Recording technique, by Erik Normark.

A little recording technique, by Erik Normark

The recordings I do mostly in stereo with two omnidirectional (omni) microphone, which gives a great sense of presence and spatial experience. I work as usually with Sennheiser MKH 20, which are mics for connoisseurs. The advantages of omni compared with highly targeted pickups (Hypercardioid, "shotgun") is their flat frequency response and low wind sensitivity, and that the microphone toward the sound source is not as critical. A directional mic can sometimes be preferable if you want to tone down the ambient noise and get the most focus in a particular direction. The best is of course in cases like that of using a parabola, which provide good acoustic enhancement of sound in the desired direction

My stereo microphone rigging are placed carefully on a well chosen spot where I want to do my recording, close to the sound (mostly birds) that I want to capture, begin recording device (currently a Fostex FR-2LE) and remove myself from the scene. The recording may then go over one or two hours. This way is obviously risky, but it can give great results in that the birds / animals can behave completely unshy and natural. The main risk is that the birds simply get too close and cries right into the microphones, which with bad luck can make clipping in the recording.

Shooting of sea ice sound with a Jecklin disk, which is the stereo technique that I usually prefer. The Jecklin disk gives a very nice and well spread sound image.

The Jecklin disk is simply a barrier between the two omni mics, 30 cm in diameter, covered with absorbing material. The mics in the picture are wider apart than they should, normally just 165 mm.

You are very welcome to visit my audio web site for some nice recording samples of birds and other interesting stuff!

My audio page at iStockaudio.