Tag: field-recording

Travel! [#8] Oving Villages Cup Final and the sounding archaeology of goalkeeper’s studs on goalposts

In the first six Travel! posts I explored the close-season soundscape of football pitches on the route between Brightwell-cum-Sotwell and Winslow. You can find out more here. During 2017-2018 I have returned to some of the pitches to experience the sounding presence of football happening.

The Oving & District Villages’ Cup Competition affiliated to the Berk & Bucks FA was founded in 1889 and since 1892 the final of the competition has taken place at Oving Recreation Ground. I visited the Recreation Ground in July last year and listened to the sound of football not happening. You can find out more about that here.

It had always been my intention to return to the grounds that I had visited on the route between Brightwell-cum-Sotwell and Winslow and experience football taking place but somehow the season almost seems to be at an end and the fixtures are running out. I was casting about for potential fixtures to attend when by chance I came across the Oving Villages Cup Final between Long Crendon – who were also involved in the first final in 1890 – and Great Horworth. I arrived just before half-time and so missed the only goal of the game – Great Horworth held on to that slender lead until the final whistle.

The matchday programme included this information about the origins of the cup from the 1928 programme:

The Oving Villages Cup was formed by subsrcibers of the villages within a 12 miles of Oving in the year 1889, Mr James Evans of Oving being the Chief Organiser and acting Hon. Secretary. The first president was the late Rev. I Hill, the Rector of Oving.

The 2018 programme goes on:

The worthy Rector was obviously a football fan, for research by Hal mason of Sudbury Suffolk reveals that he appeared for the Pilgrims when they lost 3-1 to Foresters in the FA Cup of 1881.

The founder members of the competition were Waddesdon, Quainton, Long Crendon, Granborough, Oving and North Marston. The first two finals were held in Waddesdon but all subsequent finals have been held at Oving Recreation Ground.

Knowing that the cup final had been played on this site since 1892 set me thinking about how the sounding environment of the match would have changed over that period. A wind was whipping the black refuse bags attached to the boundary rope into feverish and sporadic sound-making – like aeolian devices – catching the wind and then collapsing inert as the breeze passed. Perhaps this is a sound unique to this year – lightweight recyclable black bags as opposed to their sturdier more heavily plasticised counterparts. What about the trees around the ground. How much has that changed in the one hundred and sixteen years since that match? The sounding environment would be completely different if the tree line had changed significantly. As the Great Horwood keeper banged his studs against his post just before a corner I began to consider the sounding history of that activity. When did this originate? If goalkeepers were doing this in 1892 what did leather studs on wooden goalposts sound like? I also started to think about the way that the formations would have changed the soundscape. 2-3-5 was the standard formation in the late nineteenth century. This would have changed the way that the sound-making activities of the footballers articulated the playing area – and what about on-pitch communication? left shoulder! Stick it in the mixer! Time!

(looking North towards the village hall)

man on
make your fucking mind up
I fucking have
I’m talking to him the whole time
press him mate
time – time – time
hey – hey
come on Crendon keep going boys
come on
big win
hey heads
come out
get out
yeah that’s it options
heads on the way
turn him
turn him son
man on
two here – two here
drive – drive
go – go
head down

when the final man comes in

come on Crendon this is good
come on
move around
come on
that’s yours – that’s yours
one more
well done
well done mate
well done
ref – ref
stay on
go line – go line
head it back in
play on red – play on red – play on red – play on red – play on red
come on come on
fucking edge
i’ve gotta go
gotta go
coming in
one more
that’s it
come on boys, it’s coming
keep pushing it boys
you alright boy?
got spare here

brainless that is

hey let’s get in then
be aware – be aware
back again

whoever shouts gets the free-kick

get on with it
go on
come on – come on
get up – get up
that’s it
well done – well done
give it


(looking south-east from behind Great Horworth’s goal – black bag crackling in the breeze)

(looking south-west from the halfway line – black bag tied to the boundary rope fills with air)

On the mezzanine

This post is part of the Lion Seats project created by Richard Bentley. You can read more about the project here.

Location: Forum Mezzanine, John Henry Brookes Building, Oxford Brookes, Headington.


In a discussion about the places people go for quiet reflection, my doctoral supervisor, Paul Whitty, mentioned the mezzanine study area overlooking the Forum Café at Oxford Brookes University. As is the current trend, the study area is open plan combining the facilities required for study with the laid-back feel of a café. Unsurprisingly, when asking people where they head to be alone with their thoughts, both cafés and libraries are frequently cited. Commonly open to the public, they are places where anonymity and personal space are generally respected and where being unaccompanied and doing nothing in particular, is socially acceptable. Their soundscape is typically unobtrusive, familiar and comforting, supporting concentration or allowing an individual to simply get lost in thought. The study area above ‘The Forum’ is one of these spaces. It comprises a large, open, mezzanine floor that permits the familiar relaxed babble of largely unintelligible chat, the reverberant knocks and scrapes of furniture and occasional bleep of electronic notifications to rise-up from the café area below. Despite the presence of an expansive glass window next to me and plastered ceiling above, the large sofas and carpeted floor dampened much of the reverberant sound. Only those voices in the immediate vicinity were intelligible, with semi-circular partitions helping to mute many nearby conversations. A couple sat together on a sofa in front of me and behind were two students speaking to each other in Arabic. As I have no understanding of Arabic, their chat rarely drew my attention. It was only the occasional English word that I registered; ‘Adobe’, ‘Photoshop’, ‘software’ and with no access to a context, these words remained briefly jotted mental notes. In all, there was little in the way of auditory distraction, unless you chose to tune in to the soundscape or strained to hear a nearby conversation.

After finding a place to sit, I erected and tested a rather conspicuous Jecklin Disc stereo recording array, set the timer on my phone and settled into the comfy bucket-style-sofa I had chosen. No one seemed at all distracted by the sounding of the meditation bell, no doubt because it was so ubiquitous, blending in with the many other sounds of technology permeating the space. I naturally slouched back into the seat, trying not to draw any more attention to myself, not because I felt self-conscious, but to avoid stifling other’s conversations through fear of feeling monitored. After only a few minutes of reclining on the sofa I noticed the strain on my neck from holding my head upright. Rather than adjusting my posture, I decided to simply observe how the position effected my ‘bodymind’ (a term that has associations with alternative medicine, but feels increasingly fitting the longer I practice). It was interesting to notice how my slumped posture seemed to promote a disposition of distracted relaxation, rather than relaxed focus. I have observed in previous meditations that maintaining the traditional position, with the head balancing on the erect column of the spine has helped to direct the mind and maintain awareness. This heightened focus could, of course, simply be due to association. Nonetheless, the upright posture seems to embody a balance, solidity and dignity that cultivates a calm, persistent attentiveness. By relaxing inconspicuously into my chair, I had inadvertently made my meditation that little more challenging. Laughably, the futility of trying to blend in became clear later when the couple in front of me who, on my arrival, had stopped talking and had become engrossed in their laptops, noticed I had dismantled the recording gear and so resumed their conversation.


In previous Lion Seats meditations I have noticed how the paraphernalia associated with field recording can easily interrupt the natural flow of a meditation and spawn layers of complexity that frustrate the simple act of maintaining singular attention. On this occasion, I quickly became aware of my leg brushing against the XLR cables, a noise exacerbated by sensitive microphones with little protective suspension. Small shifts of my calf or even slight upper body movements would induce a low rumbling on the recording. So, when itches arose in my foot, I was compelled to patiently observe the rise and fall of the sensation, rather than shifting my foot in the shoe. It was interesting to notice the way in which fixing my attention on the itch, far from increasing my mental agitation, offered a sense of relief and detachment. As with observing my posture, the itching sensation became the object of meditation, a focus that was supported by my desire not to ‘ruin’ the recording with extraneous ‘handling noise’.

On this occasion, the meditation was quite brief, lasting only ten minutes. Yet within this time there was much that resonated with previous experiences in other settings and brought particular issues into sharper focus. Certainly, working with the situation as it presented itself, rather than fighting against it, once again proved to be central in supporting a compassionate awareness. This required both an ability and willingness to change the focus of the meditation and to vary the approach taken. With a fixed idea of what the meditation should be, I would have remained closed to the possibilities that presented themselves. The ability to be adaptable and to draw from a range of alternative practices, afforded a frustrating circumstance to become an opportunity. These alternative practices may not involve maintaining single-pointed concentration, but continue to promote mindful awareness and cultivate insight through other means. Loosening attachment to expectations and outcomes appears to be key here.

The way in which the posture and position of the body influenced my orientation towards practice was also evident. If my body assumes a position that embodies an intention to meditate, my ability to direct and sustain attention seems to be improved. The degree to which this is due to established associations or inherent physiological factors will, no doubt, vary from person-to person and situation-to-situation. Adopting a traditional meditative posture may not always be possible or desirable, but it nevertheless emerges as an important factor in nurturing meditative focus.

Lastly, there is a recognition that whilst amplifying found sound has proven to be an effective means of supporting present-centred awareness, the requirements involved in making a recording and maintaining meditative focus are often at odds. The impetus behind samatha meditation, the principal practice in this project, is to calm the mind through sustained single-pointed concentration. The motivation of the field recordist, on the other hand, can vary but typically necessitates the modulation of attention between personal, technical and environmental factors with the intention of producing a recording that can be presented to others. Whilst these different motivations can both, at times, be accommodated they are, in my experience, more likely to compete. If Lion Seats was an investigation into mindful field recording, there would be little difficulty in accommodating the two practices of mindfulness and field recording. Such ‘informal’ mindfulness practice would simply require a present-centred awareness of the recording process whilst incorporating a ‘meta-awareness’ of the recordist’s perceptions and reactions to events. However, samatha meditation requires a singular focus, which for this project has been the rise and fall of the breath. Any activity competing for attention clearly makes this practice more challenging. The most satisfactory resolution has been to treat the two practices as distinct, setting up recording equipment and letting it run whilst meditating without monitoring or even considering the recording being captured. In some situations this approach has been effective, yet in the majority of cases creating a clear separation between the two practices has been more problematic. Thoughts such as ‘is the equipment safe?’, ‘did that loud sound peak the meters?’, ‘is the rain going to get into the mic?’ frequently persist. Although the process of undertaking these audio recordings of meditations has been insightful, it has also suggested that field recording and formal meditation are not always good bedfellows.

Listening to the sound of the A34 flooding across the fields of Oxfordshire

(Drayton FC v Hagbourne United Reserves at the Lockway)

It was in April this year that I began to take an interest in the way that traffic sound shapes the listening experience at several of the pitches used by teams in the North Berks League. In spring last year I wrote this about the experience of recording the sound of football not happening at the home of Drayton FC:

The A34 runs from Salford to Winchester. The Southern leg of the road cuts through Oxfordshire from North to South. The soundscape at Drayton FC to the East and Milton United FC to the West of the road is dominated by the sound of the internal combustion engine; the resonating tarmac; and the rattle of trailers and trucks . Drayton FC play in the North Berks League and their pitch is on the South-West edge of the village. The centre circle is 175m East of the A34. If you stand in the centre-circle – where this recording was made – there are benchless breeze block dugouts; a line of low trees; and an electricity pylon that stands in the field between the pitch and the road. The embankment of the A34 rises above the field and the sounds of the road flood down the embankment and saturate the surrounding area with a band of consistent high frequency noise. The rattle of trucks; the phasing of tyres on asphalt as they approach and depart; the liquid drone of the road – these are the sounds that dominate the listener’s attention.


This week I returned to the Lockway to listen to Drayton FC v Hagbourne Reserves in the North Berks League Division 3. There is no sound baffling between Drayton and the A34 not even a screen of trees. It made me wonder what a fence would do; a tightly packed screen of beech trees; a glass and steel acoustic shield. How long has the sound from the road been this pervasive? Has it got quieter as engine noise has reduced or was rubber on asphalt always the dominant sound at this distance? The calls of the players and coaches are submerged beneath shimmering white noise.

Only when the play came over to the eastern edge where I was standing was it possible to clearly hear the on-pitch communication. If i had been standing on the A4017 Steventon Road on the other side of the houses whose gardens back onto the pitch I am almost certain that the only sound I would have heard from the West would have been that of the A34. The shouts of players and coaches would be lost in the complex wave of traffic sound – hemmed in – unable to resonate across the surrounding streets and fields.

man on, man on, man on
one more
go to
well done
well done boys
keep going – keep going
‘lucky mate
keep going – keep going

nil-nil start again – nil-nil start again
keep switched on it’s nil-nil

keepers – keepers
two again
stay there
hey – hey
out wide
not too deep
have a go…
hit it
you bastard
big head
come up

Listening to the River Exe

On my second visit to Fortescue Farm in February 2013 the flood waters had receded. I stood beside the seven-bar gate in Second Marsh and listened to the river. Here are some thoughts from  my blog:

I made this recording on my second visit to Fortescue Farm standing next to the seven bar gate at the former site of a ford across the exe. The river was running within its banks but was still very fast flowing and swollen. Several times during the recording you can hear trains passing on the mainline between Exeter St. David’s and Taunton and in the distance you can hear the sound of an excavator somewhere near Stears Cottage to the North of Stoke Cannon. Recently I have begun thinking that rather than record at the field I should consider how to create a permanent audio stream to the site perhaps because I see my recording activities not as creating documents of a specific moment – although they do – but of making the soundscape of the location audible beyond our boundary of encounter with the site. I’m looking forward to returning to the seven bar gate in April to see how the soundscape has changed in that time.

While I was making this recording I walked West across the site taking photographs of the remains of driftwood scattered across ‘third marsh’ and material that had become lodged against wooden posts of the fence that separates ‘second marsh’ from ‘third marsh’.

Listening to the River Exe in flood



These two recordings made with hydrophones (Aquarian Audio) provide different perspectives on the River Exe in flood. The first is one of the first recordings that I made as part of somewhere a field in January 2013 whilst the second was made in May 2014. During many of my winter visits to the field in the first two years of the study the River Exe was either lapping at the top of its banks or was spreading out across the fields.

The first recording was made by hydrophones cast into the flow of the river. This is what I wrote in my blog:

This is a recording i made on my first visit to Fortescue Farm. The River Exe was in flood and had swept away parts of the river bank and there was driftwood scattered across the fields. Riverside fencing had been washed away by debris and it was hard to tell where the river ended and the fields began. I used two hydrophones to make this recording. One of them i cast as far out into the River as i could whilst the other was closer to the bank. The river was moving very quickly and in the recording its possible to hear the clatter of small stones as they are swept along past the hydrophone. 


The second recording – as noted above – was made in May 2014. I arrived in the field just as the River was breaking its banks and stretching out across the fields. As I left the River was lapping at the top of my boots:

…the River Exe was just beginning to break its banks. As I arrived the water was seeping into First Marsh. By the time I left several hours later their was a foot of water across the field flowing swiftly towards the River on the other side of the fields and short circuiting the passage of the Exe – making small islands across the landscape. As the River rose I placed a hydrophone in the soil and listened. As soon as the banks were breached the water sped down the slope and eventually created a channel across the site linking up with the Exe again as it headed North West towards Brampford Speke.

Get Rid! or Cultures of Sound in Grassroots Football

Get Rid! or Cultures of Sound in Grassroots Football is a project that has grown out of my engagement with grassroots football in Oxfordshire. Without a particular plan or framework in mind I will be making sound recordings of my experiences as a youth team coach; as a spectator at matches in the North Berks or other local grassroots adult leagues; as a groundsman marking out pitches; and as a member of a club committee. Grassroots Football refers to football played by amateur football clubs at youth and adult level so I won’t be visiting Didcot Town any time soon – other than for entertainment – as they are too far up the league pyramid.

Since I began making recordings for this project – and as noted above there has been no particular pattern at play – one of the most notable aspects of the experience has been the verbal culture of communication between players, coaches, officials and – when present – spectators. I am fascinated by the transformation of quiet parish council run local parks into sites of conflict and exuberant communication during the matches I have listened to.

This recording was made during the North Berks League Division Four match between Long Wittenham Athletic Reserves and Berinsfield Reserves (07.01.2017). I was driving through Long Wittenham and noticed the match taking place. I didn’t have my sound recorder to hand so had to make do with my iPhone 5s so there isn’t as much depth in the recording as I would have liked. Just before we arrived Berinsfield scored and Long Wittenham were under pressure while I was making this recording.There is a partial transcription below that provides a taste of the on pitch verbal culture accompanied by teenagers on the nearby swings discussing earlier matches in the FA Cup Third Round.


put ‘im under
send it back, send it back
AJ’s there
away again
it’s off…it’s off                      (go on)
get rid, get rid
come on lino
well played
use ‘im
                                              (John Stones scored it, no, do you know why, do you know what
back in then                          (5-0, 5-0)
mark up
hold, hold
good touch
away it goes…away it goes
man on, man on
keep on, keep on, keep on
let ‘im come, let ‘im come
who wants it
free ‘ead, free ‘ead
get round, get round
stick the man under
will’s there, will’s there
ah, fuck off
unlucky, unlucky boys
good ball
time Rob, time Rob
ref, ref
(m)idfield, come on
good football
well done
if you need
still ‘ere
one more
nick that
one of you in the middle here
shield it out
it’s gone…it’s gone (it’s gone)
Callum stay up, Callum stay up, stay up
quick…and back
stand there…, stand there…, stand there…
use ‘im
midfield, over
man on
on your right (on your right)
line, line
Michael, Michael
one more, one more
this way
away Andy
do ‘im, do ‘im
Rob, Rob, yes then, Rob
go on then
put it across then
well done
kick ‘im Rob
yes, callum
yes, AJ
well done
keep going, keep going, keep going
spare man in the box
someone help ‘im
man on
Paul Whitty (2017)


Documenting sound art events using field-recording

Building on the Audiograft 2011 Sound Diary, and the experiences of working with Valeria Merlini at Tuned City and Audiograft 2012, Felicity Ford has produced a radio show for the framework:afield series which can now be heard and downloaded here.

information & tracklist

this week’s framework:afield has been produced in the uk by felicity ford, and is a collection of thoughts and recordings exploring the idea of documenting sound art events. It features recordings created in summer, 2011 at the tuned city tallinn festival during the framework radio documentation and production workshop, which was run jointly by felicity and valeria merlini, and also recordings made by felicity at the audiograft festival in oxford in 2011. this is the first of a 2-part series exploring sonic documentation; the next edition has been jointly produced by felicity and valeria, and will feature recordings from this year’s audiograft festival. It’s hoped that this first show will set the scene for some of the documentary tactics which the pair have been developing in their work together over the past year.

(details of utilised recordings)

Open Field (1980) by Pauline Oliveros (the score is read)
Heikou by Radu Malfatti, performed by the SET ensemble at the Concept as Score Concert, Audiograft 2011
Interviews with students at Oxford Brookes & David Grundy, who went to the Concept as Score Concert, Audiograft 2011
Rhodri Davis speaking about performing in For Rilke at the Concept as Score Concert, Audiograft 2011
For Rilke by Sarah Hughes, performed by the SET ensemble at the Concept as Score Concert, Audiograft 2011
For a drummer, fluxus version 2 by George Brecht, performed by Patrick Farmer
Geophone in the ground, recording by Shirley Pegna as research for her piece at Audiograft 2011, Ground Sound.
Valeria Merlini and Felicity Ford sounding the gates, the metal, the space around the Linahalle in Tallinn, Estonia, 2011
excerpt from the introductory session at the framework radio – documentation and production workshop in Tallinn, Estonia, 2011, where Felicity Ford demonstrates that the edirol recorder is recording
Sound Collage from Audiograft 2011 pre-event podcast, feat. Ray Lee, Shirley Pegna, Stephen Cornford, Mike Blow, Paul Dibley and Paul Whitty, and works by those practitioners, including Murmur by Ray Lee, Ground Sound by Shirley Pegna, Stephen Cornford’s old reel-to-reel cassette player, Shower Piece by Mike Blow and an electroacoustic composition by Paul Dibley
3 words – a collage of interviews with artists and presenters at the Tuned City festival, Tallinn, Estonia. Recordings made by Kadi Pilt and compiled by the framework radio – documentation and production group
Polishing by George Brecht, performed by Patrick Farmer and Saragh Hughes at Audiograft 2011
eBows placed inside a piano in the Richard Hamilton Building, Oxford Brookes University, by Paul Whitty during a performance at Audiograft 2011
Stephen Cornford playing the piano and performers dragging benches around the Richard Hamilton Building, Oxford Brookes University at Audiograft 2011
Sounds of Tallinn sound collage compiled during the framework radio – documentation and production group workshop at Tuned City, Tallinn, 2011
Derek Holzer introducing Tomas Ankersmit’s performance in the Linahalle at Tuned City, Tallinn, 2011
Tomas Ankersmit giving an acoustic tour of the Linahalle during the Tuned City Festival, Tallinn, 2011
Paul Whitty introducing the Concept as Score Concert at Audiograft 2011
Paper Piece by Benjamin Patterson, performed by Dominic Lash, Rhodri Davies, David Stent, Bruno Guastalla and Paul Whitty
Polishing by George Brecht, performed by Patrick Farmer and Saragh Hughes at Audiograft 2011
The section from the short produced during the framework radio – documentation and production group workshop at Tuned City, Tallinn, 2011 where we mixed our field recordings of exploring the Cromatico sonically, as field-recordists, with our recordings of Tomas Ankersmit’s performance in that space
Max Eastley’s Aeolian Device, installed at Oxford Brookes University during Audiograft 2011
Max Eastley discussing the wind, Felicity Ford and Stephen Cornford contemplating/discovering the work
Orange Event Number 24 by Bengt af Klintberg, performed by the SET ensemble at the Concept as Score Concert, Audiograft 2011
Schlingen Blängen (organ performance) by Charlemagne Palestine, performed by Palestine at the Niguliste Church, Niguliste 3, Tallinn, 2011
Sound collage from the framework radio – documentation and production group workshop at Tuned City, Tallinn, 2011 which featured Charlemagne Palestine’s performance, in the context of many other works
Worker at Paterei Prison Fortress talking to us about our entry fee to the prison, then noticing our microphones and letting us go through to make our recordings
Echolocator by Aernoudt Jacobs, performed at Patarei Prison Fortress during the Tuned City Festival, Tallinn, 2011
Tomas Ankersmit giving an acoustic tour of the Linahalle during the Tuned City Festival, Tallinn, 2011
Schlingen Blängen (organ performance) by Charlemagne Palestine, performed by Palestine at the Niguliste Church, Niguliste 3, Tallinn, 2011
Shirley Pegna talking about her installation, Listening through Walls, at Audiograft 2011
The best coffee shop in Tallinn, recorded by Felicity Ford and Valeria Merlini
Paper Piece by Benjamin Patterson, performed by Dominic Lash, Rhodri Davies, David Stent, Bruno
Guastalla and Paul Whitty – discussion about score, then a recording of the performance in the concert
eBows placed inside a piano in the Richard Hamilton Building, Oxford Brookes University, by Paul Whitty during a performance at Audiograft 2011
Electro-acoustic Vocals performed at the Rotermann warehouse by Nisu-Rukkijahu Veski, with seagulls going wild, during the Tuned City Festival, Tallinn, 2011
Alouetta, performed by Felicity Ford and Pierre-Laurent Cassiere, and then deconstructed by Kadi Pilt, Felicity Ford and Pierre-Laurent Cassiere

Recordings from Lost & Found

You may remember the lost sound which Christina wrote about a few days ago?

Here are some recordings and notes from other participants on the workshop.

The Holywell is a very particular acoustic space with its wooden floors, curved walls and special creakiness; it has an acoustic affinity with Harp & Things, which is all about exploring the resonant sonic possibilities of the harp (also specially creaky). There is a section in my piece where I rub the sounding board of the harp to produce a shuddering, groaning sound. I mix this with a field-recording made on Amroth Beach in Wales. The result is meant to have a slightly maritime quality. To attempt to capture this quality, I recorded the concert with a hydrophone placed in a bottle of water on the floor. The soundwaves travel along the wooden floorboards and are picked up by the hydrophone underwater. I’ve made a small mix to give you an idea of what I mean; in this audio-clip, we begin with a standard acoustic recording of that point in the score which I made with a shotgun microphone. This is so that you can hear the creaks as they sounded in the space. I then fade that recording into some of the sounds captured by the hydrophone so that you can hear what the sound was like travelling along the floor, and heard from a submerged position. – Felicity Ford

[mejsaudio src=”http://www.sound-diaries.co.uk/wp-content/uploads/2012/03/maritime-harp-creaks.mp3″]

In both my recordings I was interested in capturing the acoustics of the Holywell Music Room.
In the first recording, Tim Parkinson & James Saunders were setting up their set before the start of the concert. Two big boxes full of objects were taken behind the table and some tools were being organised. The sound of the space reacts to their movements getting ready to perform.
In the second recording, The Albion Players were smoothly moving in Holywell and playing with the resonance of the space. – Valeria Merlini

[mejsaudio src=”http://www.sound-diaries.co.uk/wp-content/uploads/2012/03/ParkinsonSaunders_STE-018-CUT_mixdownLR_zazie.mp3″]

[mejsaudio src=”http://www.sound-diaries.co.uk/wp-content/uploads/2012/03/Holywell-Concert_STE-020-CUTvol_mixdownLR_zazie.mp3″]

This recording was made by placing a pair of binaural microphones inside a glass jar, which has a particular effect on the acoustics. It was made by Charlotte Heffernan.

[mejsaudio src=”http://www.sound-diaries.co.uk/wp-content/uploads/2012/03/Charlotte-recordings-Holywell.mp3″]