Recorded with a pair of High End Contact Mics on Sound Devices 702 Recorder.

Dundalk Wind Turbine recorded with Contact Mics

Unprocessed field recording (except for some normalisation).

Recorded with a pair of High End Contact Mics on Sound Devices 788.

All sounds are heard through the metal structure of the railing. Some light finger tapping on the rail reveals the low, gong-like resonance of the steel bars.

Metal Rails at Ocean Front, Beverly MA, with Contact Mics

Unprocessed field recording of the sound of rough sea lashing against the thick steel walls of the RV Celtic Explorer Marine Research Vessel in the middle of the Atlantic, September 2018.

Pair of High End contact mics attached to the walls of the Forecastle Deck. Recorded on Sound Devices 702.

These recordings were made during the Aerial/Sparks artist residency as part of Galway 2020 European Capital of Culture. In collaboration with the Marine Institute Galway.

RV Celtic Explorer - Ship's Hull in Anchor Chamber during Rough Sea - with Contact Mics

Unprocessed field recording of listening through a wooden plank linking Venice Pier to a construction platform floating on the canal. The plank is scraping back and forth on the pier surface and is also transmitting the sounds of the platform bumping against the pier as well as ambient sounds of traffic and people.

Single, highly sensitive contact mic. Recorded on Sound Devices 702.

Wooden Plank - Venice Pier - with Contact Mic (mono)

Unprocessed field recording of the sound of rough sea lashing against the thick steel walls of the RV Celtic Explorer Marine Research Vessel in the middle of the Atlantic, September 2018.

Pair of DPA4060 omni mics recorded on Sound Devices 702.

These recordings were made during the Aerial/Sparks artist residency as part of Galway 2020 European Capital of Culture. In collaboration with the Marine Institute Galway.

RV Celtic Explorer - Anchor Chamber during Rough Sea - with DPA40460

Elemental Machinery

Sun Tracker (excerpt)

Quijote (excerpt)

Cupula (excerpt)

David Stalling
Foresound / Aftersound
2012

Foresound / Aftersound, two compositions written especially for the Shandon
Bells on the occasion of Sonic Vigil 7 at St. Anne’s Church in 2012. The bells
are played via individual ropes numbered 1 (highest) through to 8 (lowest)
from the loft underneath the belfry. Using as starting point the existing
notation system that enables visitors to play some of their favourite tunes ‘by
numbers’, the scores are based on a series of number pattern, with each
piece placed at either end of the Sonic Vigil, ‘ringing in’ and ‘ringing out’ the
event.

Performers:  Harry Cullen and David Stalling

Sound recording by Karen Power

Commissioned by Sonic Vigil, Cork

Foresound for Sonic Vigil, Shandon, Cork, 2012

Aftersound for SonicVigil, Shandon, Cork, November 2012

Installation sound

Infinite Messages
Surround sound, reel-to-reel tape loop, modified record player, pencil paper, CRT screens, super-8 projectors, video, lighting, mirrors.
The Courthouse Arts Centre, Tinahely, Co. Wicklow, 2011. In collaboration with Anthony Kelly and Seán McCrum.

Auralog Draft 5 - Infinite Messages

Field recording of sailing masts in the wind, seagulls, motor and air traffic, at Howth Harbour

Howth Harbour (excpt)

Undertow (2002)

Windy Day

Walk down Henry Street, Dublin. March 2013.
Binaural recording. Headphone listening recommended.

Henry Street Dublin

People moving in between university buildings at lunch time. Monday 6 October 2014, outside Newman building, University College Dublin.

Rush Hour

Inside the gigantic halls of the world's largest train station before the major renovations, which resulted in the separation of the concourse and platform halls, the creation of a "shopping mall with train connections", and hence the curtailment of the wonderful reverb of the original space. 

Stereo recording made 27th June 1995 by David Stalling, using Sennheiser condenser mics with a Marantz cassette tape recorder.

(image credit: Falk2)



Leipzig Hauptbahnhof - Main Train Station - 1995 - Excpt

"The Intervening Time" is a sound work created for the transitional experience of the Luas commute. The commute is commonly considered an intermediate time as bodies are shuffled between destinations. Regularly, commuters are found to be using headphones and personal audio players to disengage from the experience and external environment. Time passes as people escape into personal sonic fantasies. "The Intervening Time" creates a parallel sound reality that allows listeners to engage more closely with the commuter environment. Instead of disengaging, this work encourages to relate to this mundane travel experience in a new way.

The Intervening Time

Parcours - Stereo Version (2007/10)

Dawn (2005)

For violin and tape (2009)
Performed by Cliodhna Ryan, violin
Recorded, mixed and mastered by David Stalling


Chrome

Fantasy (2009)

The Bingo Ladies of Moore Street (2003)

Live at Ear-plugged, The LAB, Foley Street, Dublin, 2006.
Antonio Cafolla, soprano saxophone
Lioba Petrie, cello
Bryan Quigley, double bass
David Stalling, live electronics

Thanks to Rory Walsh for developing the "Pitchy" live processing software in collaboration with the composer.

Boiling Point (2006)

Dublin Bus No 10 - Field Recording (2001)

Diversus Guitar Ensemble
Brendan Walsh, director

www.diversusguitarensemble.com

Three Movements for Guitar Ensemble (2009) (excpt)

Evening Bird Song in the Garden

Recording of metal cattle gate. Bass sounds produced by gently tapping the gate. Car drive-by can be heard near end of recording.

Recorded with stereo pair of custom made contact microphones into Sound Devices 702 recorder.

Cattle Gate with Contact Mics

Small birch tree moving in the wind near Black Mountain, Ravensdale, Dundalk.

Recorded with stereo pair of custom made contact microphones into Sound Devices 702.

David Stalling

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