Dickcissel - a grassland bird. Photo Credit: Amy Larson

In an effort to improve the sustainability and health of their land, farmers are increasingly interested in taking a systems approach to farmland management. A systems approach acknowledges the key connections between ecological, economic, and social components. Given the ensuing complexity, measuring the health of a farm system requires good diagnostic tools. In addition, these tools need to be clear and straightforward.

Our current effort at the University of Nebraska Lincoln to develop a set of such indicators for farmers, the Healthy Farm Index, focuses on biodiversity and ecosystem services at the farm scale. One indicator in the index is the presences of a given set of birds on the farm. Birds are a popular indicator because they are sensitive to change in farm practices, found broadly in the environment, and are easy to detect by sight and sound.

The ability to detect birds by sound has spurred our research group to develop resources to aid farmers and other people interested in the songs and calls of farmland birds. As researchers, we use auditory detections of birds as one of our primary monitoring tools. With acoustic recorders, we have recorded the songs and calls of our local bird communities. Back in the lab, we use software to identify and isolate the best songs and calls. These vocalizations have been posted to our website, Farmland Birds of Nebraska, and distributed back to farmers and others interested on CDs. With the acoustic recordings, farmers can select a group of indicator species suitable for their area, learn its call, and listen for the bird while working in the field. This information can be used by the farmer in assessing their own farm or can be shared more broadly with researchers.

The recordings also allow farmers to share with consumers (many of whom are birders) an added environmental benefit of their farm. This spring we were able to take these recorded vocalizations back to one of our participating farms. In partnership with Common Good Farm, we hosted a “Birding on the Farm” tour. Local residents and other farmers spent the morning listening for and identifying the community of birds at the farm. New and experienced birders alike were surprised at the diversity found on the single farm.

In the coming months, we are expanding our network of recorders. This winter we will be monitoring winter bird communities on participating farms and testing the influences that road noise may have on bird vocalization and communication.

A phonautograph, which made the first sound recordings (playback made possible thanks to Lawrence Berkeley National Lab

Last summer, QUEST told you about how scientists at Lawrence Berkeley National Lab have developed a technology to playback old audio recordings using visual scans. Along with bringing to life the wax cylinders we featured in our TV story, the Berkeley technology helped the world hear, for the first time ever, the oldest known sound recordings ever made. Now the historians who unearthed those recordings have discovered that they've been playing them all wrong.

The recordings were made by a phonautograph, invented by a Frenchman named Léon Scott more than 20 years before Edison came up with the phonograph. The technology worked by scratching sound waves onto sheets of paper covered with lampblack. Last year, historians used the Berkeley Lab's "visual stylus" to replay an 1860 recording of what they thought was a young girl singing the French song "Au Claire De La Lune". Since then, they've realized that they were actually playing the recording at double speed. Instead, it's likely the inventor himself doing the singing. You can hear both version at FirstSounds.org, or listen to an interview with the historians from NPR. It turns out learning to play old sounds isn't the only challenge — we have to know how to play them right!

Watch "How Edison Got His Groove Back" to learn more about how LBL's innovations are helping restore old sound:

QUEST on KQED Public Media.

37.762611 -122.409719

As the Series Producer for QUEST, I get to read through a lot of amazing science story ideas, but when I first read about the work that Carl Haber, Vitaliy Fadeyev and Earl Cornell were doing at Lawrence Berkeley National Labs, I knew it was a story I wanted to do. OK, I admit that part of the reason is that I love music and sound, and have been interested in audio technology since I was a kid (back when we listened to records). But for me, a big part of the story's "coolness" is how this team – and Carl Haber in particular – came up with the idea. I love the idea that he was just listening to the radio one day and heard that the Library of Congress was failing in its struggle to preserve a significant portion of our nation's music and sound heritage. Haber basically thought, "well, as a designer of instrumentation for particle physics, I think I can help." And that's what he did. He felt passionate about solving a problem, and he changed the world.

I had heard of Edison-style wax cylinders, but I had never seen one, and I had no idea how much audio history (musical as well as cultural) had been recorded in the format. One of the best parts of the shoot (we shot on two different days), was our visit with Victoria Bradshaw at the Phoebe A. Hearst Museum of Anthropology. Walking through the floor-to-ceiling shelving and stepping up to literally hundreds of carefully-packed wax cylinders was a revelation. Holding one in my hands (gloved hands) was an amazing feeling. And to see the wax cylinders upon which Alfred Kroeber had actually recorded Ishi speaking – hard to put into words. I couldn't help but imagine Kroeber himself, with a box of blank cylinders and a recorder strapped to a mule, fording a river on his way to meet an Indian who "spoke a language nobody can understand." Suddenly it was clear to me how important it is to save these recordings before they disintegrate.

And for a science-head, visiting Haber's lab was amazing. Far from antiseptic, the whole place was filled with hacked parts of microscopes, old record and cylinder players, computers running custom software, circuit boards, wires hanging everywhere. It was a great reminder that real science is a permanent work-in-progress. And when it's all said and done – and the Library of Congress is already using Haber's flat-record technology – we'll all be better off. Thanks to Haber's team, soon we'll have pristine, permanent copies of many of these endangered recordings. And as these collections are migrated to the web, that's great news, not just for museums and archives, but for all of us.

And one last quick thing: If you’re interested in learning more about our wax cylinder legacy, check out this UC Santa Barbara site. It has great information on the history of the format, and it offers hundreds of wax cylinders that you can listen stream right off the net!


Watch the "How Edison Got His Groove Back" TV Story online, as well as find additional links and resources. Also, check out our online photo set for images from this story.

37.865903 -122.258285