Tag: listening

OX-LDN return – field / materiality

On the Oxford Tube after the exhibition and having read Manfred Werder’s extracted notes Field [http://manfred-werder-archives.blogspot.co.uk/] the bus driver’s voice commanded me in its comforting bassy tone to sit back and enjoy the sound of his voice over the deeply idling engine.

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1044 bass driver intro

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1046 begin journey

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1047 slow acceleration

In listening to the rise and fall of the bass sound coming from the engine through the floor I became aware of the contrasting high rattle of the internal fittings and furniture. I then realised there was more enveloping background present in the form of a large wide hollow body of sound that felt like it was related to the internal air pressure of the bus and which seemed to be mixed with the sound of the constant flow of air moving past the external skin of the bus – or the other way round depending on how you look at it.

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1049 bus air fittings traffic

Maybe it was less appropriate to think of the bus as an object causing sound than to think of a bus-situation of complex materiality…

…while there is such a thing as the bus travelling along the motorway there are also interrelated and constantly fluxing fields around [and within?] both the bus and me… In listening to the random flow of quiet quick thin sounds of individual cars passing in the opposite direction 20m away, each making its own v light whipped wishing noise it was clear that the situation changed significantly with only small changes to the position of listening particularly in relation to the windscreen.

[mejsaudio src=”http://www.sound-diaries.co.uk/wp-content/uploads/2012/04/1050-traffic-space.mp3″]
1050 traffic space

This post is by Toby O’Connor, who participated in the Documenting Sound workshop held at Audiograft 2012 by Felicity Ford and Valeria Merlini

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

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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″]

20.07 …the reels begin to roll

On a recent visit to Berlin to perform it pays my way and it corrodes my soul with Stephen Cornford at LEAP, I made these recordings. Whenever I could I stopped and recorded my situation from the raucous queue outside a nightclub in Oxford to the escalators at Stansted and a Mexican dinner in Berlin. The recordings were made using an Edirol R-09HR.

Extra context here.

[mejsaudio src=”http://www.sound-diaries.co.uk/wp-content/uploads/2011/12/20.07-…the-reels-begin-to-roll.mp3″]
20.07 …the reels begin to roll

1st December 2011

This is the first in our annual Sonic Advent Calendar Sounds.

From the 1st – 24th December, we will reveal 24 seconds of sound from a warmer place here on the sound-diaries blog, taken from either Paul Whitty or Felicity Ford’s collections of holiday recordings.

Today’s sound is the bells in Palazzo Zenobio, Venice, recorded by Paul Whitty.

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