Ben, try this: https://www.google.co.uk/maps/place/Singing+Ringing+Tree/@53.7566146,-2.2271951,15z/data=!4m5!3m4!1s0x0:0x15183e974d47e021!8m2!3d53.7566146!4d-2.2271951

The War on Drugs
2014-09-04 
Hopscotch Music Festival
Lincoln Theater
Raleigh, NC USA

Hosted at nyctaper.com
Recorded and produced by acidjack

Schoeps MK41>KCY>Z-PFA>Sound Devices USBPre2>Edirol R-44 [OCM]>24bit/48kHz WAV>Izotope Ozone 5 (effects)>Audacity 2.0.3 (fades, mix down, tracking, amplify, balance, downsample, dither)>FLAC ( level 8 ) 

The War On Drugs - I Hear You Calling [Bill Fay] live at Hopscotch 2014

The microphones were placed in a 7 -feet-long paper tube (diameter is about 5 inch).
The tube placed on the ground.
RAW recording.
Recorder: Olympus - LS 100 (ext.input)
Mic: BMS9 Binaural Stereo Microphone

Dawn_Chorus_in_paper_tube

an extract from track 1 of 'portable music (three scores)' by Jez riley French

(nb. duration and frequencies inaudible on computer speakers are elemental aspects of this release - please listen via headphones or conventional speakers)

now available on Touch music's Touchline series:

http://www.touch33.net/touchline/jez_riley_french_1.html

Score For A Footbridge (extract)

sound of a nearby lightening strike.

With no post processing

Thunder from a very close lightening strike

In this episode we pass the podcast over to George Vlad and Daan Hendricks who tell us all about their trip to a field recording workshop in Mmabolela Reserve, Limpopo, South Africa.  They discuss everything from the planning and preparations,  getting from their homes in Europe to this remote location, and the gear they used (and how it held up in the extreme weather conditions). They also reminisce on the impressions the trip has left on their lives.  All with fantastic examples of the sounds they recorded while there.

See The Website

063 - Field Recording in South Africa

For details : www.loiseauson.com/en/beaver01/
Pour détails : www.loiseauson.com/castor01/

Beaver & Common Loons - Castor & Plongeons huards

The sound of the Singing Ringing Tree above Burnley, Lancs, in driving wind and rain. 
2nd Jan 2018/ Sony PCM-M10/ Micboosters EM172 clippy/ Bubblebee L4

Singing Ringing Tree

Under my skin

Listening to Country: Exploring the value of acoustic ecology with Aboriginal and Torres Strait Islander women in prison.

The aim of ‘Listening to Country’ is to explore the value of acoustic ecology in promoting cultural connection, maintenance and wellbeing among Aboriginal and Torres Strait Islander women in prison. In early 2019, an interdisciplinary team of researchers worked with women in Brisbane Women’s Correctional Centre (BWCC) to produce a 1-hour immersive audio work based on field recordings of natural environments (of country) for the purpose of stress relief and relaxation. Aboriginal and Torres Strait Islander women are overrepresented in Australian prisons. The majority are mothers, experiencing the trauma associated with separation from family, community and country. 

‘Listening to Country’ represents an innovative and creative approach to promoting cultural maintenance and wellbeing among mothers, daughters, sisters, aunties and grandmothers in prison. The research use principles and processes from acoustic ecology, Indigenous storywork, dadirri (deep active listening), and arts-led inquiry to explore notions of cultural connection and maintenance for the participants, and the effects of the project on their wellbeing.

This project responds to a direct request from a group of Aboriginal women at BWCC to create a culturally appropriate sound recording for the purpose of reducing stress and connecting to natural environments and to country. It has been built on a strong foundation of previous creative engagement and consultation with women incarcerated in Queensland. The project team consists of two Aboriginal and two non-Aboriginal researchers working in collaboration. Dr Vicki Saunders (Gunggari) is an emerging scholar who works using arts-led and poetic enquiry in the field of child protection and family wellbeing. Dr Bianca Beetson (Gubbi Gubbi/Kabi Kabi) is a visual artist and curator, and Director of the Contemporary Indigenous Art Program at Griffith University. Dr Sarah Woodland has been developing creative arts-based approaches to wellbeing in Brisbane Women’s Correctional Centre (BWCC) for the past seven years, recently finding radio drama, audio recording and soundscape to be highly effective in engaging the women. Dr Leah Barclay is a sound artist whose work investigates the value of acoustic ecology as a socially engaged, accessible, interdisciplinary field that can inspire communities across the world to listen to the environment. This team is supported by an advisory group that includes members of the Brisbane Council of Elders, Dr Claire Walker, (Director of the Murri Dhagun cultural unit of Queensland Corrective Services) and criminology expert Professor Andrew Day from James Cook University.

The pilot project in BWCC has enabled the researchers to develop and hone this approach to wellbeing among Aboriginal and Torres Strait Islander women in prison. It is anticipated that the ‘Listening to Country’ model might be transferable into a number of different wellbeing contexts, including with at-risk youth, Elders/seniors in care or off-country, women transitioning from prison to the community and more. The pilot will inform further development of the approach with additional groups in the community, with capacity development and knowledge translation activities occurring in Mitchell, Sunshine Coast and Cherbourg, Queensland to explore these possibilities in 2019.

This soundscape is a short excerpt from the 1-hr immersive audio work produced with the women during the pilot phase in prison in early 2019.

Visit the website for further details: www.listeningtocountry.com

Listening to Country (soundscape excerpt)

121 - George and Thomas recording rain

Listen

121 - George and Thomas record rain

With storm Jorge gusting at 70mph on the beach at Newborough, Anglesey, off the North West coast of Wales, I decided not to leave any 'posh' microphones or recorders out all night.  I wanted to locate the famous Ravenry though - for later in the week, when the winds have died down.  I left two AudioMoth recorders out in dry-bags - at a location that looked a likely spot (plenty of corvid poo on the ground below) from 4pm until lunchtime the following morning.  The wind was too strong when the corvids arrived at the roost at dusk (although they can just be heard above the wind noise on the recording).  However, by dawn, the wind had dropped to 30 to 40 mph and the corvids can be heard waking up and chatting - as well as the more usual 'tweety' birds doing their usual dawn chorus thing.  Yep - I think I've found a good spot for recording the ravens later in the week when the wind-speed has dropped.

Dawn in the woods at Newborough, Anglesey.  Recorded with two (mono) AudioMoth recorders - each in a dry-bag hung from a low branch - about 200 metres apart.  Mixed as a pseudo-stereo (one recording panned 40% left, the other 40% right) recording.  No EQ. Mono source files 48kHz, 16 bit using the AudioMoth built-in MEMS microphones.

Singing Ringing Tree

Adam_Long

Recent comments

Adam_Long

Ben)))O

Related tracks