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Í þessum mánuði eru liðin 35 ára frá því að ég hljóðritaði meðfylgjandi tónleika sem áttu sér stað í Kópavogsbíóieða nærliggjandi sal þann 24. nóvember 1985.
Aðalnúmer kvöldsins var S.H. Draumur en upptökuna af þeim setti ég hér á bloggið fyrir tveimur árum.
Upphitunarhljómsveitir þetta kvöld voru þrjár sem spiluðu í þessari röð; Spilliköttur, Ást og Gakk sem hér fá nú, 35 árum síðar, að láta heyra í sér .
Allar hljómsveitir þetta kvöld voru skipaðar svo til sama mannskap, svo menn sýndu og sönnuðu að þeir gátu tileinkað sér nokkra tónlistarstíla og fjölbreytni.
Í Spilliketti voru Ingólfur Örn Björgvinsson á sax, Sigurður Halldórsson á bassa og Birgir Baldursson á trommur.
Meðlimir ÁST voru Gunnar Lárus Hjálmarsson eða Dr Gunni á gítar, Steinn Skaptason á bassa, Trausti Júlíusson á trommur og Kristinn Jón Guðmundsson sá um söng og texta. Í þessari upptöku sem voru síðustu tónleikar hljómsveitarinnar, eru það aðeins Kristinn Jón sem sér um rödd og Steinn sem sér um áslátt.
Því má við bæta þegar kemur að sögu hljómsveitarinnar að tveir gítarleikarar voru í hljómsveitinni þeir Jón Kristinn Snæhólm og Jón Egill Eyþórsson. Gunni og Jón Egill komu örstutt við sögu í hljómsveitinni HAM á fyrsta starfsári hennar eftir ÁST og samhliða S.H. Draumi.
Í Gakk voru svo til sömu meðlimir og í Spilliketti. Sigurður Halldórsson var á bassa, Birgir Baldursson á trommur og Ingólfur Örn Björgvinsson söng og Sigurður Ingibergur Björnsson spilaði á gítar.
Ekki man ég hvernig ég rataði á þessa tónleika. Líklega var það vegna þess að ég var svo gott sem daglegur gestur í plötuversluninni Gramminu þessi árin.
Árið áður var gefin út tónsnældan Rúllustíginn af Erðanúmúsík  í 250 eintökum sem vakti nokkra athyggli og aðdáun í mínum félagahópi. Á þessari snældu mátti heyra í hljómsveitum s.s. S.H.Draumi, Spilliketti og Ást auk annara.  Flest af þessu þótti nokkuð tilraunakennt og ágætis nýlunda, þvert á það sem sjá mátti í blaðadómum þessa tíma þegar þessar hljómsveitir héldu tónleika. Sjá t.d. dóma í NT þann 4. júlí 1984 um tónleika í Nýló.
Ekki gekk mér vel að finna myndir frá þessum tíma sem best má sjá af myndini hér fyrir ofan. Hún er þó af upptökutækinu sem var notað þetta kvöld og af hljóðsnældunni Rúllustíginn sem gefin var út af Erðanúmúsík í ágúst 1984 og áður er getið.
Ef einhver lumar á myndum sem gætu tengst tónlistarlífinu frá þessum árum þá látið mig endilega vita. Það virðist ótrúlega litið efni vera til.
Hljómurinn er furðu góður á þessari upptöku miðað við að hún kemur svo til beint af snældunni. Ég á þó nokkur mistök á henni frá því upptakan átti sér stað. Á tveimur eða þremur stöðum yfirmótast upptakan þegar hljóðstyrkurinn frá hljómsveitunum breytist skyndilega, en það verður líklega ekki lagað með góðu hér og nú.

Concert from mid 80’s

In this month, 35 years have passed since I recorded the accompanying concert that took place in Kópavogur Cinema hall or a nearby hall on 24th of November 1985.
The main band of the evening was S.H.Draumur which I have already posted here on the blog two years ago.
But before S.H. Draumur was on stage that November night, three other bands were already playing three different versions of music.
The name of the bands was Spilliköttur, Ást and Gakk which all were mainly with the same musicians but playing different styles of improvisation experimental punk rock music.
Three of four of these bands that performed this evening, i.e. Spilliköttur, Ást and S.H. Draumur was on the cassette „Rúllustíginn“. The cassette was considered quite interesting in my friends community when it was released in August 1984. But this cassette can now be found on Youtube .

(mp3 256kbps/58,8Mb)

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Recorder: Sony TC-D5M (AD transfer 24/48, Sound devices 744)
Mic: Sennheiser ME20
Pix: Canon EOS-R

Recording location: 64.111520, -21.905721

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Recording Icelandic glaciers aims to be my main passion for the coming years.
Unfortunately, I feel I’m starting too late because the sounds have changed significantly over the last 20-30 years. It is because they have lost a lot of mass, especially on the edges of the glaciers where they mainly produce sound.
It is becoming increasingly difficult to get to places where a glacier is crawling because there are no roads or tracks near the places that are considered suitable for recording today.
Not enough. Most of the glaciers are within national parks and protected areas today. Therefore, I need to apply for a permit to go to various places within the national park to record.
Once in place, it is not a given that it is possible to record exactly where it would be best to get an interesting sound. It must be taken into account that glaciers are not playgrounds and they can be dangerous. Glacier lagoons’ coastline are also dangerous when large pieces of ice fall from glaciers and large icebergs flip over and break down in pieces.
Weather conditions are also important. I am used to record continuously for many hours, even days, so calm and dry weather most of the time is always on the wish list.  
Last summer Jökulsárlón lagoon and Breiðamerkurjökul glacier were my main targets. It was slightly more difficult than I thought in the beginning, mainly because I did not have a clue what microphones worked best for this project so I brought with me microphones for all kinds of situations which is a hell a lot of stuff. In the end it was my parallel MKH8020/8040 rig which worked best for this glacier project last summer. Mainly because glaciers are not so quiet and therefore microphones with the lowest noise floor are not so important . 
It takes me almost two hours to sail on pedal Kayak with all luggage to the location near the glacier. I started immediately to record with two recorders after arriving. Then it takes me almost a day to find the best location for the microphones. It was not the best place to get the highest quality of sound recording. But they were sheltered from the wind and in safe distance from big waves or tsunami from the lagoon.
This following recording is a part of a 20 hour recording on this location. 
WARNING. This recording has a wide dynamic range. It includes several blasts (especially at 6:34) which are very loud that can damage speakers, headphones or your hearing if played too loud.
As usual for nature recordings it has not got any process in post. Just add gain about 20dB. Therefore is clipping inevitable in the „blast“ at 6:34.
Quality open headphones are recommended while listening at low to mid level, or in speakers at low level.

(mp3 256kbps / 56,3Mb)
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Recorder: Sound devices MixPre6
Mics: Sennheiser MKH8020/8040 in Parallel AB40. Mixed50/50%
Pix: Canon EOS R

Location: 64.109285, -16.243593
Weather: 4°C 2-4m/sek, cloudy

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The weather in Snæfellsnes peninsula, west Iceland was beautiful in the last weekend of August 2020. Me and two other friends went there to record nature sounds. Recordings were made from the noisy coastline to the silence on Snæfellsjökull glacier, a glacier which will disappear most likely within the next two decades because of global warming. 
It is sad because this glacier is iconic for the novel „Journey to the Center of the Earth“ by Jules Verne   
It was not only good weather this August weekend. The tourist traffic was very low because of COVID19 so it gave me the opportunity to record places which have been impossible to record without traffic noise and human voices during the last 10 years.  
One of the peaceful places this weekend was Arnarstapi, a small community south of the peninsula. The coastline below is mostly made of basalt columns, which forms all kinds of natural artwork in the cliffs, caves and fissures with and without stone bridges. 
During the summer time the habitats of these cliffs are mainly a Kittiwake but most of them were gone to the sea this weekend so the cliffs were quieter than one month earlier.
I decided to record in one of the fissures named Eystrigjá. Eystrigjá is a rather narrow and one of those who have a natural stone bridge.
Quality open headphones are recommended while listening at low to mid level, or in speakers at low level.

(mp3 256kbps / 43Mb)
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Recorder. Sound devices MixPre6  
Mics: Sennheiser MKH8020/8040 in Parallel AB40. Mixed50/50%
Pix: LG G6

Location: 64.768392, -23.616746
Weather: Sunny, calm, 16°C 

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Thanks to COVID, I got a unique opportunity this summer to record in places I have so far not been able to record because of traffic, mainly due to tourists. One such site was Skeiðarársandur, a broad sandy wasteland along Iceland’s south-eastern coast, between the Vatnajökull icecap and the sea. This area has been a „desert“ with deadly glacial rivers for centuries. But due to global warming and receding glaciers, rivers have disappeared. Instead, vegetation like moss, grass and trees has occupied some areas without human intervention.
It is therefore obvious that biodiversity will change significantly in the coming years.
Here is a part of an 8-hour-long recording that was taken just east of the dry riverbed of Skeiðarár, which was a huge glacial river for centuries until a few years ago when it disappeared due to changes in Skeiðarárjökull glacier.
This is a recording of silence. The microphones were placed beside a small creek which can be found all over Skeiðarársandur. Because of the wind I did not use a tripod, they just stood on the windshield on the ground which gave a pretty good result.
The background noise is mainly a gust of wind stroking the ground and surf among the coast, about 20-30Km away
Birds in this recording are Common Ringed Plover, European Golden Plover, Dunlin, Purple Sandpiper, Common Snipe, Whimbrel, Common Redshank, Whooper Swan, Greylag Goose.
Quality open headphones are recommended while listening at low to mid level, or in speakers at low level.
The name of this blog „Dögun við Eyrar“ means „Dawn at Eyrar“ (Eyrar is the name of the place)
Other recordings from Skeiðarársandur can be found here

( mp3 256kbps / 63Mb )
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Recorder: Sound devices MixPre6
Mics: Lewitt LCT540s (IRTcross) channels counter clockwise 1-2-3-4 = L-R-L-R
Pix: Canon Eos R

Loation: 63.972468, -16.956438
Weather: Clear sky. Gust up to 6m/sec. around 10°C
Recording time between 5.am to 6.am

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This following recording was made between 03:00 and  04:00, It is a part of seven hours long recording between 02:00 and 09:00 which I did in Skálholt, south Iceland 10th of July.
The grass was tall so the microphones were almost hidden in the grass. Lots of birds were in this grass searching for food and some of them came close to the microphones.
This is a typical soundscape of silence in a countryside which is not disturbed by traffic or by other engine noise.
Imagen you self standing in a grassland.  Front of you is a wide open wetland field.  Behind you is a  small hill with tall trees  which make a reflection of some bird calls. Two rivers are in the distance with flocks of whooper swans. The birds are all around you but mostly quiet and busy searching for flies and other insects in the grass all around you.
The recording contains many birds. Like Common Snipe, Golden Plover, Whimbrel, Raven, Common Redshank, Black Tailed Godwit, White Wagtail, Black headed Gull, Rooster, Winter Wren, Northern Wheatear, Snow Bunting, Rock Ptarmigan, Common Starling, Redwing, Whooper Swan, Eurasian Oystercatcher and probably other species.
This recording was made with four Lewitt LCT540s microphones in IRT cross. All capsules are 90° & 30cm apart which was in post mixed to two 180° stereo.
This recording is highly gained with a wide dynamic range so keep it in mind, some moments can be loud
Quality open headphones are recommended while listening at low to mid level, or in speakers at low level.

This recording is my contribution for the world listening day 18th of July 2020

  (mp3 256kbps / 60Mb)
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Recorder: MixPre6
Mics: Lewitt LCT540s (IRT cross 90¨/30cm)
Pix: Canon EOS R

Location: 64.121864, -20.534631
Weather: Calm, cloudy, around 12°C

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I recently noticed the best tripod I can get to avoid high levels of „mechanical wind noise“ in recordings. It is simply a hummock. I have many times recorded nature sound by leaving omni mics on the ground. But it has not been as simple for cardioid mics because it changes the EQ on the frequency range, especially when the mics are in the windshield.
Here below is a recording I did in Flói bird reserve in south Iceland. The average wind was probably around 4-5m/sec with some gust up to 5-7m/sec. The high pass filter was at 40Hz so mechanical wind noise should be with a typical tripod clearly audible at 3m/sec.
Keep in mind this is a recording of silence. It was barely nothing audible while this was recorded
It was recorded with 48dB gain and in post the gain was increased again about 27dB.
Most of the background noise is the surf on the south coast which is very noisy. The wind is almost constantly wiping the ground and airplanes make a rumble noise for many minutes. You will also hear wind noise but far less than it would have been with a typical tripod. 
One of the reasons I think it is so effective to put the rig on the ground, is mainly because the LCT540s is a heavy mic. So while the windshield lay so heavily on the ground, the ground works like a damper for all vibration on the windshield which therefore make less „mechanical wind noise“
Most bird species are in distance so this is not a very attractive recording. But many things are going on in this wide open space in south Iceland and it is always interesting to listen to soundscape which is too quiet for most human ear.
Quality open headphones are recommended while listening at low to mid level, or in speakers at low level.

(mp3 256kbps / 60Mb)
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Recorder: Sound devices MixPre6
Mics: Lewitt LCT540s IRTcross setup
Pix: Canon EOS R
Location: 63.901024, -21.192173
Weather: cloudy, calm up to 7m/sec, around 12°C

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In mid April I was asked in a radio interview about field recordings, what was my favorite bird. My quick answer was „Starling“….or, I was not sure. But that was going to be clear a few days later.     
Starling is a new immigrant in Iceland. It was first seen 1940 in Hornafjörður, south east Iceland and in Reykjavik 1960. So today it is a very common bird in many urban places around Iceland, however, mainly in south west Iceland
His song is usually a loud high frequency tweet or rough ugly scream. But some starlings seem to have the ability to learn complex sounds and tweed them unbelievably well.   
Thanks to COVID-19, Reykjavik city gets very quiet with less traffic in April, which open a completely new and lovely natural soundscape in the city
So it gives me a great opportunity to record the bird life to the finest details in my garden in several days.
The following recording are selected moments of a 10 hours long recording which I made over night on the 25th to 26th of April in the garden  I use Audio Technica, AT4022 which I place with 50cm apart, on the ground, where I usually feed the birds during the winter moths. I use a simple foam as a windshield and hide them in brown nylon socks. 
I guess it is only one bird that imitates all the songs or sounds in this recording, which is totally outstanding. He imitates birds like ravens, seagulls, blackbird and redwing, which sounds even better than the original redwing song, golden plower, goose, duck, oystercatcher, great northern diver, common redpoll, snow bunting… and I am sure some other species too. You can also hear him imitate ambulance, rubber toy, dog and humans. 
If you recognize some other sounds, birds or animal species in this recording, please leave a comment below.
So one thing is for sure. I did not lie in the radio interview. starling is my favorite bird.
Please notice this recording have a wide dynamic range, so don´t play it loud. Quality open headphones are recommended while listening at low to mid level, or in speakers at low level.
  

(mp3 256kbps / 65,2Mb)
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Recorder: Sound Devices MixPre6
Mics: Audio Techinca AT4022 AB50/boundary
Pix: Canon EOS30

Weather: Cludy, calm about 5°C 
The whole radioprogram with the interview – and only with me, Magnus Bergsson (sorry, only in Icelandic)

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Bjarni Jónsson ( 21. október 1881 – 19. nóvember 1965) fæddist í Mýrarholti sem var býli við Bakkastíg í Vesturbæ Reykjavíkur og voru foreldrar hans hjónin Jón Oddsson tómthúsmaður og Ólöf Hafliðadóttir. Eiginkona Bjarna var Áslaug Ágústsdóttir og eignuðust þau þrjú börn, Ágúst, Ólöfu og Önnu.
Bjarni lauk stúdentsprófi frá Lærða skólanum árið 1902 og lauk embættisprófi í guðfræði árið 1907 frá Kaupmannahafnarháskóla. Samhliða námi kenndi Bjarni við Stýrimannaskólann í Reykjavík og Kvennaskólann í Reykjavík. Haustið 1907 varð hann skólastjóri Barnaskólans á Ísafirði. Hann varð prestur við Dómkirkjuna í Reykjavík árið 1910, var prófastur í Kjarlarnesprófastsdæmi 1932-1938 og dómprófastur í Reykjavíkurprófastsdæmi frá 1945-1951. Hann varð vígslubiskup í Skálholtsbiskupsdæmi forna frá 1937 og til æviloka. Starfsferill Bjarna var langur og hann var starfandi prestur og vígslubiskup í rúmlega hálfa öld. Hann varð heiðursdoktor í guðfræði við Háskóla Íslands árið 1941 og hlaut ýmsar orður og heiðursmerki m.a. stórkross Hinnar íslensku fálkaorðu og hina dönsku Dannebrogsorðu. Bjarni var heiðursfélagi í fjölda félaga og árið 1961 varð hann heiðursborgari Reykjavíkurborgar en Bjarni þótti með þekktari borgurum Reykjavíkur og vakti athygli vegfarenda þegar hann gekk hempuklæddur milli Dómkirkjunnar og heimilis síns að Lækjargötu 12b.
Árið 1952 gafst íslenskum kjósendum í fyrsta sinn færi á því að kjósa sér forseta en fyrsti forseti Íslands, Sveinn Björnsson var þingkjörinn árið 1944 og endurkjörinn án atkvæðagreiðslu 1945 og 1949. Þrír frambjóðendur gáfu kost á sér Ásgeir Ásgeirsson, Bjarni Jónsson og Gísli Sveinsson forseti sameinaðs þings. Kosningarnar voru afar pólitískar og naut Bjarni stuðnings framsóknar- og sjálfstæðisfólks en vinstra fólk, einkum alþýðuflokksfólk studdi Ásgeir. Bjarni naut stuðnings Morgunblaðsins, málgagns Sjálfstæðisflokksins og á kjördag hvatti blaðið til þess í forsíðufrétt sinni að kjósendur myndu sameinast um Bjarna og sagði að „allir þjóðhollir Íslendingar kjósa séra Bjarna Jónsson.“ Niðurstaða kosninganna varð sú að Ásgeir Ásgeirsson var kjörinn forseti með 48,3% atkvæða en Bjarni hlaut 45,5,%. Þriðji frambjóðandinn Gísli Sveinsson hlaut 6,2% atkvæða (Wikipedia).
Það gæti talist vel við hæfi að sr. Bjarni sjái nú um predikun á netinu í Páskaviku og miðjum COVID-19 faraldri því hann var prestur í Dómkirkjuni á dögum spönsku veikinnar 1918.
Hér er á ferðini nokkuð dularfull upptaka með Bjarna því ekki er vitað hvaða ár hún var tekin upp eða af hvaða tilefni.
Upptökuna gerði Hörður Þormar, efnafæðingur frá Laufási í Eyjafirði, á segulbandstæki einhvern tíma á árunum 1955-1965.
Árið 2012 færði ég allt hans gamla spólusafn yfir á stafrænt form og gaf hann leyfi til að gera þessa upptökuna aðgengilega ef einhver gæti gefið nánari upplýsingar um hana. Það er nokkuð augljóst að tekið er upp úr LW útvarpi því heyra má öðru hverju smelli sem gætu allt eins stafað af sólvindum.
Það er ljóst að Ríkisútvarpið hefur átt og á kanski enn þessa upptöku. Það sem hins vegar er ekki ljóst, er hvenær þetta hefur verið tekið og útvapað sem varð til þess að Hörður hljóðritaði þessa predikun. Sjálfur man hann það ekki. Bjarni hætti prestskap 1951 en þá átti Hörður ekki spólutæki. Það kann hinsvegar að vera að Ríkisútvarpið hafi útvarpað þessari predikun þegar Bjarni var gerður að heiðursborgara Reykjavíkur 1961.
Ef einhver getur gefið nánari upplýsingar um þetta hljóðrit þá væri það vel þegið.
Upptakan er í tveimur hlutum því hún var á tveimur spólum.

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This is an old recording which was recorded on reel to reel recorder somewhere between the years 1955-1965 from a LW radio in Iceland. It is a church sermon with pastor Bjarni Jónsson (1881-1965). He was old style priest and well known cathedral bishop in Reykjavik from early to mid last century. This recording was found on a two reels in my parents friend´s storage. There was also other old personal recordings which I helped him to digitize in 2012.
What makes this recording interesting now when Covid-19 spreads all over the world is the fact Bjarni Jónsson was a pastor of the Reykjavik Cathedral when the Spanish flu crossed into Iceland in 1918 as well all over the Western world.
It is most likely this could be the only recording with this pastor from the last century which is almost forgotten now in modern days

(mp3 192kbps / 48.3Mb)
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Recorder: Sound devices 744 24bit/44khz
Reel player: Revox B77

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After a dark winter with an awful weather nothing is as pleasant when migrant birds arrive to the country in the spring. Most birds arrive in April and May, and few species in Mars and June. So in mid May the air is loaded with birds song. What amazes me always is the fact that many of these birds are coming far distances from hot claimed continents like Africa and when they arrive they still have the power to fly around and sing almost 24/7 in several weeks.
It was no exception to this on May 12, 2019 when I arrived at Stafholtstungur in SW of Iceland  with my recording gear. Lot of snow was still in the mountains and the weather was cold but dry.
There are many bird species in this recording. Common Snipe, Golden Plover, Whimbrel, Common Redshank, Black Taled Godwit, White Wagtail, Winter Wren, Northern Wheatrxear, Snow Bunting, Rock Ptarmigan, Common Starling, Redwing, Great Northern Diver, Read Throated Diver, Whooper Swan, Graylag Goose and probably other species too.
This is a part of 9 hour recording I record over night with four Lewitt LCT540s microphones in IRT cross setup.   
Even though this part was recorded early morning, between 3:00 & 3:30, the recording is disturbed by human traffic in air and on ground. Wind noise which is usually difficult to avoid are audible in some moments. 
I do not strictly follow the rules about the IRT setup. I have 30cm / 90° between all capsules.
Counting clockwise normal arrangement for the channels are 1-2-3-4  to  L-R & Rs-Ls. But I pair these four channels L-R-L-R into stereo. This allows me to record 360° soundscape with four separated microphones without exactly noticing any time errors.
At the same time I also have four stereo recordings into individual directions which can be useful in some circumstances.
The problem with this „IRT stereo mix“ is that I can´t locate the direction of the sound source. But if I need that information I can always get it in the original recording file. 
In this recording Ch1 is facing to north, Ch2 to east, Ch3 to south and Ch 4 to west
This is a high gained recording. Recorder with 50dB gain, plus 24dB in post, close to be normalized (-3dB). So this is a „quiet“ recording even though it seems to be loud.. Quality open headphones are recommended while listening at low to mid level, or in speakers at low level.

(mp3 256kbps / 62Mb)
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Recorder: Sound Devices MixPre6
Mics: Lewitt LCT540S (IRT cross arrangement)
Pics: Canon EOS-M
Location: 64.673439, -21.628673
Weather: Calm to light gust, Cloudy  about 2°C 

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It is not everyone who knows that when recording the finest detail in natural silence a large-diaphragm condenser microphone can be much better choice than a small-diaphragm condenser microphones.
But there are just few microphones which can fit into this category because they must have the lowest noise possible on the microphone market. Of course it is possible to use a noise reduction software but that will never give as good of a result as recording with the best separation between signal to noise ratio. Many microphones have very low noise, but are not sensitive for the finest details, so low noise number in manufacturer specification is not telling you everything.
So what microphones are the best to record fly’s footsteps?
For a many years Rode NT1a has been the best microphone in this category. But now we have at last two other microphones to choose. They are Lewitt LCT540s  and Rode NT1. All these three microphones are almost equal when it comes into self noise, but they are slightly different by characteristics. Rode NT1a is extremely well focused on midrange <8Khz so for most natural sounds they can give a stunning result. But for whole natural soundscape they sound rather flat and without depth, I guess mainly because NT1a has a poor low frequency response. It is also very sensitive for handling noise so using NT1a outdoor in a windshield is very difficult.
Rode NT1 is an improved version of NT1a. Anyway it is not as well focused on the mid range, but instead it sounds slightly more natural with better low frequency response and has also less handling noise.
I recently discovered Lewitt LCT540s which sounds overall fantastic. Different from NT1 and NT1a which is mainly good for voices and spoken words, the LCT540s sounds very natural for everything, as for quiet open natural spaces and for music. It is even possible to hear the depth of the field in all sound pressure levels which is not usual with many other microphones.
I think many are curious how this large capsule withstand humidity. I can only say, in Iceland humidity is not a big problem, I just remember one time I had some strange noise in NT1a, But that was in a bog after several hours in fog and rain so the windshield was soaking in water.
This comparison is mainly focused on LCT540s and NT1 while they sound so close. Their main difference is the output sensitivity which is about +7dB higher in LCT540s than in NT1. MKH8040 is in other hand just for comparison, to show the difference between a small and large diaphragm microphones and how they react in quiet environment.
This recordings was made in 50m2 garage in the countryside. This recording contains mainly two ticking clocks, both sides of the mic rig, also a buzzing fly and a mouse jumping somewhere in the garage. Outside is a traffic in a distance
If you interest how NT1a compare to LCT540S, then you can read and listen to this older blog post HERE

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First three audio samples are straight from the recorder at 50dB gain, so it sounds in very low level. *

Sennheier MKH8040

Rode NT1

Lewitt LCT540S

Same audio samples again but with +24dB added gain to the original recording, combined 74dB of gain. *

Sennheier MKH8040

Rode NT1

Lewitt LCT540S

Audio samples goes through 80Hz HPF and normalized up to 0dB which increased the gain on MKH8040 about +16dB, NT1 about +14dB and LCT540S about +9dB *

Sennheiser MKH8040  See spectrogram

Rode NT1  See spectrogram

Lewitt LCT540S   See spectrogram

See the whole picture gallery

* All audio samples above are mp3 at 256kbps 44kHz.
Original recording at 24bit/48Khz on Sonosax SX-R4+ & SX-AD8+

See a windshield solution for Rode NT1a and Lewitt LCT540s