The foley recording took place in the composition/foley rooms in LCC. It was recorded by Tom, Matt, Henri, and I. We had a 3-hour session booked, but the first hour and a half was spent trying to figure out why no sound was picking up from the composition room. With only an hour and a half left we decided to go pick up a Zoom H5 field recorder, when arriving at the kit room I was also recommended to use the MixPre 6 kit. I rented both out and when trying the MixPre6 we were struggling with the interface. So we resorted to using the Zoom H5. I would like to get to know the MixPre6, as it seems like a great way to record multiple sources at once, especially when field recording.
MixPre 6
We used the Zoom H5 as an interface, for the microphone we used the Sanken CMS50 Stereo Microphone to record the sounds. This is a stereo shotgun microphone that was a dream to work with, due to it being very high in quality. The Zoom H5 recorder microphone is quite standard and is not best for high quality recordings, especially foley recording as over a certain gain level it produces lots of artificial hiss which can interfere with the recordings.
The recordings we did were based off a list sent to us from Ana. This list was great as it let us work in a very quick and efficient manner. The great thing about foley recording is the fact you must think outside of the box constantly to create these noises. For example, we needed fire recordings, Tom grabbed a plastic bag and rustled it by the microphone. This was then manipulated in Ableton with a small reverb and slight transposition down. Techniques like this is what makes foley recording so fun, interactive, and creatively liberating.