Introduction

World Hum, a website associated with the Travel Channel, conducts a two day Travel Channel Academy course called "Travel Writing in the Digital Age".  The aim of the course is to survey the options and opportunities available for travel writing and photography, have students build blogs and slide shows in the classroom, and then leave the student with enough information so that he/she can make an informed choice as to what communications methods to use, and how "deeply" to go into each.

Digital audio -- as an enhancement to a travel story, as a featured element, or as a vital component of a multimedia presentation -- can give your audience a much richer travel experience.  Much as the availability of digital processes have made photography more accessible and more instantaneous, digital audio equipment and methods are now becoming more widely available and affordable -- allowing us better access to that medium.

This page builds on the information presented in my page about field recording, focusing on some equipment, techniques, and operational perspectives unique to travel writing.

How Deep to Go?  |  The Travel Writer...  |  Separate Microphone?  |  Monitoring  |  Suggestions

 How Deep to Go?

If you've started to take an extra effort with your travel photography, you know that it becomes another "thing".  Getting beyond snapshots requires additional time when you're out and about, a different perspective, equipment, and then time to process the images.

Audio will also be another "thing" (the things are starting to add up), and in my experience, the gradient to successful audio is much steeper than for photography.  In fact, there is no initial gradient...The first step is a pretty big one.  You can take a pretty dreadful picture and people are still likely to figure it out.  Dreadful audio is fundamentally incomprehensible.

Some recording equipment...

I can tell you from personal experience that taking notes, shooting pictures, and recording audio can make for a pretty busy day.  It also means you won't be able to see as many different places during that day because you'll be covering each site in more detail.  And just as with photography, where sometimes you just have to step out of the way and get a feel for the visual environment, field recording also requires that you take the time to understand the audible environment.

Adding audio to your travel activities also means that you'll have more work to do at the end of the day.  You want to get your files saved and backed up.  You may want to catalog them while they are still fresh in your memory.  One help here is that the files will all be date and time stamped -- just like digital image files.  If you synchronize the clocks on the recorder with your camera clocks, you can even take a record snapshot of each recording site.

If you are traveling with a companion, you might also divide up the field activities.  One can shoot pictures and the other can do sound.

But before you hit the road, decide how deep you'll be going, select your equipment, and then test out your workflow.

The Travel Writer...

There are a few pieces of equipment that you should consider when you start including audio into your travel writing projects.

USB Microphones:  One piece of equipment I didn't discuss in the field recording page is a microphone dedicated to recording blog or slide show commentary -- using your laptop as the recorder.  In most cases, you won't be able to plug a good hand-held microphone into your computer's microphone jack and have it work.  The most convenient setup is to use a USB microphone, which takes the analog audio and internally converts it to digital form and then sends it to your computer through the USB cable.

This can be good or problematic.  If the sampling rate (typically 44.1 or 48 kHz) and bit depth match what your recording software needs you should be in good shape.  Software included with the USB mic may allow you to set output parameters in the mic itself, or your recording/editing software may allow you to select input parameters.  Just be aware that some software only accepts one sampling rate and one bit depth -- 44.1 kHz/16-bit in the case of GarageBand -- and you need to check the specifications of both the software and the microphone before making purchases.

Some people are satisfied using their laptop's built in mics, but the sound quality from these is almost universally poor.  Since the built-in mics are omnidirectional, they pick up sound (or noise, if it isn't the sound that you want) from all over the room.  Omni mikes generally require that you get very close when recording voice, so leaning over your laptop to get within inches of the mic is not a natural activity.  The laptop's audio quality may be good enough for a Skype call from the road, but when integrated into a presentation, low quality sound can be truly annoying.  To take another slant on this:  Sound quality might be the difference between selling and not selling a piece.  There is always a media tool quality "arms race", and the people using technology and methods to produce the best quality presentations are the ones that are setting the standards.  What is acceptable now won't be in year or two.  (You've been warned.)

USB mics available include whatever might come with a webcast headset (usually a pretty poor microphone), inexpensive USB mics (also dodgy), USB mics with more advanced characteristics, and USB mics that also serve as input/output hubs for other audio sources, headphones, etc.

• Blue Snowball.  This mic is made by Blue, a company that's known for their professional studio microphones.  The Snowball has selectable cardioid and omnidirectional patterns and its output is fixed at 44.1 kHz/16-bit. It comes with a portable mic stand and seems to have decent mechanical isolation and good sound capturing characteristics.  In terms of size, think of a softball.  The biggest problem with the Snowball is that you can't monitor your recording session with out a lag.  (It needs an upgrade to include a monitor/headphone jack.)  (See Monitoring below.)  ($70 - $120)

• Blue Snowflake.  Also from Blue, this model is smaller (think golf ball instead of softball) and either rests on the top edge of a laptop screen or sits on a desk.  It is a condenser mic with a cardioid pattern and, like the Snowball, has output fixed at 44.1 kHz/16-bit.  This one is convenient for travel and that's how I'd use it.  It's not quite as strong a performer as the Snowball, and you do need to be careful about voice pops and breath noise.  However, with a little care (see the recommendations at the bottom of this page) it can do a good job for you.  It is also a bit oddly balanced when used as a desk mic.  ($45 - $80)

• Blue Yeti.  This USB microphone hit the streets at the start of 2010.  It has four selectable patterns; stereo, omni-directional, cardioids, and bidirectional.  It does not have the horrible noise floor that the Samson G-Track is plagued with, though it does seem to pick up a small amount of mechanical noise through its base.  The Yeti has a headphone jack so you can monitor your recording without a lag and the monitor levels for recording and playback are very close (a problem with the G-Track).  This microphone appears to be a strong performer.  ($125 - $150)

• Samson C01U.  This is a cardioid condenser mic which records 16 bit audio at several different sampling rates.  It is a little more conventional in appearance.  You can purchase it by itself, or as part of a kit which includes a desk stand and isolation mount.  ($80 - $130)

• XLR to USB Adapters.  Both Blue and Shure offer in-line adapters that take input from a conventional monaural analog mic, convert the audio to digital, and then output via USB.  However, reviews are mixed and these are probably best for recordists who already have analog microphones.

Blue Snowball

Blue Snowflake

Blue Yeti

Samson C01U

Windscreens:  If you intend to record environmental sounds or interviews outside, you should invest in some kind of wind screen for your recorder and/or microphone(s).  Rycote is an industry leader in wind and mechanical noise isolation.  The firm offers a wide range of solutions for mics, camcorders, and digital recorders.  They make "fur" and foam wind screens (the fur ones are sometimes called "dead cats" in the industry).  I use a Rycote fur screens over the stock foam screens on my ECM-MS957 stereo mic and AT897 shotgun mic. 

Separate Microphone?

I used to take a firm stand that you must use a separate microphone for any field recording operations.  Period.  However, as I've already discussed, a travel writer/photographer can end up with a lot of equipment to manage and, more critically, a lot of activities to manage.  If you purchased a good digital recorder and a good set of headphones/earphones, you have already invested several hundred dollars.  You may not want to spend $100 to $350 for a good mic, cable(s), hand-grip, etc.

So let's break field recording down into two activities:

• Environmental Sound:  If you're satisfied with the quality of the sound from your recorder's built in microphones, go ahead and record that way.  Just make sure you use a foam or fur wind screen and that you always use your headphones to monitor your session.

• Interviews:  Use a hand-held mic.  Remembering that one of the challenges for the recordist is to manage the ratio between the intended and background sounds, you'll need to get the microphone close to the subject while also monitoring the recording session at the same time.  If the recorder is at arm's length, it will be difficult to monitor the VU meter.  Also, digital recorder's mics typically have a wide field stereo pattern, which is why you'd need to hold it close to the subject.  With a hand-held mic you have the option, depending upon the model, of a tighter pattern, while keeping the recorder close to you where it is easier to operate.

Like a lot of things, it's not always what you do -- it's how you do it.  Careful monitoring of your session with the headphones and the VU meter, awareness of your recording environment, and maybe a little audio post-processing should allow you to capture and present some good audio using the recorder's internal mics.  A hand-held mic is probably better in most situations, but you can defer that purchase. 

Monitoring

Monitoring a Laptop Recording Session:  There are operational limitations to recording directly to the laptop.  The biggest problem may be the inability to monitor your audio feed.  Some software does not allow any monitoring of your session through your headphones.  Other software may allow it, but depending on the characteristics of the software and/or your computer's sound card, there may be latency (a delay).  If you must record directly to the computer through the USB, you should do two things: 

(1) Set up your microphone and record a short file of just the background noise.  Then listen to the result so you understand what the base level is.

(2) Record one or more test sessions, reading material similar to your final text.  Listen to that result so you can determine the quality of the audio.  You may need to make several test recordings -- adjusting the placement of the mic, the best position in the room, and the distance between your mouth and the mic.

If you're not happy with the results following the steps above there are a couple of hardware solutions:

• USB Interface.  Typical is the Tascam US-122MkII.  It is USB powered and can accept line, microphone, and instrument level inputs.  Output is via USB or line level (two RCA jacks).  In practice you'd hook this box to your computer's USB port and then connect your hand-held mic and your headphones.  This is a piece of gear you'll need to spend time learning because some adjustment of the levels will be needed to get the "right" sound.

• Mic/USB Interface.  The Samson G-Track offers a lot of features because it is more than just a mic.  You can use the built-in mic (mono, cardioid pattern), input analog stereo from a line source, or input an instrument.  It does offer a pretty good solution to the monitoring "problem" by allowing you to switch between direct monitoring of the mic, the line input, or your computer.  However, expect to change the monitoring levels when you shift input sources.  This mic has a fairly high base level of noise (circuit noise) and its mechanical noise isolation is dreadful.  Sitting on the kitchen table it actually transmits the fan noise from my laptop up to the mic (not the wind noise from the fan, but the fan motor vibrations through the wooden tabletop).  Samson sells a shock mount (one of the rubber band thingies) and I can't see how any serious user could do without it.  Once that is installed, however, the already tippy mic stand is even more off balance.

My solution?  I have a Blue Yeti USB desk mic for recording situations that are more studio like and where I plan on using a laptop instead of digital recorder.  The Blue Snowflake is small enough to travel, and even though I can't monitor the recording session, I can do the multi-step process I outlined above to get the most quality.  (I returned the Blue Snowball since it didn't have enough operational advantages to justify its size.  With just the addition of a monitor jack, the Snowball would be an attractive option, especially if priced lower than the Yeti.) 

I also have the Tascam US-122MKII so I'll be experimenting with analog microphones that I already use.

Tascam US-122MKII

Suggestions

General:  Your travel writing activities will determine what your audio kit will look like. 

• If you plan to concentrate on a narrative blog but want to enhance it with environmental sound you'll need a recorder with good quality built-in microphones (with windscreens) or a good hand-held mic.

• If you want to produce slide shows with commentary, you'll just need a decent cardioid or unidirectional mic that you can plug directly into your computer.

• If you intend to mix environmental sound into your slide show, you'll need either good mics on your digital recorder (with windscreens) or a good hand-held mic.  You can use either a USB cardioid mic or the hand-held mic and recorder for recording commentary -- but I recommend that you NOT use your recorder's built-in mics for recording the voice-over. 

• My imaginary Digital Edward R. Morrow plans on doing everything.  If that sounds like you, you should get the complete kit. 

Remember that beyond the basic components in the table and described above, you'll need other accessories, including mic stands, cables, bags/cases, etc.

Specific Recommendations:  Here are two very workable setups that align with "A" and "B" above (don't forget good headphones).

• Even though I consider the field mic optional for Activity A in the table above, the Edirol R-09HR teamed with the Sony ECM-MS957 is a very capable portable recording solution.  In a room with decent acoustics, the Sony stereo mic can add some "presence" to your voice-overs.  Add a Rycote Mini Windjammer wind screen and you will be able to do recording outdoors.  Go ahead and get the optional case/tripod for the R-09HR.  That will allow you to either hang the recorder from your neck (it's light and small enough) or to set the recorder on the little tripod so you can easily see the controls in "studio" situations.  I've done all the above with my original R-09 and I know that the setup works. 
  
  If your budget is a little tight, consider the less expensive Sony ECM-MS907 or the Tascam TM-ST1.  The MS907's front capsule does not rotate, but I'm told the overall characteristics are similar to the MS957.  The MS907's plastic body may be more susceptible to handling noise.  The TM-ST1 has a little bit of background noise which may not be a problem for voice-overs and interviews -- but it would not be recommended for quiet nature/environmental recordings.  The TM-ST1 is very compact and uses a clever weighted desk stand/hand grip combination -- that handiness may weigh in its favor.

• If you're planning on just voice-overs (Activity B), consider a Blue Snowflake mic for your laptop.  While the inability to monitor live is a disadvantage, once you get a little experience with setting up your location and positioning the mic, this can be a compact and workable solution.  Adding a foam windscreen (generic screens for mics like the Shure SM58 are less than $5 at Guitar Center and other audio/music stores) will help you get a little closer to the microphone, which will improve your overall sound quality.  To make the windscreen fit nicely on the mic head, cut a slot into the open end of the foam screen 1 3/8" long and 5/8" wide.  This lets the skirt of the screen clear the post supporting the mic head.  Recordings from this equipment combination are on the Audio Samples page.

"Studios"

This is a "studio" set up on top of a chest of drawers.  All the gear is on top of a towel, and a pillow is behind the mic.  The mic is sitting on top of a small box to give it a little more height.  The netbook is sitting off to one side.  While the acoustic engineering isn't extensive, it does help.  Using several pillows to make a small "cave" for the mic would be a logical next step.  You can see the slightly modified wind screen on the Snowflake mic.  This allowed a mic distance about about 6" -- though you can hear one "pop" in the sample.  Another solution would be to stick the mic into something like...(see below)

A mini studio that's a little more "formal" than a pile of pillows and towels is Harlan Hogan's Porta-Booth.  Harlan is a voice-over actor (and sometimes a three dimensional actor too) as well as an author and entrepreneur.  The Porta-Booth is his answer to the problem of recording good sounding voice-overs in locations where there isn't a studio.  Harlan tells you how to make one, or he'll sell you one already assembled.  The key here is not to just purchase or duplicate the Porta-Booth, but to understand the concepts involved and to learn how you can control of some acoustics to make a much better recording. My take on the Porta-Booth?  After trying a few mics in it I see the advantage.  But you also need to understand how it works.  Soft insulating materials, such as those in the Porta-Booth, are good for higher frequencies.  Concrete, lead, and steel are good for lower frequencies.  That means that if you try to use an omnidirectional mic inside the Porta-Booth, you'll attenuate the higher frequencies, but the lower freqs will come back to haunt you.  If you use a cardioid, unidirectional, or even a shotgun mic, you should see improvements -- each mic likely having a sweet spot inside the Porta-Booth.  (Tall mics might be a tight fit.)   (Photo from http://www.harlanhogan.com)