wooooooooooooooooooooooooooooooooooooow!!!!

Envision

Combined DIY hydrophone recordings from the workshop sessions "Something to Say" organised by Lakeland Arts at Windermere Jetty Museum, August 2022. Many thanks to Amy, Ian and the team!

Something To Hear Underwater

O.V.
https://soundcloud.com/faktor4/faktor4-modern-nature-4

Faktor4 - Nature 4 (Senglar Rmx)

Foto ©WDR Claus Langer
Mitschnitt Stephan Hahn ©WDR

Aus dem Geröll  UA 23.4.2023 WDR Sinfonieorchester, Dirk Rothbrust percussion, Lin Liao conductor

Face A, quintet 2023

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)

夜の隅

Track included in the V.A compilation "Sixteenth Listen", and the LP "Monoliths and Greetings", released both released on PCL label (People Can Listen). https://soundcloud.com/peoplecanlisten
Available on Bandcamp.

Mastering by Optionica: @optionica

Bandcamp

Velvety Light

experimental/improvisation, prepared electric guitar, glitches, electronics, coding.

state - x5

**Sound is compresses and quite because of soundcloud,SoundCloud recommends exporting at 48kHz when they know it ruins the audio that people work tirelessly on*
Caradon Hill Cornwall UK
Wind and pylons: interference and resonance
Sounds in the wires

Sound Devices 302 D mixer
Zoom F3
X6 contact mics

I harbour a profound appreciation for pylons and wires. It seems to me that pylons are a great example of multifaceted noise.
The Sonic noise above my head out of reach fizzing and crackle in the ether as high voltages zip and zap along the cables. It’s a noisy sound. crispy crackly textures, at once constant and moving, static and dynamic. 

The wind and rain at Caradon hill as every visit are intense and unrelenting, fog obscures the towers, sheep and landscape, closing down my visual field and opening up my auditory perception. I attach my contact mics directly to the wire as the wind whistles off the wires and send vibrational drones that I record and listen to over hours attuning to the rhythms, harmonies and dissonance vibrations.

The natural frequencies of the wire are determined by the integer harmonics of the fundamental. In very long wires such as the wires here reach at their pinnacle 780ft which are also very thick the fundamental is well below one Hertz. As I listen to wind, and tension of the wires as the wind contorts them creating higher harmonic frequencies which fall into the auditory range of humans (I am interested how the sheep and birds perceive these sounds). The very high harmonics become so crowded they cease to have discrete frequencies but rather tend to beat together, creating second-order frequencies of lower pitch. the length of the wire a family of interacting segments, each with its own fundamental within the auditory range sing in the wind. There is a vocal-like quality of the wires vibrating in the wind containing the sound of numerous ‘voices’, each competing for harmonic dominance.

The method of fixing the contact mics is an art in itself with  no single best method. Rather, attunment and knowledge of wing and weather patterns in which different conditions require different methods, which are established by rre-visits and experimentation.

Aus dem Geröll UA 23.4.2023 WDR Sinfonieorchester, Dirk Rothbrust percussion, Lin Liao conductor

Carola Bauckholt

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Charles M. Champi

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