A two-day field recording expedition
Field recording of natural soundscapes is both a creative and scientific practice. It combines artistic listening with systematic observation of the acoustic processes that shape an ecosystem. This two-day bicycle expedition to the forests above Ticha Reservoir is focused on documenting the early spring biophony—the collective sounds produced by living organisms within a specific environment.
Journey to the recording location
The expedition begins in the town of Shumen around midday. The weather is clear and sunny, and the air carries the crisp transparency typical of early spring. The ride toward Ticha Reservoir proceeds steadily and without excessive physical strain.
After the winter season, my muscles gradually adapt to the sustained cycling effort. The rhythm of pedaling establishes a stable pace that allows both physical movement and attentive listening to the surrounding acoustic environment.
The bicycle is configured for a fully autonomous field trip. Two large rear panniers and two smaller front bags carry camping equipment, food supplies, spare parts, and recording gear. One pannier contains the entire audio recording setup, carefully packed to protect the equipment during off-road travel.
The route initially follows an asphalt road toward the reservoir before transitioning onto a gravel forest road. During the climb, it becomes evident that the seasonal hydrology of the region has changed significantly since my previous visit in August 2025. Small ravines that were dry during summer are now filled with flowing water. These streams create a constant background layer of geophony—the non-biological sounds of the environment such as water movement, wind, and physical landscape processes.
This continuous natural noise forms the acoustic foundation upon which the biological soundscape later develops.
Entering the forest zone
After roughly ten kilometers along an old asphalt road following the reservoir shoreline, the route turns toward a forest section that leads to one of my familiar recording areas. Gradually the road becomes muddy and waterlogged, making bicycle travel increasingly difficult.
Eventually the terrain requires pushing the bicycle through mud, shallow streams, and fallen branches. Such conditions are typical for early spring when the ground remains saturated from winter precipitation and melting snow.
After some time the dense forest opens into a large clearing surrounded by thick woodland. Nearby stands a small observation tower commonly used by birdwatchers and wildlife photographers.
Encountering the forest biophony
Approaching the far edge of the clearing, an extraordinary acoustic event unfolds.
From the forest beyond the meadow emerges a dense and highly structured chorus of bird calls. Numerous species vocalize simultaneously, creating overlapping rhythms and frequency patterns. This phenomenon represents a classic example of biophonic organization within a soundscape.
In acoustic ecology, this type of sonic structure occurs when different species occupy distinct frequency ranges and temporal niches, allowing their calls to coexist without excessive masking. The result is a layered sonic texture that resembles an orchestral composition—yet it emerges naturally through the behavior of the ecosystem itself.
Standing quietly in the clearing, the experience feels remarkably similar to being inside a natural concert hall created entirely by the forest.
Preparing the recording system
To document the soundscape, a compact stereo field recording setup is deployed:
Stereo microphones: Rode M5 MP
Recorder: Zoom F3
Recording format: 192 kHz / 32-bit float
External battery power
The microphones are fitted with wind protection and positioned near the transition zone between forest and meadow, where bird activity is particularly concentrated.
Recording at 192 kHz allows the capture of extremely fine acoustic details within the sound spectrum, including subtle textures and ultrasonic components often missed in standard recordings. The high dynamic range of 32-bit float recording ensures that even very quiet environmental sounds can be preserved without distortion.
Once activated, the system is left recording for an extended period without human presence nearby in order to avoid disturbing wildlife activity.
Establishing camp
While the recording system captures the soundscape, I begin searching for a suitable campsite. Much of the terrain is too wet for camping, but deeper within the forest a patch of dry ground appears between the trees.
The tent is quickly assembled and the bicycle bags are unloaded. At this moment another small challenge appears—the front tire of the bicycle has gone flat. A quick repair restores the wheel, after which I prepare a cup of tea using a small camping stove.
Time passes quickly during these tasks, and by the time I return to the microphones, several hours of audio have already been captured.
Continuing the recordings
When I check the equipment, I discover that the recorder has stopped despite being connected to external power. Nevertheless, a significant recording has already been made. After restarting the system, the microphones are repositioned to face the open meadow for an additional session.
While standing completely still near the equipment, I notice two roe deer slowly walking near the observation tower. Their presence confirms that this area serves as a natural movement corridor for wildlife.
Evening and nighttime soundscape
Before sunset the clearing becomes filled with the calls of numerous bird species, including:
Song Thrush
Common Chaffinch
Eurasian Blackbird
Redwing
European Robin
Great Tit
Fieldfare
Gray-headed Woodpecker
Eurasian Nuthatch
Black Woodpecker
Eurasian Green Woodpecker
Eurasian Blue Tit
As darkness falls, the acoustic structure of the forest changes. Daytime activity gradually fades, replaced by a quieter but still dynamic nocturnal soundscape.
The most distinctive voice of the night belongs to the Tawny Owl, whose haunting calls occasionally pierce the silence of the forest. Sometimes distant, sometimes unexpectedly close, the owl’s voice becomes the dominant acoustic signal of the night.
The microphones remain outside near the tent while the recorder continues operating beside me inside the shelter.
The dawn chorus
Before sunrise the forest begins to awaken again. The first bird calls emerge gradually until the ecosystem reaches its morning peak of vocal activity known as the dawn chorus.
This period represents one of the most valuable moments for field recording because many species vocalize simultaneously while the environment remains otherwise quiet.
The morning biophony signals the beginning of a new recording session.
Conclusion
After the final recordings are completed, all equipment is carefully cleaned and packed away. The campsite is restored and left exactly as it was found.
The journey back follows the same forest road toward Shumen.
What remains from this two-day expedition is a rich collection of acoustic material—layers of geophony, biophony, and spatial forest acoustics that together form the unique sonic identity of the forests above Ticha Reservoir.
These recordings will later be edited and published as part of the Nomadic Soundscapes project, continuing the effort to document and share authentic environmental soundscapes from natural landscapes.