I enjoyed the native sounds of these animals to such a degree I didn't want to adulterate them with an excess of effects. I wanted the animals chosen to be distinct from one another. 
     First I sought out the Blue Whale for it's the largest of animals and surely could bring some bass to the piece. Next I looked to bears for a roar and was disappointed to find the Sun Bear and others available are strongly reminiscent of a dog barking. I want to hear the sound of a charging Grizzly but appreciate capturing this sound would endanger the recorder beyond even a professional enthusiast's interest in perfecting a sound library. I found a boar provided a respectable replacement noise with segments of the file offering rhythmic repetition rife with potential. Next I went to cicada recordings. In Virginia, one of our x-annual cicadas produces the very whirring thrum some uncredited foley artist introduced to old sci-fi b-movies to describe the sound of a flying saucer. Among the Macaulay collection there wasn't this particular cicada but I found an alternative which excited me more. It varied the pitch, tightness, and spread of its' call like a drummer closes or opens his rolls so you may hear every individual stroke or a smooth uniform bounce. With the Blue Whale baseline and cicada/pig rhythm section I needed a high-treble animal to add some punch. I tried a variety of cranes because they look beautiful and are associated with grace. The different species sounds weren't differentiated enough in their sonic qualities to make me weigh heavily for or against one choice. So I selected the Red Crane of Japan because the Japanese, more than any other people I know of, have a cultural affinity for their crane. 
       Remembering how my first piece was more of a steady space, I wanted to construct a counter-point with definitive events. When a listener told me she found the sounds of the piece frightening, I knew I was on the right track. The sound was effectual. Building up to it and coming down from it would counter-intuitively make it starker in the audio landscape. I thought I was done with the piece but it nagged at me as unresolved. I returned to it trying to make the sun sounds more prominent in the mix of the latter portion than they had been in the former. Instead of padding out the length of my work's middle section I went for a false ending. It's a technique which has impacted me well in works I've listened to so I hoped it would likewise impress whatever audience heard it. 

Alarming Violent and Scary

I attempted to record a helicopter. Although it was clearly audible in person it wasn't picked up by my recording mic. Helicopters fly over my area often, sometimes multiple times a day, so I hoped to get another chance to try capturing the thrum of one's rotors. Alas, the opportunity didn't present itself. Listening over my audio I found there were several distinct snippets of bird conversation. I chose the one which most appealed to me for its' clarity. The sounds made are so similar they could be described as constituting a singular sound. Because this basic sound is repeated and changed in pitch, identifiable as multiple separate events, I refer to it as some sounds. 

Bonetongue

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