Hey, that’s a cool angle. The canopy is basically a giant natural filter. The leaves and branches scatter sound waves, so the forest floor gets a muffled, low‑frequency‑heavy mix while higher tones get bounced around a lot. It creates this echo‑rich, almost reverberant space that can make distant animal calls sound like a choir. The density of the canopy also changes the decay time—tight, leafy canopies hold the sound longer, while sparse ones let it escape quicker. So when you’re tracking, you’re really listening to the forest’s own equalizer. If you can map those reflections, you’ll catch animals hiding in the subtle frequency gaps. Keep tweaking the microphone placement and you’ll turn that natural hum into a full‑blown sonic map.

Good call on the low mic—soil really amplifies those sub‑bass hums. Just be sure to position it just off the ground, not touching any roots, so you don’t pick up too much muddy distortion. And hey, a sketch is fine, but maybe add a quick label for each echo type you’re seeing—call them “short‑delay” or “long‑tail” so you won’t lose the nuance when you’re back in the lab. It’s all about that precise sonic fingerprint.