Hi Hakan, David, Klas,
Thanks for all your inputs on this:
I already have a parabola - it's an Amberwood about 50cm diameter, purchase=
d through the Wildlife Sound Recording Society. I use it for both single sp=
ecies and soundscapes. There is quite a lot of information about stereo rec=
ording using Parabolas on the WSRS website (which is good for many other su=
bjects as well - I strongly recommend it). I find using a parabola very use=
ful, but it doesn't compare to getting really close to the subject!
The cormorants I am trying to record are unusual as they are one of the onl=
y inland colonies in the UK - they are about 8 km from the sea in a quiet v=
alley that was reclaimed in the 17th Century. I've been recording there for=
two/three years, but I'm not satisfied with the quality of the recordings =
I have. The scree slope and cliff are 230m high! I will try and post some r=
ecordings I have in the next week or so, when I have some more time.
--- In "Avocet" <> wrote:
> I assumed you were recording in mono when you were asking about
> parabolas as stereo doesn't really work with a dish. (Waiting for
> arguments on this. :-) )
> With a pair of ME 66's, you've got good gear. I'd experiment with a
> narrower angle like 45 deg which might pick up less random noise and
> stil give good stereo.
> I always advise recording low and bringing up the level afterwards,
> but what you are aiming for is wanted over unwanted sounds. The long
> gun mics improve this ratio but the reason I was sugesting the used
> 815/816's is that good long gunmics usually cost an arm and a leg. I'm
> making a windshield for mine with an angle of 15 deg, but it is rather
> My permanent outdoor rig is two 416's in a tent and I need tu place
> them in "noise shadows" for distant sounds. For a start they are on
> the ground, and when placing them, I listen out for backgrounds to
> avoid almost more than for the wildife. At present they are in a
> hollow looking up to minimse a grain mill, a road, a light railway and
> a farm, all around a mile away. It's the ratio which matters.
> With shore sounds, the sea can be quite noisy, which our ears filter
> out. Listen out on headphones from which directions the backgroud
> sounds are coming from and look for things like rocks or mounds to put
> the mics behind where they can still hear the birds.
> Always use a maximum bass roll-off - you can put the bass back later
> if necessary.
> With a quiet location, mic and input hiss can become prominent. You
> can improve this a little bit (I use Audacity), but with quality mics
> like yours input noise may be coming from the preamp stage. There's a
> lot of talk on this list about "excess noise" figures, but ears are
> the best judge.
> I'd like to hear a sample of your ME66 pair to see what you're
> David Brinicombe
> North Devon, UK
> Cogito cogito ergo cogito sum - Ambrose Bierce