Field Recording History

It is usually pre-recorded and placed over the top of a film or video and commonly used in documentaries or news reports to explain information. Focusing on selected sounds can create tension, atmosphere, and emotion. It can also impart personality to film characters. Walter Murch (the doyen of sound designers) once described the character sounds (in a film he directed) as "coronas" which can magnify each character' s screen space. A figure who is associated with a particular sound (often suggested by his or her clothing), has "a real presence that is pervasive even when the scene is about something else or the character is off-screen."

The videos I viewed all show the different events that happened in the 1920s. In conclusion historians can develop a clear idea of what the circumstances were surrounding the 1920s and how it affected history, the people and the places surrounding it. Historians also use photos and videos to help them see a picture of how things really were during a specific time and at a specific location. Historians can then take all these and consider them alongside other relevant information they have, and share and discuss information they found with other historians, who then can go on and share what they’ve learned with others. Therefore listening to noises or sounds it gives the historians an idea of what was happening at the time and the surrounding

Once all the sounds were known it would be the time to “determine what objects are appropriate for each specific sound effect” Hibbard (2015) to match the ones in the video. This meant experimenting with the sounds items could produce. As this was for the sake of research and did not require professional equipment, it would be recorded with a phone to see if the recording matches the sound in reality. If the sound was approved it would be noted for later use, and if it was not another one would be found instead. After learning how to use the recording studio, items could be brought in and recorded with professional equipment to ensure that the sound has the best quality possible for this project. Other recording equipment was available for booking and could be used as well. Knowledge on how to use those was provided during the earlier lessons and further guides could be found online if needed. Finally, after all the sound effects, ambiences and vocals were created, they would be imported in Soundtrack Pro, “application that gives audio and video professionals the easiest and most flexible way to create, control and fix audio” Apple Inc. (2005), where they are then fixed if needed and synced to the

“The most exciting moment is the moment when I add the sound… At this moment, I tremble.” (Akira Kurosawa) Sound is arguably the most important concept in cinema studies, being there ever since the beginnings. It can radically change the way a motion picture is looked at and it can render what the director may sometimes find hard to depict using only his camera. Looking upon silent cinema one discovers an era which wasn’t at all silent, but rich in sound of different forms, from the simple narration of the images shown on screen, accompanied by a piano, to the complex score later composed specifically for that film. An example of that complex score is shown in Sunrise, a film by F.W. Murnau, which lies at the border between silent cinema and sound cinema. Considered to be one of the first films with an actual score, Sunrise is a great example of the multitude of dimensions and effects sound can have.

It empowered films to have a newfound freedom from the problems associated with the use of a post-synchronized soundtrack. In 1961, a portable sound recording device called the Nagra III, became available (Kudelski, 1). First used in an investigative film called Chronique d'un éte (Morin & Rouch, 1961) where the filmmaker posed a simple question to their subjects, ‘Are you happy?’ The ability to record both the audio and visual responses in synchrony, rather than having to manipulate sound in the postproduction process, gave rise to new documentary styles. The device meant documentary filmmakers could more accurately capture and portray reality and consequently, audiences were able to experience real events, people and spaces in real time. This technological factor shaped the documentary genre into a now reliable source of information; displaying the genres

A vital part in the making of any professionally made album is the production and post-production process. These processes are the responsibility of audio engineers employed by record labels. The engineers are responsible for the recording, mixing, and mastering of audio tracks. To do this, engineers are trained with various technologies in the fields of multi track recording, outboard gear and digital/analog workstations. With their knowledge and tools, engineers help the artists convey their art as best as possible not only to themselves but also to the demographic they wish to express their art to.

Although it once cost millions of dollars to produce great recordings, those days are long gone. With today's technology an individual can make home recording using inexpensive equipment that rival commercial studio recordings. It's not as complicated or difficult as you may think. All that's required is that you do a little bit of research and you can build a good recording studio for under a thousand dollars.

I do not feel that the first citizen science project executed this because most of the noises we were hearing were mechanical noises. Although this is a good data point in that it tells us that there are not many bats and insects in the area where the calls were being recorded, it is hard to feel like you are connecting with nature when all you are hearing is man-made sounds. One way one could redesign this citizen science project to incite this fresh sort of engagement would be to have more varying sounds to classify, perhaps by having recordings from different parts of the country besides New York, where it is very urban.

Now that I have briefly explored why the phonograph has been able to adapt, I feel it is important to express the influence that the phonograph has made on our cultural. All of these influences constitute where we are now in contemporary

Name: Steven Adamson Specific purpose: To inform my audience of how music is produced. Central Idea: Music production is a complex process to result in the music that we listen to. This process has changed with technology, making it both easier and more difficult in different ways. I plan to tell you about the technology and programs used to produce music today and how the pieces are brought together to form a complete song.

Audio plays an important role in any film, and this film is no exception. Aside from some of the interviews there is always some soft background music. It’s slow as not to disturb the viewer from what’s being shown, but it also add to the serious tone of the movie. Music is also used to heighten the drama of what is being shown. When the former trainers talk about all the accidents at SeaWorld the music is very dramatic and loud as footage of the whales attacking plays. It gets softer as the interviews come back in. It slowly ends as it goes to footage of newscasters talking about Ken Peters accident. It makes everything scary and dramatic and as it fades out it you know something is about to happen. It’s almost like how they would use sound

The NMSJ is a new organization founded by Nolan Ball, Morgan Lucey, Shannon Kaszuba, and Jodian Daley. The organization sets out to break a new world record every year with the residents of Connecticut. Our main goal is to bring communities closer together through these family-friendly events hosted all throughout the state, where attendees can come out and show some Connecticut pride. This year the goal we have based our event on is to break the world record for most field goals made in less than 5 hours. A field goal record was first broken in 6 hours in New York City’s Times Square. Tostitos sponsored the event and made a National Football League qualified field goal. There were 188 successful attempts in a period of 6 hours with only one

In Sensations of Tone, Wiener and Griener combine in perfection, creating diversified textures whose consistency is a tonic for Eskelin’s conversational fluency pelted with colorful facets. Although the album title derives from von Helmholtz’s work on sound and acoustics dated from 1863, it’s more than natural to think of the grainy, warm tones of Eskelin’s tenor as part of the process.

phonograph in 1877, people have felt the need to create and record music. People have different

production. The goal of getting a good sound is no different now than it was when the first recordings