INTRODUCTION

Recording is in part an art, and I have long held the belief, rightly or wrongly, that expressing yourself is not a competition and therefore I do not measure its results, or rather think in terms of something being better or worse. Through this lens, at least, it is more a case of what moves and inspires you when it comes to the artistic aspect of capturing sound. I like to believe that we all express ourselves differently. Indeed, when it comes to choosing what to record there are no rules.

For example, I often enjoy routing different sounds, acoustic or otherwise, through various types of speakers and then experiment by placing objects on these speakers. Whether the sounds are pre-recorded or being generated live there and then, the speakers can be used to make various acoustic instruments and objects resonate. This acoustic excitation can take a fairly average sound and help to sculpt something that sounds interesting.

When such sounds are recorded, it can open up a plethora of creative possibilities. This signal flow and process, which utilises in part the technique of re-amping, is one of many techniques that will be addressed as the book progresses, but in essence this is arguably recording applied in a very creative manner and the results in some instances could be considered as suitable and a complementary form of sound design for a given brief.

Though the art of recording and taking the time to experiment can be extremely enjoyable and often rewarding, there are standards, formats and theoretical principles that underpin good practice, and this is something we will look at over the coming chapters: the science behind the art.

Having stated this, perhaps it would be good to begin by saying what this book is and what it is not. It is aimed at beginners and hobbyists, but ideally I hope it will also be a useful reference guide for those practitioners who may consider themselves as semi-professional. My intention is to introduce the reader to the theory and practice associated with recording in a manner that is not overwhelming, cold or discouraging.

I will use anecdotes from industry colleagues, friends and my own personal experiences to discuss the art and practice, hoping, perhaps more pertinently, to humanise the process and dispel some of the common misnomers associated with capturing sound.

It wilI be necessary to throw in some relevant and appropriate terminology throughout (although I hope the glossary will provide some explanation). This is not intended to sound clever. As I often tell my students, it is in part through learning the language of the practitioner that we can better understand one another. Even if it is just the basics, such knowledge and language can go a long way towards breaking down barriers and working towards shared values and standards associated with what is considered good practice.

Whenever I go on holiday and visit a non-English speaking country I will always try to learn the basics of the language native to where I am staying. I have always felt that not only do I feel better about myself (although perhaps that is just me), but that people appreciate and respect you for trying. My experience working with students and clients is no different. Whether in the studio or on location the recordings have always benefited in many ways from shared knowledge, not least in a creative manner.

I also want to redress that recording is in its own right a very specific art and discipline. This is not a criticism of modern production or how various stakeholders and practitioners identify a specific role within the process of making a record. It is simply to suggest th