World Sounds #044 – Stuttgart and the Swabian Alps, Germany

Swabia is a region in southwestern Germany that includes much of the state of Baden-Württemberg, including its capital Stuttgart, as well as the rural area known as the Swabian Alps and parts of far western Bavaria. It is a region with an incredibly rich history and was home to influencers Einstein, Miescher, Kepler, Bosch and Daimler.

I recently had the pleasure to spend five days exploring the region, listening to the soundscapes (surprisingly quiet for central Europe), learning about the region’s history and sampling lots of good German beer and food.

Stuttgart

Our point of entry was Stuttgart, an easy four and a half hour train journey from Paris. The central station, known as Stuttgart Hauptbahnhof, was built between 1914 and 1928 and is currently undergoing a massive re-development project (Stuttgart 21) that will essentially convert the main line terminus station into an underground through station.

Knowing that the original station will soon no longer exist in it’s original form, I took the opportunity to record the soundscape from an interior perspective.

As we headed out of the railway station, we immediately arrived at the northeastern end of the Königstraße, the main pedestrian zone of the city centre. Again, I took the opportunity to record the ambiance whilst standing roughly in the middle of this busy shopping street.

Bad Urach

We didn’t stay long in Stuttgart. The main purpose of visiting the region was for a family wedding which took place in Bad Urach, about 50 KM southwest of Stuttgart.

The ceremony was held in a typical country farmhouse and the surrounding gardens were very picturesque, and home to all sorts of birds and animals.

We stayed overnight at the farmhouse and the morning after the wedding (whilst slightly hungover) I recorded the birdsong.

A bit further away from the farmhouse, I came across some wood pigeons that were nested in a tree next to a small stream.

Wäschenbeuren

We left Bad Urach that morning and headed towards Wäschenbeuren, our home for the next few days. This small farming village, about 50 KM east of Stuttgart, sits on the edge of the virgin forest on the Hohenstaufen. We stayed at the Wäscherschloss Guesthouse which was the perfect location for a quiet, countryside retreat. It was such a pleasure to wake up each morning, open the windows to our bedroom and hear nothing but birdsong.

In the twelfth century, this area was home to a legendary medieval dynasty called the Hohenstaufen, or the Staufer – powerful German monarchs who reigned from 1138 to 1254. At that time in Europe the Staufer were highly respected – three members of the dynasty were crowned Holy Roman Emperors and in 1194, the Hohenstaufens were granted the Kingdom of Sicily.

Many historic remnants of the Staufer dynasty were within walking distance of our guesthouse. So on our second morning, after a delicious German breakfast, we headed out to explore.

We first climbed Hohenstaufen Hill which today holds the ruins of Hohenstaufen, once the family seat of the Staufer. It took about forty minutes to climb up to the top and we passed through thick forest that was teaming with birdlife.

It was so nice to be in an area that has such a rich natural soundscape. On our way back down, I stopped to record the local church bell as it struck twelve o’clock.

Next stop was Wäscherschloss Castle, an excellently preserved castle in the heart of Staufer territory and the actual birthplace of the Staufer Dynasty. Just outside the castle was a field home to five or six young horses. They were quite curious and approached us as we walked by.

We were really enjoying being in the countryside and decided to explore a bit further into the surrounding forests of Wäscherhoff. We walked towards an area called Lorch-Beutental and again, found ourselves in the centre of a thriving bird community.

After having walked for about thirty minutes we came across the Waldolf Cafe. The offer of homemade cidre and cake made the decision to stop a no-brainer. The owners had many farm animals in the gardens surrounding the cafe, including a flock of noisy geese, so I took the opportunity to record the ambiance.

After a few days of exploring various different parts of Swabia, I began to fall in love with the different shades of green the landscape offers. It did rain a lot whilst we were there, which probably helps keep things growing, and we are in the middle of Spring so things should, in theory, be at their greenest. But it was so impressive to be surrounded by lush, green landscape.

Schwäbisch Gmünd

From a sonic perspective, one of the things I like in Germany are the musical bells that can often be found in market squares, something I came across whilst walking through the market square of Schwäbisch Gmünd.

For anyone that doesn’t know this part of Germany, I’d highly recommend spending some time there. As I mentioned, the intensely green landscape is very impressive. Equally impressive are the soundscapes that I discovered. I know that I will certainly be returning at some point in the future and would love to head down towards the Black Forest as well as Lake Constance. I would also like to head over in winter, when things should be even quieter.

Photo Credits : Auriane Schwegler

Nepalese Singing Bowl – Hydrophone Pitch Shifting

Firstly, a quick apology for the radio silence that has occurred over the last few months on the blog. I started a new job in January and it has taken an enormous amount of my time and energy, hence things on the blog being put on the backburner. I haven’t had time to get out and record at all, which I’m a bit gutted about to be honest. But I will be making every effort to get back out asap!

I did recently have a spare moment at home so decided to do something I’d been meaning to try out for ages. Back in 2008 I visited Nepal and I bought a singing bowl at one of the Hindu temples we were visiting. So I wanted to find out what that singing bowl would sound like if I filled it with water and recorded it using my hydrophone. Well, it sounded not that different to how it sounds when recorded using a traditional mic (i.e. vibrating air molecules rather than through water).

Seeing as I had recorded at 192 KHz sampling rate, I decided to start pitching it down to see what it sounded like. So, I pitched it down 1 octave (half speed), then another octave (quarter speed), then eventually another octave (eighth speed).

Here’s the result:

Recording Kit:
Sound Devices 722
Aquarian Audio H2A hydrophone

Silence

We can never seek silence on it’s own without sound; in the natural world, sound and silence come together.

Adam Ford

Seeking Silence In A Noisy World: The Art of Mindful Solitude
Leaping Hare Press
ISBN 978-1-908005-11-3

Chris Watson On Recording The Music Of The Natural World

Earlier this week, The Quietus published a great interview with sound recordist Chris Watson. He discusses his early career and how he tried to convert documentary filmmakers into thinking more carefully about sound, as well as sharing his thoughts on the ever-growing problem of noise pollution.

You can read the article in full here.

In The Field – Symposium For Field Recording

In The Field is a symposium exploring the art and craft of field recording that will be held at the British Library Conference Centre, London on February 15th and 16th, 2013. There’s a great lineup of guests, including nature recordist Chris Watson as well as Paris-based sound recordist Des Coulam (Soundlandscapes).

A two day pass costs £25, one day only costing £15. Check the website for further booking details.

Rycote Windshield Kit With Rode NT4

A while back, I wrote on this blog about the excellent customer service I had received from Rycote. Just before xmas I received what I ordered, so here’s a little video that demonstrates the Rycote Windshield Kit 4 that has been adapted to house the Rode NT4.

Rycote Windshield with Rode NT4 from Colin Hunter on Vimeo.

Xmas Music Box – Free Download

As we head into the Christmas period, I thought I’d share with everyone a recording I made of a music box that I found in amongst the Christmas decorations. It’s a Snow Globe with a music box housed inside the base. The music is “Jingle Bells”.

For anyone using iOS, the SoundCloud mini player won’t be displayed, so click here to access the download.

Recorded with a Sony PCM D50 at 96KHz 24 Bit.

It may not be to everyone’s taste, but it’s the thought that counts…

Merry Xmas!

Exclusive Interview: Sue Harding On The Art Of Foley

I recently had the pleasure to meet Foley Artist Sue Harding during her recent visit to Paris. Sue was participating in a workshop entitled Come Play With The Sounds Of The Impossible at La Gaité Lyrique, a digital arts and modern music centre. After the show, I had a chat with Sue and she kindly agreed to answer some questions for this blog.

Based in London, Sue has been working as a freelance Foley Artist since 2004 and has worked on titles such as Quantum Of Solace, Sweeney Todd: The Demon Barber Of Fleet Street and In Bruges.

For a full list of Sue’s credits, check out her IMDB page.

Sue Harding – Q&A

CH – Can you explain what being a Foley Artist entails?

SH – As a foley artist, I create a sound track to compliment or embellish a films atmosphere. Firstly I perform to picture the footsteps and cloth movements of each character and then I spend time creating effects to match any action taking place on and off the screen. This can be the delicate sounds of taking tea to the massive effects of a battlefield and every little movement in between. I never know what will be coming up, everyday is different.

CH – What are some common misconceptions of Foley?

SH – That it is easy and that it is becoming irrelevant due to technology. Foley is performed. As well as being in sync, it needs to have feeling. And to do both is a skill that takes time to perfect. The fact that it is a performance is also the reason that most of these sounds can’t be just grabbed from a library.

CH – What was your path to becoming a Foley Artist?

SH – I discovered foley working as a receptionist at Goldcrest Post Production in Soho. I was immediately obsessed. I met foley artists Pete Burgis and Andi Derrick. They were both big inspirations because they love foley so much and put so much skill and energy into creating sound. They were really open to helping me and I learnt so much. Then slowly I started to get my own jobs and it has just continued to grow from there.

CH – Do the demands of your job as Foley Artist differ between different genres of film?

SH – Yes. Of course! The sounds required in a period drama are very different to what you would need for an alien invasion. The variety is fantastic. I love creating delicate moments one day and big and ridiculous ones the next.

CH – How do you get ideas and inspiration for creating new sounds? Are you constantly analysing objects for their sound-making capabilities?

SH – You work it out as you go using what you have around you. You mostly analyse the object on the screen that you are creating a sound effect for. You look at the item and break it down into elements. A single effect can have many layers to create all the textures it needs to make it believable. And yes I am constantly picking up bits and pieces I find that might have a sound that I can use. Skips, charity shops and carboots are foley artist heaven!

CH – What was the most challenging sound you have had to create and how did you achieve the result?

SH – Sometimes it can be the little things that are challenging, pouring a drink and getting the right speed and length of the pour whilst looking at the screen can be tricky. Especially if it is tea, as we use boiling water, which sounds very different to cold water. Otherwise it is the physical challenges of creating the bigger sounds. A charging army for example. I am only 5”2 and I have to work hard to sound big, but I can and I do. After layers and layers of charging feet and moves and weapons and body falls and horses and flags and stabs and hits I am very grateful for tea and many biscuits.

CH – When in the studio, do you have a secret weapon “go to” object that you have used time and time again?

SH – Yes. Several. I have props that i carry with me and favourites at the studios that I work at. The props we use are like our instruments. You almost learn how to play the different objects. It’s all in the manipulation, so one object can be the component of so many different effects.

CH – Lastly, what advice would you give to anyone wanting to get into Foley?

SH – If you want to get into foley you need to practice lots. Remember it is a performance and be persistent. When I first started, someone told me it takes 5 years before you are any good. I’d say that is about right. It really isn’t as easy as it looks.

It was a genuine pleasure to have met with Sue and I can’t thank her enough for taking the time to answer my questions. What comes across the most from talking to her is just how important the performance side of the art is. When people think of film sound, they mostly think it’s very technical without realising the amount of creativity and performances that go into a film’s soundtrack.

We’ve seen the role of sound designer become more accredited over recent years and a general awareness of the importance of film sound has also grown amongst audiences (the number of DVD bonus features about film sound easily supports this notion). Yet foley still remains a fairly misunderstood art, leaving people like Sue as unsung heroes.

Anyone interested in becoming a Foley Artist can take heart from Sue’s story. How she got into the field in the first place and how after a lot of hard work, dedication and persistence (and plenty of tea and biscuits) she has gained a very good reputation and has worked on numerous top film productions.

Once again, I’d like to thank Sue for her participation to this article.

New Martin McDonagh Feature – Can’t Wait For This To Come Out!

I just found out today that a new Martin McDonagh feature called Seven Psychopaths will be hitting the screens soon. And judging from the trailer, it’s gonna be awesome! I’m a huge fan of McDonagh’s work. His first feature film, In Bruges, was fantastic as was the short film Six Shooter that he released before that. I also had the chance to see one of his plays, The Beauty Queen Of Leenane which was very, very cool.

Thanks for the heads up Nath!

Customer Service – Rycote Enquiry

I’m in a bit of a dilemma. I have a Rycote windshield that up until now I have exclusively used with my shotgun mic (MKH 416). Whenever I have done a stereo field recording using my Rode NT4 I have always used the mic clip as supplied with the NT4 screwed onto a tripod with a Rycote fluffy over the mic capsules. It’s been an ok setup, but whenever I’ve been in urban environments I’ve usually had to put up with vibrations getting into the recording due to the lack of a suspension kit.

The purpose of housing a mic inside a blimp is not only to protect it from wind being picked up in the recording, but also from handling noise. The mic sits in a specially designed suspension system in the centre of the blimp, thus drastically reducing unwanted handling noise and/or vibrations.

So I decided it’s time to upgrade my system in order to integrate a blimp for the NT4. I know that the NT4 fits into the Rode blimp and have seen a lot written about this on various forums, but I don’t really want to invest in one of these. After a bit of research I found out that both the NT4 and 416 use the same Rycote windshield kit (WS4). Seeing as I already own this, I thought the easiest solution would be to buy the required components so I can use the same blimp with both mics. But my initial contentedness of thinking this would be an easy solution was quickly dampened.

Rycote blimp systems use another very clever system to reduce handling noise even further – the Connbox. This is essentially a very tidy and efficient transition connector and anchor point for the microphone tail. Cable lengths are precisely tailored to keep the length at a minimum, thus reducing cable-borne noise.

But being a stereo condenser mic, the NT4 doesn’t use a standard 3-pin XLR connection. It instead features a 5-Pin Stereo XLR connection which obviously isn’t compatible with a standard Rycote Connbox. They do make a 5-pin stereo XLR Connbox but how would I interchange this with my existing system?.

I dropped a quick email off to Rycote with my enquiry and I have to say, I was really, really impressed with just how quickly they got back to me. One hour and fifty-five minutes to be precise. Yes, 1h55. And it was lunchtime too! Great response.

Here’s what I asked:

Hello.
I currently use a windshield kit 4 with my shotgun mic (Sennheiser MKH416). I also own a Rode NT4 and am looking for a blimp solution. I know the Rode blimp works for this mic but I am a big fan of Rycote and would ideally like to find a solution.

Kind regards,
Colin

Here’s what they said:

Dear Colin,

Kind regards,
Eifion

Very efficient response. To be honest, having a dedicated pistol grip for each mic would be certainly be an easier solution, but it’s kind of an expensive one too. Although this would make life easier, it’s money I’d rather put into other things right now. So I replied to Eifion asking what I’d need to order if I were to take the less expensive route (i.e. skipping the Connbox idea altogether and just changing over the lyre cradles). He again replied almost straight away saying that he couldn’t actually find an order code for these parts but that he’d look into it and get back to me asap.

Less than an hour later I received the following:

Hi Colin,

Eifion

Call me oldskool, but I think customer service is very, very important. In particular, after sale support is something that, for me, makes the difference between a good brand and an excellent brand. I have always been a fan of Rycote due to the quality of their products but today’s experience has really confirmed their place as a top company.

So I will be definitely sticking with Rycote for my windshield/blimp solutions (I actually own a Rycote boompole that has served me very well over the years too). And I will most likely be placing an order for the Lyre cradles very soon. Once I’ve got the system setup I’ll do a quick review on this blog.