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ecommendations for Bird song recording

Subject: ecommendations for Bird song recording
From: "Neville Recording" <>
Date: Fri, 3 May 2002 18:12:39 -0700
To Gernot Huber;
We are about to put this article up on our web page www.nevillerecording.co=
m
but have also posted it here.
How to Get Started in NATURE RECORDING

by John Neville

If you like the outdoors, enjoy the sounds of birds and frogs, don't mind w=
orking alone, NATURE RECORDING might be for you. Like Nature Photography, y=
ou need the right conditions and good equipment. The more time you can give=
 to the hobby the more opportunities or luck you will have making good reco=
rdings.

Typically, dawn is the best time to be out recording. The birds are proclai=
ming their territories. This is also the time of least human activity. A go=
od NATURE RECORDING must be free of background cars, trains, mills etc. Nat=
ure itself can also provide unacceptable background noises: rain, wind or l=
oud waves!

It might take weeks or even years to obtain one special recording but the r=
esult can be magical and the memories last a lifetime. For example, I recor=
ded a pair of Northern Cardinals near Long Point in May 2000. It was dawn a=
nd the Cardinals were the first to begin singing. There was no wind, in fac=
t , it was a perfectly still morning. There was only minimal sound from a n=
earby creek and the birds were only 5 meters away. Their rich whistled note=
s were truly beautiful. In my mind , it was a moment shared with the birds =
and never to be forgotten.

EQUIPMENT

At its simplest, we need a recorder and a good microphone . Having said tha=
t, there are many kinds of recording machines and microphones. Traditionall=
y, reel to reel, cassette and R DAT tape recorders have been used. All of t=
hese are still available and can produce excellent results. My first record=
er was a Marantz cassette machine which was easy to operate. By way of illu=
stration, a friend of mine is using a 30 year old reel to reel recorder wit=
h great results. Once upon a time , that same machine was being used to cre=
ate the first Solitudes recordings. In 1993, Sony released the first MiniDi=
sc recorders . It is this technology that I am going to recommend to the be=
ginner who is currently looking to buy their first recorder.

MiniDisc Recorders

"Walkman"- sized recorders can fit easily into a pocket! Their portability =
is one of the great benefits to the nature recordist. They utalize an audio=
 compression algorithm based on psychoacoustic principals, known as ATRAC. =
This system emphasizes the signals which best match the human auditory syst=
em (from the ear to the brain).The overall signal is compressed to 1/5 th o=
f the original input with very little loss of quality to the human ear. Min=
iDiscs record in digital format on a disc 7 x 7 cm, giving 64 minutes plus =
of record time . The transfer of sound to the MiniDisc occurs via a laser b=
eam. Because there are no moving parts involved ,this technology is not onl=
y reliable but very tolerant of extreme temperatures and jungle humidity!Th=
e Sony MZ-R30 and MZ-R50 are no longer being made but recordists still try =
to buy them second hand.The latest models MZ-R 700 and 900 are even smaller=
.The Sharp company also produce a good line of modestly priced MiniDisc rec=
orders. You can transfer Minidisc recordings directly to your computer prov=
iding you have a line out socket, suitable software package such as : "Cool=
Edit 2000"for Windows or "Amadeus 11 for Macintosh systems. This allows you=
 to edit or transmit your recordings just like print or digital photography=
 files. To learn all you ever need to know about MiniDiscs check out http:/=
/www.minidisc.org/

Microphones

Some recordists will argue that microphones are the most important componen=
t part of their kit. The microphone or sound receiver comes in two basic ty=
pes:The omni-directional accepts sound from all points of the compass. The =
uni-directional microphone receives signals in one direction only.There are=
 many choices, but due to limited space I will try to simplify the options.=
 The omni-directional receiver is good for "soundscapes ", where all the bi=
rds in the marsh, or backyard are desired .With the aid of a long cable an =
omni-directional mic can also be placed near a song perch to make specific =
recordings of one animal. Uni-directional equipment has a long barrel and t=
hey are known as"shotgun" microphones . It is the barrel which makes them r=
eceive in one direction rather like the beam of a light. These are great mi=
crophones to experiment with! Because the equipment is very sensitive to to=
uching, a mount and windscreen are necessary. These shotguns are very porta=
ble and easy to focus on individual birds. The Sennheiser ME67 is a good ch=
oice. This unit will work well with the MiniDisc recorder and get you into =
the feild at a reasonable cost. You will need to buy or make a special 1/8 =
inch adaptor cable to connect between the shotgun and the recorder.

The dish-like object we call a parabola is also uni-directional. With a mic=
rophone fitted at its focal point , facing in, the dish can be aimed at a d=
esireable sound 50 or more meters away. Please avoid the small 33cm (13 inc=
h) reflectors available on the market as they tend to be unsatisfactory. Th=
e better ones are 45cm (20 inches) or more. Parabolas are very useful piece=
s of equipment to bring in specific animal sound from a relatively long dis=
tance. One good example for the beginner is made by Mineroff Electronics, s=
ee http://www.mineroff.com/. The quality of a recording made with a parabol=
a can be amazing and very selective. Unfortuneately, most dishes are rigid =
and therefore clumsy to handle in the feild.

More Expensive Equipment

If you have the option of purchasing more expensive equipment: I will again=
 simplify the choices. Top of the line MiniDisc recorders are 1) the Marant=
z PMD 650 and 2) the HHB PortaDisc. Both can be purchased for under $2000. =
Sennheiser produces the best and the most expensive MKH series shotgun micr=
ophones ,see http://www.sennheiserusa.com/ . These mics have an excellent s=
ignal to noise ratio and are very effective from 6 to 20 meters distance. H=
owever, Sony and several other companies produce very acceptable products a=
t a more modest cost.

Telinga, http://www.telinga.com/, produces excellent parabolas for feild us=
e. The polycarbon 55 cm. dish is very durable, light and can be rolled up f=
or feild use. This company also produce their own microphones and you can b=
uy them as part of a complete package. This format will allow you to make q=
uality recordings 33 or more meters away and the cost is about $700. Whenev=
er possible, have your dealer test the equipment before you take delivery. =
It is very annoying to get into the feild and find out that your equipment =
is not working properly!



RECORDING TIPS

Blending into your environment is a bit of an art (feildcraft) but wonderfu=
lly satisfying. The reason to do so is simple.The closer you can get to the=
 birds the better the recording opportunity:"half the distance and double t=
he signal". Wear dark, dull clothes as the birds can easily see bright colo=
urs. Bird song and human vocal sounds use similar frequencies, therefore, s=
peech should be minimal ! Its important to move slowly and quietly. Sudden =
movements may spook the object of your attention. Likewise , the sound of y=
our feet on gravel or rustling clothes will spoil your recording. Sometimes=
 a gradual approach to a singing bird can be made obliquely so that you app=
ear non-confrontational. Another technique is to observe a bird's favourite=
 song perch, then sit down and wait quietly for its return. If you are stil=
l and quiet you may eventually be accepted as part of the landscape. I have=
 had a Woodchuck walk within two feet of me before even noticing my prescen=
ce and still not move away. Having moved obliquely towards a White-crowned =
Sparrow it also moved to meet me, out of curiosity ! The closer you become =
to your subject the stronger the signal to your microphone when the time co=
mes for recording.

When your recorder is in record mode, use earphones to check the gain or re=
cord level. Your ambition will be to achieve a strong, clear signal without=
 over-recording the subject. If the subject is a soundscape such as a choru=
s of frogs make sure through the earphones and the record meter that none o=
f the sounds are over-recording. Once in the feild, always have your equipm=
ent ready to make a recording. Opportunities sometimes happen suddenly, so =
be prepared ! If the animal only calls intermittantly : such as a Pied-bill=
ed Grebe or an American Bittern in a marsh; make a long recording to includ=
e the bird. With a MiniDisc you can edit out unnecessary sounds later.

Be Prepared

Being prepared seems obvious until you are out in the feild. Very often I g=
et up before dawn when my mental faculties are not very sharp. It is necess=
ary to have all equipment packed and ready to go! That means all power pack=
s charged and in the carrying case. When I leave the house or car there sho=
uld be spare power-packs and disc in my pocket. A garbage bag is very usefu=
l in case of rain. Recorders and microphones can be totally ruined if they =
get wet . A polyethalene bag can and does completely relieve ones anxiety !

It is really important to document your discs as you go along. For example,=
 if you were regularly recording in the backyard you might label a disc BY =
01 02. This would tell you instantly that this disc was the first "backyard=
" disc made in 2002. Further, you should announce at the beginning of each =
disc the number, date and time of the recording. It is also helpful to desc=
ribe the conditions including temperature and the state of the weather. Fro=
m then on announce each new recording with "take ... " and the condition at=
 that moment. This extra effort makes documenting your prized recordings ea=
sier. In my case, I make a computer file for the discs and list each good r=
ecording. The second file is a species list where I list a bird and follow =
it with each good recording, which disc, which take, the date and where the=
 recording was made. I am surprised and sometimes depressed how quickly the=
 details of a disc fades in my memory! To have a quick reference is essenti=
al for compiling material.

Be Careful with your Toys

If you start the day before dawn and keep walking and recording in the wood=
s, you will be very tired by lunchtime. It is rather like having an acciden=
t during the last run of the day at the ski hill.You must be careful and me=
thodical putting your precious toys away! I once left a microphone on the c=
ar roof; when the car speed reached 60 kph the microphone became airborn!

Where to Obtain Advice

After obtaining the best support you can from your local dealer, you will o=
ften want to ask more questions. The Macaulay Laboratory of Natural Sound, =
Cornell University, has a very useful web page evaluating various pieces of=
 equipment. The lab has an annual workshop for recordists which I can highl=
y recommend. Check out this page: http://birds.cornell.edu/LNS/happenings/h=
appenings_index.html/.

Email  to connect with NATURE RECORDISTS fr=
om all over the world. The moderator is Doug Von Gausig. He also has a web =
page http://www.naturesong.com where archived material is stored.

If you would like to join a society with a newsletter and have an opportuni=
ty to hear other members recordings: contact The Wildlife Sound Recording S=
ociety,Hon Membership Secretary, Mike Iannantuoni, 36 Wenton Close, Cottesm=
ore, Oakham, Leicestershire LE15 7DR UK. Most nature recordists are natural=
ly sensitive to the needs of wildlife. However, the WSR Society has documen=
ted our code of conduct as follows:

"Members will at all times conduct their wildlife sound recordings activiti=
es so as to: do nothing to the detriment of wildlife or its environment, ob=
ey current legislation on such matters, respect the lawful rights of others=
 and observe the Countryside Code."

Living in Canada you may not be able to participate in their regular meetin=
gs but the compact disc(CD) made up by and circulated to the membership is =
truly inspiring!


John Neville




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>From   Tue Mar  8 18:22:22 2005
Message: 4
Date: Fri, 03 May 2002 16:20:36 -0700
From: Doug Von Gausig <>
Subject: Re: article from Nature 3 May 2002

At 03:21 PM 5/3/2002, Y. Dumiel wrote:
>Careless whispers cost chicks
>Females stray when mates lose song battles.
>3 May 2002
>JOHN WHITFIELD
>
>Female birds that overhear their partner lose a singing contest are more
>likely
>to mate sneakily with another male, researchers have found1.
>
>Just two defeats send a female looking for alternative mates. "Females are
>deciding who's going to father their children on the basis of a six-minute
>interaction," says zoologist Tom Peake of the University of Copenhagen,
>Denmark. "That's got to worry pretty much every male on the planet."
>
>Female eavesdropping shows that there's more to fighting than letting the
>combatants know who's boss - everyone within earshot is also picking up
>information.
>
>Daniel Mennill of Queen's University in Kingston, Ontario, went into the w=
oods
>to do battle with male black-capped chickadees (Poecile atricapilla). He
>provoked the birds using a laptop loaded with song recordings.
>
>Full text
><http://www.nature.com/nsu/020429/020429-14.html>http://www.nature.com/nsu=
/020429/020429-14.html

Since the researcher in this story used recordings of Chickadees to elicit=

the studied behavior and since the females made choices depending upon the=

outcome of the "battles" between real and recorded males, this seems proof=

that playback of recordings in the field can have a profound effect on the=

intended (and unintended) targets of the playback.

Any thoughts on that?

Doug


Doug Von Gausig
Clarkdale, Arizona, USA
Moderator
Nature Recordists e-mail group
http://groups.yahoo.com/group/naturerecordists



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