Issue link: https://digital.copcomm.com/i/1543070
C I N E M A A U D I O S O C I E T Y. O R G 29 In this panel, sound editor and library producer Ken Cain and re-recording mixer, supervising sound editor, and field recordist Travis Prater discussed their approaches to capturing sounds and preparing them for use. Ken's strategy is based on two sparks, capturing what he doesn't already have in his library and starting with a specific sound idea that becomes a platform to record related material. He always keeps a recorder with him so he can capture sounds as they arise, operating intuitively. Ken's approach is more opportunistic, while Travis Prater's is highly planned. Travis primarily focuses on recording cars, with understanding the vehicle inside and out being essential. Each session begins by creating a list of required sounds, followed by interactions with the car prep team and engineers to identify interesting aspects of the car. Gear choices depend on the vehicle. EV's require contact mics while race cars need high-SPL mics. Travis advocates for DPA lavs that can handle up to 154 dB. Wind protection is critical for high-speed recordings, as is understanding exhaust placement and mic mounting points. The main idea is to do your homework in advance to arrive prepared, highlights Travis. For walla libraries, Ken simply carries his recorder everywhere, recording continuously over time to build a usable bank of sounds. Both agreed with the old adage, "The best recorder is the one you have on you." Capture whatever you can, even if it isn't technically perfect, adds Travis. Both stress the importance of audible slating with as much detail, and tail slating as needed. "When you get back to the studio, everything is a blur," shared Travis. When using multiple recorders, synchronization with timecode, and fixing phasing issues in post are essential. For personal libraries, Ken noted that less is more, with commercial libraries requiring more detailed polishing. The process begins by removing any unusable material, followed by light editing, then detailed cleanup, leveling, and careful use of noise reduction or light EQ. Editing is tedious but should be done immediately, otherwise, recordings risk being left untouched indefinitely. After recording, it helps to place files in a dump folder and label them with recognizable names. Naming is a subjective process based on one's preference. However, client deliveries benefit from using standards like the Universal Category System (UCS), while personal libraries may rely on memorable and fun names. Both panelists advocate using Soundminer to create and embed metadata, along with artwork and images to better describe sounds. In response to an audience question, Travis outlined a typical car recording rig. He begins with a lav placed in the engine, upstream of the air filter so the mics furry does not get sucked in. Then he listens around the engine, revved up to about 3,000 rpm, to identify mechanical clacks, tonal elements, or turbo sounds, usually placing two to three additional lavs under the hood. At the exhaust, a dynamic mic such as an MD 421 and a high SPL pencil condenser inside wind protection are mounted near the exhaust, with each exhaust miked individually when required. A lav is also placed on the license plate. For interiors, the setup is either a stereo rig with two lavs clipped to the handles on each side or an ambisonics mic positioned between the seats. Additional perspectives are captured using handheld rigs with Neumann 191 stereo shotguns in MS on either side of the car, along with two long shotguns placed perpendicular to the track to capture distant perspectives for wide shots. Travis emphasizes that the location itself plays a major role in shaping the acoustics. Ken also shared three rigs he regularly uses: a Sony PCM-D50 recorder paired with a Rode NTG3 mono shotgun, a mobile rig with an MKH 418-S MS shotgun for narrow stereo recordings, and an ORTF setup using two Line Audio Design CM3 condenser mics. Having grown up playing guitar in various bands, Ken compares sound libraries to albums that you record and then promote. He finished the discussion noting that recording and building a library is a labor of love that takes time and investment. Record & Catalogue L-R: Travis Prater and Ken Cain. b y C A S A s s o c i a t e K a r t h i k M o h a n M P S E