An Investigation Into Breaking Free From Conventional Audio Production Norms And Exploring Maverick Methods Of Creating Audio.
WHIP BIRD Image 1: Whip Bird. Image credit: Imogen Warren

Aim:
The aim of this investigation is to capture clean, high-quality recordings of a whip bird (Image 1) by eliminating unwanted ambient or anthropogenic noise without relying on traditional audio cleaning software. By employing an innovative method involving controlled sound emulation, this investigation seeks to preserve the natural acoustic qualities of bird sounds, ensuring consistency in sound quality, and streamlining the audio cleanup process. Additionally, the project aims to explore the potential benefits of this method in enhancing the authenticity and efficiency of field recordings, contributing to advancements in sound design and audio engineering practices.
By using controlled sound emulation to replicate bird sounds in a soundproof environment, rather than relying on traditional audio cleaning software, the result hopes to be a clean, authentic recording that better preserves the natural acoustic qualities of the original bird call, while also reducing the need for extensive digital manipulation.
Research:
Recent studies have shed light on the nuances of auditory perception, particularly in birds. For instance, Bregman et al. (2016) suggest that some species recognise auditory sequences by directly perceiving the acoustic spectral shape rather than relying solely on pitch. This insight is vital, as it underscores the importance of preserving the natural spectral qualities of bird sounds, even in the absence of their original pitch.
Similarly, McDermott (2008) indicates that human recognition of sound sequences extends beyond pitch to include elements like loudness and perceptual brightness. This broader perspective on auditory perception aligns with the concept of the soundscape, defined as "the acoustic environment as perceived and understood by people in context" (Oleg et al., 2015). This definition emphasises the emotional and perceptual relationship humans have with their acoustic environments, distinguishing desirable sounds from undesirable noise.
Noise, in the context of acoustic ecology and field recording, refers to any unwanted element—whether natural or a product of equipment or software (Vlad, 2023). Vlad also explores the philosophical implications of human influence on the environment, arguing that there is a clear distinction between natural and man-made sounds. The detrimental effects of constant city traffic on mental well-being contrast sharply with the benefits of exposure to the quiet of nature, highlighting the importance of minimising human influence in natural sound recordings.
Drawing parallels to my method, Bennett (2018) discusses how recordists like Daniel Lanois have used unorthodox gear to create unique sound effects. Similarly, my approach of emulating bird sounds in a controlled environment, rather than relying on digital cleanup tools, pushes the boundaries of traditional sound production. Bennett also highlights how some producers resist industry norms to achieve distinct results. My use of physical sound replication over digital manipulation can be seen as a form of rebellion against conventional audio engineering methods, much like Steve Albini's resistance to compression.
Moreover, my sound emulation method reflects the creative experimentation exemplified by Tony Platt's experimental mic setup (Bennett, 2018). This curiosity-driven investigation allows me to experiment with alternative processes to achieve a more authentic and natural sound, mirroring the experimental ethos described in the article.
Process:
The process began with selecting a previously recorded whip bird sound, chosen for its distinct tonal qualities and the challenges it presents in capturing clean recordings. I started by pitching the sound down to a more manageable key using the Pitch II mono tool, which allowed for easier manipulation and analysis. The rationale behind this pitch adjustment was to better isolate and study the nuances of the bird's call in a controlled environment.
Next, I replicated the sound in my home studio using the same equipment typically employed during field recordings—an H6 Zoom recorder, NTG3 Rode shotgun mic, and Audio Technica ATH M50x headphones. This setup was deliberately chosen to maintain consistency between field and studio recordings, ensuring that the emulated sound retained the characteristics of the original field recording.
Image 2: Home studio

In my studio, I set up the equipment and recorded at 8 p.m. using Pro Tools Studio as the digital audio workstation. I utilised the Mini Grand piano instrument plugin to identify the key of the original bird recording, which was initially perceived to be in the key of F. To refine the sound, I applied Band7 EQ to remove the low-end frequencies that were not relevant to the bird's call, and added Valhalla Plate reverb with a slight pre-delay to recreate the natural reverberation that would occur in an open environment. Automation was applied to the gain on each audio clip to create a more impactful fade-in, simulating the natural dynamics of the bird's call as it would be heard in the wild. The entire process, from setup to the final bounce of the file, took approximately 30 minutes.
Challenges encountered during the process included identifying the correct key of the bird sound, which was initially determined by ear. After completing the process, I discovered that my voice recording was actually in the key of B, not F, which resulted in some inaccuracies in tone. Additionally, slight clipping occurred in the second audio clip, which could not be corrected as I no longer had access to the recording equipment for a retake.
This process demonstrates the potential benefits of using controlled sound emulation as an alternative to traditional digital cleanup techniques. However, it also highlights areas for improvement, such as the need for more precise pitch identification and better equipment availability for re-recording. Future iterations could include more rigorous methods for key detection and sound analysis to further refine the accuracy and quality of the emulated recordings.
Image 3: Protools Session including original recording, voice recording & pitched audio clips.

Image 4: Software tools used for crafting the bird call emulation.

Image 5: Mini Grand Piano instrument plug in used to identify the key of the bird call.

Image 6: Zoom recorder, headphones and boom mic.

Reflection:
This approach offers several advantages: it improves authenticity by preserving the natural quality and nuance of the bird sound, enhances efficiency by reducing the need for extensive digital manipulation, and ensures consistency in sound quality through the use of the same equipment. Additionally, it provides greater flexibility in sound design by allowing adjustments to the acoustic environment as needed. Overall, this method is designed to streamline the audio cleanup process, making it quicker and more efficient compared to traditional in-the-box techniques.
From a sound design perspective, I learned the importance of precision, especially in pitch identification, which is crucial for maintaining the authenticity of the sound. My initial approach of determining the key by ear, without verifying it with more precise tools, led to inaccuracies. This mistake resulted in tonal discrepancies that affected the final outcome. This experience has reinforced the need for more careful verification of audio elements, especially when working on projects that demand high fidelity.
The slight clipping in the second audio clip was another issue that highlighted the importance of monitoring levels more closely during recording and playback.Despite these challenges, the process demonstrated the potential of controlled sound emulation as a viable alternative to traditional digital cleanup techniques. It opened up new avenues for creative experimentation in sound design, particularly in achieving a more natural and authentic sound profile. The method allowed me to work with the natural characteristics of the bird sound rather than relying on heavy digital processing, which often alters the sound's original quality.
Conclusion:
This experience has deepened my understanding of how experimental methods can be used to achieve specific artistic and technic al goals. In conclusion, this project has not only provided valuable insights into the technical aspects of sound emulation but has also influenced my approach to sound design as a whole. The lessons learned will inform future work, where I aim to balance creative experimentation with the technical rigor needed to produce high-quality, authentic audio recordings. This method, while still in its experimental phase, has shown promise and could be further developed and I look forward to experimenting with this method on other bird calls in the future.Â
Image 7: Booyong Nature Reserve. Image Credit: Jessie Jackson

Audio Files
Resources: Ask Roz AU. 2022. Eastern Whip Bird - Nature’s maracas. Retrieved from https://www.askroz.com.au/blog/whipbirds-natures-maracas/
Bennett, S. 2018. Modern Records, Maverick Methods : Technology and process in popular music record production 1978-2000. Bloomsbury Academic & Professional. Retrieved from https://ebookcentral.proquest.com/lib/sae/reader.action?docID=5614503&ppg=120
Bregman MR, Patel AD, Gentner TQ. 2016. Songbirds use spectral shape, not pitch, for sound pattern recognition. Proc Natl Acad Sci U S A. Retrieved from https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4760803/
McDermott JH, Lehr AJ, Oxenham AJ. 2008. Is relative pitch specific to pitch? Psychol Sci. 2008;19(12):1263–1271. Retrieved from https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4760803/
Medvedev O, Shepherd S, Hautus M J. 2015. The restorative potential of soundscapes: A physiological investigation, Applied Acoustics, Volume 96, Pages 20-26,ISSN. Retrieved from https://www.sciencedirect.com/science/article/abs/pii/S0003682X15000808
Vlad, G. 2023. Mindful Audio. Noise and Field Recording. Retrieved from https://mindful-audio.com/blog/field-sound-recording-noise
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