Feeds:
Færslur
Athugasemdir

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I have published many times recordings from the Nature Reserve Flói in southwest Iceland, so I will not introduce that area again.
During the years I remember couple of times when curious sheeps have disturbed the recording. This is one of them.
This peace is a 30 minutes of nine hour overnight recording. It was recorded between 7 and 8 o´clock in the morning 25th of July 2015.
The recording is not only disturbed by the sheeps, it is also highly disturbed by tourist traffic, especially in the air. Jets are arriving and leaving the country and smaller planes in sightseeing so this peaceful area is not especially quite this time.
Quality open headphones are recommended while listening at medium level.

(256kbps / 57,2Mb)

Recorder: Sound devices 788
Mics: RodeNT1 (NOS) & MKH20 (AB40) as close together as possible
Pix: Canon EOSM
Location: 63.901026, -21.192189
Weather: Calm, cloudy, around 11°C

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Bæjarstaðaskógur (Farmsted forest) is a small forest in the east of Iceland, in Morsárdalur, in Skaftafell national park.
Morsárdalur, is a wide valley blanketed with woodland, contains multicolored rhyolite formations at Kjós valley, and the outlet glacier Morsárjökull with its creaking icefalls.
The forest’s name, Bæjarstaðaskógur, suggests that it used to be a farmstead during the Middle Ages and the ruins were quite visible until the 18th century.
Bæjarstaðaskógur is a beautiful oasis in the vast spread of sand. This 30 hectare forest is the most robust birch forest in Iceland, its birches can reaching 12 meters height. There are also Island’s straightest birches and the most precious. Bæjarstaðaskógur also has rowans and the most beautiful display of Icelandic wildflowers.
I have noticed that Redwing songs in this area is very different from other normal Redwing songs, even for whole Iceland. This Redwings stay in a small area, from the west side of the river Morsá to Bæjarstaðarskógur. Their song start with three or two falling pitch tone, always the same, before they start to sing in full blast.
If you are trained listener you will hear this Redwing song in this recording.
This is a 28 minutes part of seven hours long overnight recording. This part was recorded at 30th of May 2016, between 6 and 7 AM. About one minute after the recording start you will hear high rumbling sound from Morsárjökull glacier and with quality headphones you should hear rumbling sound many times. The mid range ambient noise is mostly rivers in mountains all around and Morsá in the valley. The white noise is a mic noise
This is a highly amplified recording. Recorded with MKH20 & NT1a, very close to each other at 52dB and then amplified again +30dB, so the sound is rather „flat“.
Quality open headphones are though recommended while listening at low level.

(256kbps / 54Mb)

Recorder: Sound Devices 788
Mics. Rode NT1a (NOS) & Senmnheiser MKH20 (AB40)
Pix: Canon EOS-M
Location: 64.059604, -17.026755
Weather: Mostly clear sky, calm, temp. around 2°C

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Last summer I spend one week at Raufarhöfn, a small village in north east of Iceland, close to the arctic circle. Most of the time it was a fool‘s weather for „quality“ recording. But anyway, I recorded almost 6 to 10 hours every night close to the sore. Most of theese recordings contains rumbling wind noise, but sometimes – very few times, I got what I was looking for.
Here is one of them, recorded 17th of June 2016.
It is early morning. The clock is around four. Birds are busy to protect and teach their young to search for food. Shortly after the recording starts, you can hear a fisherman pass by on his car on way to the harbor. Then later, the fishing boat goes, and passes by on the way to the sea. It takes a long time for the enginenoise to disrepair.
This is a peaceful recording. A typical midsummer morning soundscape at the arctic circle, where the sun never goes down. Many bird spices are in this recording, but mostly Common Eider and their youngs. Also you can hear Oystercatcher , Golden Plover, Purple Sandpiper, Red Necked Phalarope, Whimbrel, Common Snipe, Redwing, Snow Bunting, Svan, Great Northern Diver, Northern Fulmar, Kittiwake, Raven and probably may other.
Quality open headphones are recommended while listening at low to mid level.

(256kbps / 55Mb)

Recorder: Sound Devices 788
Mics. Sennheiser MKH20 (AB40)
Pics: Canon EOS–M

Location: 66.451296, -15.946621
Weather: Light gust, cloudy

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I am used to feed birds daily in my garden with all kinds of leftovers.
There are always some birds that watch my garden every day, and when they see me in the garden, some starling give a high pitch signal and some of them fly away. But shortly after that they come back with a flock of other birds, normally common starlings and redwings. Some birds like one blackbird and some redwings are now extra gentle around me while I prepare the food in the garden.
Christmas day, 25th of December 2016, was just like another „feeding day“. But it was snowing, so the traffic noise wash less than usual and therefore a perfect day to record a birds activity.
This recording starts slowly. Just few birds have arrived when the recording starts. But in the end the birds have eaten almost everything and they start singing, packed in the trees all a around my house.

(224kbps / 48Mb)

Recorder: Sound devices 788
Mics: Rode NT1a in Rycote Cyclone (AB50 setup)
Pix: GoPro Hero3
Weather: Cloudy, light breeze, snowing and -3°C

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Pablo Sarasate was born 10 March 1844 in Pamplona, Navarre, the son of an artillery bandmaster. He began studying the violin with his father at the age of five and later took lessons from a local teacher. His musical talent became evident early on and he appeared in his first public concert in A Coruña at the age of eight.
His performance was well-received, and caught the attention of a wealthy patron who provided the funding for Sarasate to study under Manuel Rodríguez Saez in Madrid, where he gained the favor of Queen Isabella II. Later, as his abilities developed, he was sent to study under Jean-Delphin Alard at the Paris Conservatoire at the age of twelve.
There, at seventeen, Sarasate entered a competition for the Premier Prix and won his first prize, the Conservatoire’s highest honour. (There was not another Spanish violinist to achieve this until Manuel Quiroga did so in 1911; Quiroga was frequently compared to Sarasate throughout his career.)
Sarasate, who had been publicly performing since childhood, made his Paris debut as a concert violinist in 1860, and played in London the following year. Over the course of his career, he toured many parts of the world, performing in Europe, North America, and South America. His artistic pre-eminence was due principally to the purity of his tone, which was free from any tendency towards the sentimental or rhapsodic, and to that impressive facility of execution that made him a virtuoso. In his early career, Sarasate performed mainly opera fantasies, most notably the Carmen Fantasy, and various other pieces that he had composed. The popularity of Sarasate’s Spanish flavour in his compositions is reflected in the work of his contemporaries. For example, the influences of Spanish music can be heard in such notable works as Édouard Lalo’s Symphonie Espagnole which was dedicated to Sarasate; Georges Bizet’s Carmen; and Camille Saint-Saëns’ Introduction and Rondo Capriccioso, written expressly for Sarasate and dedicated to him.
Of Sarasate’s idiomatic writing for his instrument, the playwright and music critic George Bernard Shaw once declared that though there were many composers of music for the violin, there were but few composers of violin music. Of Sarasate’s talents as performer and composer, Shaw said that he „left criticism gasping miles behind him“. Sarasate’s own compositions are mainly show-pieces designed to demonstrate his exemplary technique. Perhaps the best known of his works is Zigeunerweisen (1878), a work for violin and orchestra. Another piece, the Carmen Fantasy (1883), also for violin and orchestra, makes use of themes from Georges Bizet’s opera Carmen. Probably his most performed encores are his two books of Spanish dances, brief pieces designed to please the listener’s ear and show off the performer’s talent. He also made arrangements of a number of other composers’ work for violin, and composed sets of variations on „potpourris“ drawn from operas familiar to his audiences, such as his Fantasia on La forza del destino (his Opus 1), his „Souvenirs of Faust“, or his variations on themes from Die Zauberflöte. In 1904 he made a small number of recordings. In all his travels Sarasate returned to Pamplona each year for the San Fermín festival.
Sarasate died in Biarritz, France, on 20 September 1908, from chronic bronchitis. He bequeathed his violin, made by Antonio Stradivari in 1724, to the Musée de la Musique. The violin now bears his name as the Sarasate Stradivarius in his memory. His second Stradivari violin, the Boissier of 1713, is now owned by Real Conservatorio Superior de Música, Madrid. Among his violin pupils was Alfred De Sève. The Pablo Sarasate International Violin Competition is held in Pamplona. (Wikipedia)
Following recording Zigeunerweisen is performed by Chrissie Telma Guðmundsdóttir (violin) and The Iceland Amateur Symphony Orchestra directed by Oliver Kentish.
This was recorded at Seltjarnarnes Church 16th of October 2016.
Thanks to Oliver and Chrissie who gave me a permission to publish this recording on the web.

(320Mbps / 24,4Mb)

Recorder: Sound devices 788
Mics: Neumann KM184 (NOS) & Line Audio OM1 (AB40) in 3m above orchestra. Sennheiser MKH20 for bass and Line Audio CM3 on soloist (Chrissie).
Location: 64.1485379,-22.0052351

More information:
Chrissie Telma Guðmundsdóttir
Oliver Kentish
The Iceland Amateur Symphony Orchestra

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Svínafellsjökull icefall lay in a valley between Svínafellsheiði and Hafrafell. It is an icefall from Öræfajökull which is the highest mountain/glacier in Iceland around 2109 meters high.
I spent several nights beneath Svínafellsjökull icefall in May, both 2015 and 2016, recording 8-10 hours overnight recording. I was always trying to capture iceberg breakdown into the glacier lagoon, because last time I record it in 2014 it was disturbed with huge tsunami.
But most of the breakdown was probably somewhere between 1300-1700 meters, high in the mountain.
Anyway, during the night when traffic goes down and the weather was calm, it was always interesting to listen to the glacier in the „silence“. It starts like a thunder with low frequency rumble, high in the mountains. Then a strange „white noise“ falls slowly down the the wally, all the way to the end of the icefall toe. I am still not sure if it was an echo from the mountain or some crawling sound from the glacier. But it was so slow that I am almost sure that it is was not an echo from surrounding mountains.
But this is not what you will hear in the following recording. After one of this overnight recording in 15th of May 2016 I decided to record near to a frozen pond close to the glacier’s toe. The time was around eight o´clock in the morning so the tourist traffic had not began to disturb the soundscape. The temperature was just below zero, but the morning sun was already melting the ice in the area. The soundscape was amazing. With closed eyes it sounds like a busy place with bunch of small elves. Small trickle, ticks and cracks makes the soundscape worth to listen and to record.
At 17th minute the glacier start to crawl and then again one minute later with low frequency rumble.
Quality open headphones are recommended while listening at low to mid level.

(256 kbps / 56Mb)

Recorder: Sound devices 788
Mics: Sennheiser MKH8020/8040 (parallel ORFT)
Pix : Canon EOS-M
Location: 64.001270, -16.877298
Weather: Clear sky, calm, 1°C

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Wind is very often the recordist´s enemy. Especially if the rumbling noise of „hammering membrane“ is not acceptable.
Some recordists may say this rumbling noise is just normal. Everyone will hear similar rumbling noise when they stay in wind.
For me it sounds like „clipping distortion“.
Wind protection is one of the most important thing for nature recordings, especially in the country where wind below 3m/sec. is almost unique.
I have tried several wind protections. My own, Rode Blimp and Rycote Softie and Modular series. All of them sounds similar. So it was welcomed when Rycote introduced the Cyclone windshield. Cyclone have Floating Basket Suspension, which is very nice. Until now, it has been only be used in the overpriced Cinela products.
Rode NT1a is one of the best cardioid microphones available today for nature recording. But sadly it is not build for outdoor use, so it has some poor futures like handling noise.
So when I choose it on the field, it has been important to keep it in Rycote modular windshield, place it close to the ground (sadly very often too close) and pray for completely calm weather. Then pray again for nice outcome.
I per-order a pair of Cyclone mini windshield last summer and got it in mid September. My plan was to fix them with parallel MKH20/40. But I also gave my modified NT1a a try when I saw it was almost „plug and play“ to fix it .
Without fur Cyclone was not far from to be equal to Rycote modular series with fur. But when Cyclone was dressed in fur the rumbling noise almost disappeared in wind around 5-7 m/s. That was a huge success.
Following recording is a short part of overnight recording from Stafholtstungur, in the west of Iceland. The gust goes up to ca. 7m/sec. and the recorder HPF was set at 80Hz. The rig is about 1 meter above the ground.
Some rumble noise is audible in this recording, but some of it could as well be a vibration from the tripod. Keep it in mind this is NT1a which is particularly sensitive for handling noise.
I will spend more time to test this setup but it looks like I need to order another pair for my MKH20/40 rig.
Quality open headphones are recommended while listening at low to mid level.

(265kbps / 36Mb)

Recorder: Sound devices 744
Mics: Rode Nt1a NOS setup
Pic: Canon EOS-M