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Audio Equipment

Recorders: CompactFlash...........................3 Hard-drive.................................8 MiiDisc..................................10 Microphones/Transducers: Overview.................................11 Shotgun..................................12 Parabolic reflector....................12 Omni-directional....................13 Uni-directional..........................13 Infrasonic.................................14 Hydrophones...........................14 Bat detectors...........................14

Playback: Headphones............................15 Speakers.................................15 Amplifiers...............................16 Accessories: Preamps..................................16 Shock-mounts........................ 16 Cables.....................................17 Protective cases.......................17 Additional: Helpful Reads..........................18 Vendors...................................19 Inquiries..................................19

Overview

Recording birds, frogs, mammals, insects, and other natural sounds can be very challenging and rewarding. It is important to use a combination of both good recording technique and good equipment. The proper selection of field recording equipment will help you make the most out of every recording opportunity and will probably save you time and money in the long run.

Good recording technique will be discussed in another area.

Equipment choices are limited due to the specialized requirements of natural sound recording work.

Issues surrounding the choices have to do with quality, specific application, durability, ease of operation, and last, but certainly not least, the cost. Because of the proliferation of inexpensive digital recording systems and the lack of support for other formats, we limit our discussion to the digital recorder. Microphone systems include the shotgun and the parabolic reflector.

The following sections provide details on the options available to the field recordist based on our inhouse testing and extensive field experience. Links to manufacturers and vendors are provided if you desire additional information.

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Things to Look for in a Field Recorder There has been an exponential increase in the number of digital recorders available to the general public. Some are more suited for natural sound recording than others. Below is a checklist you might find helpful in evaluating these recorders.

Does the recorder provide: o Manual control of record level o Record level meters that are visible in both bright and low light conditions o XLR microphone connectors o 1/4 inch phono jack for headphone input o +48V phantom power o A sample rate of at least 48kHz and a 24 bit depth o Easy ‘over-the-shoulder’ use o An internal playback speaker or the capacity to connect an external speaker to the

recorder o A file management system that is logical and easily understood o A protective carrying case sold with the unit or available through third party vendor Power: o Battery type and record time o AC Power supply

Microphone compatibility: o parabola o shotgun o other We use the above checklist in evaluating the recorders on our list.

In addition to the above checklist, there is another important consideration when choosing a field recorder.

What is the quality of the recorders microphone preamplifier?

- Does it have sufficient gain to provide a good recorded signal level?

- And does it introduce unwanted levels of electronic distortion and noise?

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Recorders

CompactFlash

These recorders utilize standard computer Compact Flash memory cards or a Microdrive as storage medium.

CompactFlash cards are available in a variety of sizes, ranging from 512MB-16GB. Large memory cards are continually dropping in price, and 4GB cards are a popular size for recording these days.

The real beauty of this recording device/format is the ability to create high-quality recordings stored in a robust format with no moving parts. These can be easily edited within the device and quickly downloaded into a computer.

Nagra ARES-BB+ http://www.nagraaudio.com/pro/pages/products_ares_bb.php  Manual control of record level  Record level meters that are visible in both bright

and low light conditions  XLR microphone connectors  1/4 inch phono jack for headphone input  +48V phantom power  A sample rate of at least 48kHz and a 24 bit depth  Easy ‘over-the-shoulder’ use  An internal playback speaker or the capacity to connect an external speaker to the recorder  A file management system that is logical and easily understood  A protective carrying case sold with the unit or available throughthird party vendor Power:  Battery box for ARES-BB+ houses 6 “AA” cells (not included)  Lithium Ion battery box for ARES-BB+ including Lithium pack and

charger circuit (without power supply)  AC Power supply, 100-240V~,47-63Hz, 12Vdc/800mA, World for ARES-BB+

Microphone compatibility:  parabola  shotgun  other

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Tascam HD-P2 http://www.tascam.com/products/hd-p2.html  Manual control of record level  Record level meters that are visible in both bright and

low light conditions  XLR microphone connectors  1/4 inch phono jack for headphone input  +48V phantom power  A sample rate of at least 48kHz and a 24 bit depth  Easy ‘over-the-shoulder’ use  An internal playback speaker or the capacity to connect an external speaker to the recorder  A file management system that is logical and easily understood  A protective carrying case sold with the unit or available through third party vendor Power:  8 AA batteries Manufacturer claim: Approximately 5.5 hours of operating time  AC power adapter

Microphone compatibility:  parabola  shotgun  other Fostex FR-2 http://www.fostexusa.com/index.php?file=products/pfr/fr2  Manual control of record level  Record level meters that are visible in both bright and low light conditions  XLR microphone connectors  1/4 inch phono jack for headphone input  +48V phantom power  A sample rate of at least 48kHz and a 24 bit depth  Easy ‘over-the-shoulder’ use  An internal playback speaker or the capacity to connect an external speaker to the recorder  A file management system that is logical and easily understood  A protective carrying case sold with the unit or available through third party vendor Power:  8 AA batteries - Manufacturer claim: Approx. 2 hours of operating time on battery power  DC power adapter

Microphone compatibility:  parabola  shotgun  other 4

Fostex FR-2LE http://www.fostexusa.com/index.php?file=products/pfr/fr2le  Manual control of record level Ø Record level meters that are visible in both bright and low

light conditions  XLR microphone connectors Ø 1/4 inch phono jack for headphone input  +48V phantom power  A sample rate of at least 48kHz and a 24 bit depth  Easy ‘over-the-shoulder’ use  An internal playback speaker or the capacity to connect an external speaker to the recorder  A file management system that is logical and easily understood  A protective carrying case sold with the unit or available through third party vendor Power:  4 x AA Alkaline / Ni-MH - Manufacturer claim: Approximately 4 hours  AC Power supply

Microphone compatibility:  parabola Ø shotgun: requires outboard mic-preamp  other Sound Devices 702 (Not yet tested) http://www.sounddevices.com/products/702.htm o Manual control of record level o Record level meters that are visible in both bright

and low light conditions o XLR microphone connectors o 1/4 inch phono jack for headphone input o +48V phantom power o A sample rate of at least 48kHz and a 24 bit depth o Easy ‘over-the-shoulder’ use o An internal playback speaker or the capacity to connect an external speaker to the recorder o Has a file management system that is logical and easily understood o A protective carrying case sold with the unit or available through third party vendor Power: o Sony M- or L-type Li-on, operational from 6 – 8 V o AC Power supply

Microphone compatibility: o parabola o shotgun o other

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Marantz PMD 661 http://www.d-mpro.com/users/folder.asp?FolderID=4405  Manual control of record level  Record level meters that are visible in both bright and low light

conditions  XLR microphone connectors  1/4 inch phono jack for headphone input  +48V phantom power  A sample rate of at least 48kHz and a 24 bit depth  Easy ‘over-the-shoulder’ use  An internal playback speaker or the capacity to connect an external speaker to the recorder  A file management system that is logical and easily understood  A protective carrying case sold with the unit or available through third party vendor Power:  4 x AA Alkaline / Ni-MH - Manufacturer claim: Approximately 5 hours  AC Power supply

Microphone compatibility:  parabola  shotgun  other Marantz PMD 620 http://www.d-mpro.com/users/folder.asp?FolderID=4313  Manual control of record level  Record level meters that are visible in both bright and low light conditions Ø XLR microphone connectors Ø 1/4 inch phono jack for headphone input Ø +48V phantom power  A sample rate of at least 48kHz and a 24 bit depth  Easy ‘over-the-shoulder’ use  An internal playback speaker or the capacity to connect an external speaker to the recorder  A file management system that is logical and easily understood Ø A protective carrying case sold with the unit or available through third party vendor Power:  2 x AA Alkaline / Ni-MH Manufacturer claim: Approximately 5 hours  AC Power supply

Microphone compatibility:  parabola Ø shotgun: requires outboard mic-preamp  other

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Roland Edirol R44 http://www.edirol.net/products/en/R-44/  Manual control of record level  Record level meters that are visible in both bright and low

light conditions  XLR microphone cRolandR44onnectors  1/4 inch phono jack for headphone input  +48V phantom power  A sample rate of at least 48kHz and a 24 bit depth  Easy ‘over-the-shoulder’ use  An internal playback speaker or the capacity to connect an external speaker to the recorder  A file management system that is logical and easily understood Ø A protective carrying case sold with the unit or available through third party vendor Power:  4 X AA batteries Manufacturer claim: Approximately 4 hours of operating time  AC power adapter

Microphone compatibility:  parabola Ø shotgun requires outboard mic-preamp  other Edirol R-09 HR http://www.edirol.net/products/en/R-09HR/  Manual control of record level  Record level meters that are visible in both bright and low light

conditions Ø XLR microphone connectors Ø 1/4 inch phono jack for headphone input Ø +48V phantom power  A sample rate of at least 48kHz and a 24 bit depth  Easy ‘over-the-shoulder’ use  An internal playback speaker or the capacity to connect an external speaker to the recorder  A file management system that is logical and easily understood Ø A protective carrying case sold with the unit or available through third party vendor Power:  2 x AA Alkaline / Ni-MH Manufacturer claim: Approximately 4.5 hours  AC Power supply

Microphone compatibility:  parabola Ø shotgun: requires outboard mic-preamp  other

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Sony PCMD50 http://pro.sony.com/bbsc/ssr/product-PCMD50/  Manual control of record level  Record level meters that are visible in both bright and low light conditions Ø or  Uses XLR microphone connectors with optional XLR1 adapter 1/4 inch phono jack for headphone input Ø or  +48V phantom power with optional XLR1 adapter  A sample rate of at least 48kHz and a 24 bit depth  Easy ‘over-the-shoulder’ use  An internal playback speaker or the capacity to connect an external speaker to the recorder  A file management system that is logical and easily understood Ø A protective carrying case sold with the unit or available through third party vendor Power:  4 X AA batteries Manufacturer claim: Approximately 12 hours of operating time  AC power adapter

Microphone compatibility:  parabola Ø shotgun requires outboard mic-preamp  other

Hard-Drive Recorders

Hard-drive audio recorders are easy-to-use devices that utilize specially formatted, rugged, harddrives (typically 80GB or greater) for storage. The digitized audio is simply stored as data files on the disk making random access very easy. While a few multi-channel devices have been available for some time (Zaxcom–Deva, HHB-PORTADRIVE, and the Aaton-Cantar-X and the new Sound Devices 788T and the Nagra VI) the market place has been devoid of simple two and four channel units.

Sound Devices, LLC has two units first introduced in the second quarter of 2004.

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Sound Devices 722 http://www.sounddevices.com/products/722.htm  Manual control of record level  Record level meters that are visible in both bright

and low light conditions  XLR microphone connectors  1/4 inch phono jack for headphone input  +48V phantom power  A sample rate of at least 48kHz and a 24 bit depth  Easy ‘over-the-shoulder’ use  An internal playback speaker or the capacity to connect an external speaker to the recorder Ø Has a file management system that is logical and easily understood  A protective carrying case sold with the unit or available through third party vendor Power:  Sony M- or L-type Li-on, operational from 6 – 8 V  AC Power supply

Microphone compatibility:  parabola  shotgun  other Sound Devices 744T http://www.sounddevices.com/products/744t.htm  Manual control of record level  Record level meters that are visible in both bright

and low light conditions  XLR microphone connectors  1/4 inch phono jack for headphone input  +48V phantom power  A sample rate of at least 48kHz and a 24 bit depth  Easy ‘over-the-shoulder’ use  An internal playback speaker or the capacity to connect an external speaker to the recorder  A file management system that is logical and easily understood Ø Has a file management system that is logical and easily understood  A protective carrying case sold with the unit or available through third party vendor Power:  Battery type and record time  AC Power supply

Microphone compatibility:  parabola  shotgun  other

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MiniDisc (Hi-MD)

This machine has been on the portable recording scene since January 2004. The Hi-MD is nearly a complete revamping of the original MiniDisc system. Several significant changes include the Hi-MD media (a new 1.0GB disc), and the ability to record in a linear PCM (uncompressed data) format.

These are both important factors for individuals recording natural sounds. No longer are we constrained by the ATRAC coding algorithm (although it is still an available recording format choice).

Additionally, the 1.0GB disc capacity can yield an impressive 1-hour/34 minutes of stereo recording time. Using Sony’s new improved ATRAC 3plus coding at 256kbp/s will render 7-hours/55 minutes of recording time per disc. As with all new technologies, machine choices are very limited.

Sony MZM200 http://pro.sony.com/bbsc/ssr/cat-audio/cat-recorders/product-MZM200/  Manual control of record level  Record level meters that are visible in both bright and low light

conditions Ø XLR microphone connectors Ø 1/4 inch phono jack for headphone input Ø +48V phantom power Ø A sample rate of at least 48kHz and a 24 bit depth  Easy ‘over-the-shoulder’ use Ø An internal playback speaker or the capacity to connect an external speaker to the recorder  A file management system that is logical and easily understood Ø A protective carrying case sold with the unit or available through third party vendor Power:  Internal Battery: Lithium-ion rechargeable battery  AC Power supply

Microphone compatibility:  parabola Ø shotgun  other

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Microphones/Transducers Overview

Along with a recorder you will need a microphone or transducer. The scope of this document is limited to four basic sound categories: audible range (20 Hz- 20 kHz), ultrasonic (30 kHz and higher), infrasonic (below 15 Hz), and underwater sounds.

In the audible range category there are many brands of high-quality microphones available, Sennheiser, Shure, and Audio Technica, just to name a few. We have tested, and are currently using, the Sennheiser line of microphones. They have proven to be extremely durable, exhibit very low selfnoise figures, offer high output, and depending on the particular model selected, are almost completely immune to high humidity related problems.

Capturing ultra-high frequency sounds such as those created by bats requires the use of a specialized transducer known as a bat detector. These devices convert the ultra-high frequency sounds down to a frequency range that can be heard as well as recorded. Capturing underwater sounds also requires the use of another specialized transducer type, the hydrophone. These specialized devices are covered in detail in later sections.

There are two types of microphones that are directional enough for natural sound recording at a distance: the shotgun microphone and the parabolic reflector microphone. To better understand the relative utility of different microphones and parabolas we have compared their beam-width (angle of acceptance) to the field-of-view of lenses commonly used on 35mm cameras. This comparison is approximate and assumes that the frequency of interest is around 2500 Hz. If the frequency of the sound is lower, a larger parabola is required for equal performance.

Microphone beam width compared to camera lenses Microphone Type Diameter Lens Size Parabola 12” 75 mm Parabola 18” 100 mm Parabola 24” 135 mm Parabola 36” 200 mm Short Shotgun 20 mm Long Shotgun 28 mm Cardioid (unidirectional) (fish eye) 8-15 mm Omni-directional n/a

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Shotgun

A good inexpensive shotgun microphone system for general use is the Sennheiser ME-66/K6/MZW66 combination. The cost of this system is about $470. This modular system is the combination of the K6 power unit (requires one AA battery), the ME-66 shotgun microphone capsule, and the MZW-66 foam windscreen. An additional feature of this modular system, the K6 power module, can also be outfitted with another capsule the ME-67/MZW-67 that is a slightly longer, more directional shotgun capsule with windscreen.

The top-of-the-line Sennheiser shotgun microphones are the MKH-60 and the MKH-70 with the latter being the longer, more directional of the two. The MKH series microphones offer almost total immunity to high humidity related problems, exhibit extremely low self-noise, and offer very flat frequency response over the usable bandwidth. Their high sensitivity requires special shock-mounting and wind protection to make them suitable for handheld field use. Coupled with a Zeppelin style windscreen and a good shock-mount the MKH-60 sells for about $1,950. while the MKH-70 sells for about $2,200.

The entire MKH series of microphones require 48-volt phantom power to operate. This 48-volt power can either be supplied by an external power-supply or by the recorder if it is so equipped. External power units include the Sennheiser MZA-14 which sells for $400, the Stewart Audio BPS-1 which sells for $125 and the PSC Universal Mic Supply which sells for about $290. Both the Sennheiser and the PSC models also include dual-position, low frequency filter, and signal attenuation switches.

Parabolic Reflector

The parabolic reflector system is the combination of a reflector dish, typically between 13” and 36” in diameter, and a microphone. The microphone is positioned in the focal point region of the reflector (the area where all the collected sound is concentrated). Parabolic reflectors, by design, yield a tremendous increase in sensitivity without any added electronic noise. Microphones suitable for use in parabolic reflectors range in price from $300-$1,200, with the more expensive units yielding flatter frequency response, improved signal-to-noise ratios, and higher signal level overload capabilities.

Listed here are some of the different reflectors manufactured.

1. The Telinga Pro parabolic reflector is a clear, lightweight 22” reflector available in several models that include integral high-quality microphones, or as with the Telinga Universal model, are designed to accept other manufacturers’ microphones. All of these models offer excellent rejection to handling noises and can be completely disassembled for easy transport.

2. The Mineroff Electronics SME-PR-1000 ($375 without microphone) is an 18” epoxy coated aluminum reflector that includes a pistol grip and adjustable microphone mount. It also offers a transparent viewing window at the center of the dish to assist in aiming. This reflector, coupled with an inexpensive microphone, is a perfect starter system for low-budget applications.

For the do-it-yourselfer, one can purchase high quality 24”-36” spun aluminum reflectors that are designed and sold as satellite receiving antennas. These units are perfectly acceptable; however, they are not supplied with a microphone or microphone mounting hardware. One can easily create a mounting system with aluminum bar stock that is readily available from most hardware stores. Contact: The Antenna Center, 505 Oak Street, Calumet, MI 49913. Phone 906-337-5062, Fax 906-3375030.

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Omni-Directional

Even though omni-directional microphones pick up from all directions, they can provide excellent results when used in the right situations. For example, positioning an omni near a bird’s song perch can yield fantastic recordings, in part due to the close proximity of the microphone to the bird (greatly reduces ambient background sounds), but also because it doesn’t matter too much whether the bird is singing directly into the microphone or changing directions on the perch. The detail captured will be amazing. Other applications for omni microphones include using them in a parabolic reflector, or in stereo pairs for undertaking acoustic census work and general environmental recording.

The Sennheiser K6/ME-62 ($360) omni-directional modular microphone system is a relatively lowcost option. This is especially true if one already owns a K6 power module from the Sennheiser modular shotgun system. An accessory windscreen MZW-64 is recommended.

The high-end omni-directional microphone is the Sennheiser MKH-20 that sells for about $1,170. Just like other members of the MKH series, the MKH-20 is almost totally immune to high humidity related problems. They also exhibit extremely low self-noise, and offer very flat frequency response over the usable bandwidth. Their high sensitivity will require special shock-mounting and wind protection to make them suitable for handheld field use. 48-volt phantom powering is required.

Uni-directional

Uni-directional microphones (commonly known as cardioids or hyper-cardioids) feature a directional pickup pattern. This means that the device is most sensitive towards the front of the microphone, slightly less off to the sides, and has the least sensitivity from the back of the unit. This directivity can be used to one’s advantage. For example, by positioning the backside of a cardioid microphone towards an unwanted noise source one can significantly reduce the level of the offending noise relative to the sound of interest. This feature can often help when recording in indoor locations such as aviaries, research cages, and observation booths. A pair of cardioid microphones can also be used to do stereo environmental recording where directionality is required.

The Sennheiser K6/ME-64 ($380) cardioid modular microphone system is a relatively low-cost option.

This is especially true if one already owns a K6 power module from the Sennheiser modular shotgun system. An accessory windscreen MZW-64 is recommended.

The high-end cardioid microphone is the Sennheiser MKH-40 that sells for about $1,170. Just like other members of the MKH series, the MKH-40 is almost totally immune to high humidity related problems. They also exhibit extremely low self-noise, and offer very flat frequency response over the usable bandwidth. Their high sensitivity will require special shock-mounting and wind protection to make them suitable for handheld field use. 48-volt phantom powering is required.

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Infrasonic

The recording of infrasonic (ultra-low frequency) sounds requires the use of a specialized microphone. Some of the available models are relatively expensive “instrumentation” grade devices that are designed for noise and vibration analysis. These generally offer performance down to roughly 1.0 Hz and include models from Larson Davis and Bruel & Kjaer.

There is, however, an affordable, high-quality solution providing you aren’t trying to capture sounds much below 4.0Hz. The Earthworks model QTC-1 is a high-performance, low-noise, omnidirectional microphone that is usable down to 4.0Hz ± 1.0dB. It utilizes standard 48-volt phantom power and terminates in a standard 3-pin XLR style connector.

Hydrophones

For underwater recording, the DolphinEAR/Pro ($299) is a high quality, low cost solution. The omnidirectional device features a 10-meter cable (other cable lengths are optional), 600ohm balanced output that terminates with a standard 3-pin XLR style connector, and a frequency response of 15Hz-20kHz ± 3dB. The transducer is a high-output MPC (Piezo) style, fully encapsulated in a rugged epoxy case. No power is required.

DPA Microphones produces and manufactures an excellent hydrophone. Type 8011, Hydrophone, is a 48-volt phantom-powered, waterproof microphone. It is specially designed for high sound pressure and high static ambient pressure.

Bat Dectector

Bat detectors provide a relatively inexpensive means of listening to and recording bat vocalizations. These ultrasonic signals are way above the range of human hearing and general use audio recording equipment.

The bat detector electronically converts the ultra high-frequency sounds down into the range where humans can hear and audio recorders can capture. There are many, many models on the market. Our hands-on field experience with a Laar model BB-XL detector, coupled to an R-DAT machine, has produced stunning results.

A special thank you to Karsten Passior. He has gone to enormous lengths to compile the most complete bat detector comparison listing to date, available for download. Through his kind generosity we are able provide this in-depth comparison. This chart is a subset of a much larger list of detectors. It contains detectors that are currently available as well as those recently discontinued. Practical factors like the availability of a frequency display light (LED or LCD), one or two hand operation, weight, basic noise, sensitivity, filtering technique, power requirements, etc. are used to compare models.

Anabat is another popular bat detector designed to help users identify and survey bats by detecting and analyzing their echolocation calls.

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Headphones

The ability to monitor and evaluate the quality of your recordings in the field is absolutely essential. The loudspeaker incorporated in the recorder(if present) is not adequate because it can only be used in the playback mode. Good quality headphones allow you to monitor the incoming signal while the machine is in the record mode, thereby facilitating proper aiming of the microphone.

Additionally, by using a pair of headphones you will know if there is a problem with your equipment. A bad cable, A recorder that is not turned on and other problems can be identified and maybe fixable at the time of the recording.

This is generally better than dealing with the disappointment of a flawed recording discovered hours or days later.

The choice of headphones is highly personal as to style, isolation, and comfort. The model selected should also offer some degree of isolation from ambient noises so you can listen accurately to your sound source.

A few of our favorite headphones are the following: • AKG K-240 Studio (high isolation rating and good output) $159• • Sony MDR-7506 (good isolation rating and high output) $95• • Sennheiser HD-25SP (lightweight with medium isolation rating) $113• It is important to note that with many cushion-styled headphones, some insect repellents can disintegrate the foam cushion material.

Speakers

There are a couple brands of speakers we often use for playback from a portable recorder, CD player, MP3 player, or iPod. For relatively close work (under 100’) the Radio Shack #277-1008 ($16) amplified speaker is a good inexpensive choice. It’s very small, lightweight, and if not played too loudly, offers reasonably good quality sound for frequencies in the 1.0 kHz-7.0 kHz range.

For slightly longer working distances, but with the added requirement of good lower frequency response, the larger, heavier Pignose amplifiers ($75) offer very good sound quality over a usable frequency range from roughly 100.0 Hz-12.0 kHz. This device weighs 3 pounds and runs off six standard AA batteries. The radiation pattern is directional.

The Creative TravelSound speaker is a slick, small speaker built to fit an iPod nano.

For omnidirectional playback, the Soundsphere models Q6, Q8, and Q15 are the recommended choices. The exact model is determined by one’s specific bandwidth and power requirements.

Model Q6 Q8 Q15

Weight 8 lb 22.5 lb 45 lb

Frequency range .70Hz-17kHz .55Hz-17kHz .35Hz-15kHz

Max SPL 103 dB 114 dB 122.5 dB

Sensitivity 88dB SPL@ 1meter/1watt 94dB SPL@ 1meter/1watt 97dB SPL@ 1meter/1watt

These are not powered speakers and therefore require separate power amplifiers.

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Amplfiers

Occasionally the need arises to utilize non-amplified speakers in the field. Reasons include having to generate higher-than-normal sound pressure levels for very long distance coverage, or perhaps trying to broadcast very low frequency sounds. Both of these require substantial power (watts) and large drivers (speakers).

The best solution is found in the car stereo marketplace. Companies like Crutchfield offer a wide range of 12-volt DC powered amplifiers in both mono and dual channel configurations. Wattages range from roughly 40-300 watts per channel with offerings from industry-leading companies like Sony, Alpine, Rockford-Fosgate, Kenwood, and US Acoustics.

Accessories Preamps

Our fieldwork has revealed that the microphone preamps in many of the recording devices described above, although very quiet, do not always offer adequate gainunder certain distant birdsong recording circumstances. High quality outboard preamps are available from several manufacturers that can help solve this problem. Another option available for the digital recording devices is to utilize a good external combination preamp/A/D converter. This offers the best of both worlds by providing not only a significant signal gain improvement, but also a dramatic improvement over the stock A/D converters found in most digital devices.

Grace Design, Inc. offers the Lunatec V3 that sells for about $1,600. This state-of-the-art device is a two-channel, ultra low-noise preamp plus a high-resolution A/D converter system. It features 48-volt phantom powering, switchable high-pass filters, built-in mid/side recording matrix, and extensive metering capabilities. On the A/D converter side it handles sample rates up to 192 kHz and bit depths of up to 24. Both professional and consumer digital formats are supported. Field power is supplied by an external 6 or 12-volt DC battery pack (not supplied).

Sound Devices, LLC offers two, high-performance, low-noise preamps. The MP-1 (single channel) and the MixPre (dual channel) sell for about $420 and $855 respectively. Both units feature switchable high-pass filters and 48-volt phantom power. Two AA batteries are required for power.

Shock-Mounts

One of the major problems encountered during field recording is handling noise. This noise is transmitted through the body of the microphone and is recorded along with the primary sound of interest. There are various shock-mount systems available that are designed to reduce this interference.

An inexpensive and somewhat universal model is the Audio Technica AT-8415 that sells for about $50. An alternative to buying a shock-mount is to build your own.

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Cables

Often overlooked, yet very important, are the interconnecting cables that couple the microphone to the recorder. The best microphone/recorder combination is only as good as the cable that links them together. High quality cables are often 4-conductor (two twisted pairs) surrounded with a braided shield. These offer the highest immunity to stray electromagnetic and RF interference.

Quality cables are a bit more expensive than run-of-the-mill style, but they will generally last longer and perform better. Some manufacturers offer cables that are extremely flexible, even in very low temperature environments. Cable flexibility helps lower handling noise, reduces stress and strain on machine connectors and is easier to coil when the recording session is complete. Consider carrying a spare cable set; it is cheap insurance.

The Canare Cable Company offers the model L-4E5C StarQuad (lightweight) and model L-4E6S StarQuad (heavy duty). These are both high-performance cables that are extremely flexible and durable.

Protective Cases

Audio recorders are delicate precision devices. A high quality field case for your recorder can prolong its life and help ensure its reliability. Dirt, dust, and moisture can raise havoc with the internal mechanisms of these machines, greatly reducing motor and bearing life and creating excess drag coefficients on other moving assemblies. This can lead to premature mechanical failure or other problems.

The Porta-Brace Company manufactures quality rugged field cases that we use on every piece of recording gear. They are constructed with heavy-weight, padded, Cordura nylon material. Flaps provide easy connector access. Areas over switch panels and meters are covered with a clear, yet flexible plastic material.

Shoulder straps are designed for maximum comfort on even the heaviest recorders. Extra compartments are usually provided for spare cables, tape, etc. These cases are not waterproof, but they are water repellant. Additional padding helps provide extra protection to the recorder in the event the machine should fall or be dropped during field use.

Hard cases manufactured by Pelican offer rugged cases to protect fragile equipment. These are ideal for trekking gear to the tropics, arctic, or closer to home.

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Additional

Since it is impossible to cover all of the factors that should be considered when choosing a recording system or using equipment, we have included a reading list of books and articles that can be very helpful. Some of the books are out of print, but your local library or bookshop may be able to help locate copies.

Technical

1. Grotke, Robert W. 2004. “Digitizing the world’s largest collection of natural sounds: key factors to consider when transferring analog-based audio materials to digital formats.” RLG Diginews, 8(1):1-5.

2. Budney, Gregory F. and Robert W. Grotke. “Techniques for Audio Recording Vocalizations of Tropical Birds.” Ornithological Monographs, Volume 48, 1997.

3. Wickstrom, David C. “Factors to Consider in Recording Avian Sounds.” Acoustic Communication in Birds, Volume 1 eds. D.E. Kroodsma, E.H. Miller, and H. Ouellet Academic Press: 1982. (out of print) 4. Tomb, David J. Sound Recording. David & Charles, Inc., 1980 North Pomfret, Vermont. (out of print) 5. Fisher, John B. Wildlife Sound Recording. Fisher Pelham Books Ltd., London: 1977. (out of print) 6. Gulledge, James L. “Recording Bird Sounds.” The Living Bird Fifteenth Annual Cornell Laboratory of Ornithology, 1976. [A good general introductory paper to natural sound recording even though it contains some dated information (out of print)]

Audio Theory & Sound Recording

1. Rossing, Thomas D. The Science of Sound. Addison-Wesley Publishing Company, 1982 Reading, Massachusetts. (Covers acoustic theory and science) 2. Bartlett, Bruce and Jenny. Practical Recording Techniques. Mix Bookshelf, Emeryville, CA: 1992 Phone 800-233-9604 Fax 510-923-0369 (A very good all around reference for the beginner or moderately experienced recordist. Descriptions of the recording process, types of microphones, microphone technique etc. are covered) 3. Woram, John M. The Recording Studio Handbook. ELAR Publishing Company, Inc., Plainview, New York: 1982.

4. Borwick, John. Sound Recording Practice. Oxford University Press, 1980.

5. Eargle, John. Sound Recording. Van Nostrand Reinhold, 1976, 1980.

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Vendors

Unless specially noted within specific sections, all of the items described in this paper can be purchased through the following vendors.

Marice Stith Recording Services 732 Bowling Green Rd. Cortland, NY 13045 607-756-0145 (phone and fax) info@stithrecording.com Full Compass Systems 8001 Terrace Avenue Middleton, WI 53562 800-356-5844 (voice) 608-831-6330 (fax) Sweetwater 5335 Bass Road Fort Wayne, IN 46808 800-222-4700 (voice) 260-432-1758 (fax)

Inquiries

For more specific information about birdsong recording equipment or techniques, please contact: Bill McQuay Supervising Audio Engineer Macaulay Library Cornell Laboratory of Ornithology 159 Sapsucker Woods Road Ithaca, NY 14850 607.254.1137 (voice) wjm93@cornell.edu Š2008 Macaulay Library, Cornell Lab of Ornithology These pages may not be reproduced and distributed in any manner without the written permission of the Macaulay Library.

Disclaimer References to equipment, manufacturers and sources included in this document do not constitute an endorsement by the Macaulay Library at the Cornell Lab of Ornithology. Listings may not be complete and prices may vary.

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