Test of the on-board mics on the TX units, used as a stereo pair at 46cm spacing. In a holly tree in the garden in breezy weather.

Rode Wireless GO II test - ambience test 2

This morning I recorded a Cicada orni with Hi Sound Evo 4 AOM capsules parabolic microphone. 
The insect was at about 20 meters far from me at an height of about 10 meters from the ground on a chestnut tree. 
Pointing down the dish towards the asfalt surface I noticed the reflection of the sound wave emitted by the cicada. 
Then I recorded in this position, with the dish pointed pointed to a meter from me, down to to the ground at about 90 degree related to the sound source.
The maximum energy of the sound was at about 5000 Hz. 
This is a section of the file, at the beginning pointing directly towards the subject and later pointed down as previously described.
Yesterday I had the same experience with another smaller specie of cicada the Dimissalma dimissa, with a maximum energy at a frequency around 14000 Hz. 
In this case too I obtained the recording pointing the dish directly to the ground, towards the reflected wave.

Cicada orni Air emission- Vs - Ground reflection

Last year I started to make a mid-side mic, but it wasn't until recently that I finally finished the project!

Taking inspiration from the multi-clippy microphone setups to improve SNR I decided to take a similar approach for a mid-side setup. The mid channel consists of two parallel EM264 cardioid microphones while the side consists of two parallel EM283 figure eight microphones. The microphones are attached to a 3D printed part to hold them inside a donor BM800 microphone body along with a Schoeps style balanced preamp I made. 

Not a particular exciting recording, but the purpose was to test the stereo imaging of the microphone. The recording was taken out side near a road where you can hear some birds chirping away as well as some trucks and cars driving.

Some tech specs:
- Audio Interface: Sound Devices MixPre3-II
- Depth Rate: 96kHz, 32-bit float
- Gain: 60bB
- Mid Channel: Parallel EM264 Cardioid
- Side Channel: Parallel EM283 Figure Eight
- Mid-Side Decoding: GoodHertz MidSide 3 (Natural Width Mode)

Mid-Side Microphone Test

The snoring tree, recorded with a contact microphone.

Sleeping like a log - the snoring tree, 23-10-08

English version here > https://soundcloud.com/radio-safari/diaries-1-eng

Mesi, anni in cerca di loro. Di un segno, un avvistamento, un richiamo.
La prima delle nuove esplorazioni sonore di Radio Safari.

Iscriviti su www.radiosafari.eu per ricevere podcast e aggiornamenti, e se ti piace Radio Safari, SUPPORTACI! con una donazione libera su https://ko-fi.com/radiosafari

Grazie a Bof (www.instagram.com/emmaboftramontana/) per le illustrazioni e Julian Izzo per la traduzione della versione inglese.
Musiche di https://soundcloud.com/ssiege
Sigla iniziale e finale sono del nostro misterioso autore @infinitedelta

Scopri di più sulle popolazioni italiane di lupi grazie a:
https://www.iononhopauradellupo.it/
https://www.lifewolfalps.eu/en/
https://www.parcoabruzzo.it/pagina.php?id=505

Radio Safari Diaries #1: il Lupo, the Wolf [ITA]

Bitterns in the early hours, joined by a cacophony of ducks and other species (coots, the odd goose etc)

Bitterns And Mallard Ducks

Herons, Cranes, Grebes, Geese, Ducks, Cormorants.

Heron Roost + more

Out of all digital recordings that I have made since 1991, this is the one I love the most. The bird is magic. 
Recorded with a Telinga stereo parabol and a Sony DAT TCD-D3 machine in June 1991. No filter.
You don´t need headphones for this track.

Whinchat

Long-Eared Owl

AOM - 5024 Vs. Primo EM272

This test is comparing the self-noise of the Sony PCM-A10 and the Olympus LS-P4 at various gain settings using external microphones (Clippy EM172). Both recorders allow gain settings from 1-30. I recorded the same sound source (quiet ticking clock) at levels 1, 5, 10, 15, 20, 25 and then 30 simultaneously on both recorders and then normalised the levels in Reaper. I then had to do quite a bit of manual correction of the levels because there were some low frequency sounds that were louder than the ticking clock and which were messing with the normalisation process. Recordings were made at 24/48 WAV.

In this recording you first hear the Sony at gain level 1, followed by the Olympus at gain level 1 and so on up to level 30.

As shown in an earlier test the Olympus exhibits much higher levels of self noise at lower gain settings, with a noticeable improvement coming at level 20. This means that when recording quiet scenes, it is worth taking the risk of setting the gain high to minimise the recorder self noise.

The Sony behaves quite differently. At gain level 1 the noise is quite terrible  but at level 5 there is a sudden improvement and in fact there is almost no difference between the noise at level 5 and level 30. This seems to suggest that you can be much more conservative with setting the gain on the Sony to avoid clipping, and increase the levels later in post with no apparent self-noise penalty.

Cicada orni Air emission- Vs - Ground reflection

Marco Pesente

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