Jupiter -  Nasa Voyager Space Sounds

Here is comparison of two microphones on inear thunderstorm with ravens and other birds in background.
0 - 2min40s First recording is stereo Sennheiser MKH 40 - with DIY windshield
2min40s - 5min17s Second is Earsight Omni stereo (separated around 1m)
5min17s - end   Last is MIXed both together
Recorder ZOOM F6

Some recordings are available on bandcamp or better CONTACT me on e mail kkavitec@gmail.com - check it here:

gregorvida.bandcamp.com/community

My youtube channel:
www.youtube.com/channel/UCXJShm7wdmdq70_2_iq3yWQ

Instagram: www.instagram.com/gregorv_field/

Thunder and birds - comparison microphones Sennheiser MKH40 and Earsight

This soundscape forms the audio component of the Bats In Churches multimedia installation "On a Wing and a Prayer" by Ilene Sterns.

These sounds were recorded in Summer 2022 during more than a dozen surveys for the Bats In Churches project in Wiltshire, Gloucestershire, Oxfordshire and Somerset. The recordings feature Common and Soprano Pipistrelles, Daubenton's Bats, Brown Long-Eared Bats and Lesser Horseshoe Bats, echolocating for navigation and emitting 'social calls' to let other bats know of their presence. 

To capture the bats' ultrasonic sounds these recordings were made at 384kHz, which is much higher than CD quality audio which is at 41.1kHz. To make the sounds audible to humans the recordings have been slowed down by a factor of 16. This has three effects. Firstly, the sounds are lengthened by 16 times, so one minute of audio represents less than four seconds of bat time. Secondly, the apparent size of the church is increased 16 times, making the echoes huge and haunting. Finally, the sounds are dropped by exactly four octaves, retaining their harmonic relationships and keeping the musical beauty of the sounds intact. 

The sounds have been mixed together to give an impression of how the interior of a church sounds to bats during the night when they are flying. This two and a half hour recording represents just 10 minutes of bat time, and the bats keep this up throughout the night, unseen and unheard until now.

Sound editing by Phil Atkin.

Immersive batscape sounds for "On a Wing and a Prayer"

Join us on an immersive 3D-audio virtual soundwalk through the streets of central Paris.  The listener is taken on a journey starting within the insulated walls of the Louve Museum, then over the Pont Des Arts bridge, then meanders along the Seine River, where you can hear distant buskers and the iconic French Police Sirens, Listen out for the many bicycles and cars driving over the cobbled streets. The journey carries on through the hip Latin Quarter and eventually ends in front of the famous Notre Dame Cathedral. 

We hope you enjoy this soundwalk. Do check out some of the other content on the channel and for more information about the importance of soundscapes and to learn a bit more bout the work of Sound Matters, check out www.sound-matters.com.

Recording equipment used:

- DPA 4560 Binaural microphone
- Iphone with Hindenburg HQ 24-bit recording software

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A 3D-AUDIO SOUNDWALK ALONG THE RIVER SEINE, PARIS.

Mating Common Frogs

A pack of wild Eurasian wolf howls after sunset in mountain forest of Vercors.
One male starts howling, quickly joined by the others in what might most probably be a rallying cry.

We can hear, behind the stridulating insects (Upland Green Bush-cricket), European edible dormouse squeaking and throwing things from the top of the trees.

Vercors, France, Late summer.
2023-09-15 23:30

Recorded by Grégoire Chauvot & Mélia Roger

Illustration CC0

Eurasian Wolf, Wild pack howling in the mountains - Mélia Roger & Grégoire Chauvot

Example 1 – H2a, DIY, H2a, DIY, H2a (every 8 seconds)

This clip presents two simultaneously captured field recordings, made on two different microphone arrays, set up side by side, to compare their ability to render a natural soundscape. 

The first example was recorded on a SASS unit modified to mount a pair of Sennheiser MKH20 omni microphones.

The second was made by an Iso-binaural array - a pair of independently baffled omnis facing 180º on a T-bar. It does not have the front/back discrimination that limits binaural in real world nature soundscape situations, where sound comes from all around. This rig is directionally neutral, yet renders lovely wide stereo. 

Microphones in this rig were Audio Technica 3032s, and description of the rig can be found here:
https://www.listeningearth.com/blog/iso-binaural-soundscape-microphone-array

Both recordings were made on Sound Devices 7 series recorders. The recording is of birdsong from east Gippsland, Australia. Distant vehicles and wave wash provide some spacial context. The recordings have been balanced for ambient volume, but otherwise unprocessed. The raw wav file may be downloaded for critical listening. 

My assessment of this trial is that the SASS creates a subjectively wider stereo image, probably due to its 'wings', however the Iso-binaural array is more balanced without any muffled sound sources as it has no rear 'shadow'. Considering the irregularities of sound in natural environments, the differences discernible are relatively slight, and far less than other stereo mic arrays I am familiar with. Both these rigs do a very fine job. The Iso-binaural is light, compact, versatile, simple to make, inexpensive, and may be a worthy option for any field recordist wishing to explore soundscapes.

There is another example of this mic array here:
https://soundcloud.com/listeningearth/iso-binaural-stereo-microphone-array-demonstration

Comparison of field microphone arrays: SASS vs Iso-binaural

"Parc naturel du Pilat" on a windy day. Trees are moving making a living sound scenery.
Recording Gear : SD Mixpre6 with 2 omni mics EM172 in a blimp + 2 contact mics.22/12/19 6h45, temp 4°C, wind speed about 60km/h. 1200m

Passer-by :  if you feel like raising your hand on me, listen for a moment before hurting me:
I am the warmth of your home on cold winter days.
I am the pleasant shade which, on hot summer days, protects you from the scorching sun.
I am the beam that supports your roof.
I am your table.
I am the bed in which you rest, the planks of which your ship is made.
I am the handle of your spade, the door of your house, the wood of the cradle in which your child lies
I am the planks of your coffin.
I am goodness and beauty.
Passer-by , listen to my prayer: do not hurt me.
(Claude BERTHIER)

Passant, si l'envie te prend de lever la main sur moi, écoute un instant avant de me blesser :
Je suis la chaleur de ton foyer aux froides journées d'hiver.
Je suis l'agréable ombrage qui, par les chaudes journées d'été, te protège contre le soleil brûlant.
Je suis la poutre qui soutien ton toit.
Je suis ta table.
Je suis le lit dans lequel tu reposes, les planches dont ton navire est fait.
Je suis le manche de ta bêche, la porte de ta maison, le bois du berceau dans lequel repose ton enfant.
Je suis les planches de ton cercueil.
Je suis la bonté et la beauté.
Passant, écoute ma prière : ne me fais pas de mal.
(Claude BERTHIER)

A windy day in the woods / Vent dans les arbres

Comparison of nature soundscape microphone arrays by Andrew Skeoch and Doug Quin. 

4 microphone rigs were set up side by side, all axis aligned: MS (DQ), SASS (AS), Soundfield SP200 Ambisonic (DQ) and Iso-binaural (AS). 

All recording onto Sound Devices 7 series recorders at 24bit, DQ at 48kHz, AS at 44.1kHz. DQ's raw levels were quite low. The MS rig was close to the ground (see pic)

MS: Sennheiser MKH 30 + MKH 40 in Røde blimp
SASS: pair Sennheiser MKH 20s in Crown SASS head
Ambisonic: Soundfield SP200 Ambisonic, upright in Røde blimp
Iso-Binaural: Pair Sennheiser MKH 8020s, ~20cm apart, oriented 180º with convex baffles 

Location: Wet sclerophyll forest in small gully, Lower Gellibrand River, Otway Ranges, Vic. 18th February, approx 7am (post dawn chorus)

The ambisonic microphone can be rendered into almost any configuration, using Harpex proprietary software. DQ created several different renders as examples of what it can do. Screen shots of the software settings for reference. The MS rig has been decoded to stereo wide. 

In preparing edits,  DQ's files were down-sampled to 44.1 and everything to 16bit. Levels are subjective; all files have been normalised referencing the noise floor. This means some of the ‘noisier’ mics have been attenuated slightly to balance, thus reducing peak birdsong levels.

Nature Soundscape Microphone Comparison

Iso-Binaural

Uranus sounds NASA-Voyager recording[     ]

I'm a sounds fan. Rather naturals. In an artistic, sociological or contemplative aproach.  I started to be realy interested in bioacoustic studies. Making DIY microphones projects (multicanal technic , hydros, bat recorders..) and home made wind protections.

"What can we know except that the only way to be alive is the independant and disinterested descent into our feellings"
Joseph CZAPSKI

A windy day in the woods / Vent dans les arbres

Sonic Paths - Le chant du monde

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