The song of my favorite bird captured with incredible detail by the Telinga Modular with two EM272 capsules installed in stereo configuration.

Distance from the wood thrush was about 7 meters.

Telinga Modular Review: https://acousticnature.com/journal/telinga-modular-parabolic-microphone-review

Wood Thrush Song | Telinga Modular Parabolic Microphone

It is late summer in the Finger Lakes Region of upstate New York. As night unfolds, crickets trill, their songs mesmerizing and tranquil. Then, without warning, Coyotes howl and yip, their reverberant echos reaching out in all directions. Exhilarating, intoxicating wild music, flowing deeply into the recesses of our minds.

NOTE: This is a 3-D binaural recording. Please wear headphones for a realistic spatial listening experience that wil make you think you're actually outdoors, immersed in the natural world. 

OF FUTHER NOTE: I recorded the coyotes one night in mid-July in a forested area in upstate New York. There was very little background sound, so I returned three weeks later to same spot to record crickets trilling gently. I then added the cricket chorus to the coyote track to provide a more relaxing and meditative background. Also ... long silent intervals between three different outbursts have been drastically shortened.

Recordings © Lang Elliott, Music of Nature. All Rights Reserved.

Coyote Reverberations

Red Deer Rut - Binaural 26:09:2022

On Saturday, 12 November 2022, South Australia, including the whole Adelaide region, experienced an uncharacteristic extended storm of unusual intensity. Several storm fronts, arriving from the NW over St Vincent's Gulf, hit Adelaide and the Fleurieu Peninsula. The storm has been described as "one of the strongest thunderstorms in recent memory",* causing flash flooding, wind gusts exceeding 100 km/h that tore down huge gum trees (many of which crushed houses, cars, and electricity lines), as well as flattening giant electricity pylons, leaving around a hundred thousand people without power. 

This recording, made in the Adelaide Hills (near Norton Summit), captures a sample of the first and mildest storm wavefront that day. (The recording begins at 10:30 in the morning. This abridged version selects two excerpts from the longer recording, chosen because of the poignant presence of bird calls audible between the peals of thunder. The highlighted parts of the spectrogram in the track image indicate the passages from the longer recording that were selected for this abridged version.) The microphones sheltered from the fairly light rain underneath a 'sweet pittosporum' or 'native daphne' tree (Pittosporum undulatum), native to southeastern Australia, but a 'declared plant' in South Australia ('a woody weed invading native local vegetation', due to widespread ornamental planting).

Travelling farther south immediately after this recording, I was able to intercept the next two storm wavefronts, which were far more intense. Although the storm was utterly awesome and spectacular (lightning bolts plunging into fields, exploding thunder tearing the atmosphere apart), it was impossible to find any spot from which to record the storm, because it brought with it an abundant lashing downpour of rain and wild tree-tossing winds. All the shelters in the state forests had iron rooves: the rain battering the rooves was deafening, drowning out even the peals of thunder.

In the end, I could only just sit and experience it. Which, after all, is the very best thing to do, with Nature. (Most of the time, at least. Not recommended when it gets this violent. Although I have to say that this was truly a very beautiful and awe-inspiring experience; and, personally, I'm very glad to have been out there to witness it. I'm also contemplating possible recording solutions, in case this ever happens again... Enraptured by thunderstorms as a spatial music of nature. All that I have said, here, is the simple truth.)
__________________________________________
*https://www.weatherzone.com.au/news/why-the-adelaide-storm-was-so-intense/925471
https://www.sapowernetworks.com.au/data/313806/12-november-storm-update-from-sa-power-networks/
https://www.aljazeera.com/news/2022/11/18/australias-indigenous-people-call-for-seat-at-table-at-cop27
__________________________________________
Recorded with respect upon the land of the Kaurna people.

@Bandcamp

2022.11.12 Storm above the Hills. Late Spring. (Excerpt)

remembering.

I had started out with the assignment yesterday… today, I re-read the instructions and found that I might have been on a wrong track. Is it 0-40-60-0 of overall volume? Or the ratio of sound to silence in the overall piece? 

Not being totally sure about this, I started to carve out bits and pieces from the track. I removed most of the underlying drone, dimmed it down to 40 percent maximum, cut off reverb tails, removed some notes, trying to get the „guitar“ part in front.  

* * *
Disquiet Junto Project 0607: Silence Wave 

The Assignment: From close to zero and back again, alter the relative amount of sound to silence in a piece of music.

There’s just one step to this project:

Compose a piece of music in which the relative amount of sound to silence starts at zero (that is, no sound), rises to approximately 40 percent (that is, 60 percent silent) and returns to zero again. Keep the pace fairly steady.

Background: This project builds on the two previous ones. You needn’t have done them; do give them some consideration. In the first of the two, each participant composed a piece of music with as much silence as notes. In the second, each composed a piece of music with three times as much silence as sound. Jason Richardson proposed the first project in what has since become a sequence. As that project unfolded, Klaus-Dieter Hilf (aka RabMusicLab) commented that maybe the instruction should have read “sound” in place of “notes.” Since the first project went well, a subsequent project increased the amount of silence, and implemented Hilf’s proposal. This project takes it a step further still.

(...)

More on this 607th weekly Disquiet Junto project, Silence Wave (The Assignment: From close to zero and back again, alter the relative amount of sound to silence in a piece of music), at: https://disquiet.com/0607/

Thanks this week to Jason Richardson and Klaus-Dieter Hilf.

About the Disquiet Junto: https://disquiet.com/junto/

Subscribe to project announcements: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0607-silence-wave/

Carved Out [disquiet0607]

ore train, bright colors, passing quickly

Windemere_Naviarhaiku527

24л. 1922 08 27 – Правила И Мерки - СБ, 1922год. Чете Цвета Коцева.MP3

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

Beaver & Common Loons - Castor & Plongeons huards

New Guinea is home to vast areas of undisturbed lowland rainforests and an abundance of unique flora and fauna. This sample was recorded in an area of primary forest in the Bird's Head Peninsula in West Papua.

New Guinea - Lowland Forest

New Guinea - Biodiversity Hotspot

Recorded at 2am at Lunsford Pond, near Lake Maumelle, central Arkansas, USA.   Rain falling.  The pond is about 10 feet from the microphones (see photo, Lom MikroUsi pair), which were mounted on a tree.  The recorder was in a dry bag behind the tree (Sony A10).  Slight wind.  Processing: HPF at ~ 180 hz.

Spring Peepers (Pseudacris crucifer), Lunsford Pond, central Arkansas, 2 am, Feb 23, 2020

Mainly nature field recordings from the Ouachita and Ozark Mountains of Arkansas. Some recordings are done in northern Italy, near Lago Maggiore, mostly in Val Veddasca.

Spring Peepers (Pseudacris crucifer), Lunsford Pond, central Arkansas, 2 am, Feb 23, 2020

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