For the best quality, the mic should be placed as close to your sound source as possible and be situated in a way that minimizes background noise. Mono recording techniques require just a single microphone.īy far the most common and well-known recording technique, mono recordings can serve as the backbone for spatial audio mixes. These can be especially useful when a story takes place out in the field and establishing a dynamic sonic soundscape is important for the listener’s experience.Īudio Recording Approaches for Spatial Mixes That said, if you go into a project knowing it is destined for a spatial audio experience, you may want to consider using a dedicated spatial recording setup. We’ve found that we were able to use a wide variety of recordings to make spatial audio mixes, which can range from the audio that a producer captured with a dedicated mono or stereo microphone to tape that a reporter captured on the fly with an iPhone. It’s actually quite likely that regardless of how you currently record audio - with your iPhone, a boom or shotgun mic or some other way - a similar approach will likely work for creating a spatial audio mix. While having high-quality recordings is essential for effective storytelling, we’ve found that you actually don’t need to record audio in a special way to integrate it into a spatial audio project. The way you record sounds for a narrative spatial audio project will have a big effect on how the piece comes together in post-production. ![]() ![]() Introduction to Recording Audio for Spatial Projects ![]() Here, we share a range of approaches you can use to record audio for use in spatial mixes, and offer our reflections on what formats work best for different kinds of projects. This post is part of our Guide to Creating Spatial Audio Podcasts series.
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