--- In Philip Tyler
<> wrote:
>
> Thanks Rob for your comments.
> =C3=82
> For your info if it is of any use the mics were pointing across an
open piece of water which was fringed all around by reeds and around
these reeds were small trees and shrubs, off to the right about 1km
away is the sea but shielded by the small trees and shrubs.
> =C3=82
> Phil
>
>
>
> ----- Original Message ----
> From: Rob Danielson <>
>
> If there's a massive object in the location such as a large
> tree, rock or earth form, try placing the mic array so the mass
> absorbs some of the energy from the unwanted source. Rob D.
>
>
Thanks Phil, this was interesting. To my ears the EQ was not overdone
but one of those wrens was really piercing ! It's a real struggle in
busy Europe isn't it ? I spend a lot of time trying to get into "sound
shadows" to reduce distant road noise - easier in the mountains
(although road sounds in the valley are reflected upwards), than in
the lake fringes like your fens. But then when the plane arrives
there's nowhere to hide !
How do you handle your EQ for this ? I usually try and plot the
frequency distribution of the rumble, then allow about the highest
10-20% of the frequencies in (which is usually below the frequency of
the call), and start reducing after that - just judging by ear how
much and how steeply to suppress. Rob once said he let in the lowest
60Hz, a rough guide I have found useful to still keep some "body" (did
I quote you right Rob ?). Also Walter Knapp once said that he found a
few "light passes" more effective than one "heavy" one, which has
worked well for me when things were really bad. However apart from
that I just make it up - would be interested to know if others have
their set approaches to low frequency filtering ?
C
"While a picture is worth a thousand words, a
sound is worth a thousand pictures." R. Murray Schafer via Bernie Krause
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