Digital Audio for Public Historians (1): Recording Devices
As we discussed in yesterday’s class, public historians might use audio recordings for a number of different projects: oral histories, podcasts, audio clips for exhibitions, documentaries, among other things.
We were able to play a bit with different recording devices—from smartphones, to computers, to low- and high-end voice recorders.
It became obvious very quickly that both the equipment we used and the recording conditions had a huge effect on the quality of our recordings.
Over my next several posts, I am going to review some of the things that we discussed in class as well as go into a little bit more detail about how to use the hardware and software for public history applications.
Today, I want to talk about recording devices.
Depending on the type of work you are doing, you need different types of recording devices. If you’re doing an oral history for your research project and have no plans to share the recording, a basic recording device (actually two) is probably sufficient. However, if you’re capturing sound for a high definition video documentary, you will most likely need to use some higher-end equipment to guarantee the best possible sound quality.
Smartphones
Most of us already carry a basic recording device with us everywhere we go: our smartphone. Smartphones can be really useful. They’re easily portable. They can both record and do basic sound editing. And, higher-end smartphones have decent built-in microphones for simple recordings. With the addition of a high quality lavalier microphone (here at the IUPUI Arts & Humanities Institute, we use the Rode smartLav+), you can get some really crisp voice recordings.
While all smartphones have a basic built-in recording app, there are a number of apps available with advanced support for audio recording. For iPhone users, Apple offers GarageBand for free. Not only does this program provide some extra functionality while recording, it allows users to do basic production right on the phone. Another program (and the one I use) is Voice Record Pro. This program allows users to set sample rates and bit rates. It allows users to adjust sound levels. And, it syncs to any number of online cloud services.
For oral histories, interviews, and focus groups, a smartphone is great. As long as the room is not too large or overly noisy, it gets the job done. Unless conditions are perfect though, the recording is rarely above mediocre. Depending on recording conditions, the built-in microphone captures a sound that can be tinny, thin, or echoey. If the room has an air conditioning system or if a slight breeze blows over the mic, voices on the recording can sound like they’re in the distance.
I rarely use my smartphone as my primary recording device. It’s almost always a backup device (or a backup for my backup). This is because a smartphone provides limited control over the recording process. And, it’s not really set up for multi-track recording, which is essential if you’re recording more than one speaker.
Basic Recorders
Here at the IAHI, we have a collection of basic recorders that we use for oral histories, interviews, and focus groups. Built specifically to capture voice audio in office environments, these recorders are a step up from smartphones. In general, the recording quality is better, and advanced features are easier to use and adjust.
As with smartphones, these recorders can be connected to a basic lavalier microphone, but they’re designed to use their built-in mics.
Given the right conditions—i.e. a very quiet room and proper mic placement—a good quality, basic recorder can capture archival quality voice audio. But, it’s essential to have the quietest room possible. Like smartphones, basic recorders use omnidirectional mics (see upcoming post on microphones), which will capture the sound of air coming out of vents or noises from the next room.
Our basic recorder settings for an interview is to record a 44.1 kHz, 16 bit .wav file (see upcoming post on sample rate, bitrate, and bit depth). We set the recorder on top of a foam block between the speakers who are positioned a few feet away from each other. The foam dampens any sound from hands touching the table or papers shuffling. We always place a smartphone next to it, recording a backup with the same settings.
Our “go-to” basic recorders are the Zoom H1n and the Sony ICD-UX570. Both record onto SD cards, while the Sony also has some extra storage that can be downloaded via its built-in USB.
Mid-Level Portable Recorders
If we are using a recorder for a podcast, for video, or for any other application that requires high quality video and mobility, we turn to our mid-level recorders.
While these recorders have better built-in microphones, we forego the internal mics and instead attach higher quality external mics through the XLR inputs. Doing so allows us to capture multiple tracks—for example, a mic each for the interviewer and the interviewee. Having multiple tracks allows us to have further control over the audio in post-production. Multiple connectors allow us to connect the recorders to multiple sound inputs as well as connect it to our camera during video production.
In addition to more sound recording options, these recorders have built-in pre-amps that boost the signal from the audio inputs and give us more control over sound levels. These built-in pre-amps can be a strength and a weakness. On the one hand, they save us from carrying (and purchasing) an extra piece of equipment. On the other hand, if the pre-amps are not high quality, they can put extra noise into a recording.
When it comes to built-in pre-amps, we have found that you get what you pay for. We started out with a couple of Zoom H4n recorders only to find that their pre-amps were not what we needed (unlike the Zoom H4n Pro). So, for the most part, we use our Zoom H4n recorders like we use our basic recorders or connect them to the sound board for our special events and performances.
For our best quality recordings, we use our Tascam DR-100mkIII, which has fantastic pre-amps as well as two really outstanding unidirectional mics. It’s a bit more expensive than our Zoom H4n recorders (and a little heavier), but it does everything we need a recorder to do for all of our projects.
Studio Recordings
Of course, we don’t always record on the road. If we’re putting together a podcast, we set everything up in a studio and run the recording directly into our laptop. I'll cover this setup in a different post.
Key Tips:
Always use a backup recorder.
Always carry backup batteries.
Always carry backup SD cards.