captures the central microphone's signals from the side. During the editing phase, the audio track from the Side microphone is required to split into two channels, with left (panning set to 100% L), and right (at 100% R). One of the two sides (right or left), should be processed by reversing their phase. Visually, it involves flipping the desired wave upside down, which increases the sense of ambiance due to a minute misalignment between the two. New techniques Newly developed techniques include the creative placement of microphones, (including contact microphones and hydrophones, for example), the diffusion of captured sounds, and individual approaches. Career A field recordist is an individual that works to produce field recordings. Typically the work involves recording sound outside of a controlled environment like a studio (field recording is an analog of studio recording), to be used or repurposed as sound effects that get inserted into all sorts of media, such as plays, video games, films, and television shows. A career as a professional field recordist is a tough, but potentially rewarding one. A field recordist must often face ever-changing weather, be patient, and willing to capture sounds in potentially dangerous locations. A typical day could range from recording ambient noise in a library to recording the thundering sounds of a grand waterfall. Just as the recordings can vary, the amount of work can as well. Most typically work as freelancers with other side jobs to support the slow periods of recording. Brief early history of field recordings The timeline begins roughly around the 1930s for field recordings. The distinction between whether field recordings are art or music is still ambiguous, as they still serve both purposes. Some early proponents of this important, yet unknown field consist of examples like Walter Ruttman's Weekend (which was a radio piece put together from recording of daily life in Berlin), and Ludwig Koch's 'sound-books' (which educated listeners in species identification using gramophone records of birdsong). These field recordings and many others ended up being stored in vinyl to be sold to enthusiasts, hobbyists, and tourists alike a few decades later in the 1950s, 60s, and 70s. In relation to those vinyl records, the concept of steam train sounds also seemed to be a kind of fetish or obsession for mid-20th century record collectors, as their nostalgia and obsolete transportation mode is reflected in the current feel for vinyl. Research Ethnomusicology