It may sound cliché for nature recordists to lament about noise, but even locations that appear tranquil often harbor unexpected noise. While traffic noise is typically the field recordist’s complaint of the day, gun noise is a close contender.
This isn’t an anti-gun article; after all, outdoorsmen have as much right to enjoy nature as nature recording enthusiasts do. In fact, I believe part of the enjoyment of hunting is simply being outside. Most hunters also possess a tremendous respect for nature.
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How to Deal with Gun Noise
However, after carefully observing flight patterns and avoiding high-traffic areas, nothing can be more frustrating than setting up your recording equipment only to have distant gunfire disrupt your work. Unfortunately, waiting it out or relocating is often the only recourse on recording day.
If you happen to capture gunshots during your session, your best option is to edit around them. This might involve cutting out large sections of audio and then carefully matching the surrounding ambience.
Pay close attention to how ambient sounds—like air movement and insect swells—rise and fall. Directionality can also pose challenges; for instance, if a songbird shifts to a new perch.
This is why it’s wise to record at least 25% more audio than you think you’ll need—especially if you’re aiming for a final edit of an hour or more. While painstaking, cutting around gunfire can yield excellent results, often leaving the average listener unaware of any disruptions.
Alternative Editing Techniques
Frequency Spectrum Editing
As an alternative to traditional sound editing, you can use a frequency spectrum editor like iZotope RX to target and cut out specific frequencies associated with gunfire. However, this method can be tedious and may leave a midrange gap that requires repair. If the gunshot is distant and has low-frequency content below 200Hz, you might successfully remove that low-end pop without significant consequences. It can also be beneficial to fill in any gaps with surrounding material.
Noise Reduction Modules
You might also explore using noise reduction modules designed for specific purposes, such as reducing plosives or wind noise. While these tools were created for specific applications, they can sometimes offer quick solutions for dealing with gun shots. Just be mindful of the low-frequency settings and experiment to achieve the best results.
One such tool is the spectral repair module in Izotope RX and it’s one that is very effective. Learn more about using it to remove gunshot sounds in this tutorial video.
Gun Season Considerations
These days, it seems like gun season lasts all year, but there are certainly spikes in gunfire during major hunting seasons. If you’re recording in the fall during deer or duck hunting season, it’s best to avoid public lands. These areas are often crowded with hunters, making for noisy and potentially unsafe conditions. However, while many state parks allow seasonal hunting, they often provide designated areas as off-limits to hunters—this can be a boon for nature recordists to capture sounds safely and gunshot free.
On a related note, wearing blaze orange while recording during hunting season is a smart practice. Never underestimate a hunter’s ability to misidentify their target—whether it’s people or gear! Mark your microphones with bright orange flags so hunters don’t mistake your gray and white windjammer-covered mics for a deer tail.
I use orange microfiber cloths from Harbor Freight; they help prevent unwanted flapping sounds when secured properly. For added visibility, I attach them with blaze orange JerryWrap, which is an excellent multipurpose elastic cable tie.
Understanding Relative Noise
To maintain your sanity while editing, remember that noise—be it from gunshots or other sources—is relative. It depends on where and what you’re recording, what you’re listening back on, and how loudly you’re listening. Key related elements to consider when editing are:
- Sound Captured
- Recording Location Ambient Volume
- Type of Playback Device
- Listening Volume
1. Recording Location
For example, a distant gunshot while recording city traffic might hardly be noticeable; sadly, it’s even part of today’s urban atmosphere. Conversely, that same gunshot in a quiet wildlife area can shatter the tranquility of your recording. What constitutes noise in one environment may not be considered disruptive in another.
2. Playback Device
Equally important is understanding what equipment you’re using for playback. I won’t delve into an exhaustive discussion about speaker quality here; just note that listening on headphones tends to make everything sound more pronounced—including unwanted noises.
Mixing up your listening devices between headphones and studio monitors will help ensure that your recordings translate well across different systems. I often switch between headphones and speakers even while editing; I suggest you do the same.
3. Listening Volume
How loudly you monitor also plays a crucial role in your perception of noise. For nature recordings, I often listen back at much louder levels than what was naturally present because I want to catch every detail. This approach can lead to complications since louder monitoring magnifies background noises—a classic catch-22 situation. Ideally, I should listen at levels that reflect the actual environment where the sound was recorded.
To counter this challenge, I’ve been “re-training” myself to listen at volumes naturally present the day of recording. It’s not an easy habit to break and I’ll spare you the mental gymnastics this creates. However, I also do not want to listen at levels to low. Listening at too low of volumes causes those “noises” to fade into the background only to resurface when someone listens at normal volumes.
Eventually, I’ll write a post about level calibration – which is how recording levels relate to playback levels and listening volume.
Embracing the Challenge of Noise-Free Nature Recording
Dealing with gun noise—or any noise for that matter—is part of the challenge and art of nature recording. It pushes us to be more observant, creative, and patient in our craft. As you head out into the field, armed with these techniques and a deeper understanding of the complexities of outdoor sound, remember that each challenge is an opportunity to refine your skills.
By applying these techniques and understanding the nuances of outdoor recording, you’ll be better equipped to handle the challenges of gun noise in your work. Strive for a balance between capturing detail and maintaining a natural sound, and you’ll create more authentic and immersive nature recordings.
Until next time, happy recording and happy listening!
