You do not need a big budget to make good field recordings. A smartphone can capture a market or a thunderstorm surprisingly well. But a dedicated recorder, a windshield and a little technique make a dramatic difference. This guide covers the essentials.
1. Choose a recorder
Handheld recorders with built-in stereo microphones – the Zoom H1/H4n/H5, Tascam DR-05/DR-40, Sony PCM-D100/A10 or Olympus LS series – are the classic starting point. Look for:
- Low self-noise. In quiet places the recorder's own hiss can be louder than the sound you want. Reviews that measure equivalent input noise (EIN) are worth reading.
- Physical controls and a lock switch, so you can adjust gain without looking and avoid accidental button presses.
- XLR inputs if you plan to add external microphones later.
- 32-bit float recording (on newer recorders such as the Zoom F3 or H-series updates), which removes the risk of clipping and lets you set levels afterwards.
You can hear real examples made with each of these in our equipment pages.
2. Protect against wind
Wind is the number-one cause of ruined recordings. Even a light breeze creates low-frequency rumble on an unprotected microphone. A furry windshield ("dead cat") is the single most important accessory; for external mics use a blimp or basket windshield with a fur cover. Recording in the lee of a building, wall or tree also helps.
3. Settings that matter
| Setting | Recommendation | Why |
|---|---|---|
| Format | WAV (uncompressed) | No compression artefacts; edit freely |
| Sample rate | 48 kHz (96 kHz for ultrasound or slowing down) | Standard for video; plenty for most sound |
| Bit depth | 24-bit or 32-bit float | Headroom for unexpected loud sounds |
| Low-cut filter | Off, or 40–80 Hz in wind | Removes rumble but also real low sound |
| Limiter / auto gain | Off | Pumping and noise changes ruin ambiences |
Use the audio file size calculator to plan card space: an hour of 48 kHz/24-bit stereo is about 1 GB.
4. Setting levels
Wear closed headphones and set the input gain so that normal sound peaks around −18 to −12 dBFS, leaving room for sudden loud events. With 32-bit float you can be more relaxed, but low preamp gain still means more noise in very quiet scenes.
5. Technique
- Stop and listen first. Walk around with headphones on and find the spot where the scene sounds best.
- Hold still or use a stand. Handling noise travels through your hands; a small tripod or a clamp on a branch keeps things silent.
- Slate your recordings. Say the place, date and subject at the start – or keep a notebook.
- Record longer than you think. Five to fifteen minutes of ambience gives you material to choose from.
- Mind your own noise. Breathing, stomach rumbles, zips and phone notifications all end up on tape.
6. Stereo, binaural and beyond
Built-in X/Y microphones give a focused, mono-compatible image. Spaced omnidirectional pairs (A/B) give a wider, more enveloping sound for ambiences. Binaural in-ear microphones record what your own ears hear and are spectacular on headphones. Ambisonic microphones capture a full 360° sphere for VR and spatial audio. Hydrophones and contact microphones open up hidden worlds under water and inside objects.
7. Share and archive
Back up raw files, name them consistently and keep notes with them. If you want others to hear your work, sound maps such as radio aporee ::: maps or archives like the Internet Archive accept field recordings under Creative Commons licenses – which is how thousands of recordings on OttoAnna reached you.
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