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  1. Hello jwsound! First off, I'm not too sure which board this should go in... it is a question about technique -- but the answer is probably one or two types of equipment! So, anyone who is knowledgeable about audio technique or equipment, especially around the late 70s, this question is for you! I have a huge interest in location sound and the techniques used in location sound from back then, I have a question which I'm wondering if any of you can give insight into with your experience. The productions which achieve that high quality location sound really impress me, yet finding information on how is difficult so I wonder if you could help: It's this particularly interesting video from the BBC from 1979: Tomorrow's World: Mobile Phone 13 September 1979 - BBC In it, the presenter is shown moving around a lot, even into a vehicle and closing the door while their voice is being picked up, and then moving far from the camera at the end. What sort of solution would they have for this around then? The latter situation seems difficult to do with a shotgun and the former seems impossible. In more detail, with specific concerns: Walking from the door, to the vehicle, and shutting the door behind him in a wide shot (can't keep a consistent level from a shotgun with that?) Walking (from afar) towards and away from the gate, while the sound of his voice is being picked up clearly and consistently (also too wide for a shotgun?) However, I can't spot a lavalier in these shots as they're too far to see up to his tie (where they always mount them). Mind you, for this program, I see they wear lavs 99% of the time in studio work (visible on their ties) and whenever they're on location it's around 10% of the time, so I can see they take them out with them, but they probably stick to shotguns for location work. Again, though, these don't seem very doable with a shotgun! It's definitely not coming from the phone because that's clearly been bandlimited for transmission. Lastly, something to note: in the two shots we can very clearly hear the ambient noises in the car (engine, seat, door), and for the other shot the sound of his shoes on the ground and them bending as he walks, as well as the birds! (they even got the bird while he was sitting, shouldn't shotguns not do that?) So... how might they have pulled these off so well? For the ambiance at least they may have gone to great lengths for foley, maybe... unless there was a way they got that too. But the main question is capturing the voice at those distances. Did they have good lavs back then? And were they likely using any sort of portable recorders you could stash away on-person, or even portable transmitters? Thank you in advance for your input!
  2. Ludwig Koch and the Music of Nature How a boyhood hobby led to pioneering recording of the natural world Radio historian Sean Street tells the story of Ludwig Koch, who started recording sounds and voices in the 1880s when he was still a child. In 1936, Koch fled Nazi Germany and his recordings were later acquired by the BBC. His collection established the BBC's library of natural history sounds and he became a household name as a nature broadcaster. Koch's distinct German accent and eccentric location recordings became so well known that he was parodied by Peter Sellers. Koch's recording of a Parisian street performer and the famous actor's take on it can both be heard in this programme. http://www.bbc.co.uk...eers/6505.shtml