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Module 26

Field Recording & Foley

Capturing the real world as sound design

Part A

Core Concepts

01

Field Recording Fundamentals

Capturing sounds in the real world

FIELD RECORDINGRecording audio outside the studio: anywhere, anythingWHAT TO RECORDNature: rain, wind, birds, stormsUrban: traffic, crowds, machinesObjects: impacts, textures, resonancesAmbiences: rooms, spaces, environmentsWHY FIELD RECORD100% original — only you have itAuthentic textures no synth can createFree infinite sound libraryCreative inspiration from real worldPRODUCTION USES:TEXTURE LAYERSRain under a verseTraffic in the backgroundAdds depth and vibePERCUSSIONHits, impacts, scrapesProcessed into drumsUnique one-shotsMELODIC SOURCESPitched sounds as notesGranular processingSampler instruments"The world is a sample pack. Go record it."
What Is Field Recording?

Recording audio outside the studio — anywhere, anything.

What to Record:
  • Nature: rain, wind, birds, storms, water
  • Urban: traffic, crowds, machinery, construction
  • Objects: impacts, textures, resonances
  • Ambiences: rooms, spaces, environments
    • Why Field Record:
  • 100% original — only you have it
  • Authentic textures synths can't create
  • Free, infinite sound library
  • Creative inspiration
    • Production Uses:
  • Texture layers (rain under verse)
  • Percussion (processed impacts)
  • Melodic sources (pitched, granular)
  • Atmosphere and vibe
    • FIELD RECORDING EQUIPMENTPORTABLE RECORDERSZoom H5/H6, Tascam DR-40XSound Devices MixPre (pro)Built-in mics + XLR inputsSD card recording, battery poweredSMARTPHONEAlways with youVoice memo captures ideasExternal mics improve qualityBetter than nothing!SHOTGUN MICSDirectional, rejects sides/rearIsolate specific soundsRode NTG, Sennheiser MKHFilm/video standardSTEREO PAIRSXY, ORTF, MS configurationsCaptures spatial imageAmbiences, environmentsBuilt into many portable recordersCONTACT MICSAttach to surfaces, pick up vibrationsUnique textures, inner soundsMetal, wood, glass resonateCheap DIY or pro optionsHYDROPHONESUnderwater recordingRivers, ocean, ice, pipesAlien, otherworldly texturesAquarian Audio, DIY optionsStart with what you have (phone). Upgrade as you develop the habit."The best gear is what you have with you when an interesting sound happens."
    Field Recording Equipment: Portable Recorders:
  • Zoom H5/H6, Tascam DR-40X
  • Sound Devices MixPre (professional)
  • Built-in mics + XLR inputs
  • SD card recording, battery powered
    • Smartphone:
  • Always with you
  • Voice memo captures ideas
  • External mics improve quality
    • Microphone Types: Shotgun: Directional, isolates sounds Stereo Pairs: Captures spatial image Contact Mics: Surface vibrations Hydrophones: Underwater recording Starting Point: Use your phone. Upgrade when field recording becomes a habit.
    FIELD RECORDING TECHNIQUESGAIN STAGINGPeak around -12dB to -6dB. Leave headroom for unexpected loud sounds.RECORD LONG TAKESEnvironments change over time. 2-5 minute takes capture variety.MINIMIZE HANDLING NOISEUse tripod or set down. Don't move during recording. Watch cable noise.WIND PROTECTIONAlways use windscreen outdoors. Dead cat for heavy wind. Low-cut filter helps.DOCUMENTATION:ALWAYS DOCUMENT YOUR RECORDINGS• Location and date | • What you're recording | • Mic/recorder settings• Time of day | • Weather conditions | • Notes for future useYou'll forget what that mysterious recording was in 6 months without notes."Good technique means less editing later. Be patient in the field."
    Field Recording Techniques: Gain Staging:
  • Peak around -12dB to -6dB
  • Leave headroom for surprises
  • Better too quiet than clipped
    • Record Long Takes:
  • Environments evolve over time
  • 2-5 minute takes capture variety
  • More options in editing
    • Minimize Handling Noise:
  • Use tripod or set down
  • Don't move during recording
  • Watch cable noise
    • Wind Protection:
  • Always use windscreen outdoors
  • Dead cat for heavy wind
  • Low-cut filter helps too
    • Documentation:
  • Location, date, time
  • What you're recording
  • Mic settings
  • Weather conditions
  • Notes for future use
    • PROCESSING FIELD RECORDINGSCLEAN UPHigh-pass unwanted rumbleDe-noise if necessaryiZotope RX, Waves Z-NoisePITCH SHIFTSlow down for massive soundsSpeed up for detailDoor slam -2 octaves = explosionTIME STRETCHExtreme stretch = texturePaul stretch for ambiences1 second becomes 1 minuteGRANULARBreak into grains, reconstituteTurn any sound into pad/textureGranulator II, Portal, QuantaREVERSEImpacts become swellsReverse reverb tailsCreates anticipationLAYERINGCombine multiple recordingsRain + traffic + room toneBuild rich environments"Raw recordings are just the starting point. Processing transforms them."
    Processing Field Recordings: Clean Up:
  • High-pass unwanted rumble
  • De-noise if necessary
  • iZotope RX, Waves Z-Noise
    • Pitch Shift:
  • Slow down for massive sounds
  • Door slam -2 octaves = explosion
  • Speed up for detail/brightness
    • Time Stretch:
  • Extreme stretch = texture
  • Paul stretch for ambiences
  • 1 second becomes 1 minute
    • Granular:
  • Break into grains, reconstitute
  • Any sound becomes pad/texture
  • Granulator II, Portal, Quanta
    • Reverse:
  • Impacts become swells
  • Reverse reverb tails
  • Creates anticipation
    • Layering:
  • Combine multiple recordings
  • Build rich environments
    • 02

    Foley Fundamentals

    Creating sounds in the studio

    WHAT IS FOLEY?Intentionally creating sounds to simulate or enhance realityNAMED AFTER JACK FOLEYFilm sound pioneer who created sound effects in sync with pictureFootsteps, clothes rustling, object handling — all performed liveFOLEY vs FIELD RECORDING:FIELD RECORDINGCapture what existsReal world soundsWaiting for the momentFOLEYCreate what you needControlled, repeatableFull creative control"Foley lets you create sounds that don't exist in nature."
    What Is Foley?

    Intentionally creating sounds to simulate or enhance reality. Named after Jack Foley, a film sound pioneer.

    Originally for Film:
  • Footsteps in sync with actors
  • Clothes rustling
  • Object handling sounds
  • Performed live to picture
    • Foley vs Field Recording:
    Field RecordingFoley
    Capture what existsCreate what you need
    Real world soundsControlled studio
    Waiting for momentOn demand
    For Music Production:
  • Custom percussion
  • Unique textures
  • Sound design elements
  • Atmospheres
    • FOLEY FOR MUSIC PRODUCTIONPERCUSSIONHit anything: boxes, cans, tablesShake objects for shakersSnap, clap, stomp, slapRISERS & TRANSITIONSScrapes that crescendoRipping paper/fabricWater sounds pitched upVOCAL TEXTURESBreaths, whispers, mouth soundsInhales, exhales, gaspsBeatbox elementsIMPACTSDrops, hits, thuds, slamsLayer with kicksPitch down for weightTEXTURE BEDSCrinkle, rustle, brushPaper, fabric, leavesLoop for background textureFOUND SOUNDSMusical objects around youKitchen, garage, bathroomEverything is an instrumentThe best foley sounds don't sound like foley — they sound like music."Your kitchen has more percussion than most sample packs."
    Foley for Music Production: Percussion:
  • Hit anything: boxes, cans, tables
  • Shake objects for shakers
  • Snap, clap, stomp, slap
    • Risers & Transitions:
  • Scrapes that crescendo
  • Ripping paper/fabric
  • Water sounds pitched up
    • Vocal Textures:
  • Breaths, whispers, mouth sounds
  • Inhales, exhales, gasps
  • Beatbox elements
    • Impacts:
  • Drops, hits, thuds, slams
  • Layer with kicks
  • Pitch down for weight
    • Texture Beds:
  • Crinkle, rustle, brush
  • Paper, fabric, leaves
  • Loop for background
    • Found Sounds:
  • Musical objects around you
  • Kitchen, garage, bathroom
  • Everything is an instrument
    • FOLEY RECORDING SETUPMICROPHONE CHOICEDynamic for loud impacts (SM57/SM58 can take abuse)Condenser for detail (but watch for overload)Contact mic for surface vibrationsPLACEMENTClose for tight, punchy sound | Far for room and ambienceExperiment with distance — it changes everythingROOM TREATMENT:DEAD ROOMAbsorb reflectionsBlankets, foam, closetClean sounds, add reverb laterOR EMBRACE THE ROOMNatural reverb is characterBathroom, stairwell, hallUnique spaces = unique sounds"Foley doesn't require fancy gear — just creativity and a good mic."
    Foley Recording Setup: Microphone Choice:
  • Dynamic (SM57/SM58) for loud impacts
  • Condenser for detail (watch for overload)
  • Contact mic for surface vibrations
    • Placement:
  • Close: tight, punchy sound
  • Far: room ambience included
  • Experiment with distance
    • Room Treatment: Dead Room:
  • Absorb reflections
  • Blankets, foam, closet
  • Clean sounds, add reverb later
    • Or Embrace the Room:
  • Natural reverb is character
  • Bathroom, stairwell, hall
  • Unique spaces = unique sounds
    • FOLEY SOUND RECIPESTHUNDERShake metal sheet + pitch downAdd sub rumble layerReverb for distanceGLASS BREAKIce cubes in bag + smashLayer with high-freq transientMuch safer than real glassSNARE LAYERHit book with chopstickClap + snap comboAdds organic attackKICK LAYERPunch pillow + cardboard boxDropped basketballPitch down, layer with 808SHAKERRice in containerKeys in handChains, coins, beadsTRANSITION WHOOSHSwing rope/cord near micBlow across bottleReverse for reverse whooshTHE FOLEY MINDSET"What sound do I need? What object could make something similar?"The final sound doesn't need to match the source — it needs to FEEL right."Hollywood foley artists use coconuts for horse hooves. Reality doesn't matter — perception does."
    Foley Sound Recipes: Thunder: Shake metal sheet + pitch down + sub rumble + reverb Glass Break: Ice cubes in bag + smash + high-freq transient Snare Layer: Hit book with chopstick, or clap + snap combo Kick Layer: Punch pillow, cardboard box, dropped basketball + pitch down Shaker: Rice in container, keys in hand, chains, coins Transition Whoosh: Swing rope near mic, blow across bottle, reverse The Foley Mindset: "What sound do I need? What object could make something similar?"

    Reality doesn't matter — perception does.

    Context

    Analog vs Digital

    A/D

    Analog Approach

    [object Object]

    Digital Approach

    [object Object]

    Deep Dive

    The Science

    SCI

    The Science of Sound Capture

    [{"title":"Transient Response","description":"Microphones respond differently to fast transients (clicks, impacts) vs sustained sounds. Dynamic mics compress transients naturally; condensers capture them accurately. For foley impacts, sometimes the 'inaccurate' dynamic sound is more pleasing."},{"title":"Room Modes and Acoustics","description":"Every room has resonant frequencies based on dimensions. These color recordings. A bathroom's reverb at 2kHz might be exactly what you need — or exactly what ruins a recording. Learn your spaces."},{"title":"Proximity Effect","description":"Close mic placement boosts bass frequencies (in directional mics). This can add weight to impacts, or muddy delicate sounds. Distance changes tone dramatically — use it intentionally."},{"title":"Psychoacoustics of 'Real'","description":"Our brains identify 'real' sounds by their complexity — micro-variations in timing, pitch, and texture that synthesizers struggle to recreate. Foley and field recordings carry this authenticity automatically."}]

    In Practice

    Field Recording in Music

    EX

    Amon Tobin

    Entire album built from foley recordings — hitting, scraping, and manipulating physical objects. Processed and arranged into complex electronic music.

    Brian Eno

    Pioneer of using field recordings as compositional elements. Airport announcements, urban sounds, natural ambiences layered with synthesis.

    Burial

    South London rain, vinyl crackle, distant voices — these field recordings create the haunting atmosphere that defines his sound.

    Björk

    Ice cracking, cards shuffling, music boxes — intimate sounds recorded with contact mics and close-placed condensers, layered into orchestral arrangements.

    Nine Inch Nails

    Metal scrapes, machine sounds, physical impacts processed into industrial percussion. Foley as aggression.

    Avoid These

    Common Field Recording Mistakes

    ERR
    !

    Forgetting wind protection

    Fix: Always use foam windscreen. Bring dead cat for outdoors. Low-cut filter helps.
    !

    Recording too hot

    Fix: Record conservatively. Peak at -12dB. You can always boost quiet recordings.
    !

    Not documenting recordings

    Fix: Note location, date, source, settings. Organize immediately after sessions.
    !

    Handling noise during recording

    Fix: Set down the recorder. Use tripod. Stay still. Use shock mount.
    !

    Recording too short

    Fix: Record 2-5 minute takes. You can always cut; you can't add more later.

    Train Your Ears

    Sound Sourcing Exercises

    EAR
    01

    02

    03

    04

    Implementation

    DAW Implementation

    DAW

    Recording Workflow

    Processing Chain

    Creative Processing