Fascinating Field Recording Adventures: Jan Brelih shares his ‘Earth Experience’

Sound recordist/Expedition coordinator Jan Brelih of Earth Experience has spent nearly a decade documenting sounds of wild and endangered habitats. His treks have taken him to far-flung and remote places like the mountains of north Vietnam, the Aletsch Glacier high in Switzerland’s Alps, Columbia’s Cueva de los Guácharos National Park, and the Cloud forest in the Colombian Andes, the Amazon rainforest, to Columbia’s Baha Solano – a remote town in Colombia’s Choco region – via a cargo boat, Utria National Park, and Los Nevados National Park. His most recent trips have been to the Himalayas and to the Andaman and Nicobar Islands.

Here, Brelih talks about his goals of capturing the sounds of nature to provide a historical record of endangered wild habitats and to bring awareness of and appreciation for these natural places. He talks about his recording setups, his approach to capturing sound in different locations – from urban to remote, and he details his experience on his most recent expeditions to the Himalayas and to the Andaman and Nicobar Islands. Brelih also talks about preparing for trips, handling backups of recordings, creating libraries, and more!

How did you get into field recording/nature recording? What led you out into the wild to capture nature sounds?

Sound recordist Jan Brelih

Jan Brelih (JB): My journey into field recording is deeply connected with my passion for exploration and the great outdoors. Since childhood, I have been drawn to the wilderness and more adrenaline-boosting activities such as climbing and mountain biking, maybe because here in Slovenia – where I live – you are never far from the forests. Going to the forest has always greatly helped with my mental state of mind, where you are surrounded by trees and animals that have no judgment and simply live in harmony with each other.

My thirst for exploration has also made me want to travel to more distant places. I sometimes spent hours exploring the satellite maps of destinations such as Papua New Guinea, the Amazon Rainforest, and the Himalayan mountains, wondering about and being so intrigued by what was there in these remote corners of the world.

My first real touch with sound was in my teenage years when I was into electronic music production and being a deejay at many events around Europe. When I reached my early 20s, I changed my lifestyle to a healthier one, back to being connected more to nature, and sports, and I started to travel around the world. My first steps into actual field recording came during a bicycle tour around Portugal. I purchased my first handheld recorder from a shop in Lisbon, and that’s when I started capturing sounds more intentionally – from the rugged Portuguese mountains to the crashing waves of the Atlantic coast.

… I became painfully aware of how these unique and pristine habitats are disappearing and being completely destroyed due to human-related activities.

As I started to travel deeper into more distant, isolated areas – my first such trip to Borneo – I became painfully aware of how these unique and pristine habitats are disappearing and being completely destroyed due to human-related activities. This realization further transformed my journey into a mission. I felt the urge to document these endangered acoustic environments, not just for their beauty but as a record of our planet’s biodiversity and as a tool for conservation to inspire conservation efforts for our incredible yet endangered natural world.

Over time, as I developed my skills and expanded my expeditions, I founded Earth Experience to share these sounds with a wider audience.

Field recording is also perfectly aligned with my practice of mindfulness and self-healing. To capture clean and meaningful recordings, you need to be fully present and listen deeply. This practice has profoundly changed how I perceive and interact with the environment around me. In today’s modern world, we’ve largely lost the ability to truly listen and be present in our environment. The constant barrage of digital noise and distractions has dulled our senses and disconnected us from the natural world.

What was your first recording setup? What’s your recording setup now? What did you learn with that first setup that led you to improve your approach and your kit?

JB: My first ‘setup’ was a small handheld Zoom recorder. At the time, it felt exciting to capture all the sounds. Looking back, it seems somehow funny compared to my current equipment, but it was an essential starting point.

As I progressed, I realized that reducing self-noise (the inherent noise from the equipment) was crucial for improving recording quality. This led me to upgrade my kit, not only when I had enough money but also when I decided which microphones would be most sensible to get. There is no perfect solution on the market yet.

As I progressed, I realized that reducing self-noise (the inherent noise from the equipment) was crucial for improving recording quality.

Well, maybe there is. Today, I use Nevaton MC 59 microphones with omnidirectional capsules, some of the quietest on the market. Paired with a high-quality field recorder – a Sound Devices MixPre II unit – this setup allows me to capture incredibly clean and detailed soundscapes. It is a miracle how this recorder has survived and continues to work. It’s been my constant companion through the humid depths of the tropical jungles, countless expeditions across the world, and local trips in Europe. Despite prolonged exposure to extreme conditions, it still keeps on working.

This process with equipment has enabled me to record sounds I couldn’t have captured nicely with my initial setup – from owls hooting in the silent night to drops dripping in a completely silent cave. As a field recordist, I’m always aiming for better quality and a truer representation of the soundscapes.
 

You had two incredible recording expeditions in 2023 – to the Himalayas (Uttarakand, Sikkim), India in March, and to the Andaman and Nicobar Islands in the summer. These two locations are so different!

For the Himalayas, your trip went from a busy city – New Dehli – where the weather is warm, to the remote high mountains – Uttarakhand, Kuari Pass – where there was snow! In terms of recording, do you have different setups for different conditions? For instance, in the city, did you use a more discreet recording setup, something small, portable (can be put easily into your pocket or backpack), and easier to use (doesn’t require a lot of work to get it going)? What about weather conditions – how does the weather impact your approach to recording?

JB: These two expeditions indeed presented contrasting environments. The journey from remote forests and mountain villages in the Himalayas, with their snow-capped peaks and crisp air, to the tropical expanses of the Andaman and Nicobar Islands presented a pretty diverse experience of the ecosystems and acoustic diversity.

Overall, my approach to recording remains consistent across these varied conditions. The goal is always to capture the clearest, most authentic soundscapes possible.

For recording, I’ve found that versatility is key. I use Roland binaural ear mics, which are discreet and quick to deploy, particularly useful in sensitive areas or when I need to be mobile. Although, once I got used to the clean and silent sound of Nevaton mics, I was reluctant to record with anything less than that, so I ended up mostly using the main setup, which I got trained to deploy quickly or carry on a tripod even when walking.

The varying climates have a greater impact on my choice of field gear and clothing than my recording equipment, at this moment. Years of expeditions across diverse environments have led me to develop a versatile gear kit (i.e., camping gear, clothing) that adapts to a wide range of conditions, from tropical heat to mountain snow.

Overall, my approach to recording remains consistent across these varied conditions. The goal is always to capture the clearest, most authentic soundscapes possible.

When in a remote location where your intent is to capture nature sounds, what factors into your decision on where to setup up your mics?
– How long do you typically record in one spot before deciding to set up somewhere else? What factors into your decision to ‘move on’?

JB: The length of a single recording depends on the location. Sometimes I only do a few minutes of recording (if I am specifically doing a collection for sound effects, which are of shorter lengths), but mostly I prefer to do at least an hour of clean recording.

However, achieving a clean recording typically requires an additional hour, as human-related noise disruptions can occur even in the most remote locations. For example, in the Himalayas, I reached the most majestic primeval forest area after a few hours of trekking from the closest, already very remote mountain village. Setting the microphones at a perfect spot overlooking the mountain valley below, I quickly realized that I could hear dogs barking in the far-off distance. Unbelievably, despite being in a place where it feels like you can get lost forever, the sound reached a considerable distance from the neighboring mountain, home to another small, isolated community. In this situation, I had to move my microphones from their intended location, further behind the rocks, to protect them from the unwanted sound.

For a very welcoming change, there are no passenger flights over the Himalayas or even the Andaman Islands, so that was such a wonderful factor, almost a shocking change compared to Europe where the skies are completely saturated with airplanes.
 

Any funny/interesting stories to share from your time of recording in the Himalays?

JB: While in Uttarakhand, I trekked about 3 hours uphill over small, hidden trails from a nearby remote village into a very remote area with towering mountain peaks and steep slopes covered with pine trees. It felt like I was hundreds of years away from civilization. There, I set up my camp (hammock) and recording setup, thinking I was completely alone, isolated from the whole world. It was late in the afternoon with the sun slowly setting behind the mountains when, while listening and recording, I heard voices in the distance. I thought, ‘How is this possible here and now?’

What started somehow as a disturbance from documenting pure nature sounds ended up as capturing the most authentic and unique sounds of a shepherd making funny calls to his sheep.

It turned out to be a local shepherd coming with his sheep somewhere deep in the forests on such steep mountain slopes that you wouldn’t dare walk! A few minutes later, I also heard a kind of chopping sound. Upon closer inspection, it was an old grandma chopping wood and then carrying it away! I was in disbelief at what these people were doing so far in the wild. Well, as I later realized, it’s normal for these strong people to walk great distances from their houses to gather wood, grass for animals, and such.

In the morning, while waking up in my hammock, I was spotted again by local women coming up the mountain early to gather wood. They approached me, smiling and talking, impressed by my comfortable sleeping system in this wild place, especially as a foreigner.

What started somehow as a disturbance from documenting pure nature sounds ended up as capturing the most authentic and unique sounds of a shepherd making funny calls to his sheep. It became one of my favorite moments, just being in these faraway Himalayan mountains, witnessing the purest Himalayan mountain life and immersing myself in the moment. These experiences will stay in my heart forever.
 

Is there a favorite recording from the Himalayas trip, one that you’re thrilled to have captured?

JB: Yes, the sounds of nature are wonderful and so unique to these mountains, but unexpectedly, I need to say, the most favorite and unique sound was the local shepherd making funny calls and whistling sounds to his sheep, deep in the mountains. I also find highly unique the falling snow recording from my first trip into the wild mountains on a spring sunny day that ended up transforming into a snowstorm at night.
 

Any funny/interesting stories to share from your time of recording in the Andaman and Nicobar Islands?

JB: One evening on Baratang Island (there are numerous islands in the Andaman Islands), near the Jarawa tribal territory, I had an unexpected and ultimately amusing encounter. I wanted to capture some night sounds here, so I ventured out of my hotel – the only accommodation in the area – and walked through the village along a small jungle road to record nocturnal sounds near the sea channel opposite the Jarawa Reserve (proper tribal territory). This was an area still accessible to the public, but sensitive.

Three police officers stepped out and started to approach me. Imagine the sight of me, a foreigner, standing there in this secluded area at night with a headlamp, dressed in tactical gear…

While I was setting up my equipment, I heard a patrol boat in the channel, disrupting the peaceful frog chorus. I concluded this boat must be monitoring the tribal border, even at night. Not long after, I saw lights and a car coming towards me; I knew something was up. Three police officers stepped out and started to approach me. Imagine the sight of me, a foreigner, standing there in this secluded area at night with a headlamp, dressed in tactical gear, and professional recording equipment in my hands.

They, in a somehow aggressive manner, gestured for me to get in the car and drove me away. Although uncomfortable, I remained calm, knowing my intentions were honest and I did nothing wrong. They brought me back to my accommodations (that was a good sight) and then began questioning me. I later learned that villagers had reported seeing me walking alone at night.

I explained that I was recording sounds (which they had interrupted) and played some of my earlier recordings. They ended up enjoying listening to the sound recordings and quickly realized I posed no threat. By the end, they were curious about my tactical gear and my tactical shoes, like little happy children. Oh, the life of a field recordist!
 

Is there a favorite recording from the Andaman and Nicobar Islands trip, one that you’re thrilled to have captured?

JB: For me, the rich tropical soundscapes near the tribal territory where one of the last tribes in the world is still living inside the island’s jungle were so interesting to document in sound. But I would say one of the most memorable sounds was that of a crocodile that I vaguely recorded. After spending an entire afternoon recording, I found myself walking back from the jungle along a hidden path, passing through some swampy grounds just before the first village. Going back, it was already dark, and when passing that area, I suddenly heard a very strange growling sound. I didn’t realize or recognize it at first, but the more it continued, the more it sounded like something huge—a crocodile! At that moment, I got very scared of being in that unfamiliar place at night, not being completely sure what could happen with their behavior.

Naturally, as a field recordist, instead of leaving, I set up my recording equipment and attempted to capture the sound. Just when I pushed the record button, it soon stopped after some time, so there is just a short recording of it, but it is. That was quite nerve-wracking, and I was pleased to go away.
 

How do you physically prepare for an expedition – for example, knowing you’d be hiking a mountainous region in high altitudes wearing all your camping and recording gear, how did you physically prepare for this? Or, before going to the Andaman and Nicobar Islands, did you have to get special vaccinations against Thyphoid or Yellow Fever, or take anti-malaria medication (something that’s recommended to do if you’re hiking the Peruvian Rainforest, for instance)?

JB: Such expeditions indeed require good physical condition due to the challenging terrain and all the gear I carry in my backpack, but I don’t specifically train for each trip. I maintain an active, healthy lifestyle year-round, which naturally prepares me for these adventures.

Cycling is a big part of my life. I ride regularly, also longer distances and uphill which keeps my stamina. Apart from that, I also practice some bodyweight exercises like pull-ups, keeping my core and upper body strong and healthy and capable of carrying a heavy backpack.

The key to successful high-altitude expeditions, such as those in the Himalayas, is gradual acclimatization once I’m there. There’s no real way to prepare for altitude at sea level, so I take it slow and allow time to adjust.

I maintain an active, healthy lifestyle year-round, which naturally prepares me for these adventures.

I’ve found that having sufficient nutritional food is a crucial part of maintaining good performance, especially in mountainous regions or places that require higher physical activity. In remote Himalayan villages, I experienced some fatigue after weeks of eating mostly chapati (bread) and one variety of vegetables, which is the typical local diet. That was actually so good but after a while, my body missed a more diverse diet. Now, I pay extra attention to nutrition during expeditions, ensuring I have access to a balanced diet or bringing supplementary foods when necessary.

I don’t take special vaccinations or medications for my trips. My approach relies on overall health, staying hydrated, eating well, and being mindful of my surroundings. This lifestyle allows me to adapt to various environments and focus on my primary goal: capturing unique soundscapes.
 

How do you mentally prepare for an expedition? Like, do you try to learn some of the native language of the country you visit? Do you research the different flora and funa you might encounter? Do you also try to plan out a route, or places that you’d like to record in?

JB: As it goes for personal state of feeling, by now, from all the years of nomadic life and such expeditions, I am as mentally and physically trained as some form of special forces soldier. If you tell me that tomorrow we need to go to another continent for an expedition into the wild, I will be ready to go.

I always research the place as much as I can. I am honestly curious about it and want to learn. In many cases, there is also not much public information about some very remote places, so you can only truly learn about them and how things work there. I do extensive research on the maps, terrain, and satellite images to get a good idea of how the environment is formed, where there are any settlements, and which wild locations are suitable to record.

My preparation typically involves:

1. Thorough study of maps, terrain, and satellite images to understand the environment’s layout.

2. Identifying settlements and potential wild locations suitable for recording.

3. Researching local flora and fauna to know what I might encounter and potentially record.

4. Learning basic phrases in the local language, which often proves invaluable for connecting with communities.

While I plan potential recording spots, I remain flexible. Some of the best recordings come from unexpected encounters or previously unknown locations discovered upon arrival.
 

How do you backup your recordings when on an expedition? Do you have a redundant backup of the recordings in case the main hard drive (or memory cards) gets damaged? Basically, how do you make sure that what you captured in the field won’t be lost?

JB: Yes, handling a backup is crucial in field recording, especially when working in such remote and challenging environments. My approach to ensuring the safety of my recordings involves several layers of safety actions.

In the past, during a night recording session in the jungle, I lost an SD card containing amazing and rare recordings. This painful experience taught me the importance of being extremely mindful about storing and securing equipment, especially when working in challenging environments or traveling in a more action-oriented style.

Now, my backup strategy includes:

1. Primary Storage: High-quality, durable SD cards in my field recorder.

2. In-Field Backup: Daily transfer of files to a rugged, portable hard drive and USB stick.

3. Cloud Backup: When possible, uploading crucial files to cloud storage in areas with reliable internet.

4. Physical Separation: Storing backup drives separately from each other to minimize the risk of total loss.

5. Weatherproofing: Keeping all storage devices in waterproof, shockproof cases.

6. Secure Storage: Being extra vigilant about securing small items like SD cards, using dedicated cases, and establishing a strict routine for handling and storing them after each use.

You also take photos while on your sound expeditions. Do you have a system for matching your recordings of a specific location to the photos you take?

JB: My main camera died in the middle of the Himalayan trip, so unfortunately, after that (in the Andaman Islands also), I have only used a phone to document these unique places. I used to put a lot of focus on the visual aspects, as well as wanting to create a cinematic-like film of such habitats with pure nature sounds. But over time, I realized it was not realistic to do all these things together properly in a professional manner. Now, I just focus on sound; that is really such a complex thing to do in the field. For visuals, I plan to invite some professional photographers and filmmakers to my future expeditions.
 

When the expedition is over, and you’re going through all of your recordings, what’s the most challenging part of getting everything organized, labeled (metadata), and ready for a library? Can you talk about your workflow? What sort of processing do you do? How do you decide what makes it into a library and what to edit out?

JB: The post-expedition phase is crucial and often quite time-consuming. The most challenging part is usually the initial organization and listening process. After weeks or months in the field, I return with hundreds of hours of recordings that need to be meticulously reviewed.

My workflow typically looks like this:

1. Initial backup: First, I create multiple backups of all raw recordings to ensure no data is lost.

2. Listening and categorization: I listen to every recording, very mindfully, often multiple times. During this phase, I categorize sounds based on habitat type, species (if identifiable), time of day, and overall quality.

3. Metadata creation: As I listen, I create detailed metadata for each recording. This includes technical information like equipment used and recording settings, as well as descriptive data about the soundscape, notable events, or species heard.

4. Getting it right the first time: My goal is to keep recordings as authentic as possible. I focus on capturing high-quality sounds in the field, using all skills, high-quality audio gear, and experience to minimize the need for post-processing. When editing is necessary, it’s usually just trimming for length or focus.

5. Subtle processing: I apply minimal processing, usually just some gentle EQ if necessary. The aim is to present the soundscape as close to the original experience as possible.

6. Deciding what makes it into the final library is a balance between technical quality and content value. I prioritize recordings that clearly capture the essence of a location or a specific species. Sometimes, a recording with slight imperfections might be included if it documents a rare event or species.

I prefer getting it right in the field, which allows me to maintain the highest level of authenticity in the final product. This not only preserves the true sound of these environments but also creates a more valuable resource for researchers, sound designers, and anyone interested in experiencing these often endangered soundscapes.
 

With your years of experience going on sound expeditions, what would you tell your younger self before setting off on that first expedition? Or, what advice would you give to someone who – inspired by this awesome work you do!! – wants to go on a sound expedition for the first time?

JB: To a younger me, I would say to take it easy, have a more structured approach to such life trips, and do some more stable jobs (as I had but quit to travel) in order to have a better, more stable financial situation and not travel with such a low budget and uncertainty of money. I quit my very stable and well-paying job to follow the idea of adventure travel, self-growth, and sound recording. I dedicated many years to pursuing my passion, but it didn’t always yield the highest level of enjoyment or health benefits. Then again, I had such rich and diverse experiences from which I have learned so much, and I am applying this to my life now.

To fellow explorers, I would recommend that, in addition to ensuring a minimal financial situation, you also act without overthinking, and instead, follow your intuition and the ideas. In the end, an expedition does not need to be very expensive or complex to do once you gain some basic insight into how to approach it. Applying for a grant or just sending a nice email to some environmental organizations or individuals can also change your life and bring you whole new opportunities. Also trying to connect with some co-researchers, adventurers, or people interested in such work – as in prolonged periods, going always alone in these remote corners of the world – can eventually feel pretty isolating.

Balance your passion with preparation, and you’ll be well-equipped for the adventures ahead.

On a practical level, invest in good quality gear for wild camping, recording, and appropriate clothing. Being comfortable in nature is crucial, so start by exploring local forests or wild areas near you. Spend a night alone in these places to build your confidence and test your equipment. This hands-on experience will be invaluable when you venture into more remote locations.

Remember, being proficient with your recording equipment before heading out on a major expedition is essential. Practice in various conditions – rain, wind, nighttime – to understand how your gear performs and how to capture the best sounds in different environments.

Doing and following something from the heart that gives you happiness and integrating some of the “real world” practical aspects is bound to be successful. Balance your passion with preparation, and you’ll be well-equipped for the adventures ahead.
 

A big thanks to Jan Brelih for giving us a behind-the-scenes look at field recording in remote locations and his mission for ‘Earth Experience’ and to Jennifer Walden for the interview!

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