Sea dramatics in reverberant sheer cliff chasm, complete with fulmars (lower position)

The waves come surging in, and booming, with sometimes big splashdowns, as they hit the end of a cleft at the back of this impressively reverberant chasm. This viewpoint is a little back from the cliff edge further down on a rough grassy terrace on the south-east side of the chasm, with open sea sound on left and booms to right. Meanwhile once in a while we hear the excitable clucking and cackling of pairs of fulmars on exposed ledges within the chasm, but they're more distant and reverberant than in the upper recording, and consequently not noticed so much.

This is the lower and more seaward of two concurrent recordings I made here on 12 March 2014, in Zawn Rinny on the north-west side of the Gwennap Head granite cliff complex (popular among rock climbers), Porthgwarra, Penwith, Cornwall, UK. In contrast with the upper recording, here the recorder was facing obliquely across the chasm and landward. From this position we do hear the sea directly on our right, but it gets hidden as it comes in front of the recorder (i.e., down below), so we still don't hear the booms directly, all sea sounds we hear from that part of the chasm being echo. Direct sea sound (mouth of chasm and open sea) is all to left, and the booms are now clearly on the right. We get more sense of each wave surging in than in the upper recording.

Advisory

High-grade headphones are particularly recommended in order to hear all the detail. Also, because the stereo imaging has been enhanced, that may cause a certain phasiness or phase cancellation points when you listen through certain speakers, whereas that effect doesn't occur when listening through headphones.

The two recordings in progress — the arrows closely pointing to the light grey furry windshield of each recorder; their tripods (thin-legged) aren't visible at this scale of reproduction of the photo. This is a wide-angle view, resulting in perspective distortion, greatly exaggerating the distance between foreground and the nearer recorder, and then de-emphasizing the distance from that to the further recorder.

The same recorder positions from other side of the chasm — Earlier photo (26 November 2013)

Techie stuff:
The recorder was a Sony PCM-M10, with just one furry windshield — a Røde DeadKitten (original, more effective, version) —, and placed on a mini Zipshot tripod (I regard that as 'midi' rather than mini).

Post-recording processing was to apply EQ in Audacity to correct for the muffling effect of the windshield, and more recent processing with the A1 Stereo Control VST plugin (200% widening).

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