You, the radio documentary and the recording equipment

I think the relationship between the 'musician and their instrument' is a really good place to start thinking about your relationship with your primary tools - the technology - audio recorders, microphones, computers and editing software...

I get a lot of students who are intimidated when they meet the technology - or setting themselves up in opposition to it - one student even gave herself the blog-slogan 'computers hate me'...

Ah, Grasshopper - you must learn to be at one with the Technology

The idea is that you compound the difference between you and your tool - you think, it does... expression is fluid... and you end up making something more like what you intended to make. That's the theory.

I don't in any way claim to have achieved this state - but it's something I try to steer towards.

A few tips of developing a good relationship with the equipment.

• Grooming is a special bonding time between practitioner and equipment - don't tell it you are too tired. Care for your tools and they will be less likely to get angry and stop working for you in field. The equipment also likes routine and knowing where all it's bits are - there is no point carrying spare batteries if you haven't charged them or if you have forgotten where you put them.

• Play with the instrument. The machine may look complex and difficult - but really it's just like any other tool - it can be mastered. Make it your business to know what all the buttons do, read the manual, record, listen, play with different configurations and settings... When you are in field you don't have time to work any of this stuff out.

• Practice. When you are in-field there is usually a lot going on - getting great levels and choice sound isn't always easy when you have so much else to think about. Practice wearing the equipment and multi-tasking while you record - can you physically ride that bicycle and sound record at the same time without getting handling and wind noise... could this possibly be the best way to record a particular scene

• Mental Practice. This is what it was called when I was playing music - you would play the piece in your mind complete with imagining you are playing it - where you breathe, where your fingers - letting your mind touch on all of it while still focusing on the sound. Translating this to field recording - stop and listen to where you are - what can you hear, what are the layers of sounds, how are they connected, what is their texture, pitch, what makes these sounds... then think about how you would represent this through a recording - what, where, how you would record this space...

• Wear the technology like you mean it in field - keep it ready for action at all times. I've made documentaries for long enough to know that those moments of truth that you are out there hunting do not necessarily wait for you to set up - and that as soon as you pack the equipment away your subjects say the best stuff. It's also good to keep it on so that your subjects get used to accepting it as part of you...

So yes, whenever you are in field and the technology is not working or connecting or generally stuffing you around - take a deep breath and think - 'at one with the technology'