October 2021 archive

Book review: Much ado about mothing by James Lowen

mothingExcited by my recent purchase of a trail camera to observe the wildlife in our backgarden (mainly foxes), I was draw to moths (and mothing), like a moth to a flame or a pheromone lure (it’s the modern way). Much Ado about Mothing by James Lowen speaks of a similar attraction, structured into a book.

Much ado about mothing is based around the idea of finding 120 target months over the space of a year. It is divided into chapters that track through the seasons and through different ecosystems such as heaths, beaches, salt marshes, forests and so forth. I was pleased to see my home county of Dorset, particularly Portland and the heaths around Purbeck where I grew up, featuring heavily. Over the period of a year Lowen ran a light trap in his back garden in Norfolk on 151 nights, capturing 15,000 individuals from 466 species as well as travelling far and wide in Britain to find moths.

Moths are the super-group in which butterflies are a subset. They are more numerous in terms of species than butterflies by a large margin – perhaps 40 times as many moth species as butterflies. Many of the females are flightless (making them more difficult to find). 90% of moths are nocturnal.

Unlike butterflies, moths are quite docile when trapped and can be handled. The Victorians used sugar and wine mixtures on ropes ("roping") to trap their moths, as the 20th century progressed it became possible to use portable lights and most recently pheromone lures to trap moths. Pheromone lures are used in crop protection and are specific to a species, they mimic the pheromones that females emit to attract males.

As well as the moths with which we might be familiar there are innumerable micromoths typically with only a Latin name, there’s a discussion amongst moth-ers on how (and if) to give them "common" names.

It seems many moth-ers got there from birdwatching, and many RSPB centres double up as centres for mothing. Perhaps it is the easy abundance of moth species which attracts them and the rather better accessibility than birds – you can keep moths in your fridge to share with fellow moth-ers! Around the country there are a number of conservation projects focused on moths these seem to be coordinated by the charity, Butterfly Conservation.

The picture for moths as a group is mixed, many species are in decline as a result of habitat loss. In addition to draining of marshlands, agriculture and rising temperatures, many have very specific host plants, so the loss of the host plant leads the loss of the moth. I wonder why this specificity is favourable from an evolutionary point of view. There are new arrivals though, and territories expanding as temperatures rise.

I found myself Googling pictures of the moths mentioned, there are colour photos of some of the moths but they are all bundled together in the centre of the book. Lowen works hard to describe moths in many varied and interesting ways. You might want to follow the @BritishMoths twitter account for a regular fix of moth content. You can get an overview of British moth species on the Butterfly Conservation A-Z page, species mentioned in Much ado include Clifden Nonpareil, Elephant Hawk-moth, Kentish Glory, New Forest Burnet, Oak Eggar, Buff-tip and Merveille du Jour. I recommend this page as a perfect supplement to the book!

Much ado about mothing is more in the style of a travelogue than a nature book but I suspect this means it sneaks in many facts about moths which you wouldn’t find by reading a moth identification guide. I have learnt that Batesian mimics are those species that mimic other, toxic, species whilst Mullerian mimics are genuinely toxic. This I learnt in the discussion of Clearwing moths, a group of moths that mimic wasps.

The other prominent aspect of the travelogue style is the people he meets, mothing seems quite a sociable sport. Sometimes this is because the fellow moth-er is a warden at a nature reserve but other times it is a group of friends, or moth  enthusiasts who share sightings and information – as well as camping out in all manner of locations to look after moth lights.

I think Much ado has done its job since I’m now keen to start my own mothing. I bought a telescope as summer approached – it doesn’t get dark until really late and we had a small child – so observing the night sky was tricky. I’ll not make that mistake again! Moths are most common during the summer months, there is little point in buying a moth trap for Christmas so I will get mine in late Spring.

Book review: Audio Production Basics with Ableton Live by Eric Kuehnl

abletonI started playing guitar a few years ago, and acquired an electronic drum kit a year or so later, as well as a keyboard and a ukulele. My wife has a bass guitar, and my son recently brought home a clarinet from school (in what can only be described as an act of war on the part of his teacher!).

I’ve been playing with computers for 40 years so it seemed natural to put the two things together, also I follow Paul David’s Guitar channel and when he came to talk about looping he skipped the whole looper pedal method and went straight to demonstrating looping in Ableton Live, a "digital audio workstation" (DAW). It turns out Ableton, and comparable products, are fearsomely complicated so being a bookish sort of person I bought Audio Production Basics with Ableton Live by Eric Kuehnl to work out how to use it.

The book starts with some introductory material on computers and storing files, which is a bit basic. Before talking a little bit about different DAWs, including selecting gear for your music studio. It turns out there are audio interfaces, MIDI instruments, MIDI control surfaces as well as microphones.

Next up are some words on the overall scheme for audio recording, here and elsewhere I was grateful for a background in physics since the physics of sound is a bit of a feature for audio production. It clearly isn’t a problem if you don’t have a background in physics.

The introduction to the MIDI standard for communicating between music devices brought back memories for me, MIDI was invented in the early eighties when I was avidly reading computer magazines where I witnessed its inception.

For a long time audio production software, like Ableton, was very expensive but now it is much cheaper. I’m currently in the evaluation period for Ableton Live (a generous 90 days) but the introductory version is only £69. I’ve spent similar sums on a little MIDI controller and audio interface. I should probably get a decent microphone and stand, and now I’m coveting blingy MIDI control surfaces.

Finally we get on to the specific features of Ableton Live, about half way into the book! This is slightly unfair, we do get some glimpses before this. I found the book was good for structuring wider enquiry, one of the issues with a complex system like Ableton Live is not having the words to investigate (Google) further, and to be honest the problem once you have googled you are often faced with a screen-full of videos to watch. Audio production Basics gives you some of the vocabulary to ask useful questions, and I found reading it led me to grasping some important concepts. Also I discovered the videos Ableton make are very good.

For a long time I was confused because I thought that the Session View and Arrangement Views in Ableton Live were just that, views onto the same piece of audio data, but that is not the case. The Session View allows you to organise clips, often loops, sequence sets of clips together which you can perform live, with the option to record into an Arrangement view. It seems the Session View was originally the unique feature of Ableton Live, and is used on stage by performers.

The second useful concept is the Return Track, accessed for each channel using the Sends area of the control panel – you can see why it is tricky to come across the concept – it is called one thing in one place and another elsewhere. I suspect for people with a background in audio production the idea of Sends and Returns is commonplace. For a guitarist a Return Track is a bit like a pedal, you can route sound from each of your Audio/MIDI tracks through Return Tracks like Delay and Reverb.

Finally, if you search around the internet you’ll find a lot of beginners worried about how loud individual tracks sound. This has a couple of causes, sometimes it is because audio sources have not been processed by the audio interface correctly but often it is a misapprehension as to what the DAW does – it is not really a playback device. Individual tracks may sound quiet because ultimately they are going to be combined with a number of other sources, and if they were all "loud" then it would be overwhelming.

I have mixed feelings about this book, it takes a while to get onto Ableton specifics, and it feels like it doesn’t provide complete coverage. On the other hand working through the examples (something I rarely do) has introduced me to a lot of functionality, and is easier to my mind, than following Youtube videos.