Recording technique, by Erik Normark.

A little recording technique, by Erik Normark

The recordings I do mostly in stereo with two omnidirectional (omni) microphones (mainly Sennheiser MKH20). The advantages of omni compared with highly targeted mics (Hypercardioid, “shotgun”) is their flat frequency response and low wind sensitivity, and that the microphone toward the sound source is not as critical. I sometimes use a short shotgun mic (Sennheiser ME66) when I want to tone down the surrounding ambience and get the most focus in a particular direction.

My stereo rigg is placed carefully on a well chosen spot where I want to do my recording, as close to the sound source (mostly birds) that I want to capture as I can get, begin recording device (currently a Fostex FR-2LE) and remove myself from the scene. The recording may then run for up to one hour or more. This way is obviously very time consuming and chance-like, but it can give great results in that the birds can behave completely unshy and natural, and also dare come very close to the mics.

The stereo technique that I have come to prefer is the Jecklin disk which gives a great sense of presence and spatial experience. It’s a bit bulky to carry around, but I absolutely think it’s worth the effort in that I can use the omni mics, my favourites! In the pictures below you can see my (home-made) Jecklin rigg.

Shooting of sea ice sound with a Jecklin disk.

The Jecklin disk is simply a barrier between the two omni mics, 30 cm in diameter, covered with absorbing material.

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.