I asked Mr. Okuda how to record such a beautiful sound with the introduction of the music unit "TINGARA" previously taken up. Furthermore, since Mr. Joe Okuda's podcast is released on "TINGARA" site, you can experience the world of Mr. Joe Okuda by sound with that person.
■ Wake up to field recording at Mt. Fuji location Mr. Joe Okuda is a Japanese who lives in Los Angeles since coming to the United States in '80. After graduating from the music school "Musicians Institute (MI)" in Los Angeles, he started activities as a professional drummer, performs band activities, and has participated in numerous recordings including studio musicians including Sina Easton Have.
After that, he wears studio music production and recording technology, and he is a person in a music field who has worked on producing works by a number of artists including Roberta Flack, Filip Bailey, Peabo Bryson and others. However, after that, I will switch to natural sound recorders, but I heard stories from around here. (Hereinafter, titles omitted)
Fujimoto: What kind of place was it like to start field recording?
Okuda: It was about ten years ago, but I was impatient to be a consultant in the US national park or an adviser at Orange Tree Production. Here I was trying to make a mix of natural sounds and music, and I was on the consultation.
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| Binaural microphone "KU - 100". A microphone is incorporated in the ear part of the dummy head |
Fujimoto: In field recording, there was an image called a parabolic type microphone ... ...
Okuda: That's right. I tried using a parabolic type sound collecting microphone, a one-point stereo, etc., but the binaural microphone was a completely different and amazing sound.
Fujimoto: If you listen to binaural microphones with headphones, you may hear a story that the phase shifts when listening with a speaker ... ...
Okuda: That is not it. Especially, since this KU - 100 is supposed to listen on the speaker, there is no problem with the phase. This KU - 100 sets the microphone to the position of the eardrum and is firmly attached to the earlobe so that it can truly capture the sound very close to what the human being listens.
Also, in order to listen to the sounds recorded in this way, you need to get used to somewhat, but as you get used to it, the sounds coming from behind will be steadily standing behind.
Fujimoto: What kind of things are you using for recording equipment?
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| Fostex's field memory recorder "FR-2" corresponding to 24 bit / 192 kHz recording |
Fujimoto: Is that really recording at 24 bit / 192 kHz?
Okuda: That's right. Again, at 24 bit / 192 kHz, it consumes considerable capacity, right? It's almost a day just to find the moment of wanting to record.
For example, when I go to Amami Oshima, I usually go to the location and usually stay for recording for about three weeks. However, about half of them are lockehans. Even if you turn it, there are rare cases that you can record well. The sound is good, rather than bad, I can not understand the relationship between myself and the place. I do not feel good if I do not enter it deeper. Also, once the place is decided, it will record about 50 to 100 hours in one place.
Fujimoto: Is it such a long time? Then, even if you have three 4 GB CompactFlash cards, you will not make it in time if you do not back up to the PC side many times over and over again. But why do you stick to 192 kHz?
Okuda: That is my policy of "Choosing the sound with the best sound" as my way of thinking. It is the idea that you can do what you can at the best. Also when raising the sampling rate, the most effective effect is natural sound. The next is classic. On the contrary, neither 48 kHz nor 96 kHz changes pops much.
Fujimoto: In fact, do you feel the difference in sampling rate with natural sound recording?
Okuda: There is a difference between what you record with your microphone clearly. In the case of music, the one with the greatest difference will be vocals. Since long ago, only vocals were recorded at 24 bit / 96 kHz, and we had taken the technique of down converting later. I think that all the things that can be done by the making side should be done as well.
Of course, when it comes to the level of 96 kHz and 192 kHz, there is almost no difference in auditory sense as well. But I do it at 192 kHz even if there is no difference with my ear. That is a posture to make good ones. I am aware that there are various secrets at frequencies beyond the audible range. It is an air feeling, a wave, ... ... Because I do not understand myself, I do not truncate it, "I understand to those who understand."
■ Digital recording for leaving it at seventh destination Fujimoto: Have you been compared with other equipment and formats?
Okuda: Of course, I did a lot. DAT is also interesting. In addition to recording at 24 bit / 96 kHz on PD - 6, I recorded it with DAT in para, but with the details of the detail, it was the impression that PD - 6 is much advanced. DAT is musical, it becomes a soft sound. Listen and felt obviously something is different from 16bit / 48kHz.
In a way, DAT is completed. Therefore, when recording music, it will be a nice finish. Likewise analog sounds like " NAGRA " sounds nice. I do not like resolution or S / N, but simply a good sound. However, I can not go to the mountain with NAGRA. Also, personally I like the sound of "STUDER 820" the most, but I think that recording natural sounds is done digitally in any way. Because I want to leave it for the next generation.
Fujimoto: Why do you leave it for the next generation?
Okuda: I'm thinking of leaving what I'm recording now about 200 years ago. That's why I am stuck with digital recording, not degrading analog.
I began to record the sounds of nature, so I began to face the current situation of nature destruction. Looking at such a scene, it seems that the natural environment has changed completely after 50 years and 100 years, and the place where I'm recording is changing, and the current one will not be left. So, 100 years later, 200 years later I would like to say that the sound of 2006 was like this. Previously, it was a feeling to record, make, to sell to the people I want, but I'm working with the feeling that I want to let people hear from the seventh generation, I want to listen to someone who has never been done.
Fujimoto: 200 years ahead, seven alternatives may be a feeling that is not true of conventional recordings indeed.
Okuda: Looking at the current state of destruction of nature, I am very angry. Also, although I feel that I would like to enter anti-exercise, the human mind does not move with words, it does not move with anger. The point is the problem of the mind. I want to cut only the most beautiful things left at the moment, so I can impress people.
Fujimoto: By the way, what kind of processing is done on the material that I recorded?
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| Digidesign's "ProTools" (photo is ProTools HD 7 software) |
Fujimoto: In such editing work, do you use EQ, limiters or other effects?
Okuda: Effects are not spared as much as possible. However, there is only one case to apply EQ. For some reason, as low frequencies as Woofer moves can come in, I use it to low cut this. I do not notice at all when recording, but sometimes I have recorded natural sounds. Then, artificial sounds such as boats and airplanes are often entered in forests and in the ocean. In this case, you may make a dip and cut it, but you can not completely cut it.
Fujimoto: Do you mean to lay down the sound?
Okuda: There is something that mixes using the fader, such as mixing the sound of the rain that gives a texture to the small sound flowing through the water called chirocchiroko. Nature · sound art is pointed here. This is an operation to recreate the scene of nature that I saw. If there is a CD for 60 minutes, there is an opening, there is ending, and there is a story. I will make it while cutting and sticking on the digital editing machine. However, the goal to be aimed is to say that recording is the best as it is recorded.
■ Basic recording of natural sound recording vaguely Fujimoto: Please tell me if there are any tips etc. that amateurs will perform field recording at the end.
Okuda: Well, once you get a recorder, it's a good idea to record the state of meals in the train or in the restaurant. Something that is eating with my friends is interesting. Listening back later is simply interesting. It is a little wonderful that the scene at that time comes to mind when the sound without video is more realistic than to record it with bad video and so on. So, where I learned how to record, I will go out to the field. Here, I do not record what I want to record, I walk and try to record something good if I think something sounds good.
Fujimoto: Is not that meaning to record the bark of Yukie, does not have the purpose ...?
Okuda: That is right. If you think that you will record ugly from the beginning, nothing will be recorded until the cypress crows. Rather than doing so, I will vaguely record the sound of nature. It is basic to record as much time as possible. It is to turn it as long as possible. I will stop where I really tried stopping around 3 times. As a result, if I listen again later, I think that it was good to record. Also, even in the sea or in the mountains, it is also iron law to monitor in real time.
Fujimoto: Is not it just to listen to the raw noises?
Okuda: It will be the same as taking a picture without looking at the viewfinder. After all, the sound through the microphone and the raw sound greatly change. Be sure to monitor with headphones, and it's better to have loud sounds. It is necessary to devise a way to prevent it from being mixed with the surrounding sound.
Fujimoto: What is the level like?
Okuda: The theory when recording music should be set to the highest level within the range not entering the red zone. But it is not so in the case of nature. A certain level is necessary but it may be a characteristic of digital, but it is better not to do until you hit the ceiling. However, in the case of silent forest recording, there is only Max, as it is quiet. At that time, do not be afraid, Max. Suddenly something goes wrong, just cut it and throw it away. Please do enjoy field recordings more and more.
