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I have used hydrophones for several years, mainly Aquarian H2a XLR and JFR piezo’s. But I have never been happy with the sound quality.
Comparison is hard to find on the internet and most hydrophone recordings there have been fixed in a post process so it doesn’t give me clear  information how it actually sounds. Most hydrophone manufacturers don’t give a standard or important information so buying a quality hydrophone for thousands of dollars can be a risky task. 
Last summer (2020) I spent several hours recording on Jökulsárlón Glacier lagoon. I noticed behind the sound of H2a was something very interesting soundscape which H2a couldn’t clearly capture.
So I decided  to get a better hydrophone before I continue to record in this lagoon.
I contacted both B&K and Teledyne Reson to check the price and options. Both his manufacturers gave me useful information but the price was higher than I was ready to pay for a good car so I continued the search. Ambient has two interesting hydrophones but they do not show important information. When I ask for Frequency and S/N graphs, Ambient just sends me the user manual which is already on their website. Same with Cetacean Research and Dolphin Ears, which either give me strange answers or no answer  So I continue to search through several manufactures.
Suddenly and surprisingly I found Benthowave, a company which was ready to custom made hydrophones for me, hydrophones where I got all necessary information for my needs. It was almost too good to be true, so it takes me several weeks to decide to let Benthowave build my dream hydrophone.
The base was built on BII-7122 but additional with balanced output w. BII-1082 ultra low noise amp and 15meter long cable.
No problem, I would get it after 6 to 8 weeks! But that was too late for me. My recording project actually started that time in late May. Before that project starts it is necessary to build a customized floating platform and power supply for the new hydrophone which can take two to three weeks. 
So I ask Benthowave which low noise hydrophone they have in stock. It was only a single output BII-7121 with internal BII-1081 amp.
Two weeks later they were in my hands.
 My first impression was a huge disappointment. I was almost sure I had thrown money out of the window. But after I build my second power supply, these hydrophones start to rock. It was two key figures that were important to know to let them work without problem.

1. These hydrophones are sensitive for EMF. From the power supply box (made out of metal)  must be a good wired ground connection to the water which will be recorded. 
2. Never put a power on the hydrophone before cables are ALL connected and the recorder has been turned on. Otherwise the hydrophone output will act / sounds strangely 

Other things must be kept in mind because these hydrophones use an external battery power supply, but NOT Phantom power. Use a recorder which has „Combo input“, (XLR and jack input) or 3,5mm jack input. Use only Jack to connect the hydrophone to the recorder so you will never mistakenly get Phantom Power into the hydrophone. It might be possible to use Triton Big Amp for recorders that don’t have Combo input. But I haven’t tested it yet. I will write an update when it has been tested. I use non-standard XLR connectors in and out of the battery box so even blind men can not connect the hydrophones without correct cables.

Conclusion of the comparison
I am not sure if this comparison gives a correct picture of the Aquarian H2a. Mine have a LOM phantom power adapter which has a small amount of gain and probably makes tiny changes in the frequency curve.
Anyway, with this adapter it sounds similar to the original. I put this adapter to avoid extra noise which I got only in the SD744 recorder and with HPF off. This adapter also avoids other strange and unusual noises which I think is caused by the 48Volt phantom power which I think is too high. But with the adapter the H2a  is driven by 5Volt.
This comparison was done in Sundahöfn port of Reykjavik. In a corner which is mainly used for depreciated ships so it was quiet, without loud ship engine noise.
The hydrophones were placed side by side in 1,5m depth with 2,5m separation, from a floating pier with two bonded boats. The gain on the MixPre6 was at 30dB for both hydrophones and HPF was off 
There is pretty much difference between these two hydrophones, both in frequency range and sensitivity. Benthowave BII-7121 frequency range is from 0,5 hz to 60 Khz at +/-3dB V/μPa. On spectrograms I can see it can as well detect sound up to 80Khz  or as high as I can record at 192Khz.
The hydrophone sensitivity is -158,7 +/- 0,2dB plus +26dB BII-1081 amplifier gain (-185dB) and self noise is 25dB μPa/1KHz.
Aquarian H2a frequency range is 20Hz-4.5KHz +/- 4dB and the self noise is  „low noise“ whatever it means. Sensitivity is -180dB re: 1V/µPa. My Aquarian hydrophones are not new, so new model might have increased sensitivity. Compared to BII-7121 it seems be close to -165dB. With the LOM Phantom power adapter the sensitivity is closer to -170dB re: 1V/µPa  and the frequency range seems to be on spectrogram close to 100-7Khz.
It was not easy to normalize the level of these hydrophones while they have so different frequency ranges. To do that I tried to normalize the level by listening to constant pump noise in the background in the recordings and make it as equal as possible in combination with the level meters. 
At the moment I can’t say much about the self noise. It could be difficult to compare these two hydrophones while they are so different in frequency ranges. I somehow expected to hear lower self noise in BII-7121. But it might be as good as it gets.  It is -24dB below sea state zero at 1Khz,  which is very good, even for much more expensive hydrophones. But to know exactly what it means for me I need to test them in quiet lakes.  I will put an update here as soon as I have done that.
I must say, the BII-7121 has very nice sound quality, Just as I expected. It is almost possible to hear the depth of the field, while H2a sounds flat and all high frequency is missing. But keeping in mind these two hydrophones have very different prices so in fact it is unfair to compare these two hydrophones.  One piece of BII-7121 cost about USD 1,244.- (base price), while H2a XLR cost USD 194.  I should rather compare Benthowave to Teledyne Reason like TC-4032 which cost EUR 3,640.- or Bruel & Kær like 8106 which cost DKK 86,470.- I think they will all sound similar.
Benthowave seems to be built on rather cheap plastic materials and glue, it looks very fragile and seems to be not as robust as Teledyne or B&K. But as long as Benthowave can offer me the same or similar sound quality at a lower price I am happy with that.
BII-7121 could have been heavier.  It weighs only 95gr while H2a weighs 125gr which is even too light. The BII-7121 cable is Gepco MP1201 Quad Star.      
In the recordings below you can hear in some headphones an unpleasant „low frequency noise“ due to the wind. This is because there was a lot of wind on the day when this was recorded. The cables to the hydrophones were mostly up on the pier where the wind got an awkward amount of play around them.  
This „wind sound“ will usually disappear once I have built the „floating platform“ for the hydrophone.
I will post pictures when its done.

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Recording straight from the recorder, only add +12dB in post
Benthowave BII-7121

Recording straight from the recorder, only add +12dB in post
Aquarian H2a 

Normalized recording BII-7121  

Normalized Recording H2a 

Recording with BII-7121 of a Tugboat propeller 250-300 meter away. This recording is straight from the recorder, no extra gain.
Notice at 3:55 the amplify goes up and down. I am not sure what it is. I think it could be a strange behavior of the hydrophone when they are in „strong“ current or water flow, in this case from the tug propeller, which was though not very strong. It could be as well the ground cable which lost contact to sea while waves pass the pier.
H2a normally makes a low frequency noise in water flow or current. But I am sure this current was not strong enough for H2a to make a noise.  
I will write an update as soon as I figure out why BII-7121 acts like this.
All updates will be added here below by date. 

More information about hydrophones & underwater sound:
Construction and testing of low-noise hydrophones (pdf)
Sound in the sea

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Update 9th of May 2021

Hydrophones with frequency range down to 1Hz are very sensitive for all movement in water or water flow, which seems to cause an overload for the internal amplifier so the audio output turns on and off while it happens.
At the moment I would recommended for everyone who like to order Benthowave hydrophone to ask for custom HPF at 10Hz or 20Hz, otherwise the hydrophone will be only usable during calm days 
If default HPF is in the hydrophone then is it necessary to make some kind of „flow noise reduction“ for the hydrophone, similar protection cages which CRT make for its own hydrophones. 
Rycote BBG 25mm fits perfectly for this BII-7121. But that is not the final solution. Original BBG did not work well so it needs some changes which I am working on.
I will post an update later when I think I have found the final solution.

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Earthquakes have shaken southwestern Iceland for more than two weeks. They have been counted in many thousands since it began so folks like me are going to feel like all earthquakes below 4 in magnitude are a normal state
But not everyone feels the same way. All those who live close to the source of the earthquakes are going to be very tired of this situation, mainly inhabitants of Grindavík town and nearby places.
When I was working on this blog as an example, an earthquake hit my house which was 5.4 magnitude. It is similar in magnitude as those which first heard in the recording below.
The following earthquakes were recorded in my garage in Reykjavik which is 25-30Km from the earthquake’s source.
The first two earthquakes were recorded with parallel Nevaton MC59O & MC59C, on four channels in  AB40 setup. All other earthquakes were recorded using the Nevaton MC50Quad in MS setup. These Nevaton microphones are the only ones I have that can reach below 10Hz and can therefore also record the fluctuations in the aftershocks.
This recording contains sixteen earthquakes, collected from continuous one week long recording. They are mainly earthquakes which happen during the nighttime to avoid traffic noise. Most of them were above 3 magnitude…I guess.  

(mp3 256Kbps / 24,4Mb)

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Recorder: Sound devices 788
Mics: Nevaton MC59O & MC59C parallel in AB setup and MC50 Quad
Pix: Screenshot of the first two earthquakes in the recording

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In recent years I have spent several nights in Skeiðarársandur to record the changes in the ecosystem.
Skeiðarársandur is a huge broad sandy wasteland along Iceland’s south-eastern coast, between the Vatnajökull icecap and the sea. It is a wonderful place to record deep natural silence in a huge open flat landscape.
For hundreds of years Skeiðarársandur has been a barren desert. but recently with shrinking glaciers and smaller glacial rivers, Birch, moss and other flora have occupied the northeast part of the sand. That means the soundscape on Skeiðarársandur will change in the future which will be interesting to record regularly in the coming years.
I have usually stayed at the same spot near a traditional sheep pen because structures like that are attractive for birds like Snow bunting, Northern wheatear and Rock ptarmigan.
I was very excited when I went to this spot on the 9th of June 2020. Because of COVID, there were almost no tourists in Iceland and therefore far less traffic.  So I was hoping for a beautifully quiet night there. I was not disappointed either. It was calm so the silence was deep. I could hear the Atlantic ocean surf among the coastline 20-30km away, which sounds slightly like low frequency rumble in the background of this recording. I could not see any bird but bird songs came from every direction, clearly far away. During the night the glacier rumbled several times in Skaftafell national park like a thunder in the distance. Once a ship engine noise was audible out of the coastline which sounds pretty spooky. It sounds more coming from the sky rather than from the coastline in the horizon, which was probably a reflection from different temperature layers in the atmosphere.
Anyway the ship engine is not audible in the following recording, but maybe in another blog.
The microphone rig was on the top of the sheep pen wall, not far away from the place which I think Northern wheatear has had a nest every year since I started to record this place. (Listen to recording since mid May 2016)
Luckily the Northern wheatear was not far away. This time the bird was not as angry about the hairy microphones as when I first brought the microphones in this place. The bird just sang for me for almost one hour and here comes part of it.

  (mp3 256kbps / 67,7Mb)

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Recorder: Sound devices MixPre6
Mics: Lewitt LCT540s (IRT Cross)
Pix: Canon EOS-R 

Weather:  Calm to 5m/sek, clear sky, 3 to 7°C
Location:  63.969925, -17.160018

 

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Shortly after I set up my gear in a safe spot near the lagoon beneath the Svínafellsjökull ice fall. I heard thunder behind the Hafrafell mountain
Two minutes later and suddenly all icebergs in the lagoon began to move around like corks in a boiling pot. Big waves paralyzed the shores of the lagoon, in some places for many meters.
„Shit“ was my first thought. „I was not in the right place“. I should have been on the other side of the lagoon and closer to the glacier, where I have spent hours and days in recent years trying to record incidents like this without success. I ran to the lagoon to see what was going on.
…Or maybe I was lucky to be where I was. I saw big waves go far up on the shore at the place where I have been recording the past years. I probably would have damage or destroyed the Phantom power adapters inside the hydrophones XLR´s.plugs   
Thanks to COVID I was now in a place which has been impossible to record because of the tourist explosion in recent years.
Two microphones were now placed under a high steep crawl on the lagoon´s west bank, 5 meters above the lagoon surface. Below the microphones, two hydrophones were put in the lagoon between big rocks to prevent them from getting crushed or touched by icebergs. It was a bad placement for a successful underwater recording. But I  remember quite well what happened in this lagoon few years ago. So I was sure I would lose them both and probably something more if I threw them deeper into the lagoon. 
Although the outcome is OK, even though the hydrophones did not pick up the whole soundscape underneath the lagoon’s surface. 
The glacier calving starts in this recording at 3:15 min far away and behind the Hafrafell mountain, so it doesn’t sound very loud. But it makes a big wave in the lagoon which makes a chain reaction of a few other glacier calving.
Just before the first incident you can hear the hydrophone pick up a sound of crushing ice. It would have been much louder if the hydrophones have been deeper in the lagoon. But recording glacier lagoons is not an easy task when the lagoon is full of ice which can flip without warning.  
This recording was made in the late afternoon so traffic noise from rode no:1 is audible in the background. But compared to recent years, it is nothing. Thanks to COVID.   
Quality open headphones are recommended while listening at low to mid level, or in speakers at medium level.

(mp3 256kbps / 48Mb)

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Recorder: Sound devices MixPre6 
Mics: Lewitt LCT540s (NOS) & Aquarian H2n XLR (Spaced AB)
Pix: Canon EOS R

Location: 64.007567, -16.880922
Weather: Cloudy, calm,  +11°C  
 

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There is a place near Fjallsjökull glacier I have tried to record several times in recent years. But I´ve never been happy with the result.  Mainly because of noisy traffic from road no.1 and/or surf noise from Breiðamerkurfjara beach or because of weather.
But COVID19 gave me an wonderful opportunity to record this place without tourist traffic in June 2020.
This place is a small glacial corrie south of Fjallsjökull glacier. It is a small, wet area, with several fresh water springs. Arctic flora brings lots of birds to this place so the soundscape can be very interesting with a rumbling glacier in the background.
This is a part of several hours long recording. The time is around 5 o’clock in the morning. Flock of noisy Barnacle geese has already landed not far away from the microphones. Through the whole recording these Barnacle geese come closer and closer to the microphones, so be careful, in the end they get loud.  Early in the recording two Whimbrels sing an interestingly long „love song“. Other birds are audible too, like Golden plover, Dunlin, Rock Ptarmigan and Red Throated Diver.
Once, about 2km away, a big piece of ice breaks off the glacier into the lagoon with noisy consequences.
Background noise is mainly a surf from the ocean behind the microphones, about 5 km away.
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 (NOS setup)
Pix: Canon EOS-R

Weather: Calm, Cloudy, about 4°C
Location: 64.010735, -16.391960

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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