A short soundscape composition, an interpretation of bamblebee bzzz sound,  based on the slowed down recording of the bamble bee flying in the room.
The original recording was slowed down in 4 times. The result is very similar to the motorcycle enginge.

SLOW MOTION

BumbleBee Dream feat. Harley-Davidson

Two Tettigonia Cantans recorded in the field near Saku, Estonia, July 2018. 
In close proximity (20cm). And a second one is in about 1m away. Looks like they are having a dialog.
Schoeps CCM41/CCM8, Sound Devices 744t. Originally in 192 SR.
The track consist of the original recording and slowed down versions x2, x3, x4, x5 and x7 times plus a short composition out of these versions.

Tettigonia Cantans' dialog. Saku July 2018

A short sample of a song thrush (if I'm not mistaken) song recorded with stereo microphone setup (MS, with Omni as Mid) and Telinga parabolic reflector. 
At first you hear only stereo recording (the bird is in aprox. 30m), then the recording from parabolic comes in and you can hear the bird sounds much closer but the stereo track plays along. In the end the stereo recording fades out and you hear only the sound captured by parabolic.
Sound Devices 744t, Schoeps VMS5U, CCM5 (omni)/CCM8,  CCM5 (cardioid) for parabolic. Low cut - 400hz 12db octave on parabolic)

Song ThrushTEST (MS stereo and Telinga parabolic). Pirita, Estonia, 2018

Bumblebees recorded from flower's perspective.
A tiny mic is hidden inside the flower to capture bee's landing sound.
Mixed (subtly) with a stereo ambience of the field.'
Field recording as cinematography can use angle, perspective and point of view as its creative tools. 
Take a breath and imagine yourself as a flower for 3 min.
Recorded with Sound Devices 744t, Sennheiser MKE1, Ambient EMP5s phantom power adaptor, Schoeps CCM41/CCM8.
Near Aegviidu, Estonia, August 2018.

BumbleBee Inside The Flower. Stealth Lavalier

Baltic Sea. A short Yaht trip soundscape
Recorded with Sound Devices 744t, Schoeps CCM41/8.

Yaht Sound Jorney

An experiment/test for LCR speaker array or LR with a strong phantom center. 
3 parts: Parabolic reflector (mono) Solo, Spaced supercardioids (stereo) Solo, MIX.
Several crows are spread on the trees from left to right. One is in the center and around 12m away.
Two spaced Supercardioids (Schoeps CCM41, 60cm, 110 degree)+ Telinga parabolic reflector with Schoeps CCM5 cardioid.
Notice when parabolic is added the localization of crows on the left and right does not change, but the crow in the middle comes closer and gets a strong position in the middle of the stereo image. This is hard to achieve just with a cardioid or supercardioid in the middle, it tends to narrow the stereo image.

CROWS - Spaced Supercardioids + Parabolic LCR MIX TEST

Recording a metal creak of a dock in the harbour
A mix of ORTF microphone setup ~1m away from the source and a contact microphone attached to the handrail.
1 st sample - ORTF solo
2nd - Contact solo (a bit of reverb added for to widen a mono signal.
3rd - Mix of both, the signal from contact mic is panned a bit to the left to fit the localisation of the creak in stereo image from ORTF 
Schoeps CCM5, Aquarian H2a, Sound Devices 10T

Metal Creak Harbour ORTF plus Contact mic

A bit from Hiiumaa soundscape recorded from the top of Red Lighthouse in June 2016
Recorded with Schoeps CCM41/CCM8 and Sound Devices 744t

Lighthouse Roof Summer Soundscape - Hiiumaa

Baltic Sea Ice. Passing by on the boat

To see how the city soundscape has changed after people got isolated. 
There are two recordings which has been made on Sunday at Tallinn Hippodrome approximately same time. Second one is a week later, when people took quarantine meassures more seriously. You can hear how quiet became the city noise in the background. Sparrows are happy all the time, though.
Recorded with Schoeps MS, Mixpre 10t.

Sparrows Before and After Quarantine

Here is a test of two preamps. Mono recording with 2 Schoeps CCM5 Omni. 96khz. Gain level set equal by playing a pinknoise. No low cut filter. Recorded CCM8 fig8 in parallel for other test.
Interior, room, clock is around 3 m distance. Closed windows, some traffic. 
There is an original recording as it is, plus various processed with EQ bits. The idea is to unveil the information in highs and lows and also to see better the hiss noise. For same reason there is a looped tick which was slowed down by downsampling to 48.
1 - original, 
2 - 2khz +9db shelf, 
3 - 200Hz +15db Shelf, 
4 - tick loop x2 slow 48sr, 
5 - tick loop x2 slow 48sr 2khz +9db shelf, 
6 - tick loop x2 slow 48sr 200Hz +15db Shelf, 
7 - hiss balance with other track (eq high shelf boost (by ear) to less hissy preamp track to make hiss noise equal on both but to see how usefull information in highs differs)

Preamp_Test_SD744_vs_M2D2_Schoeps_Omni_Clock_Tick Track2

Preamp_Test_SD744_vs_M2D2_Schoeps_Omni_Clock_Tick Track1

Here is a second test of two preamps. This time the +20db switch on M2D2 is ON.
Mono recording with 2 Schoeps CCM5 Omni. 96khz. Gain level set equal by playing a pinknoise. No low cut filter. (Recorded CCM8 fig8 in parallel for another test).
Interior, room, clock is around 3 m distance. Closed windows, some traffic.
There is an original recording as it is, plus various processed with EQ bits. The idea is to unveil the information in highs and lows and also to see better the hiss noise. For same reason there is a looped tick which was slowed down by downsampling to 48.
1 - original,
2 - 2khz +9db high shelf,
3 - 200Hz +15db low shelf,
4 - tick loop x2 slow 48sr,
5 - tick loop x2 slow 48sr 2khz +9db high shelf,
6 - tick loop x2 slow 48sr 200Hz +15db low shelf,

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