Vicki it sounds as though you are getting some wonderful stuff with your 8020s. Love this!


Recorded on four channels nearby laggon under  Svínafellsjökull glacier south of Vatnajökull glacier in Iceland.
Two microphones are recording the soundscape above the  glacier lagoon and two hydrophones are placed in the lagoon.
More information will be found at http://fieldrecording.net


Above and under the glacier lagoon surface

Above the glacier lagoon (Sennheiser MKH20 in AB40)

The second volume of 'Soundscapes' comes with tracks by Steve Pacheco, Tone Color, Hotel Neon, Shuta Yasukochi, SineRider, Hilyard, Slow Clinic, Gallery Six, Hakobune and SVLBRD.

Written and produced by Steve Pacheco, Tone Color, Hotel Neon, Shuta Yasukochi, SineRider, Hilyard, Slow Clinic, Gallery Six, Hakobune and SVLBRD. 
Mastering by Rob Small. 
Archives42 // ArchivesCD23 
Archives / 2017

Buy CD/Digital

Shuta Yasukochi - Yoru

More thunder!  Lots of storms here this summer.  Recorded using MKH 8020s in DIY closed-cell foam SASS, to a Sound Devices 702, volume 30, increased in post by 15 dB.  Yellow-rumped Thornbills and Eastern Yellow Robins are calling.  Capertee Valley, NSW, Australia.  22 degrees C.  February 17, 2012, 2.15 pm.

846 THUNDER 8020s SASS 170212

Raining, goes dark. I am inside the hut and waiting for the cranes. 24-bit, 48000 Hz, Tascam Dr-100 MK III, Azden mixer, primos.

Waiting For The Cranes. Matsalu National Park, Estonia On September 15, 2018

Spruce Forest in April

Sonic spooky beauty at the midst of night at the bank of the Black River.

Deep in the night, at the banks of the black river

I love anthills - as a kid I loved watching the ants work, schleping building materials and prey home to the habitat. Nowadays I love listening to them. This is my first recording using the LOM Audio Geofon in a combination with an Aquarian Audio H2a. I had my DIY "needle" (4mm threaded rod about 30 cm/12" long)attached to the Geofon so I could go under the anthill - the hydrophone was placed on top of the hill... you can see the placement of each on the photo.
The combination works great, lots of low end from the Geofon - the hydrophone picks up the highs... I'm really happy with the results.
Recorded with Sound Devices MixPre 3II 32 bit float - In post I normalized to -1dB and took out the high end on the Geofon track. 
Enjoy

Anthill LOM Geofon & Aquarian Hydrophone

Music for Cello and Humming is available at https://blankforms.org/publication/judith-hamann-music-for-cello-and-humming-cd/

For her first album releases as a soloist, nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her CD, Music for Cello and Humming, features two pieces for cello and humming written specifically for Hamann by composers Sarah Hennies and Anthony Pateras alongside Hamann’s own “Humming Suite” and “Study for cello and humming.” Having arisen intuitively from Hamann’s investigations into shaking, just intonation, psychoacoustic phenomena, and the voice in relation to the femme presenting body in performance, humming here also references dislocation, or ventriloquism.  Although teetering on the edge of audibility, the intimate and vulnerable closed-mouth sounding enters into subtle interference with her cello, drifting into acoustical beating and bringing instability to otherwise more formal grid structures. The capacity for rupture of this volatile fragility reaches its apotheosis on Hennies’ “Loss,” a piece that deliberately instructs Hamann to hum beyond the limits of her voice range. Going against the grain of chamber music orthodoxy, the guaranteed failure set in motion by this instruction yields a generative sound of effort reminiscent of Xenakis’ storied desire for an instrumentalist to play with the sorrow of knowing they can’t do everything. With an arc suggestive of sudden life change, “Loss” casts queer epistemology onto composition, positioning failure, undoing, unbecoming, and transforming as alternative ways of knowing or being. Hennies’ signature composite merging of individual components here brings oral sounds that include breathing and coughing together with humming, cello, and sine waves. Like Glenn Gould’s 1982 Goldberg Variations or Pauline Oliveros’ Accordion and Voice, this timbral meeting of bodily utterances with consummate musicianship imbues Hamann’s humming work with a breakable, human strand, here as humbling as it is uncomfortable.

Music for Cello and Humming‘s sister release, Shaking Studies, is also available. Music for Cello and Humming is accompanied by an essay on both recordings by Nora Fulton.

Judith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged in a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada’s Duets, Graham Lambkin’s Community, Alvin Lucier’s Illuminated By The Moon, and Gossamers, with Rosalind Hall.

Judith Hamann - Humming Suite III - Harmonics Étude For One Cello And One Voice

It’s fair to say that the events of the year 2020 will go down as quite a year and may form a large part of the history curriculum for the children of tomorrow. The pandemic is of course just part of the story, against a backdrop of political unrest, climate change and injustice too.

Whitelabrecs was affected with the closure of our local post office, meaning we were unable to ship our CDs. We also felt we had a duty not to hold up a queue of people and decided to stop production of our catalog. During that time, to make sure we still had a label left to return to, we launched the ambitious Home Diaries series. It ran for 3 months and in that relatively short space of time, the series reached 30 releases!

Home Diaries was an invitation to artists and musicians to create an album or EP to document their personal experience during the lockdown or social distancing conditions caused by the Covid-19 pandemic in 2020. The series reflects a range of sounds, styles and ideas, as each artist portrayed their own reflections uniquely, available as a digital only edition including a bonus interview and photos.
Each of the 30 digital editions in the Home Diaries series is an individual work of art, created to share the varying experiences felt by each artist. 

This compilation album pulls together a track from each record, sequenced in a way that flows as a specially curated environment, over the course of two CDs. We have two versions available as follows:

A standard edition, which is a double-disc gatefold vinyl-effect CDr album, featuring a re-interpretation of the original cover artwork, painted by Adrian Lane.

A deluxe matchbox edition, in which the double-disc gatefold vinyl-effect CDr is housed inside a gold foil-etched box, which also contains a booklet which includes a photo from each artist's home during lockdown. This version serves as a time capsule into the original series; a keepsake which is limited to just 70 copies.

If you opt for the digital version, this also includes the photo booklet as a bonus PDF item. 

credits
releases January 23, 2021

Painting and artwork by Adrian Lane
Booklet images provided by each respective artist
Packaging layout by Harry Towell
Compilation curated by Harry Towell

All tracks mastered by James Edward Armstrong, except:
12 'Out In The Open' Mastered by John Hannon
17 'Distance Learning' Mastered by Michael Southard
29 -'Stanze e Distanze (part 2)' Mastered by Francis M. Gri

The Home Diaries

wlr085 Various Artists - The Home Diaries

Slow soundscapes from the Amazon rainforest. Longer version at  
https://youtu.be/66RWAfuKPq4

846 THUNDER 8020s SASS 170212

Vicki Powys

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