Although many field recordists travel with multiple mics, boom poles, backup recorders and backups of backups, I made use of a fairly small arsenal of equipment for this project. Below is a rundown of my gear. I want to thank the Rice Electroacoustic Music Labs at Rice University for lending me the gear marked with asterisks ***
Soundfield SPS200 Software-Controlled Microphone ***
A tetrahedral mic suited for recording A-format signals, which can be calibrated to B-format for ambisonic workflows
Sound Devices MixPre-6 portable recording device
A high-quality, compact unit with four pristine preamplifiers, perfectly equipped to receive the Soundfield mic’s four signals.
Rycote Modular Windshield Kit ***
If you’re going to record outdoors, you had better bring this!
K&M Overhead Microphone Stand ***
A handy (and oh-so-oh-my-god-heavy) microphone stand that extends up to fourteen feet in the air.
- Me strapped up with all of my gear and ready to record a loud bird outside.
- My wife trying to show the Rycote windjammer to our dog, who was extremely dismayed by the “dead cat” windscreen.
A non-exhaustive list software used:
REAPER digital audio workstation
Perhaps the best DAW for routing and ambisonic support
An incredible tool for working with B-format files. The virtual shotgun mode is indispensable. See the video below for a demonstration from Harpex Ltd.
Ambisonic Tool Kit homepage
A suite of ambisonic plugins for REAPER (as well as SuperCollider). Encoding of mono, stereo, and multichannel files. Decoding to stereo, binaural, pantophonic (2D) and periphonic (3D) arrays. A variety of spatial transformations.