https://www.binauraldiaries.co.uk/blog/morning-birdsong-camping-in-devon-11042025-0600

Recording birdsong at 6am on a woodland campsite in Devon this April was a rewarding experience. The early morning stillness offered an ideal backdrop for capturing the natural soundscape, with the chorus of birds becoming increasingly vibrant as dawn broke over the trees.

Using the Sony PCM-M10's built-in microphones, I was able to achieve clear, immersive recordings despite the limitations of onboard mics in such an environment. The compact design and low noise floor of the PCM-M10 proved advantageous, allowing for unobtrusive placement within the campsite and quick setup.

A highlight of the session was the distinctive tapping and drumming of woodpeckers, which added a dynamic rhythmic element to the recordings. Two recordings were merged to produce the final recording presented here.

Devon Camping Birdsong 11/04/2025 06:00

I made this for myself to use as "Hey, it's pretty late - how about you turn down the lights and start thinking about bed?"-ringtone.

Remember to turn down the lights

without interaction

More on the 712th weekly Disquiet Junto project, Zebra Code — The Assignment: What rhythm do you hear in a bar code? — at https://disquiet.com/0712/

abc iodized request - disquiet712

looping snippet of previous track + particle noise + granular + field recording

loop thing 2

An electronic composition, original sounds created using Pure Data.

Sadness in the Dark (naviarhaiku609)

This is the short edit, the long edit is on Bandcamp: https://ausgesuchtestenohren.bandcamp.com/album/memorial-to-a-long-lost-piano

The present work originates from an intimate engagement with a personal sound archive. In 2017, I recorded the interior resonance of an upright piano that had accompanied my childhood — an instrument now lost, along with the family home in which it stood. These recordings, focusing on the raw timbral qualities of the strings, became the basis for Exercises in Minimalism (2018). The material was subjected to reductive processes: attacks were removed, durations extended, and harmonic overtones isolated and layered to form sustained piano drones. Through this process, the familiar sound of the piano was transformed into an abstract field of resonance, emphasizing texture over gesture and continuity over articulation.

Eight years later, I returned to these recordings and composed a new piece derived entirely from the earlier material. Conceived as a funeral music for the lost piano, the work employs convolution reverb generated from the Hamilton Mausoleum — a site renowned for its exceptionally long and unpredictable echo. The resulting spatialization situates the reconstructed piano sounds within a vast and reverberant acoustic environment, blurring the boundaries between presence and absence, memory and space.

This composition explores the intersection of personal memory, acoustic space, and sonic decay. By recontextualizing archival sound within an architectural reverberation, it examines how listening can become an act of remembrance.


Bandcamp

Memorial to a long-lost piano (edit)

A few minutes of live-processed (with Csound) guitar improvisation.  The Csound code is a simple version of something I'm working on with delayed copies of the input signal interfering with each other spectrally.  

live processed guitar improvisation, I

A major 5c

Disquiet Junto Project 0729: Community Remix (Nina)
The Assignment: Rework a shared recording from over 100 years ago

A beautiful recording of a violoncello solo with orchestra from 105 years ago, written around 250 years ago. Just image all that. – I first separated the music from the background noise, continued working with a noise-reduced version, and stretched it in various ways. I selected some of my favourite parts and inserted them into an overall structure. Since most of the spirit of the original was lost in the process, I inserted my most favourite part several times, for example at the beginning and end. I added some of the separated background noise back in, giving it its own space over time and finally an opportunity to fade away.

Original recording:
Performer: Hans Kindler
Writer: G. B. Pergolesi or V. L. Ciampi 
https://archive.org/details/78_nina_hans-kindler-g-b-pergolesi_gbia0055100a

More on the 729th weekly Disquiet Junto project, Community Remix (Nina) — The Assignment: Rework a shared recording from over 100 years ago — at https://disquiet.com/0729/.

Discussions 
https://llllllll.co/t/disquiet-junto-project-0729-community-rework-nina/73618

(Album)

Nina – Remix [disquiet0729]

This is a remix of the 1920 recording of 'Nina' by Hans Kindler. i cut the track into sections and remixed, then created three layers, one consisting of the surface noise at the beginning and end, repeated and stretched. I made alterations to pitch and tempo then added grains, delay, reverb, echo, etc.

More on the 729th weekly Disquiet Junto project, Community Remix (Nina) — The Assignment: Rework a shared recording from over 100 years ago — at https://disquiet.com/0729/.

A Skin Handler Inn (disquiet0729)

A math person making and modifying sounds with custom code, Csound, homemade electronics.

live processed guitar improvisation, I

Matthew M. Conroy