Sonic Stories: Rawambience

Hear from the talented field recordist and sound designer Rawambience about his recording techniques, interesting sounds and his patience levels for finding new sounds in this Vendor Feature Article.

How do you approach recording very quiet or subtle sounds without introducing unwanted noise?

When recording very quiet or subtle sounds, I rely on highly sensitive microphones and try to isolate the sound source from as much of the surrounding ambience as possible. The quieter the sound, the more important it becomes to minimize unwanted background noise before recording, rather than trying to remove it later. I focus on getting the microphone as close and as isolated as possible while still preserving the natural character of the sound. For me, capturing that detail cleanly is what allows the small, almost imperceptible sounds to become the focus of the recording.

Are there certain types of sounds that you always try to capture whenever you come across them, even if they weren’t part of the original plan?

I’m always drawn to sounds that have a certain character or detail to them, especially the ones you might normally overlook. A lot of the  recordings happen when something unexpected catches my attention - a small mechanical sound, a change in the environment, or a subtle interaction between different sounds. If I come across something that feels interesting in the moment, I’ll usually try to capture it even if it wasn’t part of the original plan. Those unplanned recordings can sometimes end up being the most valuable ones.

How do you know when you’ve recorded enough takes of a sound and it’s time to move on?

I usually don’t record endlessly. Once I have a couple of good takes that capture the character of the sound, I prefer to move on rather than collect dozens of nearly identical recordings. Too many takes can become overwhelming, and I find that limiting myself actually opens up more creative possibilities later.

I like to get the most out of those few recordings in post-production - exploring what else can be found within them, rather than simply trying to collect more material. For me, that limitation can provoke new ways of thinking and lead me in directions I might not have considered if I had recorded everything endlessly.

What role does experimentation play in your recording process — do you often try unusual microphone positions or techniques just to see what happens?

Experimentation is probably the biggest part of my recording process. I rarely approach a sound with the idea that there is only one correct way to capture it. I like trying different microphone positions, distances, angles, and especially different microphones, just to see how each approach changes what I hear.

Sometimes the differences are very subtle, while other times a small change in microphone or placement can completely transform the character of a sound. A lot of the time I’m experimenting without knowing exactly what the result will be, and that uncertainty is part of what makes it interesting to me. It’s less about following a fixed technique and more about discovering what the sound can become when I approach it from different perspectives.

What’s one everyday sound that you think is far more interesting to record than most people realise?

Bed springs are a good example. They’re such an ordinary, familiar part of everyday life that you probably wouldn’t think of them as an interesting sound source. But when you put contact microphones on them, they can produce surprisingly rich textures and ambiences that are completely different from what you would expect to hear.

I really enjoy that kind of discovery - taking something that seems acoustically unremarkable and approaching it from a different perspective.

What’s the longest you’ve ever waited for the right moment to capture a particular sound?

It really depends on what I’m recording. With ambience, time can be everything, because the character of a place can change completely depending on the moment. In those situations, I’m willing to wait for the right conditions if I feel they’re worth capturing.

With other sounds, I’m more flexible. If something isn’t working for me, I’ll often try a different approach rather than simply waiting for it to change. I don’t think there’s always a reason to wait for the perfect moment - sometimes it’s better to adapt and see what else you can discover. And sometimes, if the right moment happens, it happens. I try not to force it.