Name: Thunderstorm Fading over the Pink Canyon, Leconi, Gabon by Stijn Demeulenaere
Duration: 7 min 6 s
Description: The rig was set on the edge of the pink canyon. And while setting up we were surprised by a thunderstorm. This is later in the recording, when you can hear the thunderstorm quietly (well, not that quietly) fading away into the distance, rolling its last thunders over the Pink Canyon

In this narrow sound, where a river runs out in a fjord, the underwater soundscape is especially vibrant.

Different species of fish and crustaceans thrive in the streaming waters that bring a lot of food and nutrients. Some of the species in this recording are wrasse, cod, brown crab (Cancer pagurus).

Here, innermost in a fjord I was lucky to capture this soundscape without any anthropogenic sounds present. As sound travel faster and longer distance in water, a small boat miles away could permeate a recording.

Hydrophones: Aquarian H2A-XLR
Recorder: Zoom F3

Osstrupen

Sélection Field recording

Diego Véliz
Sound Desert – Agrovoices & FCALP
58’, autoproduction (Chili)

Cette suite en cinq tableaux, aussi divers que les territoires qu’ils évoquent, est une immersion dans les sons de Arica, une ville chilienne si-tuée aux confins du Pérou et de la Bolivie, au cœur du désert d’Atacama. Successivement, une promenade le long de la zone côtière, les ambiances et voix d’une gare routière internationale, un marché agricole, une zone humide en péril, et les friches d’une gare ferroviaire inoccupée. 

Diego Véliz s’est formé au cinéma documentaire au Chili, à Cuba et en Espagne. Il est l’auteur des courts métrages projetés dans plus de 40 festivals. Il vit et travaille dans la région tri-frontalière du Chili, du Pérou et de la Bolivie, où il développe des projets artistiques avec sa société de production Candelabro Films. "Sound Desert" est son premier projet d’art sonore.

Diego Véliz_Sound desert_FCALP

This is a long recording from a ridge near the ocean, so the surf is in the background, there is bird and animal activity at dusk and dawn, and a big thunderstorm rolls in.  The Yellow-Throated Toucan is very active, and the Scarlet Macaws, Tinamou, and Mantled Howler Monkeys are also calling at dusk. I removed one section of a few minutes where the rainfall was so heavy it started leaking through and hitting the mics but otherwise left this recording intact.  I used my Sennheiser Double MidSide system with a Sound Devices MixPre recorder.

Dusk To Dawn Costa Rica Osa Peninsula Coastal Forest Thunderstorm

Cold nights and warmer sunny days causes stress on thick lake ice. As the ice freezes and melts on a daily basis, periodic cracking and pinging sounds can be heard, sometimes quite dramatically. This track is edited from an all night recording made at a lake in south Estonia, a "greatest cracks" if you will, from more than 6 hours of material.

Cracking Lake Ice

My favorite recording location did not disappoint this evening in early march. I have heard about cod drumming, and suspect that this is it. However I wasn't prepared for this intense sound of several individual species making noise at the same time. 

There are some anthropophony in this recording. Mainly noise from small vessels, but some faint sounds from cars passing over a bridge 600 meters to the east.

Hydrophones - Aquarian H2AXLR
Recorder - Zoom F3

Intense sound from the deep

I recorded our local Pipistrelle bats from my back garden last night - both 'common' and 'soprano' varieties.  It wasn't until I listened to my recordings this morning that I realised I had also captured the sound of a passing Noctule bat too! A real delight to hear one flying high overhead.  Bats make sounds too high in frequency for humans to hear - so the recordings need to be processed - usually in one of two ways.  Hetrondyne mixing - to shift the pitch of the sounds down in frequency to something that humans can hear. Or, 'time expansion' - basically stretching out the 'best bits' of the sounds in the time domain by slowing them right down.  Time expansion is similar to what is sometimes now called 'granular processing'. I used some of my 'music processing' equipment to process these sounds - once I had made a small library of the bat sound samples that I liked.  I turned it into a 10 minute 'symphony' using a variety of tape loops, pitch-shifting, granular synthesis, delays and a little bit of reverb.  I'm still experimenting with the mix between 'light touch' processing of my field sound recordings and something a bit more 'musical' - You might hear a hint of  a I–V–vi–IV chord progression of the Noctule towards the end of this symphony!  Recorded using an an Echo Touch Pro 2 microphone at 384 kHz (samples per second).  Equipment used for sound processing included a Chase Bliss Habit and Mood MK II, together with a Hologram Electronics Microcosm looper 'effects pedal'. Some reverb was added via both the Mood and Microcosm. No DAW was used - I mixed it all 'live' from the clips chopped on my Koala sampler. Simples! 
Photo of a nearby tree, taken in 720nm infrared.

Bat Symphony

Penghu Experimental Sound Studio
by Yannick Dauby
https://penghusound.tumblr.com/
http://www.kalerne.net

Extract from a 24 hours recording.

GPS = 23° 30’ 48.858” N 119° 36’ 31.428” E
DEPTH ＝ 4 meter
DATE/TIME = 14.07.2024 05:10
EQUIPMENT = Zoom H5 / Aquarian Audio H2c with USB battery in underwater enclosure

240713 Suogang 鎖港 extr

Track samples from the album "Spring in Padakõrve". Album tracks have been recorded during 2015-2018, in one of the natural forest areas in eastern Estonia. In these sample clips you can hear White-backed woodpecker, Greenish warbler and other birds in May morning, Ural owls and Roe deers in April evening. 

On album, all the tracks are blended into one continuous listening experience. Enjoy!

Spring Padakõrve

Buy in Bandcamp

Kevad Padakõrves - Spring in Padakõrve

The rig was set on the edge of the pink canyon. And while setting up we were surprised by a thunderstorm. This is later in the recording, when you can hear the thunderstorm quietly (well, not that quietly) fading away into the distance, rolling its last thunders over the Pink Canyon

Thunderstorm Fading over the Pink Canyon, Leconi, Gabon

Random found sound... two plastic tubes left over from some construction work provide a form for a resonant filter effect of passing traffic. Recorded with two Primo EM172 capsules and an Olympus LS-10 recorder.

Roadside Found Tubes

This is an excerpt from a longer recording from my permanent installation of aeolian wind harps. The installation consists of multiple towers, each with four strings and resonators, that stand in a field. The field is nearly an open space from all sides which provides optimal conditions for the harps to 'sing' from the movement of air. Special thanks to Janno Bergmann for the invitation and hosting me at Copper Leg residency in Northwest Estonia.

aeolian wond harps

Aeolian Windharp Installation At Copper Leg

Sound Artist and field recordist from Belgium. I'm researching the phenomenology of sound, or how we give meaning to sound, and the sonic characteristics of spaces and places. I make installations, soundscapes, concerts and do sound design for dance, theatre and film. On my soundcloud I mostly upload the pure recordings, but I do digress as well.

Thunderstorm Fading over the Pink Canyon, Leconi, Gabon

Stijn Demeulenaere

Related tracks