I've been recording wildlife sounds since 1968. Member of Wildlife Sound Recording Society since 1975, and formerly their Sound Magazine and Journal Editor. Special interest in vocabulary recording. I rarely use any studio processing, believing that attention to good fieldcraft should render this unnecessary. 
Winner of several UK & international awards for wildlife sound recording.
567 species on https://www.xeno-canto.org/contributor/FFFADKCCII
Blog - http://simontelliott.wordpress.com/
BBC - https://tinyurl.com/y4laf7tb

This is a bit of history to share with my friends.  I performed all over Australia from 1976 until about 2016. Whew! 40 years and thousands of songs! I forget how many times I sang American Pie in bars in Perth, Sydney and the Illawarra. I ditched midi files (computerised backing) a few years ago and continued to sing with just my acoustic guitar. I worked with Stephen Verney Smith, a fabulous guitarist from Sydney who is now based in the Illawarra. You would occasionally find me performing with my husband, Glen Bowker, who is an excellent guitarist or just as a soloist. I was a founding member of the popular Sydney-based band The Original Eureka Band and with Pinchgut where we had a long stint in The Jolly Swagman Show in the Rocks, Sydney.  These days you will often find me singing at the Illawarra Folk Club concerts when the mood takes me, or in our new district around Stanhope Victoria.

This is a personal project of mine, and not for profit, to capture the sounds of everyday life in, and around, the city of Stirling. There are many reasons why I am doing it, and all of them valid, to me, but I think the best way to describe the project is my perception and reflection on Jonathan Sterne’s claim that “the history of sound implies a history of the body”.

Brandon La Belle also provides another apt quote to aid me; “sound is intrinsically and unignorably relational: it emanates, propagates, communicates, vibrates, and agitates; it leaves a body and enters others; it binds and unhinges, harmonises and traumatises; it sends the body moving, the mind dreaming, the air oscillating.”
 
The world that we live in today has become so visually orientated, people have forgotten how to listen, and I have to make a clear distinction, there is a difference between hearing, and listening. Sound was once our key to survival, taking fight or flight cues of danger from the waves that passed through the air, the danger was recognised from the sounds, way before it was perceived visually. I want people to listen to every detail in the sounds I record, and I guarantee, they will hear things they would not have had they been there at that moment in time.
 
I remember when I was younger, and listening to the sounds around me then, and know how much they have changed in the present day, which has been happening from the dawn of time. So, another aim of mine is to create a complete library of the sounds of our city, and preserve them in full. I would like to think that in 100 years time people will listen to these sounds, of our time, and wonder at how it was different.

There are so many uses for sound files like this, from ambience in TV and film, to sound design from the field recordings. Its a wonderfully creative process, turning the sound of a street ambience into a lush synthesised pad, which you would never recognise; and is how a lot of sound is designed for electronic music, orchestral hybrid music, film sound tracks and special effects.

I will also be using my sound files for this purpose, so, that said, they are free to listen to, but permission is not granted to reuse them in other projects. All the sound files are water marked, inaudibly, and filled with meta data, and their use tracked. If you are interested in using the sounds I record, please, just get in touch, and we can talk. Soundscapes of Stirling is a completely non profit project, it is for interest and archive, and to aid my learning in a live project, so any licensing agreement would be for name credit only, where used.

 
Enough talking for now though, lets do some listening!

Rhys Darby, Dan Schreiber, and 'Buttons' bring you The Cryptid Factor - a show dedicated to the weird and the wonderful, and in particular, Cryptozoology.

Hear the team passionately (and often awkwardly) discuss animals yet to be proven by science - like the Mongolian Death Worm, Chupacabra, Bigfoot, and the Loch Ness Monster. Though they take the pseudo-science as seriously as they can, they struggle to take themselves seriously at all.

Its hosts are comedian & actor Rhys Darby, host of top rating podcast 'No Such Thing as a Fish' Dan Schreiber - and Pulling it all together is their best friend, 'Buttons'. If anything goes wrong, it is probably his fault.

Professional trombonist specialising in contemporary and improvised music.

Graeme is a musician | maker | creator with a history of eclectic projects. To find out more visit www.graemeleak.com

Graeme Leak is following