Many ethnomusicologists consider that their “field” recordings should also convey knowledge about the social and cultural context that lies beyond the immediate acoustic trace. But how exactly does one represent a “field” in an audio recording? And what is the relation between how music sounds in the ethnomusicologist’s recording, and how people on the “field” want it to sound? I will address these questions by comparing Speranța Rădulescu’s recordings of the brass band from Zece Prăjini with other recordings of the same ensemble. What “field” do the ethnomusicologist’s recordings reflect?