![]() ![]() I didn’t want to be fiddling with bulky gear or tangled cables when cutting in a pension at the end of a long day of recording foreign atmospheres. It also had to be well-designed, and compact, and operated with little fuss. The package had to be robust, and exceptional quality. I wanted a way to master sound effects while on the road. Sometimes I’m away from my studio for months gathering clips. NOTE: New Version Announced A Solution for Field RecordistsĪs field recordists, we’re away from the studio often while recording in the wild. I’ll share my impressions, and explain how it can help field recordists master their tracks. I’ve been using the Duet 2 for about a month now. I decided to take the plunge and upgrade my gear. It was introduced in 2007, and updated in May of 2011 with new software and hardware. I had heard about the Apogee Duet years ago. It worked well enough for years, but I longed for something modern that would complement the field recording craft more closely. When mastering field recordings I use a basic Pro Tools set up. Sound quality is essential, of course, but so are other traits required for capturing sound as we record clips beyond the studio: mobility, durability, and reliability. Recordists often have to assemble tools meant for other disciplines. The craft of field recording is a narrow one. Sound designers and Foley artists are a closer match, but they record sound effects indoors instead of in the wilderness we explore. We don’t quite fit with theatre mixers, or sound recordists on set. ![]()
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