We are excited to launch a new HISSandaROAR Sound Design Challenge!

So what do you have to do?

Design and mix the sound for the mute video below

1. The only source material allowed is the SD030 NOISE SOURCE TestPot (file list below)
2. Design, edit, manipulate, process & mix the sound to picture, and output a new video with your new sound mix
3. Upload your video to YouTube or Vimeo
4. Take a screenshot or photo of your edit session, and save it as a JPG, max width = 1024px
5. Send an email to [email protected] containing your name, a link to your video and attach the JPG screenshot
6. The deadline is 9am June 1st – NZ time, no entries will be accepted after this time.
7. one entry per person

Feel free to make your video unlisted on Youtube or password protected on Vimeo if you want to.

Download the video and the SD030 NOISE SOURCE TestPot via THIS LINK (247.7MB Download)


The prize is a free copy of next HISSandaROAR Library: SD030 NOISE SOURCE
We plan to give away at least ten copies of the new library, but we would be very happy to give away many more than that if your entry impresses us….



NOISE Circuit Bent Game Digital Hash.wav
NOISE Doepfer A118 Module White Noise.wav
NOISE Korg MS10 Pink Noise.wav
NOISE Quantum Rainbow Module 1 White Noise.wav
NOISE Quantum Rainbow Module 2 Red Noise.wav
NOISE Quantum Rainbow Module 3 Grey Noise.wav
NOISE Radio DSE 1 Shortwave Burst.wav
NOISE Radio DSE 2 Shortwave Weird.wav
NOISE Radio Sony Hifi Tuner Static.wav
NOISE Radio Yaesu Static 1.wav
NOISE Radio Yaesu Static 2.wav
NOISE Radio Yaesu Tone 1 Bass.wav
NOISE Radio Yaesu Tone 2.wav
NOISE RF Nomad Module Static.wav
NOISE Roland SH101 White Noise.wav
NOISE Vinyl 1 SL1200 Stylus On Label.wav
NOISE Vinyl 2 SL1200 Surface Noise.wav

Field recording Okarito kiwi

If you know anyone from New Zealand you will have likely heard the colloquial use of the word ‘kiwi’ – the kiwi is our national bird, and what a bird it is: sleeps all day, wakes about half an hour after sunset, and is rarely seen or heard….

I’ve spent almost my entire life obsessing about sound & yet I had never heard a kiwi vocalise with my own ears….

So when a friend visiting from Japan said he would like to ‘see’ a kiwi, I gently explained that unless you can see in the dark you do not usually see a kiwi & that most people who live in New Zealand have never actually seen a kiwi.
He checked on TripAdvisor and discovered even people who visited a kiwi enclosure at a zoo in NZ complained that the ‘kiwis were all asleep’ – but really, what else would you expect, visiting a nocturnal bird during daylight hours?

Regardless it made me start researching: I wasn’t so interested in seeing a kiwi, but I would dearly love to hear one & preferably record it. Having suggested a field recording trip down the West Coast I was very happy to discover Okarito Kiwi Tours

I’ve made dozens of road trips down the West Coast, it may well be my favourite part of the country, but despite having driven past the turn off I had never actually been to Okarito. So I sent an email off to Ian Cooper, who runs Okarito Kiwi Tours and asked him what were the chances of us (a) doing a tour and (b) hearing & recording a kiwi.

A few emails & phone calls later & we were confirmed, but with a caveat:
his close relationship with the Rowi (Okarito kiwi) means he has over a 90% success rate of seeing kiwis, but hearing them was totally unpredictable. They may not voicalise at all on any given night, or they may sing once at 8pm or once at 3am… no guarantees but if we were keen he would do everything in his power to put us in the right spot to capture sound when/if they do vocalise…

Challenge accepted!

A bit more research & I slowly began to realise the extent of our plan:
the kiwi we were aiming to record was also the rarest in existence

kiwi distribution map via DOC

Not only are kiwis rare, the Okarito kiwi aka Rowi is the rarest of the five species: there are currently only about 350 living birds, which is a major improvement on the all time low of only 150-200 birds in the mid-1990s.

My deepest respect goes out to the people who work tirelessly to save these birds from extinction, especially as I read of the process for a Rowi kiwi to make it to maturity From the DOC website:


So we arrived at Okarito on the 25th May, 2015 and found our rented cottage for two nights (any field recording trip needs some contingency for weather)

Okarito is a small coastal town, and when I say small the current population was in the order of just 30 people. No cell phone coverage, no shops, no bar, no restaurants – it isn’t somewhere you arrive without a plan. But it is beautiful Surrounded by dense bush, the town is on the edge of a very large estuary, leading to the sea…

The interior walls of this great old boat house on the edge of the estuary displayed some of the fascinating history of the area, and I was surprised to learn that the fully intact Blue Whale skeleton that I admired as a kid at the Christchurch Museum was actually recovered from the sea near here in 1908 & duly transported across the alps to be preserved

As the sun began to set we headed over to Ians house, starting point for the Okarito Kiwi Tours

4.30pm meet for briefing
Ian explained the process of tracking and finding a kiwi – turns out the precious kiwi breeding pairs have transmitters attached to them & being territorial they tend to stay within certain areas of bush… But ‘their patch of bush’ can cover many square kilometres, so his recce the previous day had been to ascertain which pair were sleeping near a track that we could actually get to…

We also met a couple who would be joining us, and Ian was careful to check none of us were wearing ‘rustly’ clothes – not just to avoid ruining our recordings but to also avoid distracting him from audibly tracking the location of the kiwis in the dark…

4.45pm drive into start of hiking track

Four layers of quiet clothing, hat, gloves, two pair of socks.
We got in Ians van & he drove us into the start of a hiking track…

5.00pm hiked in 2km

The breeding pair who live closest to the carpark were a long way from the road or tracks, so we hiked about 2 kilometres further up the track… Ian regularly checked the location of our sleeping kiwis with his tracking device…

5.10 sunset

5.20pm set up & recording started

Ian had told us the kiwis usually wake 20-30 minutes after sunset, and then begin foraging…. So he made sure we were in position & recording well before then…. And so the waiting began… I had carried in a stereo pair of Sennheiser MKH8040 mics & a Manfrotto stand, plus an MKH8020 in a Telinga dish, capturing sound via a Sound Devices 744 recorder and 302 preamp.

After an indeterminate amount of time, Ian indicated the kiwis were both up & moving… And so began a gentle shuffling up & down the track, pausing to listen for sounds of movement. Turns out one part of a kiwis anatomy which is useful for tracking is its feet – Ian described them as being akin to a 4 year old human child walking slowly through dense bush, if they are close it is not a subtle sound…

He could tell their approximate distance from us using his tracking device, estimating them to be just over 100m from the track, moving in parallel to us… Suddenly the long awaited crunchy footsteps were heard, with my headphones cranked up & slowly moving the Telinga dish from side to side attempting to localise the source I suddenly froze, as the most ungodly sound I have ever heard began



First the male kiwi screeched, and bear in mind I was monitoring via headphones at such a level that a footstep sounded big, so the screech was like someone standing right in front of me screaming their lungs out I grimaced & froze: this was such a rare event I wasn’t going to risk ruining the recording by bumping the mic

OMG#2 a duet

After a dozen calls the female kiwi joined in To hear one kiwi sing was rare, to hear a breeding pair sing a duet was so unlikely as to be a miracle Eventually the male stopped, leaving the female to sing the last 4 or 5 phrases alone & then back to the silence… I stayed frozen for 30 seconds, hoping for more, but that was it. Slowly I became conscious again & with a moment of anxiety looked down to make sure my recorder was actually still rolling… YES I hit the record button to start a new file & noted the filename of the successful recording: “KT10” – I’d been recording for over an hour, constantly triggering new files each time we moved location…

I almost laughed out loud when Ian leaned over & whispered into my mic “Tim, you can go home now” – and while he was joking, he was kind of right – I could have gone home right then, ecstatic & 100% satisfied… But Ian was committed to enabling us to also see these kiwis, so our slow shuffle backwards & forwards along the track following Ians directions continued…

6.55pm sighted the male kiwi

No cameras are allowed on this trip, only sound – this isn’t my bias or Ians – it is a specification of the Department of Conservation allowing Ian to run these tours. Imagine a group of over excited tourists armed with cameras, who may or may not know how to turn off the flash on their cameras – suddenly they see a kiwi & blind/stress it like a gaggle of paparazzi stalkers…

Following Ians body language & direction we slowly realised the male kiwi was coming out, to cross the hiking track we were on & using a red filtered light at the crucial moment we all got to visually witness the male Rowi kiwi, mere metres away from us. What an incredible moment…


By this stage I could not feel my toes – it was that cold But we weren’t finished yet. Having met all of our goals Ian persevered and slowly tracked the movements of the female kiwi, deeper in the bush & further up the track. We slowly tracked along and just as my patience started to whither…

7.52pm sighted the female kiwi

There she was


8.00pm pack up & hike back to car

Buzzing & relaxed after attempting to remain silent for over an hour and a half, we headed back up the track to the carpark…

8.30pm light fire, check recordings, celebrate

A nagging anxiety of having successfully captured such an awesome sound remained until I could check whether the recording actually sounded as great as my memory of it. And given I was monitoring so loud I was a little worried I had actually distorted the recording – I know the 8040s can handle VERY loud sounds but had I cranked up the preamps too much??? I transferred just ‘KT10’ to my laptop, split the poly file and first checked the 8040 pair… YES Next the 8020 Telinga rig… YES

I was thrilled – we had achieved the most unlikely of goals: to record the rarest kiwi, in their natural habitat. And we’d succeeded We’d had to work hard & be well prepared, but there is no doubt in my mind that it was a gift: that kiwi pair chose to sing for us God/Jah/Buddha bless them and those who work so hard to protect them. Thank you Ian for being such a gracious & encouraging host. And to Hide, who motivated the trip. And to Fiona & Stu, random travellers who we shared a truly amazing experience with


Some stats & a compressed timeline:

The male kiwi is known as ‘Fancy’ and the female kiwi is known as ‘Joelene’

They are both 17 years old (Rowi can live to 100 years old)

4.30pm meet for briefing
4.45pm drive into start of hiking track
5.00pm hiked in 2km
5.20pm set up & recording started
6.37pm recorded duet call
6.55pm sighted the male kiwi
7.52pm sighted the female kiwi
8.00pm pack up & hike back to car

So after we started recording, we waited over an hour in the freezing cold to hear their duet:

moral of the story?
perseverance & patience FTW


And the recording?

First the stereo recording via ORTF pair of Sennheiser MKH8040s:

Next a mono recording via a Sennheiser MKH8020 in a Telinga dish

& for fun, the stereo recording slowed down to half real speed

Lastly, if you’ve appreciated me sharing this adventure can I ask a small favour?
Kiwis are an endangered species & need our help to survive – Kiwis for kiwi is carrying on the years of dedicated work by BNZ Save the Kiwi Trust, to help protect kiwi and the places they live.
Please visit their website HERE and consider making a donation to help support their efforts

Sonic Tourism – New Zealand

First Field Recordings

By 1998 I was in the slow motion process of dropping out of University – I’d started a degree in Electrical Engineering, and the further I got into it the less I liked it! One of the few interesting elements was the anechoic chamber which I spent time in when I could…

Around the same time a couple of friends were at Elam Fine Arts School. The drummer in my band was studying film, and via him I managed to start using their field recording equipment: a beautiful Nagra 4.2 and a Sennheiser MKH416 shotgun mic in a Rycote.

Prior to going to Film School in 1990, I spent a gap year living in an abandoned church in central Christchurch, playing in bands and starting to experiment making my own music and sound. And borrowing that Nagra and 416 whenever I could!

Sometimes the greatest motivator can be a lack of access, so whenever I had that Nagra I spent quality time with it – learning to record, and also learning to manipulate sound with it. Making tape loops, playing sounds backwards and splicing tape.

At one stage I had a part time job, working a nightshift at a gas station in the suburbs. I think their motive was that my meagre pay was cheaper than insurance, while mine was being paid to do very little. Except I didn’t – I did all sorts of things while I was at work, and remember a couple of people coming into the station about 2am, only to find the counter covered in bits of 1/4″ tape!

Another part time job I had was at a company who built sound systems – I mainly helped with assembly but I made friends with a hippy guy who worked in their machine shop. He built all the speaker enclosures so had a full workshop of saws, routers, drills etc… and I soon realised this was an opportunity not to be missed!

I managed to talk him into coming in to work during the weekend, and borrowed that trusty Nagra and 416 again and recorded a great little library of machine tools. One of my favourite sounds from that session was an air powered staple gun, I was recording at 15ips as much so i could slow sounds down as for the quality. And that staple gun sounded great at half speed.

I think those recordings would be the earliest recordings that are still in my library. At some point in the 90s I transferred them to DAT, at real speed and at half speed. And then a few years later digitised the DAT and added it to my growing CDROM sound library… and then as hard drives became affordable, copied the CDROMs to hard drive, and now to a NAS.

So here is a few of my earliest recordings, time travelling from 1988 to your ears now!

First recordings

I was thinking about my first ever recording experiences, and while it wasn’t in the field per se, the one machine that ignited the fire in my imagination for recording and manipulating sound was the TEAC A3340 four track recorder.

This particular machine had become infamous by local experimental music hero Chris Knox and his studio/front room band The Tall Dwarfs. Using tape loops, splicing, overdubbing, reversing and track bouncing Knox and band mate Alec Bathgate had produced a series of brilliant EPs for the Flying Nun label, perfectly illustrating the potential for multitrack recording, even if it was only four tracks…

Back in the mid 1980s I was living in Christchuch, playing bass guitar in a band, appropriately named The Unknown. We played lots of gigs, and slowly the desire grew to record some of our music. And after considerable effort we managed to get an Arts Council grant for $500 to record and release a cassette EP.
Rather than blow our budget in one session at a studio, our live engineer Bryce suggested we rent a desk and microphones from our friendly PA company and set up our house as a studio for a few days. The one missing element: a recorder.

Through a friend of a friend of a friend, we eventually managed to rent a Teac A3340 and I can still remember going to pick it up from a fairly squalid house in Sydenham and noticing the bent spoons on the oven in the kitchen… Didn’t want to think about where the $50 rent was going, but we took this beautiful machine back to our flat, and made the whole set up work for few long days of recording: guitar in the kitchen, drums & bass in the lounge, and vocals in the spare room.

Thankfully… copies of the recording now exist, but watching Bryce engineer the recordings and mix down our EP was the first time I actually got to witness music recording and the dream that had been hazy slowly began to clarify itself.

A beginning

The best place to start a new blog? The beginning!

I grew up on my parents farm, Dalbury, near the mouth of the Rangitata River in the South Island of New Zealand and I think living in such a place had a profound impact on my senses.

I have since read of how some of the early settlers who moved to the Canterbury Plains went crazy as they just couldn’t handle how “big” the sky was!

The plains reach from the Southern Alps out to the East Coast, and on a sunny day it can feel like sky consumes most of your visual field.

But I also think growing up in such a place helped develop my love of nature and quiet places.

Many of my early memories are sound based, for example I vividly remember the sound of blue gum nuts randomnly falling off the trees and rolling down the roof of the shed.

And the sound of the empty grain silos, jumping up and down inside them, creating thunder.

As a young boy my parents made me take piano lessons – in hindsight I am eternally grateful but at the time it felt like a chore.

I remember how Mrs Perkins, my piano teacher, had two sausage dogs and I knew my piano lesson was finished when they started barking, announcing that the next student had arrived for their turn.

It was the sound of freedom.

Another early memory I have, I really can’t explain other than to believe it was a instinctive glimpse of the future. We had a cottage on my parents farm which we used to rent out to visitors (think Air BnB, except its the 1970s and the internet hasn’t even been conceived of)

One family who came & stayed became good friends of my parents and they invited us to visit them in Wellington. So some time later we went & stayed in a relatives beach house at Paekakariki (coincidentally about ten minutes from where I live now) and I distinctly remember catching the train into central Wellington and visiting our friends place of work – it turned out he was the managing director of Radio New Zealand!

I must have been only about seven or eight years old but I remember two things from that visit. First was how his office was on the top floor of this high rise building, I had never seen such a thing before let along been inside one. And the second thing?

We were given a tour of the facilities and were shown a recording studio which was being used for classical recording. And I distinctly remember how the engineer showed us how different instruments were recorded on seperate tracks.

Years later I was reminiscing about this memory with my brother, who is four years older than me, and he said all he can remember of that visit was lunch!