With only 2 days to go until the London to Brighton charity bike ride fundraising is going well. I have reached raised £268.00 so far which is 80% of my target. A massive thank you to all the generous fine folk out there who have given. There is still time to reach the target of £333.00, if you have not donated yet why not give it a go! DONATE HERE And please don’t forget to include your email so I can thank you!
If you donate you’ll receive a free and very exclusive track which I’m going to make using field recordings made on the 50 mile ride. (Another good reason to include your email!)
I have been wondering how to record the sounds of the journey, and I have come up with what i think is a cunning plan. Recording on a bike has several inherent problems:
- Wind noise caused by the microphone’s movement through the air
- Mounting the microphone so it does not pick up vibration from the bike
- Manipulating the recording device – you need your hands to steer & change gear
- Monitoring the recording – wearing headphones is dangerous and uncomfortable while cycling
I decided to put my Sony pcm-d50 & my Soundman Binaural microphones to use for this task because they are both very portable and fairly robust while giving good sound quality
The solution I came up with solves most of the problems of recording on the move at very little cost. I made a cardboard microphone holder which cups the two microphones into position using friction. The cardboard holder is made out of 4 sheets of thin corrugated cardboard glued together with the corrugations at right-angles for added strength. The little mic cups are made of two layers of the same cardboard and secured using hot-glue. They don’t join the base board but leave a tiny gap big enough for the mic-cable to fit through. The capsules fit snugly and can only come out via the ends of the cups (they will be held in by the wind shield)
The square base of the cardboard fits exactly into the front pocket of my rucksack which when zipped up holds everything securely in-place. Because the bag is worn on the back, I can use my body as a shock-mount to reduce the vibration reaching the micrpohone. The recorder goes in a separate part of the bag where it can’t rattle around. I decided not to try and monitor the recording in real time, instead I’m going to set the recording level cautiously and rely on the Sony’s excellent onboard limiter which will tame any unexpected peaks.
Finally the little hairy windshield (which came with my Sony when i bought it) is slipped over the microphones, it’s elasticated and holds on well. This coupled with the Sony’s low-cut filter should help cut out excessive wind noise.
In testing the set-up worked surprisingly well, there was very little vibration coming through the bag, the only real problems were caused by the wind shield. Which tried its best but could not hold out the wind at high speeds. The wind shield also noticeably reduced the high frequencies in the recorded material but it was fairly easy to correct with hi-shelf equalisation in an audio editor. All in all not bad for a half hour DIY hack.
Wish me luck on Sunday,
… did i mention you can still Donate?
Leafcutter John x.
I was looking through an old diary from 2002 the other day and noticed that on Thursday 3rd October I ordered my pair of Soundman OKM classic II binaural microphones. I got the set with the a3 preamp which costs extra than buying the mics alone. The whole lot came in at £150.18 which was quite an extravagance for me at that time. A quick look at DACS their UK distributor shows that they are still selling for the same price as 6 years ago.
I distinctly remember being fairly underwhelmed when I received my purchase in the mail a few days later. The all plastic construction of the mics and the pre-amp was more in keeping with a microphone one tenth of the price of the OKM’s. The mics looked for all the world like a really nasty set of 80′s in-ear headphones and the Pre-amp looked especially delicate and I was concerned that I’d break something fairly soon.
After this fairly lackluster opening my opinion began to change when I started to test them out. The OKM’s are designed to fit into the ear, their capsules pointing outward. Worn like this sound arrives at the microphones in more or less the same way it arrives at your ears which is a technique known as binaural recording. Because of the physical design of the human ear sounds coming from different directions all sound slightly different to us. Sound coming form behind us for example is filtered through the back of the ear and sounds more muffled than sounds emanating from directly in front (try it by clicking your fingers around your head if you don’t believe me). The OKM’s pick all this up really well with an especially good bass response. I have heard criticism of harsh treble and weak lower mids with the OKM’s but I have never had any problems in these areas with my set up.
The tiny size and semi-concealed nature of these microphones makes them excellent for field recording where a larger mic may be cumbersome, distracting, or not practical. Recording while riding around on a bicycle springs to mind. Of course you don’t have to wear the mics in your ears, in the time I have had mine I have become quite adept at holding both in one hand and rotating the capsules by rolling their cables between thumb and forefinger to get the desired stereo spread. The mics can also be attached to a dummy head (or any head sized solid object) for recordings where you want a rock solid stereo field. I recently did this for a drum recording where I found that I could not keep my head still enough while playing the drums.
I think my favorite thing of all about the OKM’s is that they are so easy to carry around and use. Within 15 seconds they can be out of my bag, plugged into my recorder, levels set and ready to record. I’ve captured so many fleeting moments this way that I’m sure I would have missed with a more complicated set-up.
I used to use the OKM’s with a sony mini-disc recorder which sadly died and was replaced by a sharp mini-disc recorder which also died eventually after one to many drops. Both machines gave excellent results although recordings of very quiet sources showed a fair bit of pre-amp hiss. I replaced my dead MD’s with a Zoom H4 recorder which was really horrible and I stopped making field recordings for quite a while as they sounded terrible! Recently I picked up a Sony PCM-D50 which has totally rekindled my love for field recording. It’s solid, dependable, economical, and has proper knobs and switches for all the important controls. The D50′s preamps are much better than in my old mini-disc recorders and they make the H4 sound like a bad joke.
Despite my initial concerns about the OKM’s build quality they have lasted 6 years without any problems at all. Sounds I have captured using these mics have appeared on all of my albums and have serverd to inspire me to listen to everyday things in new ways.
Here are a few of my recordings – you might try using headphones to listen as it’s the only way to hear the proper binaural effect.
Chimes recorded at quite high gain and played quietly
The police over Hackney – Perfect summer afternoon
With the microphones jammed down the back of my fridge
Drums recorded from the players perspective
has anyone got an EMF meter they can lend me for a few days?
@nancynancybeep 'Dancing' is Just WOW
- Building Things
- feather study
- field recording
- Graphic Scores
- Live Shows
- Polar Bear
- Site News
- Software News
- The Making of the 5th Leafcutter Album
- Things Thought
- video tutorial
- Weekly DIY Music Thing
- cheap car insurance for young drivers with pass plus on Final Cafe Oto concert of 2010, 21st December
- minimum car insurance kentucky on Final Cafe Oto concert of 2010, 21st December
- live cam washington dc mall on Vietnam Day 3 Field recording with Richard Eigner and Workshop with Vietnamese Musicians
- Demetria on Vietnam Day 3 Field recording with Richard Eigner and Workshop with Vietnamese Musicians
- Helen on Vietnam Day 3 Field recording with Richard Eigner and Workshop with Vietnamese Musicians