Interview on Field Recording + a few updates

A few months ago Paul Virostek contacted me to ask a few questions about my field recording practice and launch it as an interview on his second series of “A month of field recordists”. It was (really) an honour, and a surprise, since his blog – and his books – have been what inspired me most to pursue this practice, after my kick off that I mention on the interview. If you haven’t yet, I can definitely recommend listening to his interview on the A Sound Effect Podcast, where Paul shares a very interesting perspective of creating sounds (starting at 17:08).

A Month of Field Recordists: Melissa Pons


What has been happening since this interview?

I’ve been working most of the time as a sound recordist for tv, to understand even more that creating sound is more important than ever. Without any other reason than being tied up to old methods, sound is often still a shadow of the photography work or how Paulo Dantas has recently put “when they say sound, they mean text“. The contribution of sound in many forms of media is still largely overlooked. It is important that us sound recordists are able to contribute with our work, go beyond what is expected and open a friendly dialogue on this issue.

Casually I have been also mentoring someone who spontaneously got interested on these sound affairs and this is so important because they will never again be passive about sound.

A collaboration for Woodcraft Productions, featuring some recordings of forests around the world:

I purchased AudioFinder to use as my default sound search database and embedding metadata to my own recordings (planning a review and guide on the software until the end of the year).

Meanwhile, very recently I upgraded my own recording gear with a Sound Devices 702 and a stereo pair of Sennheiser MKH 8020. In about three weeks, they will be recording the Swedish fall in the forest.

But most of all I have been listening to some very interesting field recordists and reading about their work:

Read here the how Curtis R. Olson has been exploring stereo microphone arrays for ambience recordings.

Reading about sound in slightly different contexts has been fundamental to expand my construction and open questions about sound perception and how different peoples relate and use it. I can point out Steve Feld’s Dialogic Editing: Interpreting How Kaluli Read Sound and Sentiment, along with the album Voices of the Rainforest, which shows a representative soundscape of the life of the Kaluli people of Bosavi, in Papua New Guinea.

“My work in Sound and Sentiment was to demonstrate how sound is constructed and interpreted as the embodiment of feelings; that is, as aesthetically affecting evocation in the Kaluli ritual performance of weeping and poetic song.”

In the near future? A journey into the urban and rural effervescent and warm welcoming south of Brazil. Yes, my new gear will come along to the big adventures.

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