I’ve actually caught a lot of that subtle stuff. When I set a mic near a fern at night, the wind through the fronds gives a low‑end swell that sounds like a pad. I can layer that with a synth drone, and it turns the whole thing into a kind of sonic green.

I’ve got a little setup in my studio that does exactly that. I run a contact mic on a piece of bark, then pull that signal through a tape machine and feed it into a reverb chamber so it comes out as a wet, crackling pad. For the mushroom sus, I use a low‑end analog synth that can hold a single note for a long time, and I add a slight distortion so it feels like a damp, growing sound. The mushroom cap catching rain is a trick—record a little water droplet on a microphone close to a thin wooden lid, then pitch it down a few semitones and layer it over the track. It gives that tiny applause feel that’s almost like a heartbeat for the forest.