HABITATS by Lasse-Marc Riek

The work at hand, “Habitats”, deals with habitats, areas and living spaces. In this particular case, these spaces were created from a pool of acoustic field recordings I realised while in Finland in Spring of 2007. Over the course of the past year, I have, for various reasons, increasingly been absorbed by the sounds emited by nature. The piece researches the interplay between natural elements on the one hand and passages I arranged at a later stage on the other. It deals with directional hearing and of course with the vast array of bird voices – as well as the silence one can detect in between all of these different sound sources.

Listen to excerpt:

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150 copies, CD-R, 3L002, 2010

Photos: Anne-Berit Riek
Identification (Birds): Patrick Franke
Translation: Tobias Fischer
Layout and Design: Àkos Garai
Recordings: Lasse-Marc Riek

3LEAVES:
http://www.3leaves-label.com/index.html

How does your audience listen to your material?

I took the liberty to post a small conversation I initiated on the Phonography Yahoo group a week ago. This because I would like to save the information that was given by some of the contributors. The first comments on this article are reactions of contributors of this list. If they do not want their info been posted here please let me know and I’ll leave it out.

Lately I did a lot of testing to get better / more realistic sounding recording. At this moment, to my opinion, the Jecklin disc method gives me the most satisfying results. BUT the difference in stereo image (in comparrison to my mid/side set) is most noticeable when using headphones. So my question to you all is. What do you think your audience is using for listening to your material? Do you anticipate on this?
My idea would be that more and more people are most of the time using mp3-players to listen to music/sound. Does someone know if there has been done some research on this?

Growing Up With Shanghai

“Growing Up With Shanghai” is a series of soundwalks with young Shanghainese who were born and raised during the rapid modernization of their city in the 1980s and 1990s. These recordings capture not only their most intimate memories of the locations where they grew up, but also the progress and growth Shanghai has undergone in the past 30 years. The current sounds of Shanghai can be heard behind the dialog and also serve as an audio document for future generations of Shanghainese. All dialogue is in Shanghainese or in their local dialect.

In 1978, China began its road to reform. Today we can see its tremendous result- and this is only the beginning. The ‘soundwalkers’ in this project were born between 1978 and 1985 in the Municipality of Shanghai. As Shanghai matured during these reforms, so did they in their own lives. ‘Hidden’ within their memories, they reveal small and indirect references to how these locations looked and felt. The city of Shanghai is alive and changes and grows just like any living thing- becoming stronger, more intelligent, and more beautiful.

Like sound itself, this project can be experienced and interpreted on many levels. On the surface it may just be a field recording of street sounds in another language, it could be everything I mention here, or something totally different. Whatever you get from these recordings, transcripts, and photos is exclusive only to you and your imagination. I hope that it makes Shanghai less intimidating and familiar to you and that if you do come, you try to experience a more intimate side of Shanghai by following one of these on your own.

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Listen to Africa

Please check out this traveling site of Huw Williams and Rebecca Sumner. Who are undertaking a 2 year bike journey through Africa. Blogging and collecting some very nice audiomaterial:

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The Listen to Africa expedition is a two year journey by bicycle to record some of the sounds of Africa – from oral histories and music to soundscapes and wildlife; recording and publishing sound seems an appropriate way to communicate from a continent that has so much to say and is so rarely heard outside of its own borders.

While we have no fixed ideas about the subject matter, the Listen to Africa website will inevitably reflect the interests of the team: human rights and humanitarian welfare, wildlife and environmental protection, music and citizen journalism. We are also keen to work with African people and groups along the way, especially in local and community radio, podcasting and blogging. If you work in these areas, and if you’re interested in working with us, we’d love to hear from you.

First real Fieldcore recording

Today I undertook my first attempt to do a real Fieldcore recording. For me the biggest difference with my ordinary working method is that I couldn’t use my diesel powered van.  So I took off on my bike. The first thing that became clear riding my bike is that this is a way more effective way to mentally prepare myself to do a recording. The smooth transition in audible landscape makes you way more aware of your surroundings. Normally I am in my car listening to the radio. I drive to a point I looked up on my computer. Most of the time these locations do not live up to my expectations from a audible point of view. Also to sudden transtion makes that my ears are not opened up the same way I noticed today during my ride on the bike.

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Douglas Quin Fathom

F a t h o m, an album of underwater field recordings from the polar regions of Earth, by Douglas Quin, to be released on vinyl in February 2010. TAIGA records presents this LP, mastered by James Plotkin, cut direct to metal from 24-bit wav files and pressed on 200-gram virgin vinyl for ultimate detail and clarity. Arctic on one side, Antarctic on the other, over 40 minutes of unbelievable natural sounds from areas of our planet that few of us will visit. Packaged in custom letterpress materials printed by Studio on Fire featuring drawings by Mitchell Dose and an essay by René van Peer.

European distribution by: Metamkine

Dr. Bernie Krause: The Great Animal Orchestra

Fieldcore post

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