Somewhere in the murk there's quite a few noisy critters...

I originally considered this clip an outtake from the Nature Sounds Society Field Workshop this summer (which has been previously covered in older posts). I had never seen white-faced ibises before, and their ducklike honking and loud wing flaps were mixed in with local cows that were just waking up. It was about 7am.

But in listening to it again, I came to love the moment that was captured: Dense fog all around, the sun kissing vernal pools and long-grass marshland in the middle of the Sierra Nevada, and all the animals calling out to each other, re-establishing territory and familial bonds. I came to rather like the sound of the cows mixed in with the ibises, the swallows, and the blackbirds.

Field recordings don’t always have to be pristine to be interesting. Sometimes you must bend your mind to the material.

So, I’ll share it here today. Hang out until the very last bit, where an ibis takes off and flies overhead – great clarity in the call and the wing flaps.

[Sennheiser MKH 50 and MKH 30 recorded as mid-side pair into Sound Devices 702 recorder]

Mmm, so many tasty, carcinogenic choices.

Like over 100 other field recordists, I signed up for Tim Prebble’s crowdsourced special effects library of doors from around the world on his boutique effects label, Hiss and a Roar.

Unfortunately, due to extenuating circumstances, I had to bow out of the project, and a number of other side-projects. (Saying “no” is a powerful tool to help rein in your life from your own over-committal. Just do it early enough.)

However, one of the more interesting doors I did manage to record was the hinged front panel of an all-metal, 1970′s-era cigarette vending machine. This thing lives in my office, inherited from previous tenants. It’s too big to get rid of, and too odd and ironic to let go of, since none of us smoke. This object has been heard here before.

In honor of the awesome work everyone has done on this upcoming release, today’s sound is a fragment of my own aborted contribution, in the hopes that everyone will support Hiss and a Roar and pick up the collection when it’s released.

[Sennheiser MKH 50/30 mid-side stereo pair with into Sound Devices 702 recorder]

Noise Jockey: Taking the "E" out of "e-bow."

Almost exactly one year ago, I played a steel cable on a gate with an eBow, recorded with contact microphones. I decided to give it a go with a regular bow when I realized that this gate was basically a one-stringed guitar.

Think about it: Wound metal string under tension, wooden resonator. That’s all a guitar really is. What a wooden gate lacks is thickness, like a guitar, but at more than a meter in width and height, that’s a broad-enough surface to send air molecules running for cover.

I had to rosin the hell out of the bow to make it tacky enough to grip this oversized “string.” I found that also spreading rosin on the wrapped steel cable was helpful. I tuned the cable, as much as one can, by adjusting a turnbuckle.

I recorded in mid-side stereo. Today’s sample features is comprised of one mono track totally dry, one mono track run through Michael Norris’ Spectral Blurring effect, one mono track pitch-shifted down by 1.5 octaves, and the one stereo track pitch-shifted down by three octaves. Recording at 192Hz helps for such tomfoolery.

I apologize to my neighbhors for the unholy racket that I’m sure they thought was a demonic violin 101 class.

[Sennheiser MKH 50 and MKH 30 recorded as mid-side stereo into Sound Devices 702 recorder]

Lookit that man out there. He's quite a dish.

One of the best reasons to spend a weekend with other sound recordists is a chance to try out new gear. A classic nature recording technique is the use of a microphone set in a parabolic dish.

The general public knows of parabolics mostly from seeing people use them on the sidelines of sporting events. In nature recording, they’re for capturing species-specific sounds rather than ambiences. This is because the microphones in parabolic dishes are mono, and have sound pushed into them by the dish itself. This creates a very narrow “beam” of listening. Perceptually, parabolics seem like they “zoom in” on sounds, but this is simply due to such microphones just attenuating all the sounds outside that narrow cone.

Parabolics are also interesting because the frequency response is directly tied to the size of the dish. For most song birds, this is fine. Besides, making and transporting a 17-meter-wide dish just to get a 20Hz-20kHz frequency response just seems silly. At that point, you’re practically into SETI territory! :-)

I got the chance to use one at the Nature Sounds Society Field Workshop. The unit you see in the photo above was the one used by the founder of the NSS, Paul Matzner, so I was holding a bit of history: Hand-made of fiberglass and aluminum, the NSS archives have lots of photos with Matzner holding this thing. Had I looked at the archives before heading into the field, I’d have gotten a way better handling technique. Holding it by its edges introduced horrendous amounts of handling noise.

Today’s sound is from this unit, recorded at 5:01am at Yuba Pass, off California Route 49. As far as I can tell, this is a chestnut-backed chickadee. You can tell, even in this recording, he’s got a lot of pals around (woodpeckers and sparrows at least).

[DPA 4006 omni microphone in custom 1m parabolic dish into Sound Devices 702 recorder]

Neither dirt, nor fog, nor clouds of mosquitos keeps a field recordist from his crack-of-dawn tasks!

I’m finally unpacked and rested from the inspiring (and exhausting) 26th Annual Nature Sounds Society Field Workshop in California’s Sierra Nevada. Since my last post was a compilation of high-level personal experiences, I thought that I’d report back about what worked, or didn’t work, in the field on the technology side of things…as well as share a recording from our first early-morning field session.

• Outdoor Gear. My REI trail stool was instrumental in keeping my body still (I can be a fidgety so-and-so), the importance of which can’t be understated when your preamp gain is at 80% of maximum and you can hear birds’ wing flaps 20 meters away. [Hint: For nature recording, more layers of softer materials - like fleece, soft-handed polyester, and wool - are the best for staying warm and silent. Consider gaffer-taping your metal zippers, too!]
• Microphones. My primary MKH 50/30 rig performed brilliantly, with a strong signal-to-noise ratio even in the quietest moments. I also got a chance to try out a rather large parabolic microphone…more on that in a later post. [Hint: If you want a mic for nature recording, you need to be looking in the <-16dBA self-noise range, the lower the better.]
• Recorders. The ol’ 702 worked its usual wonders. I monitored as mid-side in the field, only converting to left/right once I returned. A +8dB side signal using Tom Erbe’s +Matrix plug-in made for a wide, enveloping sense of space without losing center imaging.  [Hint: Batteries drain faster when cold. Store spares inside your jacket, or in your sleeping bag with you overnight!]

The gear list across everyone was pretty insane: many Olympus LS10 recorders, several Sound Devices 744T’s, a Sony PCM-D50, and mics from DPA, Neumann, Røde, Sennheiser, and Telinga. Recording techniques varied from mono to mid-side stereo, XY stereo, ORTF, Jecklin discs, and even two binaural dummy-head rigs (see this site for a good explanation of all this alphabet soup). An outdoor mic directionality seminar helped to illustrate what each is good for, which was a rare opportunity and extremely educational.

Yeah, yeah, whatever. But what did it sound like?

Today’s sound was recorded around 5:45am on a day with a slight breeze and scads of ground fog. The location was Sierra Valley, north of state route 49 in the Sierra Nevada. This recording includes at least swallows (cave or barn, I’m unsure), American bitterns, red-winged blackbirds, white-faced ibises, yellow-faced blackbirds, and a bullfrog, and certainly more that I can’t identify.

Get those headphones on and close your eyes…

[Sennheiser MKH 50 and MKH 30 recorded as mid-side pair into Sound Devices 702 recorder]

I’m just back from the 26th Annual Nature Sounds Society Field Workshop. I thought that I’d share some video diary entries that I shot with my new iPhone 4. As far as I know, this is the first time that video of this workshop has ever been seen online.

I’ll be sharing more of the learnings, experiences, and recordings in the coming weeks. For now, I hope you enjoy this set of dispatches from the field.

[You can read about the gear I took with me in a previous post.]

I thought it might be interesting to share what I’m bringing with me to this interesting outing. (Well, OK, fine, I really needed to make a packing list and I just suckered you into reading it.) Later this summer, I’ll not only share some recordings and photos from the field workshop, but will recap the gear used and how it all performed.

So, what am I bringing?

Personal Gear

• Permethrin-treated clothing, bug headnet, insect repellent, and waterproof hiking boots. The Sierra Nevada had a very wet winter and the entire mountain region’s spring is about a month behind schedule. This will mean one of three things: Snow, soggy ground, or mosquitos (ooh, maybe all three!), depending on local conditions and the locations we travel to. Any recording will be ruined if I am rustling due to bug-laden distraction. [Side note:DEET is pretty awful stuff, but I've tried many alternatives in the Sierra Nevada with zero success over the years. It can melt plastic on contact, so wearer beware!]
• REI Trail Stool, chosen to keep my behind high and dry for being the sturdiest, lightest-weight stool I could find.
• Petzl e+LITE headlamp. While I use even lighter-weight LED lights for backpacking, the Petzl could be handy for navigation around camp and for gear setup, given that our wakeup calls could be as early as 3:30am. This’ll be clipped to whichever recorder I bring.

Recording Gear

• Sennheiser MKH 50 and MKH 30 mid-side stereo microphone rig. A variant on the nature-recordist standard MKH 40/30 pair, I happened to invest in the MKH 50 because its hypercardioid pattern is much more useful the mono effects I capture in the field. This creates a bit more of a focused center stereo field, which I’m usually OK with. This rig will be mounted on a Rycote stereo suspension and inside a Rycote windshield.
• Røde NT4 XY stereo microphone. My one backup mic will be securely wrapped with a dessicant pack unless needed, in a bag with a Røde Blimp. [Handy hint: Use a windshield like a mini box of its own. Use it to carry other stuff, from windbreakers to unmounted mics. Way smarter use of space in a bag or pack.]
• Sound Devices 702 field recorder and Fostex FR-2LE field recorder. Given how remote this area is and because, well, $#!% happens, I’m bringing the FR-2LE as a backup. I’ll have two batteries for the 702, and both a battery sled with NiMH AA batteries and a RC-style Tamiya rechargeable battery for the FR-2LE, all fully charged the day before I go. Both recorders will be in model-specific Portabrace cases. I only use SanDisk Compact Flash cards, and will have two 4GB and two 8GB cards with me.

Grip & Cases

• Slik SprintPro Tripod. Does for my mics what the trail stool will do for my ass.  I’m connecting the mics’ Rycote grip to the tripod head using a simple 1/4-20 to 3/8″ bushing and, as a backup in case that gets lost, a Manfrotto quick release system with a 3/8″ QR plate.
• LowePro Magnum 200 case. This will hold all the extras, bits, and bobs I might need: the Røde NT4, Rycote Windjammer and its comb, screw adapters, tools, 2 backup CF cards, Rainman cover, and boom pole. This’ll probably live in the trunk of my car; I don’t anticipate shlepping it into the field.
• My trusty adventure-racing-style Solomon backpack will carry all my personal effects for our outings, including extra sunscreen, clothing, rain gear, water, camera, and snacks.
• Depending on the length of the hike to our recording locations, I may wear my recorder on my chest with a LowePro chest harness.

Wish me luck, and more info soon!

European Starling, hero mutterer and goer-on-forever.

[Photo by donjd2 (CC)]

The European Starling is a common bird that yammers like a manic street preacher. They have a really varied voice, quite expressive for standard birdsong.

I recorded one in my backyard and found that the frequency content really held up well under creative processing (unlike the raspy, high-mid-peaked calls of crows). Today’s sample is a continuous utterance from a starling that’s been pitched down 800 cents and run through the GRM Tools PitchAccum filter, which I just adore for thickening sounds in unusual ways.

For me, it’s evocative of an exotic or alien ecosystem, especially with those other weird R2-D2-like tones in the background…but, again, the vast majority of those tones are being made by a single Starling.

[Sennheiser MKH 50 into Sound Devices 702 recorder]

Recording crows...it's murder, I tell ya.

Thanks to SocialSoundDesign.com, I’ve discovered the joys of iZotope RX, an amazing noise reduction tool that has made real one of my hopes: To capture reasonably clean sounds in my own back yard. I live pretty close to a major highway, so getting usable recordings has been impossible up until recently.

A neighbor’s willow tree harbors a very chatty and schizophrenic-sounding European Starling. While recording some of its yammering, a crow flew in, circled over me three or four times not more than 20 feet overhead, and then left, as if to warn me that I was too close to the community tree in Birdsville. I tracked him with my mic as he flew. Well, after that, I packed it in. It wasn’t going to get better than that.

The sounds of the background are still there, of course, but much less prominently than they were. The crow was close enough and I tracked accurately enough that while there’s a volume dropoff, there’s not a lot of apparent Dopplering. The caws are fairly shrill, so don’t turn this up too loud. (Note: From a sound design standpoint, pitch shifting crow vocalizations down doesn’t sound that interesting. They sound like asthmatic dogs coughing up a cat’s hairball, and not in a good way.)

[Sennheiser MKH 50/30 mid-side stereo pair with into Sound Devices 702 recorder]

The San Francisco Museum of Modern Art.

The San Francisco Museum of Modern Art was pretty dead when I got there. The bright, sunny day drove most people outside, and it was a bit early in the day. What I recorded, therefore, was as much the sound of the building as the people within it.

SFMOMA is built around a 6-story-tall cylindrical atrium. topped by a suspended interior footbridge. I recorded on each landing of each floor, all the way up to the bridge. I also recorded in a few galleries with varying amounts of people in them. The reverb was astounding, with long decays and high-frequency absorption that made any sound almost a drone. With light attendance, the building channels sound in such a way as to render it calming and enveloping.

Museums tend to be genuflective, introspective places. They have a reputation as being places to whisper, hold your chin and nod as you look upon the works. With this in mind, I found that SFMOMA’s art galleries and its public spaces have related but different acoustic properties.

Overall, the museum’s interior uses hard surfaces to blur sound through constant reverberation. Its gallery design rewards genuflective behavior by being so reverberant that moderate voices blend in with the sound of the air conditioning, but the space is sectioned off into small-enough chunks that loudness is punished by having it carry above the blurred hush, attracting the attention of fellow visitors…and security guards. Its atrium, however, is so vast that all sound is blended together; even young children can squawk and chirp without making other patrons jumpy. This experience left me wondering how an anechoic museum would change patron behavior.

The SFMOMA atrium from the 6th-story footbridge.

On the technique side, I wasn’t sure if I’d have to check my bag at the desk, so I came prepared. In my messenger bag I had my main rig: A Sound Devices 702 recorder with a pair of DPA4060 lavalier mics. I wore a pocket-laden coat with my Zoom H2 and Canon S90 camera, just in case. Thankfully, bags are generally allowed, so I tracked on the 702, but I monitored with iPod earbuds to stay a bit more stealthy. I clipped the 4060′s to each side of my bag, and appeared to read the museum map while recording. This also helped me to focus and stay still during three- to six-minute-long takes.

Today’s sound is a mix of moments from these interior spaces, no processing other than some gain increases.

[DPA 4060 microphones (spaced-pair stereo) into Sound Devices 702 recorder]