[PL]

Wybrałem się w okolice Brynicy myśląc o konkretnych dźwiękach, które chciałem nagrać, a skończyło się tak, że usłyszałem coś zupełnie innego i jestem zachwycony. Usiadłem po raczej nieudanej sesji nad samym brzegiem Brynicy i w którymś momencie postanowiłem zacząć nagrywać, mimo, że już siedziałem tak bez niczego dość długo. Okazało się, że wał i trzciny prawie zupełnie osłoniły mnie od wiatru, a mimo to słychać doskonale jego szarpanie trzcin, krzaków i drzewek. Postanowiłem zostawić fragmenty z silnikami crossów i samolotami, koniec końców tak to miejsce brzmiało i są one częścią tego pejzażu. Około dziewiętnastej minuty zgrywają się ze sobą tak, że sprawia to wrażenie, jakby były to celowo zmiksowane ścieżki. Narastający, rozwlekły, wwiercający się dźwięk samolotu jest niepokojący i pięknie komponuje się z wyraźnymi, krótkimi, ostrymi szarpnięciami motorów. Całości dopełnia wiatr w trzcinach i zamykające ten fragment wystrzały.

=====================
[EN]

I went to the Brynica area thinking about the specific sounds I wanted to record, and I ended up hearing something completely different and I'm delighted. After a rather unsuccessful session, I sat down on the very bank of Brynica and at some point I decided to start recording, even though I had been just sitting there for quite a long time. It turned out that the embankment and reeds almost completely shielded me from the wind, and yet it can be heard perfectly tugging the reeds, bushes and trees. I decided to leave the fragments with the motocross engines and airplanes, in the end this is what the place sounded like, and they are part of the soundscape. At about 19-minute mark they combine together in such a way that it seems as if they are deliberately mixed tracks. The growing, drawn-out, droning sound of the plane is disturbing and composes beautifully with the distinct, short, sharp jerks of the motors. The whole thing is complemented by the wind in the reeds and the gunfire closing this part.

2021/04/11; 14:35 - 15:17
50.3489534, 19.0454033
Zoom F4, AT BP4025

W trzcinach nad Brynicą / In the reeds at Brynica

Part of a hydrophone recording I made next to an old barge at Ierapetra's port.

Ierapetra Port, Hydrophone Next To Old Barge

High-voltage pole near the railroad tracks. Recorded with LOM Geofón and MixPre3.

Railroad Drone

02-01-2022, Poznań, ul. Botaniczna   16:01

2 stycznia ul. Botaniczna

Ceiling Lights

One half of a short EP called 'Dockside', the entirety of which can be heard/downloaded at https://mola-recordings.bandcamp.com/album/dockside-2

Bridgelift Blue

This is an edited excerpt from an overnight to morning recording made at the shore of the Coorong saltwater lagoon, for anyone who might be curious to dip in and get a taste of one way a Coorong dawn might sound, and how it did sound on this particular morning. The microphones were placed in amongst reeds near the tip of the point of land jutting out into the water, which can be seen in the track photo. This excerpt begins from around 06:25 (ACDT). Calm, cool weather conditions, with considerable condensation.

I've come to the conclusion that listening to recordings - and especially raw, unprocessed recordings - of the Coorong environment may be an acquired taste (although the taste may be acquired from a familiarity with other coastal environments and ecosystems with a similar kind of soundscape). The incessant 
 'Coorong roar' takes some getting used to, particularly when heard through headphones. It took me a long time to accept it and immerse myself in it; but eventually I found that other much quieter but higher-pitched natural details - like the calls of birds, and even the sounds of their interactions with the water of the lagoon and the air itself as they wing through it - can still be quite clearly discerned within the soundspace, without the aid of low frequency attenuation. The adjustment in my attention was more effective than an adjustment in EQ.* (A special thank you to Jan Eerala for helping to catalyse this intuition and shift in my perception (although it only works for natural sounds, of course).)

96/32 > 48/24. Edited excerpt, not processed.

Recorded on land of the Ngarrindjeri people that is now a national park.
_______________________
*Having said that, though, there are still situations in which I will use EQ for certain Coorong recordings: for example, when the subject is a specific detail, rather than the experience of the soundscape or soundfield as an integral whole.

2022.02.20 A Coorong Dawn. Waterline. Late Summer.

"Tuba Mirum" is a part of the "Dies Irae", a Latin poetic sequence used in Anglican and Catholic liturgies, especially the Requiem Mass.

Consider joining the mailing list if you like to be informed about this release.

the list: http://eepurl.com/hcgaP1

Tuba Mirum

2024-06-19

Krótkie nagranie dokonane nad jeziorem Gościąż położonym na terenie Gostynińsko-Włocławskiego Parku Krajobrazowego.
Jezioro jest unikalne w skali Europy ze względu na nienaruszone osady denne gromadzone na przestrzeni 13 000 lat. Objęte jest ścisłą ochroną.

Audio Technica BP4025
Zoom F3

Jezioro Gościąż/Gościąż Lake

An artistic and research project based on the practice of field recordings in old cemeteries.
The Funereal project is set in the broad context of death studies and considerations on memorial sites and deathscapes. It focuses on the soundscapes related to the heterotopic space of old, forgotten cemeteries. In its considerations, it combines seemingly distant threads, regarding memory, sound ecology and the parascientific EVP - Electronic Voice Phenomena.

Coordinates: 50°42'49.6"N 19°22'37.9"E
____
Funded by European Union NextGenereationEU.
#kpodlakultury

Choleric cemetery, Pabianice, 22.09.2024, 18.00

Tired of being bombarded with visual images all the time, I turn myself to the sense of hearing. I invite you to listen to the world with me.
https://tomaszpizio.bandcamp.com

W trzcinach nad Brynicą / In the reeds at Brynica

Tomasz Pizio

Recent comments

Łukasz Danielak

Related tracks