Portage Bay on the Queen Charlotte Sound, South Island, New Zealand.
This will be the first of several posts that highlight some interesting sounds that I gathered from the South Island of New Zealand, from December 2009 to January 2010. Big thanks to Tim Prebble and others for offering advice!
I walked the 71km Queen Charlotte Track with my photo gear and my beat-up Zoom H2, and gathered quite a bit of sound over the 3.5 days I spent hiking. The last morning I awoke early to this unusual dawn chorus of birds…the more I listen to it, it might just be a handful of birds or even just one loud one, with echos coming off the walls of the surrounding hills. It sounded synthesized to me, like an ambient song. Give it a listen below, with some occasional post-rain water drips falling from the trees. (While this is unprocessed, I applied some spectral processing to it and it sounded like it came out of Avatar…may share that later on…)
[UPDATE: Reader Tom Williams from Devon, UK correctly identified this as the call of the tui. Thanks, Tom!]
This Mordor-looking photo shows Mono Pass in California’s Sierra Nevada mountain range. 12,000’/3,657m high, we crossed it in August, but we still got snowed, rained, and hailed on, and the winds were definitely in the 40mph range. A forbidding place, an intense day, and freakin’ cold to boot.
I remember the sound of the wind, especially, howling in my ears but also sometimes between spaces between rocks. Very distinctive, almost like the wind that you hear in movies.
I had to travel almost halfway around the world to a cute cottage in a summery, temperate rainforest to actually record wind that sounded like that.
Staying at a lodge along New Zealand’s Queen Charlotte Track on the South Island, a huge southerly wind kicked up around dusk and made this great whistling sound through our bedroom windows. What luck! Rather than be outside in an actual gale, I could position my recorder right near the sound source – tiny gaps between the windows – while having the windows themselves completely protect the microphones from the wind itself. I changed the perspective of the recording a few times, so rather than futz with it all to match or mess with a multitrack edit for this post, I just crossfaded to silence between each wind gust. You’ll get the idea.
So, just goes to show you: What you record, when, and where, can sometimes have little to do with the mental images one gets from the sounds recorded…which is why I included the photo above and not the nice real picture of tree ferns and sunshine!
My father was recently in the hospital, so I visited him in Maine. While in Brunswick, my mother and I stopped at Barnes and Noble to pick him up a crossword puzzle book to occupy his mind until he was released. The sliding doors of the store opened with a strange stuttering, sputtering, and nearly-pneumatic flanging, and I stopped in my tracks. “Whoa, did you hear that?” My mother looked at me quizzically. “That door, wow…that was a great sound!” She picked up her pace to look like I wasn’t shopping with her, surely thinking I was hearing things.
The dynamic range of the H2’s mics isn’t as good as my other recorders, but to paraphrase Saint Chase, the best audio recorder is the one you have with you. Better to have this odd and very distinctive mechanical sound than miss that chance…only to, I’m sure, return someday and hear that B&N fixed the doors.
This remote antenna array provided surprising sonic opportunities...as well as a hell of a workout getting to it...and an embarassment of forgetting some important pieces of gear...
There’s a small antenna array on a ridge near where I live (just above Skywalker Sound, oddly enough) that, like the ruined truck from a previous post, calls to me whenever I run or bike by it. It’s a 2.5, all-uphill, 1000′ climb to get there, but one foggy morning I decided to pack up some gear and run up there to see what sounds it might have to offer. Might the guy wires securing the short tower be taught and fun to strike? Might they sing in the wind? Maybe just a weird hum?
The infamous San Francisco Bay fog was thick that day, and I could barely find the faint side trail to the damn thing. Getting there, I realized that forgot my full-length audio cable (I was under-caffeinated and in a hurry to hit the trail). I’m there with a small-diaphragm cardioid condenser mic and a 12″ cable I usually use in my pistol grip shockmount, holding them with arms all bent and gimpy like a T-Rex. Quite a sight. The wind kicked up to about 15 mph, and I also forgot the fuzzy covering for my windscreen (a Rycote Baby Ball Gag). I wound up putting the windscreen right on the wires, mostly so that my body to shield the mic from the wind. This wound up transmitting both air and physical vibrations that radically broadened the frequency range of the recording, acting as a condenser and contact mic at the same time. Wound up being kind of a neat trick!
I got a lot of material in about 30 minutes of recording, some of which I’ll post later. But what was really neat was just holding the mic against the wires while the wind blew. Today’s sound is a drone taken from those wires humming in the wind.
I looped several pieces and ran it through a subtle spectral blurring plugin, which wound up augmenting some of the metallic, drony ringing tones in the original material. I just thought it was a bit creepy, otherworldly, and not at all what I expected to come away with!
I'm now the proud owner of an NJ-1 Heavy Lifting Utility Unit!
I’m very excited to share a new audio recording: The first steps of my new NJ-1 Heavy Lifting Utility Unit (HLUU). The HLUU is a do-everything kind of robot, and I’m hoping to use it for landscaping and home improvement projects. It was a big purchase in a pretty down economy, but my significant other and I think it’s a solid long-term investment.
I was so excited that I had to grab my field recorder and document its first steps. The manual says to let it charge overnight and then calibrate its voice command recognition system, but I just couldn’t wait to just let ‘er rip. Unfortunately, that meant that it only took a few steps before losing power and automatically shutting down, so that’s why this clip is so short.
This puts my Roomba to shame. Check out the recording below and say hello to HLUU!
Why do I like the sound of street sweeping trucks? I see them every morning in San Francisco’s Mission District; I’m a morning person, so I wind up parking for work right as they come through the neighborhood.
I think it’s their distinctive, constant drones that I like. That whine so full of midrange tones that it drowns out the actual engine until it’s right next to you. Drones pronounce the doppler effect when they pass, as well. But hey, I just like drones. I use a white noise machine to sleep to, and heck, the Drone Zone is my favorite internet radio station!
Photonic, sonic goodness through rainwater diversion? Maybe!
Anyone who’s got an interest in sound has heard the story of Ben Burtt using the sound of struck guy wires to create the Star Wars blaster sound. This changed the sound of science fiction forever; before this, all energy weapons were basically analog synth patches. Part of what makes this sound so unique (and repeated – Burtt himself used struck springs for Wall•E) is how high-frequency sounds travel faster through a metallic medium than low-frequency sounds. This is what gives these sounds their “PEEEWWW!” sound effect. Heck, even I used these principles to synthesize some similar sounds.
Which brings us to my rain gutters on this Halloween.
My house has thin metal rain gutters, from which I ritually hang hard-plastic LED holiday lights, usually right before Halloween, my most important holiday (today!). So when hanging the lights one year, one of the bulbs struck the middle of a 30′ run of solid metal and made this muffled, “block” peewwww sound. Laser-like, but different, loads of low-mid frequency content. I live pretty close to a highway, which was line of sight from my roof, so the only way I could record this sound cleanly was by using a contact microphone. (Recording a length of rain gutter with a small condenser mic in an indoor space would sound less clacky and “square,” but I don’t have a 30′ long recording studio!)
After some EQ, compression, and limiting, the results are below.
The Kodak Brownie. Man, what ever happened to lens turrets, anyway? I
I bought this Kodak Brownie 8mm film camera at a yard sale, way back when I was actually gonna shoot with it. I never did, so it wound up on my desk as a tchotchke, next to my baboon skull, remote control zombie, and tofu skeleton.
This turreted Brownie, as best as I can tell, was manufactured from 1955 to 1963 (the Brownie brand, by the way, is 109 years old this year). Its most prominent feature is a wind-up motor on the side of the case. There’s a small catch that clicks on every seventh rotation, but otherwise it’s a neat, small sound that has a fair amount of character. It has a rhythmic, “breathing” quality to its sound. I wound ‘er up tight and opened the side lid for sonic clarity. The low volume required a large diaphragm mic to capture it in loads of detail with a super-low noise floor.
I thought that it was evocative of clockwork servos on a steampunk robot, or as a smaller loop on top of  footage that’s treated to look like a newsreel or home movie. It’s pretty midrangey, so it holds up well to being sped up or slowed down. You’re guaranteed to hear or see this used in actual media to be posted on Noise Jockey in the future!
As much as I love backpacking, car camping can be pretty cushy. You can bring as many “luxury items” as you want. One such item is a propane-powered gas lantern. It’s such a staple of camping that I never thought to record it until a recent trip, when the forest went almost dead silent one morning. With the significant other still asleep in the tent, out came the battered Zoom H2.
This recording has just a couple of distant bird calls, but otherwise turned out pretty clean. It’s a simple hissy drone, but as a layer for other sound design purposes, I’m sure I’ll find a use for it someday (like shortening a piece of it for wind effects from airlocks, sci-fi helmets, or the like).
This male Tule Elk was pimpin' with more than a dozen ladies in his harem. But really, who's gonna argue with a burly, mangy, and horny twelve-point bull about his dating habits?Â
The wind and fog were almost enough to dissuade me from visiting the Point Reyes National Seashore to capture images and audio of the California tule elk, one of the largest species of deer in the world. September is the end of the tule elk’s rut, so I was nearing the end of the time-window when I had the best chance of seeing and hearing bulls fighting, courting, and generally carrying on in order to secure mates.
As I drove down the windy, isolated road past long, undulating fences and remote dairy farms, I didn’t find the protected elk herds where I usually see them. I saw and photographed a few stray females, but they don’t typically make any vocalizations. Finally, I saw a harem of sixteen females and one male (“bull”) near the very end of the road. I used my car as a wind break for my microphone and windscreen, settled in, and waited for the stag to vocalize (snapping pictures with my telephoto lens when the opportunities arose). It’s rough to get ambience-free recordings out there; it’s a spit of land surrounded by storm-whipped water on all sides, and the wind was gusting to around 25mph, so the waves and wind were constantly roaring. (Side/tech note: Soundtrack Pro did a far better job on noise reduction, while preserving the desired frequencies and dynamics, than Sound Soap Pro.)
My patience and stillness was ultimately rewarded by several pretty clean recordings of the bull bugling. Trust me, it doesn’t sound like a bugle. More like unholy screams. The male tule elk’s call is as loud as it is piercing, with gigantic 2kHz frequency peaks that are 25dB higher than any other frequency. You may want to turn down your headphones or speakers at first. (I probably should have issued this warning for certain other posts, too.)
