Library Demo: Okefenokee Swamp | Ambient Swamp Sounds

Sirenentest_Kassel_2019

Avro Vulcan  B2 - XL426 Jet - Engine Warm Up
Runway taxi-run

24bit  44.1khz (Original recorded in 32 bit 192khz audio-stereo)
Photo: Carl Perkins

Full sets: aerobluesounds.bandcamp.com/

Original location recordings from the world of aviation.
High quality recordings with minimal background distractions.

Avro Vulcan - Engine Warm Up

Just going thru some files from the spring and forgot to post this one. Likely because it was too short, the bird sadly flew off. I could have recording this combo for hours though with that cuckoo in the background too. 

Gear: Sound Devices MixPre 6 ii / Schoeps mk 4 inside Telinga Dish + Stereo Mk 2's

Willow Warbler - Cuckoo Cast MixPre-7706

Sullen

Recorded under cliffs in Alps - no wind was that night so there was almost complete silence . 
Owls and later falling rocks from cliffs which was maybe trigger by some animal walking high above microphones.
Edited with EQ 
Microphones ORTF Mkh40 Sennheiser
Recorder Zoom F6
Slovenia Alps
10192025

Autumn Night Under Slovenian Alps – Owls and Falling Rocks from Cliffs

from a draft of an episode I’m producing for a sound-rich history/culture podcast created by a fellow AIR member

featuring: 

Michael Bull, emeritus professor of Sound Studies at the University of Sussex and author of an upcoming book on “the sonic experience” of WW1. This includes colonial voices and experiences left out of other histories. 

WW1 veteran Edward Dwyer singing;  assuming it is in the public domain but will confirm; hard to go wrong with this clip and it has appeared in other work so it was mostly about figuring out where to place it in its entirety for maximum impact

clip from the "No Man's Land" episode

Mallorca April Frog concert at night. Recording MS

Mallorca Frogconcert

Taurids 1,  Nov 5

A compilation of Sika deer tri-whistle calls, recorded in County Leitrim during the rutting season (September to November). These were recorded using unattended AudioMoths, hence the distant and quite noisy quality. Worth noting that despite its name, the last example is composed of 4 calls, then again the call is shorter/faster than the 'proper' tri-whistles.

"Sika deer originate from Japan, These were introduced by Lord Powerscourt in 1860. A few years later some were moved from Powerscourt (Co. Wicklow) to enclosed parks in Fermanagh, Kerry, Limerick, Down and Monaghan. The present wild deer herds mostly originated as escapees from these parks in the early 20th century." (Irish Deer Commission, 2022)

Species: Sika deer (Cervus nippon)
Date and time of recording: 6 October 2021, 4pm
Location: County Leitrim, Ireland
Habitat: Forestry plantation
Gear: Open Acoustic Devices AudioMoth mixed with Sennheiser Mid-Side setup for background ambience
Picture: Ashtonpfaffen (Wikimedia Commons CC3.0)

Recorded for the Arney Aquatic Acoustics EU Interreg project.

Sika Deer Tri-Whistle (Medley)

Although my ideal is to make and share nature recordings free of anthropogenic machine noise, I'm not averse to sitting through first light and dawn in natural places that I know very well will be noise-polluted - simply because I want to hear (and record) dawn choruses in such places, even if I will never, or rarely, share such recordings publicly. At different places, and at different times, dawn choruses are always quite different. Despite intrusive and discordant noise, I still want to experience and to hear what the birds and other animals will say (express, manifest) in such places, and how that will sound in each such physically different space. I feel that I owe them the respect and the effort to set up my recording gear, settle down, and listen and record through the darkness into first light and dawn. I don't wish to avoid, ignore or spurn them just because they have no choice but to exist and to  live their lives in the midst of abrasive human noise. To the contrary, I feel it's deeply important to experience, acknowledge, and respect their lives, their lifeworld, the reality of their way of being, precisely because they are not fortunate enough to live freely and naturally, there where they are and must be. Before I leave, after sunrise, I always thank them, and apologise to them for what the species to which I belong has inflicted upon them (and upon itself), and pray for their future protection and well-being.

This, then, is one of those rare occasions when I have decided to post an excerpt from just such an attended dawn recording, mainly because I find it fascinating and informative, and amusing. To my mind, it provides yet more evidence that Blackbirds (which aren't native to Australia, but released here by English settlers) and native birds don't really get on very well. The conflict or competition is not physical or violent, but expressed through 'voice' and creativity. In this instance, the Blackbirds seem to be ousted and chased away by some extremely vocal and virtuosic Grey Shrike-thrushes. (I should point out that I don't think of what birds do with their 'voices' as 'song' or 'music'. I think that such a notion is merely a somewhat fanciful human interpretation and imposition.)

Another, lesser, reason for posting the excerpt is because it is another exploratory mid-side recording (with a super-cardioid mid mic), made in parallel with an ORTF recording (with a pair of cardioids), which hasn't been posted, here.

2025.11.12 Dawn at Cudlee Creek. Spring. (Excerpt. Mid-Side.)

𝔈𝔵𝔭𝔩𝔬𝔯𝔦𝔫𝔤 ℌ𝔢𝔞𝔯𝔦𝔫𝔤, 𝔱𝔥𝔢 ℌ𝔢𝔞𝔯𝔞𝔟𝔩𝔢, 𝔞𝔫𝔡 𝔱𝔥𝔢 ℌ𝔢𝔞𝔯𝔢𝔯, 𝔞𝔰 𝔞𝔫 𝔈𝔳𝔢𝔫𝔱, 𝔞 𝔐𝔬𝔡𝔢, 𝔞𝔫𝔡 𝔞 𝔇𝔦𝔪𝔢𝔫𝔰𝔦𝔬𝔫 𝔬𝔣 𝔅𝔢𝔦𝔫𝔤.

2025.11.12 Dawn at Cudlee Creek. Spring. (Excerpt. Mid-Side.)

𝕳𝖊𝖆𝖗𝖎𝖓𝖌 𝕭𝖊𝖎𝖓𝖌𝖘