WCC COMM 119-Recording Sound

1. CHAPTER 13:
RECORDING
SOUND
C O M M 1 1 9 : B R O A D C A S T P R O D U C T I O N

2. RECORDING SOUND
• AUDIO quality is obviously important when
working on a radio/audio-only production, but
AUDIO is just as important when shooting a video
project
• Bad AUDIO can ruin a video shoot just as easily
as having bad VISUALS
• Shooting on location is especially tricky when it
comes to getting good AUDIO because you will
have far less control than you would in a studio
environment

3. WILD TRACK-ROOM TONE
• For our purposes, a WILD TRACK is simply a minute or so
in which you recording nothing but the ambient sound –
that is just the sounds around on the location - THERE
SHOULD BE NO TALKING RECORDED!
• If you’re shooting inside, this practice is referred to as
ROOM TONE and is based on the fact that no shoot is
100% quiet and there are always sounds that are unique
to that space/location
• Because you’ll never be able to cut out all the noise, a
WILD TRACK/ROOM TONE is recorded so you can use it
to smooth over any sharp sound edits when you edit your
production together later
• SEE PAGE 124 IN YOUR BOOK FOR MORE ABOUT THE “WILD TRACK”

4. MICROPHONE DIRECTION & RANGE
• MICROPHONES play a large
part in Broadcast Production and
come with different pick-up
patterns for different purposes
–OMNIDIRECTIONAL:
• This type of
microphone picks up
sound all around it in
a 360 degree circle
(OMNI = in all ways
or places)

5. MICROPHONE DIRECTION & RANGE
–OMNIDIRECTIONAL:
• Good for picking up
ambient sound; not
good for interviews,
dialogues, and/or
reporters as its
harder to distinguish
one sound from
another

6. MICROPHONE DIRECTION & RANGE
• DIRECTIONAL MICROPHONES
allow you to prioritize a sound
source by recording sound coming
from a specific direction(s)
–FIGURE-OF-EIGHT/BI-
DIRECTIONAL:
• This type of
microphone picks up
sound from two
opposite directions but
not from the side

7. MICROPHONE DIRECTION & RANGE
–FIGURE-OF-
EIGHT/BI-
DIRECTIONAL:
• Useful in a handheld
situation where you
might have a reporter
and a subject having
a conversation with
only microphone

8. MICROPHONE DIRECTION & RANGE
–CARDIOID
MICROPHONE:
• Will pick up sound from in
front of the microphone
and to the side, but
nothing to the rear
• The pick-up pattern
resembles a heart, hence
the CARDIOID name
(“CARDIOID” is derived from
the Greek word for “heart”)

9. MICROPHONE DIRECTION & RANGE
– CARDIOID MICROPHONE:
• Useful in when recording
sound from one person per
microphone – but be careful
as these mics are more
prone to “popping”
• POPPING is a distortion that
can happen when someone
speaks into a microphone,
often with words beginning
with a P or B

10. MICROPHONE DIRECTION & RANGE
–HYPER-CARDIOID
MICROPHONE:
• Like the name suggests,
this mic has a similar
pick-up patter to the
CARDIOID mic but is
even more specific and,
as a result, even more
heart-shaped

11. MICROPHONE DIRECTION & RANGE
–SHOTGUN
MICROPHONE:
• The most directional of
microphones with the
smallest/narrowest pick-
up pattern; almost always
shaped like a shotgun
with the front/barrel
having a long and pointed
range of pick-up

12. MICROPHONE DIRECTION & RANGE
–SHOTGUN MICROPHONE:
• They are good for noisy
situations where you want
to only pick up one person
talking but are so specific
that it’s easy to pick up the
wrong source if it’s not
being monitored closely so
they usually have
dedicated operators

13. TYPES OF MICROPHONES
–CAMERA MICROPHONE:
• These are built into or onto the camera itself
• While suitable for personal use, they are the
least effective microphone to use for
professional shoots as they are usually only
good for ambient sound, not for interviews or
dialogue
• Using them will result in ambient sound and
dialogue/interview sound all mixed together
• Most cameras will have an input for an external
microphone suitable for interview/dialogue
recording

14. TYPES OF MICROPHONES
–HANDHELD MICROPHONE:
• These are what you typically see reporters using
and is connected to the camera by a cable
• They tend to be DIRECTIONAL and should be held
below chin height

15. TYPES OF MICROPHONES
–HANDHELD MICROPHONE:
• You should talk across the TOP of the microphone
as opposed to direction INTO the microphone as
that will help cut out distortion and popping
• Be careful not to shove it into someone’s face; not
only is it rude, it’s more likely to result in poor audio
quality
DON’T DO THIS!

16. TYPES OF MICROPHONES
–LAPEL MICROPHONE:
• Also called LAVALIERS or
NECK microphones
• They are clipped onto a
person’s clothing and are
sometimes even turned
inside and not easily
visible
• Be careful as they can also
easily pick up rustling of
clothes and sometimes
even a beating heart!

17. MICROPHONE MOUNTS
–TABLE MOUNT:
• Mini–tripod or base-centered mount that sits
on a table, typically for single speaker use

18. MICROPHONE MOUNTS
–LARGE STAND:
• Similar to the table
mount but much bigger
and designed for floor
us; you can adjust the
height and angle but
they are not easy to use
outside and are easily
knocked over

19. MICROPHONE MOUNTS
–BOOM:
• Type of stand or pole typically held by an operator and
is held above the intended recording, following it as it
moves; can be tiring and requires stamina and
strength to hold

20. MICROPHONE SOUND LEVELS
–CHECKING AUDIO LEVELS:
• Have your subject speak in a normal
voice before you start recording so you
can make sure you’re ready to get the
best quality
• VU METERS are often used to make
sure your subject is in appropriate range
• A VU Meter may be all lights or work of a
gauge system that resembles a car’s
speedometer

21. MICROPHONE SOUND LEVELS
–CHECKING AUDIO LEVELS:
• A VU Meter shows how loud or soft a
sound is; this will naturally fluctuate
during a recording but you want to
make sure the audio PEAKS just
below the red zone; if the needle
stays in the red zone for very long, the
audio will most likely end up distorted
and unusable

22. MICROPHONE SOUND LEVELS
–VU METERS TOO FAR IN THE RED

23. AUDIO RECORDING CONCERNS
• Be aware of WIND if shooting outside and avoid if
possible; you can use a WIND SOCK which is a
foam/hairy cover for microphones to deaden wind
noise, but even the best ones can’t eliminate all
wind, especially if it’s strong
• Always wear HEADPHONES when recording if
possible; it’s a much better reflection of what’s
actually being recorded
• Be aware of BACKGROUND NOISE and see if you
can turn it off and/or turn it down - for instance, air
conditioners and refrigerators; also make certain all
phones are unplugged and/or with ringers turned off

24. AUDIO RECORDING CONCERNS
– A dedicated Audio Monitor is not always possible but it is
always preferred; if you’re lucky enough to have one, they
should be certain to –
• MONITOR LEVELS – making sure the audio is not
peaking in the red is the foundation of all good audio
• MONITOR BACKGROUND NOISE – listening intently
for levels of constant background noise should be just
as important and listening to the “main” sounds
• MONITOR INTERMITTENT NOISE – if something
happens and significantly detracts from the usable
audio, an effective audio monitor will let everyone
know and ask for a re-do, if possible

25. FINAL WORD
–An effective Audio Monitor should
never be afraid to SPEAK UP if
she’s hearing potentially poor audio
while shooting/recording
–There’s very little that can be done
to “fix” poor audio so it’s of utmost
importance that it be fixed as much
as possible at the time of shooting

26. RECORDING SOUND QUIZ & BOARD
DISCUSSION
•Take the RECORDING
SOUND QUIZ
•Participate in the assigned
discussion