Name: Coastal Hollow - Surge-and-Drain by Andy Martin, Field Recordist in Glugging
Duration: 2 min 9 s
Description: The tide was coming in. There was a slight storm surge from an off-shore event. Positioned at the end of a long narrow breach between two rocks, we can hear the water surging its way between with every wave, only to just kind of "sport" at the very end before draining away.

Occasionally I see interesting tight squeezes and think, "My microphones can fit in there."

This is one of those times. Along the coast there are great big hollow rocks being slowly eroded by shallow saltwater waves. They aren't sea caves, at least not the kind you would stand in comfortably. When a wave pushes against the opening it makes a nice thump before slowly filling in. The water swirls for a bit, then slowly drains. At the right tide height with the right rocks it makes a nice "schlork" sound I like to refer to as "glugging".

As much fun as coastal recording can be, I'm much better with inland soundscapes. For some of the most interesting shoreline recordings you'll ever hear, you should check out my good friend Peter Comley  at http://www.petercomleysound.com/sound-effects-libraries1.html

Glugging

Dusky-legged guan (Jacu) fighting in the morning

Recorded in Atlantic Forest in Serrinha do Alambari, Sao Paulo, Brazil with ORTF Schoeps in Sound-devices Mixpre-6 in 48kHz 24bits

Thanks to Felix Blume and Gregoire Chauvot for their gear!

Angry Jacu

Prix Découvertes Pierre Schaeffer 2021

Mélia Roger & Grégoire Chauvot, Birds and wires
4’47, autoproduction, France

Une clôture fraîchement construite entoure un point d’eau dans la campagne lyonnaise. À l’aube, les oiseaux s’y relaient pour boire. Leurs vols les amènent à se poser sur les fils barbelés, laissant naître des résonances métalliques. Cette phonographie révèle par surprise les traces de la musicalité du paysage.

“Une très belle rencontre sonore avec ces oiseaux acteurs musiciens qui conjuguent les volutes et les mélismes de leur vol avec des ponctuations timbrées des cordes de barbelés tendues comme des contrebasses fantomatiques. Avec une grande maîtrise du son, de sa captation, un art subtil du mixage à peine décelable, Mélia Roger et Grégoire Chauvet nous invitent à goûter cette rencontre du vivant avec l’art sonore comme un instant intriguant et appaisant.” (Jean-Loup Graton, membre du jury)

Mélia Roger (*1996) partage son temps entre le cinéma et l’art sonore. Après un master d’ingénieure du son (ENS Louis-Lumière, FR), elle développe depuis une approche artistique de terrain, explorant l’intimité de la voix et du paysage sonore. Entre Paris et Zurich, elle collabore à différents projets autour de l’écoute.

https://meliaroger.com

Grégoire Chauvot (*1992) est passionné d’oiseaux. Diplômé de la Femis, il enregistre le paysage pour construire des histoires, d’abord pour le cinéma et aujourd’hui pour le son seul. Il réalise des prises de son expérimentales à la recherche du beau et de l'inattendu.  

https://soundcloud.com/gchauvot

Le Dinard Podcast Festival #1 leur a consacré un portrait en juillet 2021, à retrouver sur Calaméo https://fr.calameo.com/read/006778443aa1e1d1c5db1

Mélia Roger & Grégoire Chauvot_Birds And Wires

BREAD [2021], from "interbeing"

score: www.wubbelsmusic.com/bread_score.html

written for and performed by TAK:
Marina Kifferstein, violin
Laura Cocks, flutes, wine bottle
Madison Greenstone, clarinet
Charlotte Mundy, voice, wine glasses, beer bottles, autoharp
Ellery Trafford, mixing bowls, beer bottles, wine glasses, autoharp

BREAD [2021], from "interbeing"  (w/ score)

Rudolf Eb.er - HEIMOROR - HEXES I-VI
2CD, 118 minutes, published by the Om Kult and available at:

rudolfeber.bandcamp.com/album/heimoror

HEIMOROR - HEXES I-VI - excerpts 1

Fomando parte de:
https://earsheltering.bandcamp.com/album/3pr-iii-11ses
@earsheltering

--
SONIDO POSTAL - CONFLUENCE
De forma artificial, el audio toma forma de collage progresivo, donde la mezcla de grabaciones de campo comienzan en entornos naturales, con sonidos que representan esa espacialidad, poco a poco va mutando hacia sonidos en los cuales los humanos tienen alguna participación más directa, dilucidando de a poco un sonido más urbano, hasta terminar en el ruido de la ciudad, que refleja más la parte industrial de la misma.
Confluencia retrata una mínima posibilidad de las diferencias y similitudes que pueden contener estos entornos, pudiendo ser apreciados a través del sonido y la representación visual imaginativa, ya sea del lago o el mar, hasta la ciudad.
El audio es una recolección de grabaciones de campo realizadas en diferentes lugares de Argentina, realizado por Damián Alférez:
- Playa acantilados, Mar del plata (sonidos de piedras y el mar).
- Laguna de los Padres, Mar del Plata, Buenos Aires (sonidos del agua, cotorras, gente, insectos).
- Chapadmalal, Buenos Aires (sonidos de ranas y perros).
- Mar del Plata, Buenos Aires ( sonido de gotas de agua en un departamento).
- Puerto Madryn, Chubut (sonidos de la calle, llamadores de ángeles, skates).
- Centro de la ciudad de Mar del Plata (sonidos de vehículos, ventiladores, interferencias).
- José Marmol, Buenos Aires (sonidos de vehículos, y vendedor de chatarra)

Confluence

Forget Me Not is written for amplified ensemble: saxophone, e-guitar, piano, synth, percussion, and analog electronics

- commissioned by I & I Foundation, written for Ensemble Nikel

Premiere: Klangspuren Festival, September 2022

Forget Me Not (2022) for Ensemble Nikel

performed by Schallfeld Ensemble at the Klangspuren Schwaz Composers Lab

live recording, September 18, 2023, Schwaz, Austria

conductor: Pierre-André Valade
recorded by ORF Austrian Public Radio

Before you were born | for piccolo/alto flute, saxophone, accordion, piano, violin, and cello (2023)

This longish recording focusses on First Light rather than Dawn (Second Light and Sunrise), although it includes the beginnings of the latter. It ought to be listened to with good quality headphones, or good quality speakers, at a mid-range volume of around fifty to sixty per cent. The recording is unedited: one of the things that particularly interests me, and that I especially enjoy, about this early spring First Light forest soundscape (and other similar early spring forest Dawn recordings that I made during this road trip to Tasmania) is precisely its very gradual, slow, minimal, and spacious development. This sounds nothing like an overly-busy tropical rainforest. The 'silence' never completely disappears.

In this rich, dense, moist, cool-temperature southern forest of Tasmania, at the time that this excerpt begins, it is still fairly dark to the human eye. The first First Light call is (as usual) from a Black Currawong (Strepera fuliginosa), a species of Currawong that is found only in Tasmania. Its call is quite unique, very unlike any mainland Currawong, and I grew to adore it, and to recognise it as the main Tasmanian forest sentinel of dawn.

We also hear the final few night calls of Ninox novaeseelandiae leucopsis, which I would prefer to refer to as the 'Tasmanian Boobook', rather than its more common and familiar name, 'Morepork'. Both names are, of course, onomatopoeic labels provided by Europeans. But the name 'Morepork' suggests, to me, an image of radically displaced Europeans in an unfamiliar landscape, craving pork meat, and hearing this beautiful owl call as though it were expressing their own cravings: 'More pork!" (Interestingly, DNA evidence has suggested that Ninox novaeseelandiae is more closely related to the New Zealand Boobook (also commonly known in NZ as the 'Morepork') than to the mainland Southern Boobook (Ninox boobook).)

The other early caller, here, is the Yellow Wattlebird (Anthocaera paradoxa), also found only in Tasmania.

Gradually, the 'Dawn Chorus' stirs and unfurls into a more richly-populated wakefulness. Thankfully, the introduced and now feral Superb Lyrebirds, which have seriously infested this region, seem to be late risers that enjoy sleeping in: somewhat later in the original recording, they pretty much take over most of the forest soundscape.

Recorded with meditative respect upon the land of the Nuenonne tribe of the Palawa people. The recording was made with a pair of MKH 8040s in ORTF into an F3 recorder.

2023.09.23 First Light. Huon Valley. Early Spring.

Game of Phaune, Episode #9: Au-delà du Cercle - Avec Mélia Roger & Grégoire Chauvot

Aujourd’hui, on décolle avec nos oreilles dans les pas de Mélia Roger et Grégoire Chauvot. On suit avec eux les traces sonores, fragiles et puissantes, de ces présences multiples qui peuplent un paysage sans heure.

Et si à l’aventure, on ne sait jamais sur quoi on va tomber, on sait qu’on va tomber. Ici : sur un moment de grâce et de beauté.

Entrelacement de vies, territoires chantés, goût de l’air et frisson du monde, c’est Game of Phaune #9, avec Mélia Roger et Grégoire Chauvot.


 ——

Today, we take off with our ears in the footsteps of Mélia Roger and Grégoire Chauvot. With them, we follow the fragile and powerful sound traces of these multiple presences which populate a hourless landscape.

And if on an adventure you never know what you're going to fall in with, you know you're going to fall. Here: on a moment of grace and beauty.

Interweaving of lives, sung territories, taste of the air and thrill of the world, this is Game of Phaune #9, with Mélia Roger and Grégoire Chauvot.

What The Phaune

What The Phaune #6 - Game of Phaune #9, avec Mélia Roger & Grégoire Chauvot

"white wide eyes" (2014) for 23 musicians (4 ensembles), electronics, projection
- Ensemblekollektiv Berlin (Ensemble Mosaik, Sonar Quartet, Ensemble Adapter, Ensemble Apparat)
- Manuel Nawri (conductor)
premiere January 22nd 2015, Festival Ultraschall Berlin, HAU2

live recording: dradio

"white wide eyes" 2014 - for 23 musicians, electronics, projection

The tide was coming in. There was a slight storm surge from an off-shore event. Positioned at the end of a long narrow breach between two rocks, we can hear the water surging its way between with every wave, only to just kind of "sport" at the very end before draining away.

Coastal Hollow - Surge-and-Drain

That last bit of compression just before the water hits the underhand is so satisfying, especially with the blurp-y splash right after

Coastal Pocket

This is the archetypical coastal glugging hollow to me. Drained of water, you can hear the approaching surge through the hollow rocks. When it fills up, though, it's like a giant sloshing can. Only when the water drains does it sound like the open channel it really is.

This hollow gets deep. When the water was drained I could walk on the wet sand. After the surge, though, the fill limit was 2-3 feet.

Coastal Hollow - Surging Chamber

Another angle on the same surging chamber as before. I tried to focus a little more on the sloshing, but it's difficult to get a good aim when dangling mics from above.

Coastal Hollow - Surging Chamber 2

This nice, long chamber was further up the beach from the previous chambers. As such, it had a nice long surge and drain without ever staying full.

Coastal Hollow - The Tunnel

Like The Tunnel, this hollow was further up the beach from the rest. The difference here is that the actual fill chamber was deep inside the rock and I was only ever able to record through a crevice that looked into it. Rather than hearing the water slosh up and around in a wide stereo field, we instead mostly hear the reverberant surges and splashes. It has a nice giant "chamber" feel without any direct slosh.

Coastal Hollow - Big Room Small door

Field Recordist / Sound designer
Shhhhh. Listening to nature.

To license sounds or for all other inquiries: info@andymartinsound.com

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Coastal Hollow - Surge-and-Drain

Andy Martin, Field Recordist

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