; off-axis response exhibits significant rejection but with coloration due to interference tube design characteristics
Differentiation: highly directional and sensitive; requires mounting on pistol grip hand-held or on boom due to handling noise
Use Cases: boom-mounted or pistol-grip-mounted dialogue and SFX recording outdoors
45 —Comparison of microphone polar patterns
Zoom H4n Pro built-In — Pick-up Pattern: Cardioid (X-Y Stereo)
Electro-Voice RE50 — Pick-up Pattern: Omnidirectional (note that omnidirectional microphones are less omnidirectional with higher frequencies)
Tram TR-50 — Pick-up Pattern: Omnidirectional (note that omnidirectional microphones are less omnidirectional with higher frequencies)
Sennheiser MKE 600 — Pick-up Pattern: Super-Cardioid (lobar)
46 – Comparison of microphone frequency response characteristics
Zoom H4n Pro built-In — high-frequency response is not as smooth as the TR-50 or MKE 600 and is also exaggerated
Electro-Voice RE50 — overall response not as smooth as the TR-50 or MKE 600 but it does very well in voice applications
Tram TR-50 — very smooth response with a high-frequency boost specifically designed to compensates for typical lavaliere placement
Sennheiser MKE 600 — very smooth on-axis frequency response (off-axis frequency response exhibits high levels of coloration)
47 – Placement options for recording dialog
Microphone placement options
Desirability of microphone placement positions for recording a speaker’s dialog in order from best to least preferable:
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Boom from above is ideal and provides perspective and the least room noise. Get close in with a hypercardioid, or short-shotgun for a little more source to mic distance, but the ideal is the hyper, there’s a reason why the Schoeps CMC 641 is the gold standard among film sound recordists and it was not until recently that Schoeps finally decided to make s shotgun mic to meet market demand, which does provide better performance with greater subject to mic distances, but with compromises. Hyper cardioids have less off-axis coloration than short shotguns, so when you can get closer in, they offer superior sound quality.
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Boom from below compromises perspective and picks up more noise from footsteps, etc. and reflections off floor, but it works. In run and gun situations, I use a short shotgun on a pisd just off the camera, which is faster to work with than a lavaliere on the subject, but it would be better with a boom, which in one person shoots is impossible. So there’s option 3.
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Lavaliere on the subject is a good secondary option, works well w/ wireless for for documentary especially with moving subjects, noise/environment perspective is tricky as subjects move, but we do the best we can with moving subjects.
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Hand-held microphone gets the mic close to the source, good for noisy environments, but is visible so widely used for news reporting, but rarely in documentary and never in narrative, unless the subject is playing the character of a news reporter.
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On-camera microphone is often a necessary compromise, but rarely produces good sound unless very close to the subject.
48 – Placement options for recording dialog
Lavaliere and boom mounted mic placement tips
Omnidirectional lavs sound dryer (less “room”) compared to a boom mounted microphone. Place the lavaliere so it is in the middle of the chest, not to high, not too low, and centered whenever possible.
Boom mounted directional microphones should be placed as close to source (but not too close and above the frame line), a rule of thumb (experiment and listen) is ~ 3 feet max (for a short-shotgun) and 2.5 would be far better in most environments.
Aim the boom mounted microphone at the speaker’s mouth or just a tad below, at an angle to the front of the speaker of about 45 degrees. Getting the mic as close as you can for dialogue shots in noisy environments will make all the difference. You want the dialogue to be much louder relative to other sounds in the environment and any reflections coming off surfaces in your location. Clean dialogue is critical for intelligibility. Sound blankets on hard surfaces can help the sound quality by damping reflections.
49 – Recording with the RE50 dynamic handheld mic (solo)
1 // Select external microphone input (the LEDs will indicate Inputs 1/2 are now active)
2 // Set Mono Mix ON* (MENU ⇒ INPUT ⇒ INPUT SETTINGS ⇒ MONO MIX ⇒ ON), when this is on, the Zoom records a dual-mono WAV file, Input Ch1 is panned to both Ch1/L & Ch2/R
3 // Connect the XLR cable to Ch1 Input on the Zoom and the other end of the XLR cable to the RE50
4 // You’re now ready to record using the RE50 (solo)
- Be careful: If you set MONO MIX to ON in the INPUT Menu, make sure to turn it off before doing any stereo recording with the Zoom. Always check the name of the file being created, when recording mono, files will be named MONO-nnn; when recording stereo, files will be named STE-nnn. This is why I don’t recommend changing the default file name convention to date, as you will lose this valuable feedback of what’s going on if you later want to record in stereo and forget to turn Mono Mix OFF.
50 – Recording with the TR-50 condenser lavaliere mic (solo)
1 // Select external microphone input (the LEDs will indicate Inputs 1/2 are now active)
2 // Set Mono Mix ON (just as you did for recording with the RE50 solo, see previous slide including warning about Mono Mix)
3 // Enable +48V Phantom Power (MENU ⇒ INPUT ⇒ INPUT SETTINGS ⇒ PHANTOM ⇒ Select +48V) (don’t install the battery in the TR79 power supply)
4 // Connect the XLR cable to Ch1 Input on the Zoom and the other end to the TR79 power module
5 // Use accessories provided to place the TR-50 in a good position
6 // You’re now ready to record using the TR-50 lavaliere mic
51 – Recording with the MKE 600 condenser shotgun mic (solo) 1/2
1 // Decide if you are going to use this microphone:
1 // (a) Handheld using the pistol grip, or (b) On the boom pole
(attach the pistol grip to the end of the boom)
2 // Select external microphone input (the LEDs will indicate Inputs 1/2 are now active)
3 // Set Mono Mix ON (just as you did with solo recording with the RE50 or TR-50)
4 // Enable +48V Phantom Power (MENU ⇒ INPUT ⇒ INPUT SETTINGS ⇒ PHANTOM ⇒ Select +48V) (don’t install a battery in the battery compartment)
Use the Mic Pigtail, do not connect boom pole cable directly to the mic, the mic tail serves two purposes: (1) it makes it makes it easier to swap between boom and handheld (XLR form fits in the handle), and (2) it reduces transmission of vibrations from the long cable to the microphone.
52 – Recording with the MKE 600 condenser shotgun mic (solo) 2/2
5 // Mount the MKE 600 in the Lyre Mount on pistol grip
6 // Connect the short adapter cable that goes between the microphone and the grip handle (XLR-3M connector fits in handle)
7 // Connect the XLR-3M connector in the pistol grip handle to either: (a) an XLR microphone cable connected to Input 1/Left on the Zoom, or (b) the XLR-3F connector on the end of the boom pole; then connect a short XLR mic cable between the boom pole and Input 1/Left on the Zoom
8 // Slip the Rycote Softie windjammer over the mic to prevent wind noise outdoors (the MKE 600 foam windscreen can deal with the wind noise created by movement during interior use, but it does not provide sufficient protection against wind outdoors)
9 // Now you are ready to record with the MKE 600 (solo)
Note: use the comb to help keep the Rycote Softie Windjammer fluffy (it works better that way)
IMPORTANT! — Avoid spinning the sections of the boom pole when extending and contracting the pole or spinning the sections when loose in order to prevent the coiled cable from getting gnarled inside. If you experience any resistance contracting thepole, a gnarl may have developed in the cable. To resolve this problem, seek assistance from your instructor or Media Center staff.
53 – Recording using two separate external mics (recording to a 2 channel WAV file) with individual control of input gain (e.g. TR-50 and MKE 600)
1 // Turn Mono Mix OFF (MENU ⇒ INPUT ⇒ INPUT SETTINGS: MONO MIX ⇒ OFF) Zoom will now record Input 1 to Ch1/L and Input 2 to Ch 2/R in the WAV file
2 // Turn 1/2 Linking OFF (MENU ⇒ INPUT ⇒ INPUT SETTINGS: 1/2 LINK ⇒ OFF)
3// Adjust Input Gain by first selecting the input to control by pressing the corresponding MIC INPUT button and then adjust input gain using the REC LEVEL control
54 – Summary of recording use cases and corresponding Zoom H4n Pro configurations
Microphone Zoom H4n Pro built-In
Use Case: stereo ambience, SFX, music, and live events
Recording Input: Internal 1 (Left) / Internal 2 (Right)
Phantom Power: N/A
Recording Mode: STEREO
Mono Mix: OFF
1/2 Linking: ON
WAV File Produced: Stereo (1/Left; 2/Right)
Electro-Voice RE50
Use Case: hand-held, VOXPOP; voice-over; good for high SPL SFX due to low sensitivity
Recording Input: INTERNAL 1 (Left) / INTERNAL 2 (Right) - Stereo Content
Phantom Power: N/A
Recording Mode: STEREO
Mono Mix: ON
1/2 Linking: ON
WAV File Produced: Stereo; Dual Mono (1, 2 identical, not stereo content)
Tram TR-50
Use Case: worn on speaker, may also be used as a hidden mic
Recording Input: EXTERNAL 1
Phantom Power: +48V ENABLED
Recording Mode: STEREO
Mono Mix: ON
1/2 Linking: ON
WAV File Produced: 2 Track Stereo; Contents: Dual Mono (1, 2 identical, not stereo content)
Sennheiser MKE 600
Use Case: boom or pistol-grip-mounted dialogue and SFX
Recording Input: EXTERNAL 1
Phantom Power: +48V ENABLED
Recording Mode: STEREO
Mono Mix: ON
1/2 Linking: ON
WAV File Produced: 2 Track Stereo; Contents: Dual Mono (1, 2 identical, not stereo content)
Two Mono Mics
Use Case: two actors or two interview subjects or two perspectives on one sound
Recording Input: EXTERNAL 1 / EXTERNAL 2
Phantom Power: Depends on the microphones being used
Recording Mode: STEREO
Mono Mix: OFF
1/2 Linking: OFF
WAV File Produced: 2 Track Stereo; Contents: Two Separate Mono Tracks (1, 2 different content, not stereo content)
55 – Part 5. Location Sound Recording Activity
56 – Workshop Activity Part 1: Sound Recording
Refer to the detailed description in the handout for the complete description of the activity.
1 // Record the sounds listed in the handout, and keep a detailed sound log using the form provided.
2 // Document the recorder settings for file format, sampling rate, bit-depth, etc.
3 // For each sound, include the location, a description of the sound, the microphone used, and any additional notes that may be relevant.
4 // If there are multiple takes, note which take is the best. Use the numbers in the handout as the scene number in your log.
5 // Ensure you record stereo WAV files as your deliverables (or dual mono or two discrete mono channel WAV files when appropriate).
6 // Take turns as a recordist and boom operator, and please return to the classroom as scheduled; don’t be late!
57 – Always keep a sound log (a.k.a. sound report) to go with your recordings
Refer to the detailed description in the handout for the complete description of the activity.
Keep track of the recording format, microphone, recorder setup, file name, date, place, and other details in a sound log.
If you can, SLATE your takes (add a verbal description of what you’re recording at the beginning) which helps in identification of files without having to listen to the whole thing.
The recorder shows you the file name, making it easy to enter the names in your sound log.
Sound is far more difficult to scan than video, therefore, a good sound log will make postproduction far more efficient, enter descriptions from your log into your Premiere Pro project bin after each sound recording session.
58 – Workshop Activity Part 2: Listening and Delivery
Refer to the detailed description in the handout for the complete description of the activity.
1 // Copy the contents of the SD card to a folder on your desktop. Scan the pages of your log file and transform them into a single PDF document. Copy your audio files and log to the designated folder on the server.
2 // Listen to the files you recorded and reflect on your work; discuss with your partner and take notes regarding what you learned today and some guidelines to follow the next time you record sounds.
3 // Reflect on how the microphone position relative to the source you are recording and other sounds in the environment has an effect on your recording.
4 // Share with the class what was most surprising and what was most frustrating while you were recording today.
5 // What did you learn?
6 // What will you do differently next time?
59 – Part 6. Additional Topics and Resources
60 – Fundamentals Review: Recording Sound (and then some)
You are always recording three things: (1) source, the sound you want to record; (2) reflections, sounds you usually do not want, and (3) noise, additional sounds you do not want to record; and Bonus: distortion, coloration and noise are added by the microphone and additional noise might be added by cables and electronic circuits along the way (the reproduced sound is never identical to the original)
61 – Fundamentals Review: Microphone Placement
Try to record close to your source because sound intensity falls off rapidly, for example, doubling the distance from the source cuts the intensity to a fourth of what it was before.
Keep in mind you’re actually recording: 1. The direct sound from the source, 2. The reflected sound from surfaces close to the source (including reverberation), and 3. The background noise in the environment
Shotguns are not directional the same way telephoto lenses are; Shotguns have a “tail” in their pick-up pattern; null-points are not always directly behind a mic. Pick-up patterns vary and change depending on the frequency; refer to the polar pick-up pattern diagram of the mic you are using to understand its pick-up characteristics.
Through experimentation (recording, listening, reflecting on what your recorded, repeating the process under various circumstances) you will begin to understand the nuances of microphone placement.
62 – Fundamentals Review: Recording Sound on Location
Recording Sound on Location (Lizi Hesling, CADARN Learning Portal), https://www.youtube.com/watch?v=TKBzjSSaKXU
Three Cs of good location audio; Good audio contributes to audience immersion; you want your audio to be:
I. Clear: you can clearly hear the sound that you’re supposed to be hearing;
II. Clean: there aren’t any unwanted or distracting noises affecting the quality of the audio; and
III. Consistent: the volume and quality don’t keep changing unless the story or visuals call for it.
Five principles of good location sound recording practice
I. Assess the environment to avoid noise as much as possible
II. Always monitor your audio with good headphones
III. Know thy microphones
IV. Get close to the source
V. Get your levels right
63 – Fundamentals Review: Sample Rates and Bit-Depth
Analog audio signals are digitized, a process of quantizing a continuous analog value taking samples at a particular frequency (sampling rate) converting the analog values into a discrete values using a 16-bit or 24-bit fixed point binary number (bit-depth).
48 kHz / 16-bit is the long standing video production audio recording standard
48 kHz / 24-bit is increasingly used offering more headroom
96 kHz / 24-bits is often used for sound effects recording; the higher sampling rate allows for manipulation of the audio in post with less artifacts.
32-bit recording is available on an increasing number of recorders (but not the Zoom H4n Pro). It records the full dynamic range that microphones are capable of capturing. Instead of setting levels in the the field, they can be adjusted during post-production.
WAV is an uncompressed audio file format commonly used in professional audio; polyWAV (multi-channel WAV) and BWAV (broadcast WAV) variations add multiple channels and additional metadata, respectively.
64 – Fundamentals Review: Audio File Formats
A codec (Compressor/Decompressor) is a method of compressing (encoding) and decompressing (decoding) audio that make it easier to store and play on a computer. There are many popular codecs in use, including:
AIFF (Audio Interchange Format, .aiff or .aif extension) and WAV (Wave, .wav extension) are uncompressed file formats suitable for field recording and editing. These file formats are lossless: they don’t degrade the quality of the audio signal in the encoding / decoding process, on the other hand, they are very large compared to AAC and MP3 files.
Configure your sound recorder to record in the WAV format for best results.
AAC (Advanced Audio Codec, .aac extension) and MP3 (MPEG Layer 3, .mp3 extension) are compressed file format suitable for distribution of audio due to their compact size. These file formats are lossy: they degrade the quality of the audio signal in the encoding / decoding process.
Avoid using compressed formats for recording and editing, they are only suitable for distribution.
65 – How to see the type, duration, channels, sample rate, and bit depth of an audio file
Typically, the file name extension will hint at a file’s format, but how do you find out the number of channels, sampling rate, and bit depth? You can bring it into Premiere Pro or find out in the Finder or File Explorer
MacOS — Right-click the file then select Get Info. Click to expand the the More Info: twist down. There it will show you the Duration, Channels, Sample Rate, and Bit Depth. Another way on a Mac is to open the file with the QuickTime player (you can set this as the default player for both audio and video files). Select from the menu bar Window ⇒ Show Movie Inspector (short cut ⌘I) and you’ll see the metadata associated with the file. The QuickTime Player is also handy for listening to audio files as well as viewing videos. I suggest making it the default app for opening WAV files, that way when you double click, it opens in the QuickTime player instead of iTunes.
Windows — Right-click the file then select Properties. Under the General Tab, the file format would be the value for Type of File. To check the bit rate, click the Summary Tab. Click the Advanced button if it’s showing.
66 – Using the Zoom as a 2-in/2-out USB audio interface
When you connect via USB, the Zoom gives you the option of Storage Mode or USB Interface Mode
If you choose USB Interface Mode, it will then offer the option to set the sampling rate to 44.1 kHz or 48 kHz (video standard)
This can be very handy for VO and Foley recording in sync with picture directly into the Premiere Pro timeline, allowing you to determine right away if things are working, saving you a lot of time.
set the Zoom as the default input in order to record directly into the Premiere timeline
Make sure audio files are being saved where you want them (check and configure if necessary your Capture Audio destination)
67 – Using the Zoom on a boom pole or light stand
You can attach the recorder to anything that has a standard 1/4”-20 tip commonly used on tripods and other small grip gear.
With a 3/8”-16 socket to 1/4”-20 tip adapter you can use the Zoom on the end of a standard boom pole.
In order to monitor the recording, use a 3.5mm TRS extension cable to connect your headphones to the recorder. This cable can be run inside some boom poles (e.g. Rode Mini boom pole). If you already have a wired boom pole, then you’ll need to fashion some 3.5mm TRS to XLR adapters.
68 – Reference and Forms
Zoom H4n Pro Operation Manual (PDF), the manual offers a guide to all of the functions, worth a look when configuring the recorder or troubleshooting, https://zoomcorp.com/media/documents/E_H4n_Pro_REV3.pdf
Production Sound Report (PDF, several good forms are available online, e.g. https://www.locationsound.com/image/data/pdf/Sound_Report.pdf (PDF, Location Sound Corp.), use these forms to keep track of your sound recordings
Audio Bootcamp Field Guide (Ty Ford), a concise and thoughtfully written guide on sound for video, https://tyford.square.site/#JYgbEl
Location Sound Recording Fundamentals, review of the topics covered in the homework assigned ahead of this workshop
69 – Videos
Zoom H4N Intro and Sound Recording (video, Jonny Ouk, CAMD Media Center), https://www.youtube.com/watch?v=uHiMqkJeMq4
Recording Sound on Location (video, Lizi Hesling), notes based on “Recording Sound on Location” may be download from Canvas, https://www.youtube.com/watch?v=TKBzjSSaKXU
Location Audio Recording with Anthony Q. Artis (LinkedIn tutorial), an excellent self-paced course with practical examples, https://www.linkedin.com/learning/video-production-location-audio-recording/
UCLA Post Production: How To Wrap A Cable (video, David McKenna), all of the cables in the location sound kit should be wrapped using this technique, https://www.youtube.com/watch?v=uy3axdxDdKs
Comparison of four microphone placements (video, David Tamés), compares the sound perspective of four commonly used microphone placement options, https://vimeo.com/605280702
Rycote Softie Windshield vs. Foam Windscreen (video, David Tamés), hear the benefits of a windjammer on a windy day, https://vimeo.com/474862038
70 – Books and Sound Libraries
Studying Sound: A Theory and Practice of Sound Design (Karen Collins), an excellent introduction to sound and sound design, available from the Snell Library, https://amzn.to/3ZPqppR
Producing Great Sound for Film and Video (Jay Rose), a classic book with extensive coverage of sound recording, editing, and mixing, https://amzn.to/47Twm6Y
freesound.org (website) is a good source for finding open-source sound effects and ambience, consider sharing sounds, https://freesound.org/
OBT Music Library (website) as a CAMD student you have access to this library of music cues, login credentials are listed in Canvas, https://obtmusic.com/