Fieldrecording

Sounds

Sound designs, field recordings and fx samples

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NATURE

Field Recordings

all sounds were created and designed using only the source recording of mashing oatmeal in my hands.

everyday (10-29-13) oatmeal / darkside

all sounds were created and designed using only the source recording of latex gloves.

today also marks my halfway point in my everyday project. my first sound was uploaded on May 1st 2013. Halfway there.

everyday (10-31-13) latex gloves / six months in (halfway through)

all sounds were created and designing using only the source recording of a noisy folding closet door

everyday (11-03-13) folding closet door / fartrubs

This weekend we went to Crystal Waters Florida and recorded various sounds of the marine life. We took a boat out to theses specific locations including Kings Point Bay, Shell Island, and Mouth of Rainbow River. Here we captured some bizarre sounds of Dolphins communicating, thousands of shrimp feeding, and the distant moan of the Hypostomus Plecostomus catfish. (Headphones highly recommended). These recordings where captured using the Aquarian Audio H2a-XLR hydrophones, and Sound Devices 702 Digital recorder. Original files recorded at 24-bit-96khz.


Hydrophone Recordings of Dolphins, Shrimp Feeding, and Hypostomus Plecostomus Fish

Luc Ferrari - Et si toute entière maintenant... [Séquence 1] - Le port

Sound recordings from "Teufelsberg" (German for Devil's Mountain) Listening station Berlin Germany. Short excerpts from the high tower dome trying to capture the most amazing spatial reverb echos from this most unusual structure.Various impacts, glass breaks, wooden clanks recorded at 24-bit 96kz with a Zoom H4N. Note: that some distant birds and wind can be heard through some of the recordings. This was due to some of the small holes in the ceiling structure, allowing some slight outside bleed. 
Link here to the history of this building below.

http://en.wikipedia.org/wiki/Teufelsberg



Field Recordings from Teufelsberg Listening Station Berlin, Germany

Mal was anderes - ein paar Klassiker im neuen Gewand...

Tracklist:
01 // Porcupine Tree - Phase I (Intro)
02 // Neil Young - My My, Hey Hey (Cousin Cole's Into The Blue Remix)
03 // Nirvana - In The Way (Daniel Bortz Remix)
04 // Bruce Springsteen - Tate Srooper (MAU's Dirty Disco Version)
05 // The Rolling Stones - Under My Dub (Todd Terje Remix)
06 // Jefferson Airplane - White Rabbit (Pete Mullen Techmix)
07 // Led Zeppelin - Babe I'm Gonna Leave You (Quivver Remix)
08 // Radiohead - Everything In It's Right Place (Andi Müller's Looong Mix)
09 // Deep Purple - Time Is Child (Hazy Sessions Remix)

Wankelmut - Rock'n'Roll Is Here To Stay

Tiptop Audio is proud to introduce a new project for 2015: Tiptop Audio Records.
In the recent years musical productions have seen a remarkable return to the use of hardware through analog synthesizers and digital control interfaces. This trend has proven so strong that it prompted a rebirth of modular synths in a new format (eurorack).  Tiptop Audio has made a name producing sophisticated but easy to use modules, designed to form a complete system that is especially effective for dance-oriented productions and live sets.

Tiptop Audio Records selected for its first issue some of the most groundbreaking artists using such systems, to present a range of artists who, through their tracks, explore the landscape of dance music in a very fresh perspective.  These are the artists who inspire the Tiptop team to make more innovative devices, which in turn make new music (a nice feedback loop).

ANGLE, BLAWAN, CHRISTIAN BURKHARDT JOAO CESER, JOHN TEJADA, JOSEPH FRAIOLI, MOE ESPINOSA (DRUMCELL), KINK, RICHARD DEVINE and SURGEON each contribute a track stamped with their own style and vision.  Tracks range from Surgeon’s trademark hard minimal beat, to Kink’s gauzy dreamscape, while Richard Devine and Joseph Fraioli explore the outer reaches of beat based music.  The Phase VI team (John Tejada and Moe Espinosa AKA Drumcell) produces an endlessly shifting set of percolating rhythms, Christian Burkhardt and Joao Ceser put some 21st century twists on classic dance floor patterns, ANGLE lay down effortless, sophisticated Continental style and Blawan adds some industrial toned menace.

The release will initially come as a double vinyl edition, with a cover painted by the artist Matteo Giampaglia, and a digital download version will follow.
An original video teaser will introduce the compilation, then other videoclips of the individual tracks will be realized by exciting new visual artists.

9 RICHARD DEVINE - CR HEX MUTANT

Last version of this track, now with download! Hope you like it ... and leave some feedback :)

Wankelmut - Broken Amp (unmastered/unsigned)

Just released today my remix of bossFYTE on DETROIT UNDERGROUND
Lil' Dog Toes / Think About It ( Richard Devine Remix)
DETROIT UNDERGROUND 7-inch by bossFYTE.
Order Here:
https://bossfyte.bandcamp.com/track/think-about-it-devine-remix-2

BossFYTE - Think About It ( Richard Devine Remix)

Link to the video of the patch, recorded in one take here: https://vimeo.com/136165676

download to the .wav file :-)

Patch Notes:

Harmonic patch using the new MakeNoise tELHARMONIC is a Multi-Voice, Multi-Algorithm synthesizer, and 4ms Spectral Multiband Resonator. The master clock is the Tiptop Circadian Rhythms. Clock output running into the Modcan Touch Sequencer. Channel output one running into one intellijel Dixie (V1) for the bassline. Dixie output running into a Mutable instruments Ripples filter (LP4), triangle waveform. Second channel output sequencing quantized 8 note sequence to the telharmonic oscillator, creating the first lead sequence in the patch (major scale set). One Mult output taken and sent to the Strymon BigSky reverb pedal to create the delicate swarm pads that rise in and out at the builds. Amplitude control of the slow rises via the intellijel HexVCA, slow rate control from one Modcan Quad LFO. The other output is then taken and sent to the Qu-bit RT-60 reverb. Third output from the Modcan TS sending quantized CV to the MakeNoise STO oscillator variable SHAPE output then sent through lower section of the MakeNoise Optomix. The forth output from the Modcan TS is sending a 4 chord pattern (min9) to the intellijel shapeshifter module in chord mode. This output is then sent to another Qu-Bit RT-60 reverb algorithm. MakeNoise Mysteron plucking guitar like effect being triggered by a 4ms RCD, 5th trigger out. The Mysterson then is running out into a Strymon BlueSky pedal, reverb.

Drum sequencing from TipTop CR, channel one kick drum going to the Nord Drum 2. Second channel number 2 triggering a custom snare drum made on the Nord Drum 2. Channel 6 from the CR triggering a low bass drum, in the key of "C". Clock output from CR into the 4ms SCM being rotated by a intellijel dixie sine wave output running at a slow rate shifting the 16th's hi hat pattern. Noise source for hi-hats are the SSF quantum rainbow 2, purple output running into the MakeNoise Optomix. The high end snare clap sound is by the Synthrotek's DS-M drum module, then being lightly processed by the Synthrotek DLY, slowly CV controlled by a Modcan Quad LFO in random mode creating more glitchy effects. This is then being sequenced by channel number 2 from the tiptop CR. The first lower left side 4ms Spectral Multi-band Resonator processing 72 custom DSP samples, which are being played by one addac wave player. The output is then being sent to a intellijel uVCF filter (hi pass), for the light subtle glitch textures. The second 4ms Spectral Multi-band Resonator, processing another set of 32 samples (noise washes/slow rises/falls) via channel number 4 from the CR tiptop. From here the output is being processed by a Mutable Instruments Clouds (granular mode), being controlled by the Pittsburgh Modular Game System running "Meteor Shower" mode in which the explosion based gates and random control voltages are then being sent to 3rd Dixie, controlling the CV rate time then from there its sent to the "Freeze" input on clouds, processing small bits of audio coming from the second addac waveplayer, The second output coming from the gamesystem is going into the "position" input on Clouds, which is doing some additional glitching to the signal.Main output from a intellijel Mutagen mixer then ran through the Eventide space pedal for extra spatial atmosphere. :-)

Harmonic Symmetry - Modular Patch

Link to the video of the patch, recorded in one take here: https://vimeo.com/139872178

download the free wave file :-)

Patch experiment using the Noise Engineering Variatic Erumption x 2, and Minigorille CV graphic modules x 2. Clock output from the Tiptop Circadian Rhythms into the CV Graphic input 1, left side (purple). Then another output from the TipTop CR taken to the right side (siliver) CV Graphic module. Output 4 from the Tiptop CR sent to the left side Variatic Erumption (ext gate to the hit jack input) which would send very slow burst of random gates. The CV Graphic CV output (PONG sequencer mode 2) A and B would output bouncing ball like CV voltages to the Variatic Erumption CV Pattern, and Time/Division input. This created some very organic scattered sequencing taking one output that was triggering a Snazzy Fx Ardcore running custom frac drums patch.

The other output was running into a trigger input on the Mutable instruments clouds, which is causing the light granular scattering in between the beats. Another output from the V.E. running into the Noise Engineering Basimilus Iteritas, for the FM pluck like percussion sound. Next output from VE running into a 4ms RCD, random triggering spaced out burst to the clock input. From here, the output was taken (4)out to the MakeNoise Optomix set slightly open, which was running a ALM's new "Akemie's Castle" dual voltage controlled oscillator, running out the chord output (OSC A). From the Akemie's Castle the output is going into a Tiptop Z-DSP processed with the The Halls of Valhalla card running program 7 (Asgard). Mult output also taken to the Strymon Big Sky pedal running in "Chorale" mode mix completely wet for delicate melodic swells. Making the rich choral timbres. Another gate output from the Noise Engineering V.E. running into the Mutable Instruments (mystery) module. Output from here sent to the Qu-Bit RT-60 effect module, which is also being triggered (for effects program change) via by the 5 division output from the 4ms Rotating Clock Divider.

Kick drum created using the MakeNoise telHarmonic module, running into a Optomix. Snare and hi-hat sounds courtesy of two Ladik D-333 Rom players. One running the Snares card, and another running hi-hats. Both outputs being summed into the Synthrotek DLY module. The delay input being modulated by a modcan QuadLFO output 1 slow S&H. First sequenced notes via the Mutable instruments Braids running the new "HARM" additive harmonics mode. The quantization was set to "Oinian". Second Braids for other harmony running the "OPSK" smooth sine like melody, VCA mode set to on, with short decay for pluck like quality. Signal for both braids are being sent to another Qu-Bit RT-60 running program number 1-Reverb. Quantization set to "Oinian". Bassline sound created with a Intellijel Shapeshifter output 1, then being run into intellijel uVCF filter in LPF input, then the signal goes out a Qu-Bit RT-60 in program 1 Reverb. 

Ascension - Modular Patch

Link to the video captured here in real-time: https://vimeo.com/150015591

Patch Notes:

This was a patch experiment using the new Mutable Instruments Rings/Clouds Modules, and trying to create strumming/plucking guitar like sounds within a patch. The inspiration came from playing around with the Clouds Parasites 1.3 alternate firmware running in the Resonator mode highlighting the "scatter" (or strum) function. The master clock was the Tiptop Circadian Rhythms module, taking the first 4 outputs into my Nord Drum 2 for the Kick, snare, closed and open hi-hats. From there the clock output from the CR was multiplied and then sent to the Modcan Touch Sequencer. First row output from the TS was sent to the intellijel Shapeshifter creating a two note baseline sequence that comes in at 1:58. The second sequence Row2 output from the TS was sent to the "ALM Akemie's Castle" module OSC A output using the chord function, that comes in at 25 seconds. The gates from the modcan where set to a 16th's pulse sequence. Modulation from the synthesis technology E102 Quad Temporal Shifter output 1 modulating the Multiplier input on Operator 1. The 2, 3 and 4 outputs from the E102 where also modulating the Operator 2, 3, and 4 inputs on the Akemie's Castle. This was creating the harmonic timbre changing as the sequence was playing.

The slowly evolving sweeping noise textures that come in at 1:09 is from the Music Thing Radio Music module. The sample was a white noise sampled lightly filtered and then sent to the intellijel HexVCA with the amplitude CV control via a Intellijel Dixie modulating from slow to high rates (free running). The Make Noise Rene was being externally clocked from the Circadian Rhythm, and was sending out a quantized output to the Mutable Instruments Clouds pitch input creating the chord guitar sequence. The strum sounds on Clouds was played by the 4ms QCD running in 32th division output into the Trigger input. The freeze input was also triggered by a Ladik R-110 Random clock module. The combination of the two created the trill chord like strums.

The bass guitar tone sound that comes in at 1:24 are from the MakeNoise Mysteron, that is being sequenced by the Modcan Touch Sequencer, Row Output 3 was programmed in the same key but a lower octave. The "Rings" module was creating slow attack soft high pitched chords in reverb that come around 2:50. There was additional processing of the Clouds output that was sent into the Tiptop ZDSP module running the "Halls of Vahalla" card program 8 "Ginnungagap" creating the high pitch octave deep reverb shimmer effects. The harmonic slow swells that come in at 3:30 where created using another intellijel Dixie oscillator sine output running into an Strymon "Big Sky" pedal being harmonically controlled by an intellijel µScale V1. The output was being played slowly then processed using the "Choral" mode, creating the slow shimmer swells. The entire mix was sent into the Eventide Space pedal using the "Corridors" patch.

Mutable Instruments Rings : mutable-instruments.net/modules/rings
Clouds Parasites firmware: mqtthiqs.github.io/parasites/clouds.html

Strum - Modular Patch

Recordings of various electrical devices (printers, scanners, Nintendo Wii, PlayStation, Mac-book hard drives, 5 different wireless modems, fax machines, iPhone, iPad, and computers. 
Recorded with two telephone recording microphones (induction coil) into a Sound Devices 744T recorder 24-bit 96khz.

Note: The file download is now available in the original 24-bit 96khz format. 


The Sound of Data Transmissions-Electromagnetic Fields

Recording of the symphony that is the train from Lamy, NM to Santa Fe, NM in the USA.

Train From Lamy

Date: 2011-03-19; Time: 06:21pm; Location: Berlin; Length: 01'34

In front of a Turkish supermarket. 

Badstraße, Berlin - shop keeper shouting, church bells ringing

Remix for the new Single "Underneath The Balance" by "In Golden Tears".

Check out the original and the other remixes: http://soundcloud.com/ingoldentears/sets/underneath-the-balance/

And get yourself a 7" copy! Check this: http://www.spinshop.com/store/ingoldentears/5589/details/133610

In Golden Tears - Underneath the Balance (Wankelmut Remix)

Electromagnetic Field 1

Dropped

Bat field recordings from a recent trip to the North GA mountains. This sound clip was captured using the Anabat SD2 - Bat Detector - high microphone. This device allows you to monitor the ultrasonic echolocation calls of bats for species identification and activity measurement. The particular species of bat in this recording are the Indiana Bat. The typical hearing range of this bat is between 20hz - 150Khz. They locate their prey by means of echolocation. They will produce a very, loud short sound and assess the echo when it bounces back. The type of insect and how big it is can be determined by the quality of the echo and time it takes for the echo to rebound. They also use two frequency types; constant frequency (CF) and frequency modulated (FM) calls that descend in pitch. Each type reveals different information for the bat. The CF is used to detect an object, and the FM is used to provide information regarding the nature of the object and its distance. The pulses of sound produced by the bat last only a few thousandths of a second with silences between the calls that give time to listen for the information coming back in the form of a echo. I was amazed at how complex some of these  echolocation patterns looked on a sonogram and was even more blown away by how they sounded. This file was outputted from the Anabat software application which takes the bat calls and converts them to wave files. The Anabat software application also converted the calls to a audible human hearing range (20hz-20khz) as most of the bats calls went up into the 150khz range. 

http://www.titley-scientific.com/us/index.php/sd2-bat-detector

Link to the Sonogram here: http://www.facebook.com/photo.php?fbid=10151218179915358&set=a.132078960357.137137.708680357&type=1&theater

Bat Recordings - with the Anabat SD2 - Ultrasonic Echolocation Detector

Rare Animals Demo

Hey folks!

This is my next single, coming out on Get Physical Music/Poesie Musik in January! :)

Including awesome remixes by Solee, Kasper Bjørke and others... stay tuned!

http://www.beatport.com/release/wankelmut-and-emma-louise-my-head-is-a-jungle-part-1/1018644

Buy on Beatport

Wankelmut & Emma-Louise - My Head Is A Jungle - 128 kbit

Since we started our Sound Postcards feature earlier this year, we’ve had a lot of fun in sharing with you our Field Recordings, Auditory Portraits and Creative Phonography. Recently we have invited a group of your favorite artists to contribute to the project, and submit their own creation. Here are some of the entries from Stephan Mathieu, Lawrence English, Autistici, Marcus Fjellström, Richard Chartier, Yann Novak, Clem Leek, Scanner, Loscil, Simon Scott and many more to come!

For more info and detailed descriptions of each entry, please visit headphonecommute.com

Stephan Mathieu – Two Clocks

Cheep cheep CHEEEP -  sounds like they're really living it up here, in one of the happier forests way out there in the mountains.

Birds birds birds, Oregon Cascades, USA

Extended version of the "Creature II" composed entirely on the MakeNoise Modular system. 2012 - Catalog number - MNR001 

Buy it here:

http://trashaudio.com/2012/12/make-noise-records-presents-shared-system-series/


Label info:

http://www.makenoiserecords.com/

MakeNoise Records facebook page:

http://www.facebook.com/MakeNoiseRecords

Shared System page:

http://www.makenoisemusic.com/sharedsystem.shtml




Creature ll - Extended version - MakeNoise Shared System

Marching Band

Stereo underwater recording of burning embers of wood using two Aquarian Audio H2a-XLR hydrophones. Recorded at Anglers Point Blairsville GA on Lake Nottely on New Years Eve with Surachai. Captured with the  Sound Devices 744T at 192khz - 24bit. Download the 44.1khz-24bit version free here. 

Hydrophone Recording of Burning Embers Underwater

"Lucky Goat," says you.  Better than any garbage disposal, more eifficient than a compost bin, Esme the Goat eats everything and anything (whether you want her to or not.)

This is the 44th Broadcast of the Sunken Hum Sound Diary, my daily sound project for 2013.

The Sunken Hum Broadcast 44 - Goat Munchtime with Leftover Popcorn, Muffins, Salad, Noodles and More

In physics, mass–energy equivalence is the concept that the mass of a body is a measure of its energy content.
This concept states that mass is a property of all energy and energy is a property of all mass, and the two properties are connected by a constant: the speed of light. To Einstein, mass–energy equivalence is a consequence of the relativistic symmetries of space and time.
In "Mass & Energy", thus, this concept is explored musically.
The interactions between sound material and the musical structures are a consequence of the 'energy' of the musical gesture. And, as a consequence, the spatial localization of the sounds reflects the intensity of this interactions.
This work was created at CIME - Centro de Investigação em Música Electrónica (Center for Research in Electronic Music), at the University of Aveiro, Portugal.

This work received the Honorable Mention at the Concurso Latinoamericano de Composición Electroacústica Gustavo Becerra Schmidt, promoted by the Comunidad Electroacústica de Chile CECh, in the year 2012.

Mass & Energy (2012)

Photogenic Lion

Multi-channel field recording of 12,000 Italian bees at Buckeye Creek Farm Cherokee GA.
The setup consisted of four wooden packages of bee's containing 3000 bees each stacked on top of each other creating a wall of swarming noise. 

 Captured with the Neumann RSM 191-A/S and DPA SMK 4060 omnidirectional miniature stereo microphones. Everything was recorded at 24-bit 96khz with the Sound Devices 744T and Mixpre-D. Free Download

Watch the video here: https://vimeo.com/63253584
http://buckeyecreekfarmga.com/

Multi-channel field recording of 12,000 bees at Buckeye Creek Farm.

New EP Systik now available: https://richarddevine.bandcamp.com/

Bookings: mia@lb-agency.net