Motnrose Harbor Dock

CTA Truss

Once Doggerland, an historical connection between Britain and continental Europe. Now an industrial area were fossils are found and traded, surrounded by salty water we today call the North Sea.

Located on the Noorderhoofd pier along the busiest waterway in Europe, in Hoek van Holland, The Netherlands. The waterway is a ship canal called de Nieuwe Waterweg, which makes the Port of Rotterdam accessible for seagoing vessels from and to the North Sea. It’s the largest port in Europe and specialised in the petrochemical industries and cargo transshipment handlings. Across the water of Noorderhoofd are the Maasvlakte and Europoort, which are very heavily industrialised with also petrochemical industries, as well as coal- and biomass-fired power plants, styrene- and propylene-oxide production and transhipment of ore, coal and palm oil.

This industrial area is surrounded by beaches where crabs, shrimps and starfish can be found. By dunes with foxes, rabbits, lizards and moles. By the air with sandpipers, polecats, buzzards and seagulls. And by the water with seals, sea bass’ and garfishes.

The auditive beauty of these surroundings is abruptly disturbed by increasing buzzes, noise and suddenly appearing rhythmical radar frequencies presenting itself through electromagnetic signals. The infrasound from the petroleum industries across gets supported by a slowly growing even intenser engine rumbling. The waves crashing on the pier are rising, each one followed by a greater force.

An interference of low and high increasing frequencies, as a collaboration between human and nature, is resonating through a pole standing on the pier. Beholding the industrial infrasound and coastal acoustics, responding in the creation of abrasive metallic harmonics. This pole is holding a warning sign, to contain our behaviour on the pier.

“Dangerous waves from shipping. Enter at your own risk.”


Noorderhoofd [51,98021° N, 4,11153° O]
through the ears of its aquatic- and surrounded wildlife, adapted to the petrochemical industries and cargo shipping.

All sounds are captured with a Zoom H5, LOM Geofòn, OrganicAudio Cjossul and Soma Ether at Noorderhoofd in Hoek van Holland, The Netherlands. The recordings are processed, mixed and mastered during post-production in Logic Pro X.

Released on February 28th 2024.

https://semzeeman.bandcamp.com/track/noorderhoofd-5198021-n-411153-o
https://www.sem-zeeman.com/noorderhoofd


“Noorderhoofd [51,98021° N, 4,11153° O]” is also part of the long-form sound composition Upstream Ensemble, where mainly its infrasound recording is used. This composition is initiated by TBA21’s Ocean-Archive, ocean comm/uni/ty and Pablo Diserens, who invited 35 field recordists to venture in the world and record aqueous sonic encounters. Upstream Ensemble navigates between the multiplicity of the water cycle as a sounding body. The work moves upstream through oceans, rivers, pipe networks, ponds, and glaciers while investigating the continuous flow of water and the environments that surround it. Here, the world’s aqueous fauna, flora, geologies, and technologies mingle into a synchronized motion that documents the sonic articulations of these wet zones. Upstream Ensemble is released digitally on TBA21’s Ocean-Archive website and physically released on the label forms of minutiae as cassette. 

f-o-m.bandcamp.com/album/upstream-ensemble

Noorderhoofd [51​.​98021° N, 4​.​11153° O]

Sample of SEISMOS connected to a power cabinet steel sheet via a magnet

SEISMOS Test - Power Cabinet

In a nondescript alleyway in South Dunedin, the Dunedin Gasworks Museum houses some of the world's best-preserved gasworks machinery. During my visit, I explored their machine room, where I found five examples of stationary steam engines. I decided to attach a LOM Geofón to one of these engines to capture the sounds it produced. The rhythmic sound I heard was created by the mechanical lubricators that apply oil to the piston. I recorded the sound using a Zoom F6 and edited it using Apple Logic.

Gasworks Horizontal Pump

Singing Lonely Tube

The old pipe found in the forest that makes a sound. I dont really understand how thats possible, but I suspect the wind was playing a trick on me. Slovakia. Between Hamuliakovo and Samorin.

Zoom H6 96khz 32bit

LOM Geofon

NO MIX!!! NO EFFECT!!!

Brick Room & Noise Studio 2024

Singing Lonely Tube

Wind In The Open Field.

I was in the mood for a little experimentation. I wondered how different it would be from a normal sound recording. I covered the stereo microphones with two different cloths and put a bag over them. I also recorded sounds at the same time with the stereo microphones using the Geophone. I tried to adjust this to the correct volume. I did not do anything else!

Zoom H6 96khz 32bit 

LOM Basicucho & Geophone

NO EFFECT!!!

Brick Room & Noise Studio 2024

Wind In The Open Field

In Hollow, Fallen Wood Voices. Like An Amplifier.2.

Inside a hollow tree, broken in two the wind can be heard blowing. Human voices, a fly wandering by, cracks caused by the wind. 

Zoom H6 96khz 32bit

LOM Basichucho

NO MIX!!! NO EFFECT!!!

Brick Room & Noise Studio 2024

In Hollow, Fallen Wood Voices. Like An Amplifier.

Gully - Water

Gullideckel - Wasser 

Stereo Clippys and Geophone Mix
Stereo 48kHz 24bit

Gully

The vaunted techno producer discusses the connections between visual art and music, balancing a full-time career as a fine artist and how he creates his signature sound.

There's a connection between visual art and dance music that's seldom explored on our channels. Mike Parker is well known in the underground techno scene for minimal, hypnotic and beautifully executed sound design that sits somewhere at the edges of club music. But he also received his master's degree in fine art and teaches drawing and painting at Daemon University in Buffalo, New York. Fans of Parker will recognise his visual trademark: monochromatic prints that adorn the covers of the records he puts out on his label, Geophone.

In this Exchange, Parker sits down with Chloe Lula to talk about how he balances his art- and music-making practices and how they inform each other. He also opens up about the long process of sticking to his sound and finding an audience rather than catering to the demands and suggestions of labels and distributors. His 2001 breakout album, Dispatches—which he reissued last year—is a meditation on the act of living far away from any listeners or immediate influences, and he discusses the ongoing drawbacks and rewards of balancing the Eurocentric pursuit of DJing with day-to-day work that's so geographically removed. He also opens up about his longtime collaboration with Donato Dozzy, his love of mid-20th-century sci-fi movies and how free-form radio shaped his approach to music and art. Listen to the episode in full.

EX.761 Mike Parker

The vaunted techno producer discusses the connections between visual art and music, balancing a full-time career as a fine artist and how he creates his signature sound.

There's a connection between visual art and dance music that's seldom explored on our channels. Mike Parker is well known in the underground techno scene for minimal, hypnotic and beautifully executed sound design that sits somewhere at the edges of club music. But he also received his master's degree in fine art and teaches drawing and painting at Daemon University in Buffalo, New York. Fans of Parker will recognise his visual trademark: monochromatic prints that adorn the covers of the records he puts out on his label, Geophone.

In this RA Exchange, Parker sits down with Chloe Lula to talk about how he balances his art- and music-making practices and how they inform each other. He also opens up about the long process of sticking to his sound and finding an audience rather than catering to the demands and suggestions of labels and distributors. His 2001 breakout album, Dispatches—which he reissued last year—is a meditation on the act of living far away from any listeners or immediate influences, and he discusses the ongoing drawbacks and rewards of balancing the Eurocentric pursuit of DJing with day-to-day work that's so geographically removed. He also opens up about his longtime collaboration with Donato Dozzy, his love of mid-20th-century sci-fi movies and how free-form radio shaped his approach to music and art. Listen to the episode in full.

Field recording with a LOM Geophone, attached to w wire fence, which was vibrating, due to  a fresh wind.

LOM Geophone on Wire Fence; Landsort, Sweden.

Recording made with LOM Geophone of a creaking tree at Sandemar Reserve in Sweden. 

Geophone recording of Creaking Tree at Sandemar Reserve, Sweden.

MASSIVE GEOPHONE - 197 files of geophonic sound effects, at varying distances and intensities. From hard surface vibrations to subtle ground movements and flowing energy to echoing bass. Massive Geophone comes in at over 5 hours and 4 minutes, of odd and familiar noises through a geophonic filter. Bring the esoteric world of high fidelity sub-focused frequencies to your next project. Recorded at 192kHz and 32bit, using an omni-directional geophone microphone capable of recording ultrasonic frequencies. Massive Geophone filenames are in the Universal Category System format with additional Metadata baked-in.

Don’t need a Massive amount of Geophone sound effects? We offer ‘Mini’ sound effect libraries as companions for all of our ‘Massive’ sound effect libraries. All recordings are unique to each library with no overlap. Go Mini today, and upgrade to the corresponding Massive library later, when you need more of that particular sound effect.

MINI Geophone – 19 files of geophonic sound effects, at varying distances and intensities. From hard surface vibrations to subtle ground movements and flowing energy to echoing bass. Mini Geophone comes in at over 43 minutes, of odd and familiar noises through a geophonic filter. Bring the esoteric world of high fidelity sub-focused frequencies to your next project. Recorded at 192kHz and 32bit, using an omni-directional geophone microphone capable of recording ultrasonic frequencies. Mini Geophone filenames are in the Universal Category System format with additional Metadata baked-in.

Visit Us At: www.MassiveSoundFX.com/b/massive-geophone and get ‘Mini Geophone’ bundled FREE when you purchase ‘Massive Geophone’.

*Massive Geophone Demo Track: Uses Examples From Our ‘Mini Geophone’ Library*


Massive Geophone - Demo

Geophone recording of creatures in the soil at Cape Mentelle's Wallcliffe Vineyard, Margaret River, Western Australia

Cape Mentelle underground

Lom Geophone recording of a Red Ant colony at Västerbotten, in Northern Sweden.

Geophone Recording of Wood Ant Colony; Northern Sweden

Steve Barsotti is a sound artist and educator who lives in San Diego. He has ventured into various approaches to art making including photography, printmaking, performance, invented instruments, improvisation, object recording, location recording, phonography, electro-acoustic-pull-strange-sounds-from-everyday-objects, and there is sure to be more. The common thread has always been a close examination of easily bypassed details; image from angles that you would not normally see, sounds that can only be heard through contact mics and amplification, sonic qualities of materials that are used in everyday life. 

He was a member of the Seattle Phonographers Union, a field recording wielding group of improvisers. The Union is described as " moving beyond habitual experience of sound and uncover what is foreign in the familiar and familiar about the foreign; to explore what we hear and relearn what we know" They have been performing together for 20 years. (www.seapho.org)

Massive Sound FX | UCS Themed Ultrasonic Sound Effects And Sample Libraries

Visit Us At Massive Sound FX – https://www.MassiveSoundFX.com/

Stanier Black-Five is an Australasian sound artist and writer, who for the last two decades has been actively involved with experimental music and sound art in the UK, Europe and Australasia.

Her audio work is largely based on the manipulation of her own environmental recordings, as well as found sounds, which she uses to create dense soundscapes that use sources such as mesmerising aircraft drones to the pounding rhythms of trains and more recently the sounds of the earthquakes that have shaken her city.

Also a  wine writer, her interest in sound and taste has converged in a number of multi-sensory projects. These include the installation, Oenosthesia created from the sounds of wine sourced on an Italian artist's residency,combined with the local wines themselves, and her recent multisensory Mishearings solo exhibition.

Stanier Black-Five performs regularly both in New Zealand and internationally. She has taken her visceral musique concrète to the UK and Europe, performing alongside artists such as Chris Watson, Daniel Menche and Jessica Rylan and presented her work at festivals such as London Musicians Collective’s annual Festival of Experimental Music.

Stanier Black-Five has had her work released internationally, with recent releases including two CD albums on Belgium's Entr'acte and a track on the UK's Touch Radio. She has also hosted a number of experimental radio shows, on the UK’s Resonance FM to Christchurch’s RDU.

Actively involved with communicating about sound art and experimental music, she has contributed to the likes of the UK’s Noisegate magazine, Berlin’s Datacide and has written a chapter in the book Erewhon Calling: experimental sound in New Zealand, edited by Bruce Russell.

✨ Soundscape & Ambient 

info.sem.zeeman@gmail.com

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Sem Zeeman is a field recordist and sound artist focused to capturing both the auditory beauty and the pollution of our environment. His work uncovers the harmonies and dissonances from everyday life. In a world where vision dominates sensory perception, he challenges listeners to rediscover this richness of the sounds that surround us all. 

Inspired by nature, history and materials, each of his sound pieces serves as a unique snapshot of a specific place and moment in time. His sonic landscapes transcend the limits of human perception by capturing hidden sounds — such as infrasound, ultrasonic frequencies, and electromagnetic signals.

Sem’s work embodies both an aesthetic and a societal dimension. His compositions invite reflection and raise awareness of contemporary ecological, technological and social issues. By using environmental sound as a universal language, he seeks to restore the connection between humans and their surroundings.

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💿 RELEASES
- "A Soundwalk Through Budapest 
[47.499553° N, 19.054739° O]"
- "Noorderhoofd [51​.​98021° N, 4​.​11153° O]"

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🍃 Organic Dance Music as https://soundcloud.com/okin-omis

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The weekly RA Exchange is a series of conversations with artists, labels and promoters shaping the electronic music landscape.

Irish field recordist, now residing in Sweden. I have a deep interest and background in birding, which is reflected in my sound recordings. Follow my podcast, Wild Bird Acoustics, on all podcast providers!

New tracks tagged #Geophone