I attach a small piece of bacon to the hydrophone and place it into a large rock pool for 25 minutes. After 25 minutes I see the hydrophone caught in the claw of an adult shore crab and decide to leave it for a further 20 minutes. After 20 minutes the shore crab and the bacon have gone. I listen back to the varied results of the recording; on one hand there is the opening fifteen minutes of distant shore sounds, the trickling of seawater flowing over rocks and the movement of seaweed, an adequately large soundscape. On the other hand, there is the close-mic’d encounter resulting in the highly intimate recording of a shore crab eating. These two contrasting sonic environments work by communicating together to create a much broader view of this aquatic habitat.
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