Since there was a light rain this New Year’s Eve, I recorded from my house by placing a stereo microphone in a window facing North toward the nearest Buddhist temple. Nearby houses reflect sounds, so the sense of space may seem distorted in the recording.
This was my first time to use a new audio recorder, a DR-70D. This recorder is designed for DSLR video recording, so it works well on a tripod, with or without a camera, and it offers a variety of input and output options.
Testing new audio recorder (TASCAM DR-70D) for standalone and video sound. In 2015 I want to do more field recording. pic.twitter.com/H6wYuaXtjO
— Greg Peterson (@glpjp) December 31, 2014
I bought this recorder rather than its 2-track sibling (DR-60DMkII) because it can record four tracks at the same time, and it has a dual recording mode, which creates two stereo files from one stereo source. I fed the stereo output from an Audio-Technica BP4025 microphone to tracks 1 and 2 and used tracks 3 and 4 for a second stereo file recorded simultaneously at a lower level (in this case -12dB). I expected loud fireworks at midnight, so I kept the input levels somewhat low (mic sense high, input level knobs at about 10 o’clock); however, I had no way to know how loud the fireworks would be. Fortunately, I did not need the second file because the highest level was -2.2dB. If I had set the input levels slightly higher, I would have needed the second file.
The sonic environment in Japan often covers a huge dynamic range, with relatively quiet scenes punctuated by extremely loud sounds of thunder, fireworks, drums, street vendors, noisy cars and motorcycles, etc. For example, you can search my posts for fireworks.
We cannot fully reproduce the great dynamic range or the visceral experience of hearing thunder or large taiko drums, but in this extreme sonic environment dual recording capability greatly eases the anxiety of field recording.