Boggo Road Gaol Recording
For our major project, we had to record foley and sound fx’s to be put into the Escape Hunt Brisbane event. A brief was given to record sounds that was reminiscent of being in a 1950s jail cell and so we decided to visit Boggo Road Goal to capture these sounds.
Mic List + Equipment
- Zoom Recorders
- Sennheiser MD421 (Studio)
- AKG C414 (Studio)
- 3 x Rode Microphones (Pencil Mic + Blimps)
- Field Mixer
- 3 Mic Stands
The shotgun pencil mics provided a very direct cardiod polar pattern which was good for recording direct sounds and also capturing specific areas of the room where complex reverberations were given off for example in the corners of rooms or down long winding hallways. The blimps were essential to filter most of the wind that were present whilst recording outdoors or even indoors since many open windows were present in the facility.
Recording Background Foley
For the background foley we setup two shotgun mic’s on a stand and recorded the low level background noise in three locations. As for the audio content we had recorded 15 minutes of ambient noise and further activated the space by recording footsteps and murmurs to replicate a typical soundscape of a prison. Spaced pairing was mainly used as a recording technique and was placed in various locations. We had also did a pre-count before every recording stating the room and sound we were trying to capture for easy identification whilst on the post production stages. We also gave 6 seconds of headroom for the RT60 to dim down after every sound, ensuring we had recorded most of the sonic characteristic of the room.
To emulate the feel of being inside a jail cell, the shotgun’s were placed inside a room and various sounds were made outside the door to capture both the natural reverb from inside and outside the jail cell whilst providing a natural low pass from the metal door.
We had also recorded footsteps, voices and metallic noises down a corridor with one of the microphones facing a corner and another on a free field capturing more of the sound of the overall room.
We had also recorded the entrance of the facility due to the interesting mix of natural outdoor noises and indoor noises which reverberated through an archway shape. After 15 minutes of capturing the pure ambient sound we further walked around the space to capture footstep noises through the space.
Capturing Sound Fx’s
To capture sound fx’s we used the same recording techniques as the foley recordings however we had already pre-recorded the noises we were trying to emulate and played them through a speaker. The sound FX’s were recorded and bounced dry and without reverb as we wanted to re-capture the sound with the physical space added from being in the facility it self. The wet sounds gave provided a bigger body to them, accentuating more low to mid end frequencies plus the natural reverb given off by the actual spaces to them.
For some sounds such as an old brass bell we encountered, we decided to record the direct sound of the bell whilst also a microphone further away to capture the specular reflections from them.