Haven't done this kind of thing for a while. Got to get back into it. First attempt after months. Hope to become more fluent again soon.
Baobab photo stolen from www.unchartedbackpacker.com

20140822 Presence March

As One Sleeps - Ruff Mix 1 Master Wav

**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.

Caradon Hill Transmission Mast Cornwall UK

From dusk to dawn with two pairs of cranes and one or two single male contenders. In this recording you will hear almost infrasound (80-200 Hz) growls and heavy panting as the males chase each other in the wetland and of course the trumpeting of cranes through the night. An amazing experience to be this close. Huddunge, Uppsala. April 9, 2024.

Mixpre 3ii + Lewitt 440 Pure in ortf

Cranes like you never heard them before!

Geophones, hydrophones, contact mic and 6 omnidirectional microphones

Notes
As the light diminished, the volcanic palette undergoes a kaleidoscopic transformation, revealing an iridescence a spectral shimmering.

The sands embody the ethereal interplay of otherworldly pigments that defy earthly conventions.
Listening with multispecies ecologies: volcanic rock pools teeming with life , hermit crabs, Black Sea urchin, Goby and Shrimp, with tides crashing nearby. Human perception and language too limited to describe these multiplicitous worlds.

Using  geophones to  convert ground movement (velocity) into voltage, in attempt to pick up subterranean vibrations. The deviation of this measured voltage from the base line is called the seismic response and is analysed for structure of the earth.
In this majestic Canary Islands. We discovered alien, enigmatic volcanic landscapes, lava fields and magical caves and art by Cesar Manrique. An island carved and shaped with creativity and art.

Speculative Field Trip: Timanfaya National Park in Lanzarote

Live improvised electronic music

Roger Harmar - electronics
Paul Lewis - guitar
Paul Khimasia Morgan - Lyra 8 synthesiser

Brighton Ambients May 2024

A short piece made with a Roland P6 and an ipad

the new age

Sales information will be here soon

Mike Johnson – guitars, lap steels, fiddle, fretless banjo, sampler-synthesizer programming and "pencil guitars" (7)
Simon Steensland – bass (except 7)
Morgan Ågren – drums and percussion (3–6)
Kimara Sajn – drums and percussion (1, 2, 8)
Jeremy Kurn – piano
Elaine diFalco – vocals
Dave Willey – bass, drums (7)
Bill Pohl – guitars (8)
Elise Roy – flutes
Caitlin Hilzer – oboe, English horn
Nuno Mourão – bassoons (3)
Mark Harris – clarinets, bass clarinet, alto saxophone
Shane Endsley – trumpets
Jon Stubbs – trombones
Oene van Geel – violins, "concertmaster"
Pablo Rodriguez – violins
George Dumitriu – violas
Pau Sola Masafrets – cellos
César Puente Sandoval – double basses

Mike Johnson 'The Lords Of Creation'' from "The Gardens Of Loss"

This song was created entirely with a single note sampled from a slightly distorted Fender Telecaster.    All melodic sounds and effects were generated using sample manipulation and digital sound manipulations.     The drums are also made by programming samples.
This was created only using a computer and a mouse.
It is from my 4th Album,  "Purple Hand" which I never promoted as it occurred at the time my father passed away.

CLEAN PHASE    from "Purple Hand"  Rick Walker's Loop.pooL 2nd studio album

This is a collaboration with my friend Volker Lankow (percussions)

Highlands Wolfproject

In 1977 I was traveling in the United States with the futile intent of interviewing Bob Dylan. I went to Hibbing, Minnesota and talked to his uncle Paul, and then to the West Coast and Malibu, to search out the Maestro himself. On his doorstep I was rejected by a guard, and took a bus east from Los Angeles, all across the country, heading for New York City and a plane to Sweden. Almost on the coast, at Breezewood, Pennsylvania, the bus made a short rest stop at a motel, and in the line for coffee I met Judy Spangenthal. A year later, in 1978, I was cycling across the US, from Manhattan, heading for San Francisco. On my way I decided to stop by at Judy's place. She had been living in Pittsburgh when I met her a year before, but she originally came from Baltimore. Now, 1978, she lived in Dallas, Texas, so I looked her up there in the heat of June. To make a longer stort very short, we got married and I started working at The Texas Department of Highways and Public Transportation. In 1979 we moved to Sweden, and later we had a son. We got divorced in 1985, and Judy moved back to The States and Baltimore in 1986. Our son stayed with me in Sweden. He later lived a number of years with his mother in Baltimore. Judy died from cancer in the fall of 2009. This here sound work is a simple treatment of the last words of our very last conversation, over the phone; the word "goodbye" uttered by both of us, in Swedish: "Hej då!" / "Hej då!" Original sound recording of the phone conversation by our son, who was with his mother at the hospice in Baltimore 2009. Photo by my late friend Hans Åke Runell around 1983.

Goodbye / Hej då

Goodbye (Hej då)

For more than 40 years, Michael Peters has explored the world looking for new sounds. Most of his musical output veers from the mainstream and has been difficult to categorize. The renowned WIRE magazine has reviewed two of his albums in their "Outer Limits" section, which says it all.

Michael's main instrument is the guitar - he studied with renowned guitarist, Robert Fripp and also is influenced by guitarists David Torn, Eivind Aarset, and Fred Frith. He extends the guitar using electronic effects, midi, and livelooping techniques. He has played in avant rock and open improvisational groups.

He also has experimented with sampling and cutting up random FM radio broadcasts to use as elements in live improvisation.

By the same token, he has become more and more fascinated by using more stuctured compositions, using the computer as a musical instrument.

For anyone with open ears, the world of sound outside of regular music is also full of wonder. Michael loves to record interesting environmental sounds (field recording) and then recontextualize and sculpt them using digital tools such as granular synthesis, incorporating the results into musical compositions and soundscapes.

Michael is a member of Looper's Delight, a very active international community of people who use looping technology for their music making. He also is a seminal and pivotal member of the Chain Tape Collective, a group of dozens of electronic and electro-acoustic composers whose musicians create collaborative music projects together.

From time to time, Michael Peters has also been active as a programmer and visual artist in the field of abstract computer graphics. He is an avid photographer and has designed his own websites as well as the one for the Chain Tape Collective.

In the year 2000, he started an ambitious project called MY2K where he created an all original 10 second piece of music for every single day of the year.

In 2008, he hosted the 1st International Livelooping Festival in Cologne, featuring ten livelooping soloists from Germany, Italy, Belgium, Austria, and USA. In 2009, he performed at livelooping festivals in Belgium, Italy, and California.

Michael Peters lives in a small village east of Cologne, Germany. He loves to sit on a bench outside, listening ... 

Albums: veloopity.bandcamp.com