tag:blogger.com,1999:blog-13988785280723185442023-12-03T22:19:03.446+00:00a quiet position - curated by Jez riley French....field recording, audible silence, quietudes....Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.comBlogger387125tag:blogger.com,1999:blog-1398878528072318544.post-4886723644124730792023-07-01T14:30:00.000+01:002023-07-01T14:30:07.549+01:00<div style="text-align: center;">
a quick guide to entry level recorders + some pro-sumer options</div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">this guide is meant as a quick reference for those looking to buy perhaps their first recorder. In it I simply try to highlight some of the main strengths and weaknesses of each model currently on the market. These observations are based on years of field recording experience + being fortunate that I get to meet hundreds of other recordists, all with different interests in field recording, each year whilst running workshops / giving talks and lectures etc. Whilst I am drawing on my own knowledge and experience, with the added benefit of access to 1000's of other recordists feedback, this guide attempts to stick to facts or at least opinions based on practical issues.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">As I often say, even with the recorders that, shall we say, aren't exactly the best of the bunch, considering how far the technology has come in the last 20 years they still offer a lot for their money. Having said that if one is spending a couple of hundred quid on one you might as well avoid recorders that have been bettered by newer models or have known issues for use in field recording. Its worth remembering that most of these were not designed for field recording - they were built for the home studio / music market and therefore some of the compromises involved might not be noticeable in those situations but are when it comes to what we'll be using them for. In general terms field recording is pushing this technology hard in terms of volume levels, pre-amp performance, audio and build quality etc.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">if you have already bought your hand held recorder perhaps don't read this guide ! all of them have good points and not so good so you might read something negative about your choice.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">for clarity the definition of 'hand held recorder' is simply a recorder designed to fit into the palm of one hand or ones coat pocket. Small and lightweight, usually running on conventional batteries or small re-chargeable ones. The term 'hand held' is quite misleading though, as holding them in your hand is often not the best thing to do when field recording, mainly because you'll get handling noise, especially if using the built-in mics.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">basic key points about hand held recorders:</span></div>
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<b><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">positive:</span></b></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">small</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">compact</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">lightweight</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">handy to carry at all times</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">easy to use without being noticed</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">mostly between £100-£400</span></div>
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<b><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">negative:</span></b></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">can be rather plastic-y in terms of build quality</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">low quality, noisy pre-amps</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">reduced input / output options</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">quality of built in mics varies (sound wise)</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">battery performance can vary</span></div>
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<b><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Korg</span></b></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>MR2</b> (discontinued) when first launched the MR2 was the only 1bit hand held recorder, an invention aimed at sound design for the games industry (in basic terms it allowed various audio options whilst keeping file sizes on the small side), however advances in the budget for sound in that area of the industry and indeed a general shift to higher quality sound all round meant that this feature was no longer as important. </span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">So, how does it stack up in general: its rather good. The built in mics are amongst the best in this category of recorder and its pre-amps perform well also. Its possible to save up to 10 settings configurations, which some might find useful. However it only has a mini-jack input for external mics and is, imo, overpriced. </span><br />
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>Marantz </b>(discontinued)</span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">known mostly for their 'brick recorders that now look and feel dated + have a bit of a reputation for card read errors and poor battery performance.</span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>PMD620mkII </b>the only pocket size recorder in their range, this is 'ok' but feels a bit clunky compared to others at the same price point. </span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>PMD661mkII </b>large for a handheld, decent pre-amps and marantz have improved battery performance but its still lags behind other manufacturers.</span></div>
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<b><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Nagra</span></b></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Nagra have been at the forefront of mobile sound recording technology for a very long time and their professional recorders are amongst the very best. It smaller entry level recorders however are a bit disappointing given their usual standards. They're still well built and perform ok, but its simply that one rather expects something from Nagra to knock the socks of its competition.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>pico </b>designed as an upmarket dictaphone really and ok for this type of recorder. build quality is higher than others at this level and the built-in mics sound good. Battery life is impressive but those with an interest in field recording will perhaps do better by spending their money elsewhere.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>mezzo </b>another dictaphone style recorder from Nagra. Again, ok but folks with an interest in field recording in a wider sense perhaps should look elsewhere.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>lino </b>good build quality and built in mics. no xlr inputs. not the cheapest hand held or indeed the cheapest good hand held, but it is a Nagra.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>sd </b>the SD is Nagra's premium hand held recorder and though its the most expensive by quite some way it is a professional piece of equipment. All metal casing and sturdy as heck. It doesn't have xlr inputs but Nagra have concentrated on building a high quality recorder and not trying to cram everything in. </span></div>
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<b><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Olympus</span></b></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">you'll see less reviews of Olympus recorders than other brands perhaps but this is not a reflection of their quality, rather that the don't tend to court the music press in the same way as some others. Their hand held recorders were actually decent - in simply mic tests on workshops for example we've often found that the Olympus built in mics have a more natural, uncoloured sound than other manufacturers in this range. The RSPB used their LS10's for documenting bird song for example. However, they now tend to only make smaller, dictophone style recorders that are very basic.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>LSP4 </b>slightly overpriced compared to some of the other options at this level but Olympus do tend to be well built, reliable & with built in mics that sound a bit better than some at the same price point<br /><b>DM720</b> cheaper than the LSP4 but with the same built in mics and pre-amps that sound very similar. <br /><br />discontinued products:<br /><b>LS3 </b>this is a basic dictaphone style recorder and as such I wouldn't suggest it for anyone wanting to get into field recording per say.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>LS5</b> again, a dictaphone - a good dictaphone but again, I would suggest spending a bit more on a recorder that'll perform better in the field</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>LS10</b> (discontinued) a rather good, small recorder. Olympus have some of the best sounding built in mics in this class and their pre-amps are ok also. Again, only has built in mics & a mini-jack for external mics.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>LS11 </b>an 'ok' step up from the LS10 - but not much of an improvement. Overpriced imo.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>LS12 </b>intended to replace the LS10 and its very similar in performance but the build is less impressive and more plastic-y. </span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>LS14 </b>again, decent build, built in mics and pre-amps. Reliable and easy to use.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>LS100</b> this was one of the better 2 channel hand helds on the market. Built well, good built in mics, xlr inputs, decent pre-amps. On the downside the headphone amp is a bit on the quiet side and it has its own rechargeable battery, so less easy to replace if you're out and about and it runs out of charge.</span></div>
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<b><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Roland</span></b></div>
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<div style="text-align: justify;"><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>R07 </b>The most recent small recorder from Roland & its quite good. It doesn't have XLR inputs but if you want a small, decent recorder with good sounding built in mics, this one is worth considering.</span></div><div style="text-align: justify;">
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>R05 </b>not bad for its size and price but quite dull really and certainly not the best build or sound. That said the battery life is impressive.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>R09 </b>(discontinued) again, it was ok for its price and size but it does now look and feel a bit old.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>R26 </b>lots of folks were attracted to this because, when it was launched, it was the only 6 channel hand held recorder - however as is often the case, in cramming multi-channels into a small, low cost unit corners have been cut. Firstly its very plastic-y and brittle. Drop it even a few inches and you stand a good chance of breaking it. The built in mics are ok, but not as good as the ones on some other hand helds, and its pre-amps whilst not the worst performing aren't the best either. It has a different way of handling inputs (impedance etc) and some other technical factors and so it can be problematic when using unconventional mics (contact mics, hydrophones etc). Its also quite large for a hand held recorder - you certainly couldn't fit it in most jacket pockets for example.</span></div>
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<b><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Sony</span></b></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Sony hand held recorders have a good reputation for build and sound quality. None have xlr inputs but other than that they are certainly one of the brands to consider.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>PCM-10 </b>quite a good small recorder for the price. Good build quality and the built in mics sound good also. </span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>PCM-50 </b>(discontinued) again, a good recorder for the price. Reliable, well built and good battery life.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>PCM-100 </b>lots of folks who liked the PCM-50 were looking forward to the 100 but at its current price point it does seem rather overpriced for a recorder without xlr inputs. Having said that its the usual Sony quality.</span><br /><br />
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">with a solid reputation for build & sound quality SD were bound to see the signs & launch something into the smaller recorder sector. They've done this with the new mixpre 3, 6 and 10 mixer / recorders. They are small, though not 'hand sized' but are a considerable step-up in terms of quality of build & pre-amps.</span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>mixpre 3 / 6 / 10 </b>very impressive and for those willing to spend a bit more, coming in at around £900 for the 3 (three channels), £1150 for the 6 (6 channels) & £1900 for the 10 (10 channels) what you get is professional quality sound and design. They eat standard AA batteries fast but you can get a sled that allows powering via l-mount batteries for several hours of recording or use a decent usb-c battery pack for days of recording. </span></div>
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<b><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Tascam</span></b></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>DR05 </b>another small dictaphone style recorder. as with the others I would suggest not ideal for a first recorder for those interested in wider field recording.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>DR-100 </b>(discontinued) better build quality than the Zoom H4N, which was its main rival for a time and better sounding built-in mics and pre-amps, though it now seems a bit on the weal side compared to newer models. Common issue is that connecting xlr's / xlr adaptors that don't have specific locking tab slots to the xlr inputs results in them getting stuck in place.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>DR-100mkII </b>a decent upgrade to the mkI, with improved pre-amps. Same common issue as with mkI.</span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>DR-100mkIII </b>a further upgrade - not much difference to the pre-amps but they seem to have improved the headphone amp and the clip issue</span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>DR-40 </b>again, an 'ok' recorder for the price but with the same issue of jacks and adaptors getting stuck in the combo sockets. This seems to be a common feature of Tascam recorders.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>DR22-wl </b>it's ok. nothing really exciting, unless you think having wi-fi on your recorder is a good idea ! It's cheap and the pre-amps are about the same as some others at this price point. Again, my advice would be to perhaps spend a bit more for better performance.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>DR44-wl </b>if you want a 4 channel recorder for around £200 with ok pre-amps and xlr inputs then this is worth considering. Again, its ok for the price. </span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>DR-60dmkII </b>4 channel recorder, designed for use with camera's, but in a practical sense that's more to do with the shape of the unit than it's features. Has Tascam's latest pre-amps, which are good for this level.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>DR-70d </b>4 channel recorder, again designed for use with DSLR camera's. Similar performance to the DR-60mkII but with a different layout allowing for easier adjustment of the tracks in the field. </span></div>
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<b><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Zoom</span></b></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">for a while Zoom marketed some of the most affordable digital recorders all be it with some issues with noisy pre-amps and build quality (at their price point, as with all recorders in this range, there are compromises). Their market was home recording for musicians but as the field has expanded and developed they are now looking at the features that non-exclusively music recordists value. </span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>H1</b> dictaphone-style recorder. cheap and fun perhaps but spend a bit more.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>H2N</b> in general this is a Zoom recorder I think is ok value. Its cheap enough to be fun and it has a decent go at providing 4 channel sound (although you can't adjust each channel fully). The built in mics can be set to capture stereo, mid/side etc. Its small and the batteries last for a good amount of time. </span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>H4N pro </b>for a time the H4N was probably the most common hand held recorder. When it was launched, for the price it appeared to offer a lot but the somewhat noisy pre-amps, build quality and boxy sounding built-in mics soon showed their limitations. The newer version (H4N pro) improves the pre-amps and the build quality a bit though other recorders in their range are similar.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><b>H5 </b>with the H5 Zoom are trying to improve their reputation in terms of FR. Build quality is better and the pre-amps have been improved and the built in mics (modular) are a bit better also. However if you're using contact mics and hydrophones there is a problem with the sound of the card write system being audible (at a very low level) - this is a design flaw with the H5 and H6.</span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">In conclusion what I will say is that any recorder will get you started. If you can only afford one of the lower cost ones then getting hold of one and starting to record will begin your journey and you will learn a lot from any recorder. Perhaps a key consideration is how quickly do you want to learn that you want a better recorder ! </span><br />
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Whichever recorder you buy have fun with it. Understand that it won't give you the same sound quality as a mid-level or professional recorder but compared to the tape recorders some of us started out with you will be able to get some impressive results. Its actually a good way to learn to use cheaper equipment - it allows you to push the technology and find out what you need and want from the equipment you use. </span></div>
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Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com2tag:blogger.com,1999:blog-1398878528072318544.post-61746507016328193412020-10-20T09:33:00.000+01:002020-11-01T14:38:14.453+00:00<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuS1ZwaM3F1flkAXfgWbEi0Ti7mD6TXhy2kfTYowHHxNcCv1gebCny2VgOcM1OxZWiWMnilHFqsCaBC0o5ltWwbQVcxOXsz3IpTRvTosicruOnPnZGRdQPjx3sUhf-VCSDFYPYkb_cPB42/s1600/4060-5-dB.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuS1ZwaM3F1flkAXfgWbEi0Ti7mD6TXhy2kfTYowHHxNcCv1gebCny2VgOcM1OxZWiWMnilHFqsCaBC0o5ltWwbQVcxOXsz3IpTRvTosicruOnPnZGRdQPjx3sUhf-VCSDFYPYkb_cPB42/s1600/4060-5-dB.jpg" width="193" /></a><span style="letter-spacing: 0px;"><b>OMNI-DIRECTIONAL MICROPHONES:</b> the pick up pattern of omni's is spherical, so the microphone gathers sound from all around the capsule. You can get 2 types of omni microphone - small omni's and conventional size 'barrel' style omni's. Whether you have an entry level hand-held recorder or a professional one, getting a pair of small omni's is the quickest way to extend the range of your set-up. </span></div>
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<span style="letter-spacing: 0px;">If you're recorder is only equipped with a mini-jack input socket that has 'plug-in power' you're restricted to omni's that have a mini-jack and don't need phantom power (P48). If your recorder has XLR inputs then go for omni's that have XLR's and require P48.</span></div>
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<span style="letter-spacing: 0px;">small omni's are particularly good for field recording as they have a warm, decent low frequency response sound and reject handling noise. With the well put together ones you can, more or less, shake them around whilst recording and not hear the handling noise at all (though the effect of the sound might make one wobble !). They also let you get your mics in some interesting places that a barrel-design mic wouldn't fit into.</span></div>
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<span style="letter-spacing: 0px;">There are decent quality lower cost pairs of small omni's on the market and also mid-price range and very, very good ones at a higher cost. Amongst the better ones are those produced by:</span></div>
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<span style="letter-spacing: 0px;"><b>budget:</b></span></div><div style="font: 12px Helvetica; margin: 0px;"><span style="letter-spacing: 0px;"><b><br /></b></span></div><div style="font-family: Helvetica; font-size: 12px; font-stretch: normal; font-style: normal; font-variant: normal; line-height: normal; margin: 0px;"><span style="letter-spacing: 0px;"><span style="letter-spacing: 0px;">Micbooster / Fel - clippy mics with 3.5mm jack (currently £68 a pair)</span><br /><span style="letter-spacing: 0px;">Micbooster / Fel - xlr em172 with xlr jacks (currently £115 a pair)</span></span></div><div style="font-family: Helvetica; font-size: 12px; font-stretch: normal; font-style: normal; font-variant: normal; line-height: normal; margin: 0px;"><span style="letter-spacing: 0px;"><span style="letter-spacing: 0px;">* these are the ones I recommend of the lower cost pairs on the market</span></span></div><div style="font-family: Helvetica; font-size: 12px; font-stretch: normal; font-style: normal; font-variant: normal; line-height: normal; margin: 0px;"><span style="letter-spacing: 0px;"><span style="letter-spacing: 0px;"><br /></span></span></div>
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<span style="letter-spacing: 0px;">MM Audio - BSM9's mini-jack/plug in power ($115 a pair)</span></div>
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<span style="font-weight: normal; letter-spacing: 0px;">Naiant - X-X xlr / p48 (nb. I no longer recommend these as Naiant have taken the decision not to supply customers outside if the USA / Canada)<br /></span>Lom also have 2 designs which are ok, though I find them rather thin sounding compared to the Fel's<br /><br />
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<span style="font-weight: normal; letter-spacing: 0px;">Soundman OKMII (depends on currency fluctuations and which country one is in - around £200 a pair most places)</span><br />
<span style="font-weight: normal; letter-spacing: 0px;">Sound Professional binaural pair - with 3.5mm jack (currently around £60-£80 a pair)</span><br />
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<span style="letter-spacing: 0px;">nb. there are an increasing number of other folks building and selling small omni's mics, most using the same capsules. The ones above are suggested as they offer good quality, professionally built products, good customer service and have a good reputation. Some of the other brands have issues with their products or attitudes. </span></div>
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<span style="letter-spacing: 0px;">Rode Lavalier - can be used with mini-jack or xlr (£150 each / £300 a pair)</span></div>
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<span style="letter-spacing: 0px;">nb. there are also other makes at this kind of price level - the Rode are suggested as they come with its own, clip-connect windjammers with a built in 'space' and again most of the others in this price range use very similar capsules but can cost more. However personally I think most users will find the Fel's stand up to the Rode's well.</span></div>
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<span style="letter-spacing: 0px;"><b>the gold standard:</b></span></div>
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<span style="letter-spacing: 0px;">Sanken cos-11 - p48 required (approx £300 each)</span></div>
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<span style="letter-spacing: 0px;">DPA4060 - p48 required / xlr and various other connections for pro-recorders / mixers (price fluctuates due to exchange rates, but usually is around £6-800 for the stereo kit)</span></div>
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DPA SMK4060 stereo kit</div>
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Sanken COS-11</div>
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Rode Lavalier</div>
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MM Audio BSM9's</div>
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Naiant x-x omni</div>
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<span style="letter-spacing: 0px;">having tested and used just about every small omni on the market the DPA's are, quite simply, some of the best sounding mics you'll hear and whilst they might appear expensive to some, when you consider that they sound as good and indeed better than mics costing several thousand £'s they're actually very reasonably priced. </span></div>
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<span style="letter-spacing: 0px;">nb. all prices quoted are UK prices and include possible import charges for the ones that can only be purchased from overseas.</span></div>
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<span style="letter-spacing: 0px;">You'll need some form of wind protection for your omni's: you can mount them inside a standard blimp (wind protection cage for microphones) or you can buy small fluffy windjammers. As with all windjammers try to avoid the really cheap ones on ebay and other sites as they're usually just fake-fur rather than proper acoustically transparent material and they'll muffle your sound to various degrees. Of the 'best' ones there are Rycote (approx. £30-£35 a pair) and Bubblebee Industries (approx. £28 each). Personally I use the BBi's as a) they stay on ! (the Rycote's tend to fall off quite easily) and b) they have small bubble inside providing space around the capsule, which also helps with protecting them from wind-impact noise. </span></div>
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<span style="letter-spacing: 0px;">of all the 'barrel' design larger omni's there are, as usual, lots to choose from. If you're on a budget or have a medium amount to spend Rode tend to offer decent mics for the price, as do Pearl, Oktava & some folks also like sE and other lower cost brands. Personally I find Rode and Pearl offer the best value for money at these price ranges. Moving up in terms of cost it is true that there are certain brands that are 'safe buys' - such as DPA, Sennheiser, Neumann, Sanken & Schoeps - these can range from £1000 up to £4000 per mic. </span></div>
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<span style="letter-spacing: 0px;">Omni capsules are often used in Surround / Ambisonic mics - more about this in a future post.</span></div>
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<span style="letter-spacing: 0px;"><b>TECHNIQUE:</b> as with all microphones, the craft of using them is (and should be imo) personal. One can read countless books and web pages on the placement of any microphone but getting out there & experimenting is really the only way to learn what works for you and what doesn't. Two particularly good placement techniques for small omni's are binaural and 'spaced omni's'. </span></div>
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<span style="letter-spacing: 0px;"><b>SPACED OMNIS</b>: here the two omni mics are clipped to either the mounting rings of a blimp or some other bar / mount (including oneself, a bag / rucksack or indeed the classic Watson-style coat hanger - particularly useful as it comes with its own handy handle / ground spike). The sound you'll get using this technique has a great sense of space and sound localisation - very 'open' and immersive for the listener.</span></div>
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<span style="letter-spacing: 0px;">Omni-directional microphones have a good low end response and therefore can have (depending on which ones are used) a general sound profile that is nearer to the sound we hear with our own ears - hence it has the ability to immediately tap in to your audiences subconscious listening process.</span></div>
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<span style="letter-spacing: 0px;">Unlike ‘binaural’ recordings, spaced omni recordings can be played back through loudspeakers, from stereo to ambisonic and multi channel.</span></div>
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<span style="letter-spacing: 0px;">You can place a baffle between the two mic capsules and there are various techniques for doing this, for example the classic ‘Jeckin Disk’. Some of these techniques aim at an accurate ‘binaural’ recording and others play with the effects of sound on locations.</span></div>
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<span style="letter-spacing: 0px;"><b>BINAURAL:</b> for more information on this technique see: </span></div>
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<span style="letter-spacing: 0px;"><a href="http://jezrileyfrench-aquietposition.blogspot.co.uk/2014/09/binaural-this-is-recording-technique.html">http://jezrileyfrench-aquietposition.blogspot.co.uk/2014/09/binaural-this-is-recording-technique.html</a></span></div>
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<span style="letter-spacing: 0px;">Put simply, a pair of decent omni microphones is a very good addition to any recording kit and is rather useful for those starting out who want to extend the reach of their hand held recorder.</span><br />
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<span style="letter-spacing: 0px;">in addition:<br />just to clarify a few things: DPA's (and indeed most decent omni's) don't need to be in a suspension really - they're omni's so they reject handling noise (another good reason to get some !).</span></div>
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<span style="letter-spacing: 0px;">Mounting them next to ones ears is one technique yes but the most common use for them across all sectors of field recording / location recording is as personal mics in sound crew work & next to that its as spaced omni's for wider field recording applications.</span></div>
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<span style="letter-spacing: 0px;">I’ve heard a couple of people mentioning that using them next to your ears will give you 'sort of' binaural but actually it is full, proper binaural- there's a slight difference of opinion amongst recordists as to whether in ear or out of ear works best for binaural but both are fully binaural techniques. As I said there is a difference of opinion but personally (& i'm not alone in thinking this) out of the ear always sounds more natural - with the in-ear design you are blocking some angles of pick up for the mic and with our ears sound from every angle enters our pinar & psychologically we 'fill in' the missing parts between our ears - therefore with in-ear binaural recordings we tend to hear it as hyper-reality & we perceive it as 'effect', which means we don't connect to it in the same way.</span></div>
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<span style="letter-spacing: 0px;">If you want to mount them as a spaced pair with a jecklin disc between, the SMK4060 kit comes with 2 pressure zone rubber circles & one of those works quite well as a light, practical and free jecklin disc (free because the cost of the stereo kit is cheaper than buying two separate 4060's). As mentioned in the article at the above link, a very good technique for mounting them is by clipping or taping them to either end of a coathanger - this allows you to then bend the 'arms' of the coathanger in if you want to alter the spacing, use the hook to hang them from a tree or other point, straighten the hook out & use it as a ground spike etc etc. Its a method lots of recordists use inc. Chris Watson, who started using this technique some years back. </span></div>
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<span style="letter-spacing: 0px;">There’s a myth about the 4060’s that is often stated by some nature recordists, who claim that the self noise rating of them means they are unsuitable for nature recording - this is incorrect. Yes, they have a higher self noise rating than some other mics but they’re also more sensitive, meaning the gain doesn’t need to be turned up on ones recorder. Also, the simple fact is that the 4060’s sound more transparent than lots of other mics & so they sound much better. As i’ve often said one should never choose any bit of equipment on the spec sheet - its how it sounds that really matters. Anyway, when one considers that, for example, Chris uses 4060’s (along with other mic arrays depending on the situation) on quite a lot of his film / tv work inc. the Attenborough programmes it does indicate that they are rather good for recording nature !</span></div>
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<span style="letter-spacing: 0px;">The cost of the stereo 4060 kit is currently around £610 (dec.2014) which might sound a lot to some folks - but when one considers that they compete (& win) with mics costing several £1000 each they’re actually very good value indeed. However there are alternatives at different budget levels - they might not be as good in terms of how they sound & self noise, but they're still an excellent way to extend your recording kit.</span></div>
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Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-52962647457973911262020-05-05T17:02:00.000+01:002020-05-06T09:03:19.382+01:00<div style="text-align: justify;">
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">I first posted about this during the 1st week of lockdown here in the UK and its fair to say it drew comments both positive and negative. My thoughts, as everyones no doubt, are shifting as we all try to adjust to this crisis so I withdrew my initial post and have spent a few weeks now thinking about the questions and concerns I have to see what core aspects remain. I also joined, briefly, a project that although not created around CV19 has had to change shape because of it. I did that to see if I could find a way, in terms of sound, in to some of the motivations I have felt somewhat uneasy about. </span></span><br />
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">I’ve rewritten and edited my thoughts a number of times until I have reached a point where I might begin to chip away too much. In fact I think i've already gone passed that point. <span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">This isn’t a concise, tidy ‘essay’ but rather a shared diary of my attempts to work through sections of that original post, add, delete, reconfigure; a process, reflecting on sound and visual cultures at this time and my own creative and emotive responses. It’s long and to add to that i’ll say that the older I get the more I realise that my struggles with the written word are to do with the disconnection from that sense of who a person is when one spends time with them, a lack of skills with written language (all manner of things tied up in that), having experienced an emotionally controlling relationship and how that leaves a knot of worry that anything one says can be taken any number of ways; the desire to openly communicate from a positive position combined with the realisation that ones words might be taken very differently. So, here are the thoughts; the knots and meshes. </span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;"><i>‘the recordings of "nature" made by predominantly white men are dangerous precisely because how we as recordists hear the world becomes how the world is heard for others. the sounds we record stand in for places. you listen to the world through an ear that cant help but colonise. this is not inconsequential. i remember finding out that the people (white foley artists) who invented the sounds of dinosaurs literally shaped how everyone thinks dinosaurs sounded. the screeches, the roars. all fabricated by their imaginations. their imaginations formed our imaginations. just like the imaginations of field recordists: what we as recordists put our attention toward, informs others imaginations of the world through the sounds we bring to them. our actions perpetuate legacies. we need to reckon with this. we know how to talk about the white gaze and how it shapes representations of the world, recordists need to talk more about the white ear, because it’s no different’ </i></span></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;"> - Anja Kanngieser (Twitter 5/5/20)</span></div>
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<span class="s1" style="font-kerning: none;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: "courier new" , "courier" , monospace;">Thanks to Anja for sharing her thoughts on twitter. </span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">28/3/20</span></span></div>
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<span class="s1" style="font-kerning: none;"><b><span style="font-family: "courier new" , "courier" , monospace;">Documenting the pandemic and the possibility of a fetishisation of the sound of privilege</span></b></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">caveat: I am white, male and, as some see it, I have a ‘position’ within the arts. I am what is often referred to as ‘self taught’. I am aware of my privilege and aware that speaking now also involves aspects of that.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">Projects have been cropping up every week to document the sounds or sights of empty streets, cities and towns. To share recordings of being in lockdown or in isolation. I understand the various motivations, whether via the avid sound collector who is fascinated by the changing soundscape, or the impulse to document a, hopefully, unique event. It can be argued that there is in fact a need for such documentation.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">As an artist it is part of my responsibility to ask questions, both of myself and of the wider contexts. In doing so there is always the risk that one forgets the balance between that and giving equal, if not greater space to the intuitive impulse, the pleasures and passions. I’m not an academic so this often takes the form of private research rather than a public attempt to express this process within an arts environment still unfortunately dominated by ‘art speak’ and tied to an academic model. It is however part of who I am to share some of my thoughts and this often includes discussing complex and nuanced subjects where the mere act of questioning can be seen as problematic by some. In the context of CV19 I ask whether we have really leant from the progress we have made in challenging problematic histories and distorted archives.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">29/3/20 (added to 2/5/20)</span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">(- I am 100% in favour of anyone and everyone taking pleasure from listening. That goes, I would hope, without saying)<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">It can be said that most of the artists and audience currently taking part in the various CV projects sit within layers of privilege, as do I, being a white male living in a developed country. As sound is the area of the arts I am perhaps most associated with I think about whether recordings taken now specifically for the various ‘the sound of…’ projects are documents of sound and situation or inevitably weighted with an imposition, a colonisation of any attempt to represent a reality. Of course all ‘field recording’ involves imposition, whether of intent or how each recordist shapes the situation or material to fit their ideas of some communicated sense of reality or other creative outcomes, but I am equally sure that most will have a negative, or at least aware, sense of how other global situations have been documented in the past. We will all, hopefully, have an awareness of a colonial reading of ethnicity in museums, galleries, education texts of the past, fiction and cinema for example. No doubt most reading this will know about the “Alan Lomax Archive’, but not perhaps that it was / is, in reality, the Elizabeth Goodman, Mary Barnicle, Zora Hurston, Jean Ritchie, Antionette Marchand, Joan Halifax, Anne / Anna Lomax and Alan Lomax archive. Or perhaps, when it comes to ‘nature’ (a human construct based largely still on a 17th/18th century upper class idea of environment as idyll) studies and recordings names such as Ludwig Koch, Thoreau, even McFarlane spring easily to mind. Less so, for many, Nan Shepherd, Magdalena Heinroth, Annie Meinertzhagen, Beryl Hall, Emilie Snethlage and the many other female pioneers whose names are only now remerging from the dusty layers of a patriarchal shaping of history. And that doesn’t even begin to draw in the vast numbers of, mostly lost or hidden names from non-western cultures.<span class="Apple-converted-space"> </span>Are we, yet, more able to apply a better, more inclusive and representative insight to what we do now, in the making of a history and as active players within it ? Can we do that even, and if not how can that feed into the various projects so that it is at least recognised and reflected in the outcomes?<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">Some of the same biases that have plagued historical and creative archives, whether it be patriarchal bias, access decided by physical or mental ability, class, gender, ethnicity etc. have formed quickly in a number of the<span class="Apple-converted-space"> </span>projects. They were, of course, there even at the start in terms of the instigators and curators of such spaces, and yes, even in subtle aspects of how the projects were framed or presented.<span class="Apple-converted-space"> </span>I say that not to be needlessly negative but to recognise that we can see even our most sincere efforts as a way to continue to learn and to question how we, as artists and audience, shape experience and outcome. That, I argue, is part of our job as artists, as is the recognition that some of these complex meshes are almost impossible to untangle in the present at least. It is also important, no, essential to retain the ability to simply allow the creative impulse, but surely within that there should always be the possibility to recognise what we learn from both the simple and the complex fields that surround our activities ?</span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">31/3/20</span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">Of course most projects around CV19 will begin with positive motivations and most people taking part or accessing them will want to focus on the important benefits they might bring, either personally or to a wider population. Indeed that is also why I am doing what I can to add to ‘community’ at this time, all be it in different ways. However several projects<span class="Apple-converted-space"> </span>have already drifted into marketing models for some contributors ‘skills’ or a kind of dystopian Tarkovsky-esque objectification of the situation. There’s a sense that, as often the case with photography and audio field recording, a distinctly male element, without being aware, can sideline contributions from others by implying borders based on a stereotypical technology driven, ‘clean’ approach to sound or image, forgetting that the world isn't ordered along those lines and when we impose ourselves into the documentation of it there needs to be an awareness of that, not an easy belief that our personal preferences don't also have the potential to filter, to distort even.</span></span><br />
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">I look at pages and pages of images of empty streets and I don’t see anything of ‘place’ in the carefully framed, photoshopped and ‘cinematic’ results. I listen to recordings, recorded on expensive equipment and in locations chosen again for some sense of the cinematic. Of course it is possible to also find the opposite but it fights to be heard / seen. The thing is Covid isn’t clean. It isn’t cinematic. For most of the world it is nothing like how we in the west or in other developed countries experience it and even within these developed countries there are vast areas of reality not represented. Don’t we all role our eyes when we hear the privileged giving us their thoughts on what struggle or hardship means without displaying some natural sense of self-awareness? Don’t we all roll our eyes when we hear right leaning, capitalism flag waving<span class="Apple-converted-space"> </span>politicians using phrases such as ‘we are all in this together’? Where is the ‘roll’ of our ears? Can we have that and also keep these creative acts of listening and seeing open and inclusive?<span class="Apple-converted-space"> </span></span></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">If i'm honest (and i'm not happy to say this) on occasion recently I have felt uneasy when i've seen some of the audio based projects trending on social media. Not because they are getting attention, after all spreading the benefits is part of their aim, but rather in how sometimes the language used has appeared insensitive to the seriousness of the situation they stem from. An emoji celebration when a project is featured in a national paper seems out of place at a time of global pandemic. I feel this way because I can understand why we would want to do it and I am disappointed to find that realisation, in part, seems to have more power than it should when compared to the ethical imperative. It's uncomfortable, it should be uncomfortable and one of my concerns is that often some projects seem too comfortable, too untroubled by the grit and dirt of this situation. I should add that this thought takes the form of a struggle, a long, drawn out niggling thought in the back of my mind as to whether online language can ever accurately convey both the positive and the serious in a way that does a decent job of avoiding an imbalance.</span></div>
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<span class="s1" style="font-kerning: none;"><span style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: "courier new" , "courier" , monospace;">How do we take pleasure in what appears to be one of the few positives now; the lowering of human impact on environments, sonically and visually at least, without imprinting onto it an impression of relatively safe privilege? I don’t have the answers, that is part of the point. Perhaps there are no answers but the questions can be perhaps be important.<span class="Apple-converted-space"> </span></span></span><br />
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">In this time of social reorientation we are searching for comfort, and because most of us are fascinated by it, we are drawn to the sound of our urban or rural spaces being reclaimed by the non-human, or by the stasis of architectural forms within our neighbourhoods. On my once per day walk for exercise, like many, I listen and am often moved or excited by what I both hear and by what I don’t hear. As I have tried to explain, I totally understand the lure of the sonic, and visual changes in this time and I agree that this is history and probably has to be documented. I mean, it is already anyway, even without art based projects; by the news media for example. At its best the arts can flesh out that narrow view, can expand, dramatically, the range of narratives. It can, and is, even with projects I feel are somewhat problematic, painting a picture of a far wider demographic of our human selves. I am simply asking whether all the positive progress we have made as a species is as present in the way some of us are documenting and creating with the material of history at this time. I argue not, or rather not as obviously as we might have imagined.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">If we look or listen back in terms of historical events through archives we all, no doubt, feel uneasy about certain aspects. We see the white ruling elite documenting the slave trade. We see a conservative spin on the industrial revolution. We see the winning side giving itself the least complicated story in times of war. We even see that the histories of the arts, right up to the present day, are skewed by a patriarchal, white influence, even if there has been progress in addressing that issue. Not that any of us really could have imagined the current situation but i’m sure if we’d have been asked how art would seek to document a global event that involved suffering on a massive scale we would all have replied ‘better than we have before’. I am finding it hard to really see that clearly, naturally occurring in some of the projects springing up. Does this imply that our perceived evolution as sensitive and inclusive creative players is really as advanced as we believe it to be?<span class="Apple-converted-space"> </span>Again it is important that I make it clear that I am not accusing anyone involved, myself included as I listen, of being consciously reckless or insensitive. Of course some will be, as always there are good artists and bad artists, sensitive and insensitive artists and there will be audience that uses what the arts can offer to be helpful to them and some who might use it to manipulate their own sense of self importance. In a way recognising that forces me to ask another question, one that might seem to counteract everything I have said so far; if we are creating distorted or problematic histories and archives then isn’t that, in effect, an accurate representation of our species? Not always caring, not always self-aware, not always devoid of narcissistic outlooks and damaged egos? We fail, as indeed is now blatantly obvious. We fail as a global community because we have built systems that benefit some and disadvantage others and at the same time don’t even provide the privileged with total protection against a tiny virus that shouts back at us that we are not the dominant species that we are still, largely, educated to think we are. This is not our planet. We are not owners but mere tenants amongst many and with an inflated and dangerous sense of power and control.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">With the distance of time we can dip in and out of archives and take from them what we feel is valid or that we enjoy, and, importantly, consciously or not we assess the problems, or at least are beginning to. Information is speeding up; we now have access to vast amounts of material from varying perspectives and within seconds of history being made. We all hope that means more voices are being heard, more realities reflected. If we take a fairly recent example of a global story, namely climate change and protest actions around it, then perhaps we all would like to think the story is safely being represented from all sides in what will become ‘archive’. It isn’t that simple though. A white writer, all be it female, which is a change from how most histories are biased, is credited as being the first to really advance environmentalism; Rachel Carson in <i>Silent Spring</i> (1962) and yet it was a Japanese researcher of glacial melt in the 1940’s, Ukichiro Nakaya (father of the artist Fujiko Nakaya) that first discussed the idea of global warming and climate change in detail. Other than the ethnic bias on world history, we have to look at palatable models of mainstream literature to understand why his research isn’t as globally well known as the ideas expressed by Carson. It’s a valid reason at that. After all Nakaya’s scientific papers were never going to become a bestseller, but even with the advanced discussions and vast archives around human impact on the environment Nakaya’s science and words are almost entirely unknown to most.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">Within the context of this text, the role of the arts in the making of history, the irony is that it was an arts festival, <i>Ultima, </i>Oslo, Norway, in 2017 that I, and many others who attended the exhibition, first heard in more detail of Nakaya’s research in this area, and it was a timely and obviously needed slap on the wrist. I believed myself to be reasonably familiar with the accepted timeline of environmental writing. At least I thought I knew the main cultural and scientific markers, whilst always having an awareness that we usually only ever know a tiny fraction of any subject. As my daughter, Pheobe, and I read Nakaya’s text we found ourselves asking the obvious question ‘why didn’t we know about this already?’ and the additional; why isn’t this taught, reprinted, reflected in the work and research of seemingly aware writers, artists, scientists and philosophers? The answers are obvious; access and bias. Of course no one can know everything about a subject and I dare say at some point an obscure paper from the 18th or 17th century, or earlier, will emerge as ‘the first to use the term global warming…’, but where is the living, breathing awareness within ourselves and the projects we create that we know next to nothing, at best? Is it visible, audible? Should it be?<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">I reminded here of a radio series that had the premise of allowing someone to listen back to the BBC archives of a time in their life. Sometimes this was a ‘celebrity’ and sometimes a member of the wider public who had been interviewed decades ago during a particular national or international event. Often they would comment how different the mood was in the recordings to how they actually remember feeling or experiencing said event. This cuts to one of the main issues I believe we are seeing, again, in this new situation; Why is it we are still so unable to see problems now?. Perhaps right there behind the finger pressing 'record' whilst millions around the world are struggling in different ways.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">The historically minded might reply "that's the point. As with war photographers we have a duty to document what is happening". I get that and I totally agree. It's simply that I see patterns emerging that are disappointing, or in some instances insensitive. I can spin all of that the other way and say that perhaps this does mean we are capturing human nature as it really is; sometimes selfish, led by ego, acting without consideration for others, as well as the positives, but I am, at least surprised that certain key lessons have been so easily forgotten around the subject of equity, inclusion and the power of documentation to skew current and historical perspectives.</span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">Lets not fool ourselves that a decent percentage of these recordings or photographs are taken on the front line, where the fighting is most savage and direct. On several of the projects the majority of recordings so far have been recorded using hundreds or thousands of pounds / euros / dollars worth of equipment, then edited or, with image based work, photoshopped for added cinematic impact.<span class="Apple-converted-space"> </span>In that sense there is still a wide border between 'news journalism' and creative projects that begin with the belief that they can document events somehow unfiltered. Technically a reasonable percentage of the worlds population should be able to contribute to these projects; millions can record using a phone, or a simple audio recorder / camera if they have them, and they can then upload the results to the various sound maps or image libraries. There's the idea that eventually we'll be able to look back at news archives and these other archives and somehow knit them together to form a representative understanding of this history. That's a worthwhile aim of course, but I am asking whether we have really considered the various filters that we are applying. In that sense all of these questions can be extrapolated out to all field recording, all street or nature photography. We are always filtering. I hope by now I am at least giving the reader the sense that all of this is a process of trying to untangle the various strands and recognise that asking the questions is coming from a place of concern for how far the initial intentions of such projects can be sidetracked. These questions might have no answer but there is something in the process of questioning that matters. I’m also not arguing that everyone has to ask these questions. After all often the most creative and positive outcomes arrive when intuition, inspiration and situation come together ‘naturally’, so to speak. I’m all for the argument of setting aside critical thinking often, or at least gaining the ability to hold it in balance with an openness.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">We are all fighting this particular virus of course but we are not all equal and these projects, thus far, are becoming increasingly biased in favour of a narrow, mostly white, largely western view. That is a problem. Those who might perhaps be watching their likes and retweets going up and, if they're honest, knowing their career or profile might be enhanced or their opportunity for funding improved, are complicit in the problem. We all are. These projects might well start with good, democratic intentions but I argue that we can already see familiar patterns of dominance and exclusion being established. Not in terms of guarded access but by the sheer volume of recordings coming from a limited demographic. I understand the contradiction in appearing to suggest that democracy is important and at the same time that some way to avoid said biases could be a solution. To do that would in itself be a distortion of how our society still behaves all too often. As I said earlier perhaps by not doing that these projects can actually also be seen as a representation of the failures of the west to be equitable in our global thinking, but i'm interested in whether that has been given much thought, and how that can become apparent to some at least. I am also interested in something that appears to be still out of reach; some collection of material that is truly representative.</span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">Are these projects merely building an archive of insensitivity or passivity that, again with distance, will be seen as proof that society is divided not by those that live in different circumstances than 'us', but by the 'us' as the catalyst of division, as we point our digital recorders, microphones and cameras at the sounds and sights of our privilege?</span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">Then there's how such projects often seem to celebrate a situation bringing hardship and ill health to massive numbers of people. Is it 'good' that people can enjoy listening to the sounds, looking at the images, especially during a situation that for many is emotionally taxing? Yes...probably and it might well be that even if certain people involved have less than sensitive motivations we can still extract what we want or need, but again, I am interested in asking what effect the insensitive has in the long term as well as right now to those struggling or who don't have the same privilege. Can we really imagine a sound map of a conventional war or indeed pieces of war art being celebrated with social media emojis? I think most of us would hope not.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">If someone reading this feels annoyed, feeling that the historical necessity defeats my argument then can I add this thought?; if we look at the audio and visual archives of other world wide events, such as war, slavery or the great depression what we can see, and hear, includes a large percentage of the mundane, the every day. We have footage of people going about their daily lives, putting on a brave face, curating the reality, then and now. Of course there are also the images and sounds of suffering in those times. Uncomfortable material that has a power. Compare those archives with these current projects and they often don't appear to be any better at reflecting a wide reality. Where is the grit and dirt of this pandemic? Can they be said to be holding up a mirror to this time or, once again, filtering it? Perhaps what i'm getting at here is that it isn't about the potential in the projects themselves but how they are colonised and yes, that does tend to be by white males (*I am white and male, I recognise the aspect of me calling this out whilst being in that same demographic).</span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">Where are the, at least equal signs of what most of us claim this situation is teaching us? The unity and equity with our fellow human, and indeed with the planet? Could a recording of, for example, the clapping for the NHS in the UK or the balcony concerts in Italy show that? perhaps some part of it at least but as an unfortunate effect of how audio and visual culture often works, the projects collecting this material often become spaces marked out not by the immediate, visceral capture of sounds and images, but by cleaned content. Some have both of course but the balance almost always tips in one direction.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">It's uncomfortable to admit, uncomfortable to say, but these sounds are also, partly, the sounds of our failure to be any more sensitive than we have been thus far. They are the sounds of our status as users, com-modifiers, capitalists. As they progress they become a curation of reality. I know probably most of the people behind them genuinely don't want that to happen and some will navigate all of this better than others, but isn't it ok to ask if the failures now are actually part of the reason we keep stumbling and knocking away other voices?<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">As for the historical question it is fair to say that we are only now beginning, slowly, to decolonise vast swathes of problematic histories and indeed of colonialism itself. Most of us, hopefully, like to think we'd deal with the history being created in the now differently, but we don't. Or at least we appear not to be. Still white, still wealthy in comparison to those who are affected most by this situation and yes, from what i've been able to research, mostly male in terms of running the various projects and contributing to them.</span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">Perhaps time, in terms of distance, is important and is missing with the technology we have now, both of the equipment and how quickly, and constant, is the sharing of material.</span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">Before CV19: Had we been asked, 6 or 12 months ago, how the field recordist or artist should document a world wide event, including the climate crisis, effecting everyone somehow, we would have answered 'better than we have in the past. Fairer. With more sensitivity and understanding'. Am I seeing, hearing that happening now? mostly, no.</span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">11/4/20</span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">After CV19 / after 'human': If we imagine a future where 'human' is history and some new sentient species find our sound archives from, lets say, 1900 to 2021, when listening back how would they perceive us as a species and the time of CV19? In terms of a general assessment of al the material they would think planes were much rarer than they are and hardly ever fly over forests and other 'natural' environments. Why? Because that area of recording / art cleans such sounds out in pursuit of 'the best' recording, in the mind of the artist / recordist. They would think 'nature' was a calm and tranquil place with only an occasional hint of danger in one or two places on our past-map. Of our cities they would hear, I argue, order and similar levels of passivity. The time of CV19 would be presented to them as an even more bucolic, still idyll, and, as with a large percentage of the other recordings, overwhelmingly white, male and from the view point of countries amongst the wealthier on the planet. On the issue of gender for example, looking at all of the current websites / projects documenting the CV19 crisis in sound around 91%, currently, of the sounds have been submitted by men and that cannot help but distort them as historical contexts. In terms of ethnicity it's slightly harder to tell as names alone aren't always reliable indicators but I think it is possible to say that the majority will be white. The sounds themselves are almost entirely European or American with the next most common seeming to represent to this future species something called 'the Chinese' or 'the Asian', who appear to be either shouting / protesting or being blamed and shunned. In short our sound archive of this time would perhaps not be something to be proud of. It might even be, through the process of archive editing and access, as distorted and as problematic as the educational text books written through the lens of colonialism that we now find so deeply flawed and, importantly, that we all think we would never replicate in any context.</span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">The truth is we humans are individuals within communities but not always of them. We record, write, photograph, film, paint and sculpt as individuals and the access of privilege is maintained by our own attempts to find purpose and happiness. We do those things because we enjoy them or they provide some outlet for us. We do them, sometimes, in order to make a living. Can we ever really represent some general, accurate but messy, idea of who we are as a species or our history? Should we even try or set up projects claiming that to be an aim? Or do we always fail, instead presenting what our ego wants to believe is correct for us, and in so doing overriding any hope of being objective to the degree we believe possible? Isn't it better, more real to just be who we are and be confident and happy that in our sharing of material we are individuals, complete with our own strengths and fragilities, with our own need to express.</span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">There is no hatred or disgust in my words towards the vast majority of the people who might take part in these projects, not towards all of us who take an active interest in how our environments are being changed by CV19. I question myself in all of this as much as anyone else. As always there will be some who create projects mostly to serve their own ego and there will be those who genuinely believe there is an importance in what they are doing. I'm not arguing there isn't. As I said I recognise the motivations. I simply think part of the process has to be asking questions, some of which I have raised here. Has to be an understanding of where we sit within a human history of objectification. Can we 'do better'? I don't know. On a personal note I work through these thoughts when I feel blocked by them, aiming, as ever to get back to the simple creative impulse and the enjoyment of the ecstatic moment. But I can say that because I don't sit within an academic sense of the hierarchies of ordered cultural and historical contexts. I don't see those places / spaces as automatically less compromised now than they have ever been.<br /><br />I don't have the answers to the questions, except that I think asking them is important.</span></span><br />
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">stay safe</span></span><span style="font-family: "courier new" , "courier" , monospace;"> </span><br />
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<span class="s1" style="font-kerning: none;"><i><span style="font-family: "courier new" , "courier" , monospace;">repetition / redundancy (2020)</span></i></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">Jez riley French</span></span></div>
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<span class="s1" style="font-kerning: none;"><span style="font-family: "courier new" , "courier" , monospace;">a sound score based on submission data collected on one day from five projects mapping lockdown and the wider context of the covid 19 pandemic.<br /><br />instruction; using a laptop / mac enable the text-to-voice function, highlight the text below and press the necessary keys to activate the ai voice reading</span></span></div>
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<span style="font-family: "courier new" , "courier" , monospace;">white male, white male, white male, white male, white female, white male, white female, white male, white male, white male, white male, asian male, asian male, white female, white male, white female, unidentified, white male, </span><br />
<span style="font-family: "courier new" , "courier" , monospace;"> white male, white male, white male, white female, white male, white female, </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">white male, asian male, white female, south american male, white male, white male, white female, white male, white male, african american male, white male, white male, white male, white male, white male, white male, white female, white male, white female, unidentified, white male, </span><br />
<span style="font-family: "courier new" , "courier" , monospace;"> unidentified, white male, white female, white male, white female, asian female, white male, white male, white male, white male, unidentified, asian male, white male, white male, white male, asian male, white female, white male, white female, unidentified, white male, </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">white female, white male, white female, </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">white male, asian male, white female, asian male, white male, white male, white male, white male, white male, white male, white female, asian female, white male, white male, white male, white male, unidentified, black male, asian male, white male, white male, white male, white female, white male, white male, white female, white male, white female, unidentified, white male, white male, white male, african american male, unidentified, black female, white male, white female, white male, white male, white male, white male, white male, white male, white male, white male, white male, white male, white male, white male, white male, white female, white female, white male, white female, white male,</span><br />
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<span style="font-family: "courier new" , "courier" , monospace;">white male, white male, white male, white male, white male, white male, white male, white male, white male, white male, white male, white male, south american male, white male, white male, white male, white male, asian male, white male, white male, white male, white male, white female, white male, white male, white male, white male, white male, white male, white male, white male, white female…</span></div>
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</span>Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-11450502153301131262018-10-10T10:00:00.000+01:002018-10-10T10:00:11.120+01:00<div class="separator" style="clear: both; text-align: center;">
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<br />Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-9976751351291788792018-10-10T09:59:00.001+01:002018-10-10T09:59:26.852+01:00<span style="font-family: "courier new" , "courier" , monospace;">mini-guide: waterproof roll top backpacks</span><br />
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<span class="s1"><span style="font-family: "courier new" , "courier" , monospace; font-size: small;">Dedicated ‘audio bags’ can be expensive and whilst convenient for location recording for productions more and more recordists want to be less visible or have a wider range of sonic interests. Indeed most rarely have need for a specific audio bag. I’m always interested in finding other solutions for carrying equipment (see: <span class="Apple-converted-space"> <a href="http://jezrileyfrench-aquietposition.blogspot.com/2012/02/">http://jezrileyfrench-aquietposition.blogspot.com/2012/02/</a></span>) and myself tend to travel light and with everything packed into a crumpler camera backpack. </span></span><br />
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<span class="s1"><span style="font-family: "courier new" , "courier" , monospace; font-size: small;">With the rise of professional level lower cost and smaller recorders (such as the Sound Devices Mixpre 3 and 6), the increasing use of small profile microphones (omni pairs such as DPA4060 etc), a backpack is an obvious solution. Most of the camera style designs have compartments for keeping things organised and are rain proof to some degree - the crumpler that I use for example. However there are times when we might want to think about a more waterproof solution, particularly when in humid or freezing conditions. There are, of course, lots of these on the market and I haven’t been able to test them all. Additionally the range varies in each country. Here are 3 widely available brands:</span></span><br />
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<span class="s1"><span style="font-family: "courier new" , "courier" , monospace; font-size: small;">key things I was looking for:</span></span></div>
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<span class="s1"><span style="font-family: "courier new" , "courier" , monospace; font-size: small;">. how waterproof they really were in practice</span></span></div>
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<span class="s1"><span style="font-family: "courier new" , "courier" , monospace; font-size: small;">. amount of condensation build up inside the bag</span></span></div>
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<span class="s1"><span style="font-family: "courier new" , "courier" , monospace; font-size: small;">. ergonomics / comfort</span></span></div>
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<span class="s1"><span style="font-family: "courier new" , "courier" , monospace; font-size: small;">. durability</span></span></div>
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<span class="s1"><span style="font-family: "courier new" , "courier" , monospace; font-size: small;">. cost vs quality</span></span><br />
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<span style="font-family: "courier new" , "courier" , monospace;"><b>1) The Friendly Swede 33 litre</b></span></div>
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<span class="s1"><span style="font-family: "courier new" , "courier" , monospace; font-size: small;">at £29 or so, this is a decent bag for the price + it does have a mesh pocket inside as well as one for a 15inch laptop and a pocket on the front. So far it’s performed well - no major complaints, though it does seem to be a bit more susceptible to<span class="Apple-converted-space"> condensation build up on longer walks - especially from contact with ones back. In short, whilst it's ok some of the other options simply felt a but more rugged and comfortable.</span></span></span><br />
<span class="s1"><span style="font-family: "courier new" , "courier" , monospace; font-size: small;"><span class="Apple-converted-space">rain: no leeks in light of heavy rain when properly closed.</span></span></span><br />
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<span class="s1"><span style="font-family: "courier new" , "courier" , monospace; font-size: small;"><b>2) Overboard 30 litre<span class="Apple-converted-space"> </span></b></span></span></div>
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<span class="s1"><span style="font-family: "courier new" , "courier" , monospace; font-size: small;">I have used overboard waterproof ‘tube’ bags for carrying around spare equipment on workshops when out in the field - handy for cables etc. and have always found them to be very well made without being excessively expensive. The same can be said for this backpack. So far its stood up well to light and heavy rain, reasonable humidity and a series of stress tests to ensure straps and seems hold up. As with most of these style bags they are basically one compartment and with a roll-over style top opening. It’d be nice perhaps to have an inner pocket for a laptop when travelling & using it as cabin baggage for example, but with a decent sleeve & careful packing this isn’t a massive problem. Having done a fair bit of research into these bags it seems to be that the ones that do have a pocket for a laptop inside tend to be less rugged, generally speaking because they’re not made for the outdoor / heavy duty / extreme sports side of the market. There isn’t a waist strap though and this can be an issue when carrying enough equipment to fit the large 30 litre capacity. After a few weeks of testing that is the only downside to this one that I keep being reminded of when using. At between £39-£50 though it is very good value.</span></span></div>
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<span class="s1"><span style="font-family: "courier new" , "courier" , monospace; font-size: small;">rain: no leakage in light or heavy rain, when properly closed</span></span><br />
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<span class="s1"><span style="font-family: "courier new" , "courier" , monospace; font-size: small;"><b>3)<span class="Apple-converted-space"> </span>lomo 40 litre</b></span></span></div>
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<span class="s1"><span style="font-family: "courier new" , "courier" , monospace; font-size: small;">This is big ! I mean at 40 litre capacity you can fit lots of kit in here, along with clothes for a trip of a few days. On some airlines it might not squeeze into their cabin bag rules but for most it can be possible, if one pays attention to the depth (28cm max whereas most cabin bag regs are 25cm max). Again, so far it has survived testing well - no problems to speak of and it also has a waist strap for a bit more support when walking distances. With both this and the Overboard bag I also tested for condensation build up by placing a warm-ish recorder and battery pack into the bag, sealing and checking after 5mins, 10mins and 15mins. With a small silica pouch in the bags at 5mins both felt slightly as if condensation might be on the way - none there but a change in the feel of the material near to the recorder - but at 10mins this had returned to normal. I also tested in a similar manner but with the recorder and battery pack first placed in the small protective sleeve / bag that I use. This led to no problems at all in both the lomo and the overboard bag. This lomo is around £35 so again, good value.</span></span></div>
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<span class="s1"><span style="font-family: "courier new" , "courier" , monospace; font-size: small;">rain: no leakage in light or heavy rain when properly closed</span></span><br />
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<span class="s1"><span style="font-family: "courier new" , "courier" , monospace; font-size: small;">* caveat: all of the bags still need to be tested in an area of very high humidity and full snow / ice conditions.<span class="Apple-converted-space"> </span></span></span></div>
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</style>Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-53839847636020943092017-10-06T19:34:00.003+01:002018-05-16T19:06:35.741+01:00<div class="p1" style="text-align: center;">
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<span class="s1"><i><span style="font-size: large;">murmuration</span></i></span><br />
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<span class="s1"><span style="font-size: large;">4th - 10th June 2018</span></span></div>
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<span class="s1"><span style="font-size: large;">with </span></span><br />
<span class="s1"><span style="font-size: large;">Chris Watson</span></span><br />
<span class="s1"><span style="font-size: large;">Jez riley French </span></span></div>
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<span style="font-size: large;">and special guests inc. Heather Ross, Stephanie John, Leah Barclay <complete id="goog_1257589236">+</complete></span></div>
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<span class="s1"><span style="font-size: small;">i'm pleased to announce the first murmuration - a Scottish gathering of listeners in an area of stunning habitats from Munros (mountains over 3000 feet) to Lochs, rivers and glens.</span></span></div>
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<span class="s1"><span style="font-size: small;">The trip promises to be not only a rich source of inspiration, listening and recording possibilities but a chance to discuss and share knowledge around the subjects of located sound, acoustic ecology and contemporary sound practice in its varied forms.</span></span></div>
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<span class="s1"><b><span style="font-size: small;">cost: £795 per person</span></b></span></div>
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<span class="s1"><span style="font-size: small;">which includes 6 nights full board accommodation in Glenshee, on the edge of the Cairngorms</span></span></div>
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<span class="s1"><b><span style="font-size: small;">Monday 4th June to Sunday 10th June, 2018</span></b></span></div>
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<span class="s1"><span style="font-size: small;">to secure your place please email Jez<a href="mailto:tempjez@hotmail.com" target="_blank"> here</a></span></span></div>
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<span class="s1"><span style="font-size: small;">(see below for booking terms & conditions)</span></span></div>
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<span class="s1"><span style="font-size: small;">The week is intended for those with some experience of working with located sound / field recording & other areas of experiential site-specific work as it will be in the format of a field trip / gathering rather than a series of formal, instructional steps for beginners. That said we of course welcome participants at all stages of experience and both Jez & Chris will be on hand throughout to offer guidance, support and deliver talks on various aspects of the act & art of listening. These will be scheduled on site to fit in with the weather and with the interests of those attending, but will include discussion of subjects such as:</span></span></div>
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<span class="s1"><span style="font-size: small;">. ambisonic recording</span></span></div>
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<span class="s1"><span style="font-size: small;">. extended field recording techniques (contact microphones, hydrophones, coils, ultrasonics, geophones & infrasound)</span></span></div>
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<span class="s1"><span style="font-size: small;">. sound diffusion</span></span></div>
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<span class="s1"><span style="font-size: small;">. the history of field recording & of contemporary sound practices (sound art, sound design, location sound)</span></span></div>
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<span class="s1"><span style="font-size: small;">. the ecological ear & environmental sonic concerns</span></span></div>
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<span class="s1"><span style="font-size: small;">. microphone & recorder choice / listening through the technology</span></span></div>
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<span class="s1"><span style="font-size: small;">. the psychology of listening</span></span></div>
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<span class="s1"><span style="font-size: small;">Apart from the always varied and interesting participants who will be coming from a wide range of sound based backgrounds Jez & Chris have extensive experience of located sound recording, sound art, sound ecology, sound design, response to locales and related areas, so whatever your connection to sound or a sense of place there will be plenty of information and ideas to share and explore. We’ll also be inviting some guests to join us, to assist, share their insights, give talks, share work and lead sound walks. full details will follow shortly.</span></span></div>
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<span class="s1"><b><span style="font-size: small;">location</span></b></span></div>
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<span class="s1"><span style="font-size: small;">Accommodation for this unique trip will be at Gulabin Lodge in Glenshee, Highland Perthshire. We have booked the entire site, including the house, to ensure we can come & go as we please at all hours.</span></span></div>
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<span class="s1"><span style="font-size: small;">As mentioned, the accommodation is fairly remote and so the nearest train station is either Pitlochry or Dundee, some 45 - 60 mins away by car.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">The nearest airports are Edinburgh and Aberdeen, both around 2hrs away or Glasgow which is 2hrs 15mins away.</span></span></div>
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<span class="s1"><span style="font-size: small;">once all places on the trip are filled we’ll email you all allowing you to connect with each other & discuss car sharing options, lifts to & from the station etc.</span></span></div>
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<span class="s1"><span style="font-size: small;">Accommodation is in shared rooms, most of which have between 2 and 9 beds. The lodge can sleep a total of 37 people however to ensure we have space to spread out and for a good group size places available for participants are limited to well below capacity. Bed lined is provided but you do need to bring your own towels.</span></span></div>
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<span class="s1"><span style="font-size: small;">We’ll have full catering consisting breakfast, packed lunches (or soup / sandwiches at the lodge if we’re not out & about) & evening meal. All dietary needs will be accommodated of course.</span></span></div>
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<span class="s1"><span style="font-size: small;">Itinerary:</span></span></div>
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<span class="s1"><span style="font-size: small;"><b>Monday 4th June:</b> arrive after 3pm, with our evening meal planned for 7:30pm followed by an introductory meeting</span></span></div>
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<span class="s1"><span style="font-size: small;"><b>Tues - Saturday: </b>daily activities exploring the area + evening talks & playback / review sessions to be scheduled according to the good old Scottish weather - if its fine we’ll be out exploring no doubt !</span></span></div>
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<span class="s1"><span style="font-size: small;">Given the location & the wealth of environments nearby it is advised that participants have their own transport & are prepared to spend some time during the week working independently or in smaller groups. We will attempt to car share for exploring further afield once there & in the run up to the course we’ll connect all participants so that any car sharing / lifts to & from the accommodation can also be arranged. There are plenty of locations nearby, including several Munro’s & renowned walking routes, for those who want to explore on foot of course. Jez & Chris will of course be on hand to assist and guide people who wish to learn more about the techniques they use or simply to join in their explorations.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">some of the locations nearby include:</span></span></div>
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<span class="s1"><span style="font-size: small;">. 21 Munros within a 15 mile radius inc. Glas Maol, Tolmount, Cairnwell, Can a Gheoildh & Ben Gulabin</span></span></div>
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<span class="s1"><span style="font-size: small;">. Glenshee Glen , Glen Lochsie & Glen Tairneach</span></span></div>
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<span class="s1"><span style="font-size: small;">. The Cateran trail - a walking path used by 15th century cattle rustlers</span></span></div>
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<span class="s1"><span style="font-size: small;">. several Loch’s inc. Loch Vrotachan, Loch Beanie, Auchintaple Loch & Loch Muick</span></span></div>
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<span class="s1"><span style="font-size: small;">. Corrie Fee National Nature Reserve</span></span></div>
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<span class="s1"><span style="font-size: small;">. Mar Lodge Estate, home to BBC’s Winterwatch</span></span></div>
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<span class="s1"><span style="font-size: small;">. several water courses of various sizes inc. Allta Ghlinne Bhig, Alt Coolah & Shee water + small glen pools that should be rich with aquatic flora & fauna.</span></span></div>
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<span class="s1"><span style="font-size: small;">. during the week we’ll hold screenings of films with a strong connection to located sound including Emily Richardson’s ‘Cobra Mist’ (soundtrack by Chris Watson & Benedict Drew), Amanda Belantara’s ‘Sonotoki’ capturing simple moments of daily life in a Japanese village, Heather Ross' 'Domestic Dawn Chorus' & a rare UK screening of Christopher Thompson’s documentary ‘The New Wild’ on how human use of remote natural spaces is changing.</span></span></div>
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<span class="s1"><span style="font-size: small;"><b>Sunday 10th June: </b>depart after breakfast by 11am.</span></span></div>
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<span class="s1"><span style="font-size: small;">Gulabin Lodge also has on site mountain bike rental which is available for an additional charge payable directly to the lodge owners (£20 per day / £60 for 5 days).</span></span></div>
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<span class="s1"><span style="font-size: small;">We will be based some distance from the nearest town, Blairgowrie which is approx 35 mins by car, so it is advised that you arrive with any additional supplies you might need for the week, though i’m sure we’ll be making at least one trip to restock.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">Although we are going to be in a stunning part of Scotland we would advise that there might well be different sonic elements audible in some of our surroundings; walkers, flights overhead, road hum in the distance in some locations at certain times. Aspects of the reality of environmental sound will be discussed during the trip, including whether expectation might serve to separate us from the reality of a planet in constant flux.</span></span></div>
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<span class="s1"><span style="font-size: small;">Following the trip participants will be welcome to contribute recordings or pieces stemming from the trip to a special edition of Framework (Resonance FM) curated & compiled by Jez & Pheobe, along similar lines to the ‘a quiet position - orford ness’<span class="Apple-converted-space"> </span>edition, which can be found here: <a href="http://www.frameworkradio.net/2017/07/609-2017-07-30/" target="_blank">a quiet position - orford ness</a></span></span></div>
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<span class="s1"><span style="font-size: small;">Above all the trip will be a chance for us to gather together & spend several days listening, recording, sharing our experience and generally having a great time meeting good folks. So do join us & be part of this murmuration of listeners !</span></span><br />
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<span class="s1"><span style="font-size: small;"><b>guest artists:</b></span></span><br />
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<span class="s1"><b><span style="font-size: small;">Stephanie Sartorio John</span></b></span></div>
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<span class="s2"><a href="http://stephaniejohn.com/biography/"><span style="font-size: small;">http://stephaniejohn.com/biography/</span></a></span></div>
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<span class="s2"><a href="http://touch33.net/mentorship"><span style="font-size: small;">http://touch33.net/mentorship</span></a></span></div>
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<span class="s1"><span style="font-size: small;">I am an artist and musician who creates sound installations and performances. I am interested in the sound of British industry, the sonic effects of the industrial revolution and the tension between humans and landscape.</span></span></div>
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<span class="s1"><span style="font-size: small;">I started working with field recordings whilst studying at the Royal College of Art where I found the act of listening and recording an effective way of counter-acting the digital image. I went on to spend time researching the sonic effects of the industrial revolution and as a result produced a quadrophonic sound installation made up of recordings taken at Trostre tinplate works in Wales.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">In more recent work I have become concerned with the privatisation of public space and the enclosures of the 18th & 19th centuries, and have just begun a project investigating the sounds of silk weaving.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">I’m looking forward to a week purely dedicated to the pursuit of listening. Such times always enrich and deepen my practise from a practical and conceptual view point.<span class="Apple-converted-space"> </span>I’m also very much looking forward to spending a week with fellow recordists/artists discussing sound and recording in<span class="Apple-converted-space"> </span>beautiful landscapes.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">Stephanie give an informal talk to the group about her work and present her piece ‘Steel Cymreig’ in quad surround.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><b><span style="font-size: small;">Heather Ross</span></b></span></div>
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<span class="s1"><span style="font-size: small;">Heather is a multi-disciplinary artist whose work often involves elements of sound, film and text related to place or situation. Amongst her widely exhibited films Heather’s ‘Domestic Dawn Chorus’ was most recently screened at the ‘Sound + Environment’ conference at Hull University.</span></span></div>
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<span class="s1"><span style="font-size: small;">Ross’s work is concerned with activating written and visual material, using a generative practice by which the subject in question can be re-thought and experienced sensorially. This process might involve, for example, translating a written description of sound or behaviour through performance to interrogate and generate meaning. Currently undertaking a PhD with Newcastle University, her research is focussed on Kurt Schwitters’ Merzbarn Wall (1947-48), situated within The Hatton Gallery, Newcastle. Her project aims to interrogate environmental, social and archival material relating to this structure and to generate new readings and experiences of it as an expanded, time- based artwork in the present.</span></span></div>
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<span class="s1"><span style="font-size: small;">Recent shows have included A Bird in the Head, Danielle Arnaud, London; All The Better To Hear You With, Merzbarn, Cumbria and Works For Air, Hanover Project, Preston. Heather recently completed a Heritage Lottery Funded project with artist, Lukas Hornby, to re-print the archive of Gwyneth Alban Davis and their publication The Caravan Press: Making Visible The Archive of Gwyneth Alban Davis was launched in September 2017.<span class="Apple-converted-space"> </span></span></span></div>
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<span class="s1"><span style="font-size: small;">Heather has worked as a Lecturer in Fine Art at The University of Central Lancashire since 2015 and has previously taught at Chelsea College of Art (2016-17) and Grays School of Art, Aberdeen (2006-12).</span></span></div>
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<span class="s1"><span style="font-size: small;">-Statement about Domestic Dawn Chorus:</span></span></div>
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<span class="s1"><span style="font-size: small;">Domestic Dawn Chorus forms part of a larger body of work entitled On Being Out of Touch (2014-17). This project responded to feelings of alienation from the natural environment,<span class="Apple-converted-space"> </span>employing 'The Observer's Book of Birds' as a tool from which to mine descriptions, text and images for their interpretative possibilities. The film, Domestic Dawn Chorus operates from a distanced position - interrogating the birds through the portal of books which seek to describe or represent them. The work addresses knowledge and knowing as a process; encouraging the activation of information through finding equivalents in the everyday or familiar, drawing on memory and processing information through play.</span></span></div>
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<span class="s1"><b><span style="font-size: small;">Leah Barclay</span></b></span></div>
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<span class="s1"><span style="font-size: small;">http://leahbarclay.com/</span></span></div>
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<span class="s1"><span style="font-size: small;">Leah is an Australian sound artist, composer and researcher working at the intersection of art, science and technology. She specialises in electroacoustic music, acoustic ecology and emerging fields of biology exploring environmental patterns and changes through sound. Her work has been commissioned, performed and exhibited to wide acclaim internationally by organisations including Smithsonian Museum, UNESCO, Ear to the Earth, Al Gore’s Climate Reality and the IUCN. She composes complex sonic environments, immersive live performances and interactive installations that draw attention to changing climates and fragile ecosystems. She leads several large-scale research projects including Biosphere Soundscapes, an interdisciplinary venture exploring the changing soundscapes of UNESCO Biosphere Reserves and River Listening, which examines the creative possibilities of aquatic ecoacoustics in collaboration with the Australian Rivers Institute. Leah’s diverse creative practice has resulted in a career where she works as a researcher, artist, curator and educator with various organisations and institutions. These include designing immersive education programs for UNESCO, directing large-scale interdisciplinary research projects for major universities across Australia and the USA and facilitating partnerships between communities, NGOs and government to explore creative approaches to climate action in remote and regional locations. Leah is the president of the Australian Forum for Acoustic Ecology, the vice-president of the World Forum of Acoustic Ecology and serves on the board of a range of arts and environmental organisations. She is currently a postdoctoral research fellow at the Queensland Conservatorium Research Centre where she is leading a portfolio of research in acoustic ecology and climate change.</span></span></div>
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<li class="li1"><span style="font-size: small;"><span class="s2"></span><span class="s1">booking terms & conditions: you will be required to pay a non-refundable deposit of £95 within 10 days of booking a place, with the balance due by January 31st 2018. In the event that you are no longer able to attend please let us know as soon as possible. If this is after you have paid the full amount you will be refunded minus the deposit & we will then try to find someone to fill your place. If you cancel within 6 weeks of the start of the trip (22/4/2018) or don’t inform us that you can’t attend we will be unable to return your payment unless a replacement can be found as the costs have been carefully calculated per space on the trip. Of course in the event of unforeseen circumstances we will do whatever we can to assist & try to ensure the best outcome for all.</span></span></li>
<li class="li1"><span style="font-size: small;"><span class="s2"></span><span class="s1">for full terms & conditions please see the website here:<span class="Apple-converted-space"> </span></span></span></li>
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Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-62344045701177335732017-09-18T21:56:00.000+01:002017-09-18T22:01:28.040+01:00<div class="separator" style="clear: both; text-align: center;">
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<br />Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-2673999055626780042017-09-18T08:12:00.000+01:002017-09-18T22:00:57.775+01:00<div style="text-align: center;">
Sound Devices mixpre 3 and 6 - initial thoughts</div>
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<span class="s1">firstly some caveats: i’m not a ‘location sound crew’ chap & so I use recording technology as part of an artistic process that is dependant not on the technology as the driver of the process or its goal but rather an intuitive meeting point between content, intent, chance and the tools used. I am not interested in the erroneous idea of a ‘perfect’ sound or, more to the point, a narrow view of technological precision as a means of assessing the result. With this in mind if I acquire any new tool, be it a camera, a recorder, a microphone or an instrument, the success of my relationship with it could best be summarised as it ‘feeling’ right, an intuitive response that allows me to concentrate not on the technology but on the creative content, either performed or otherwise perceived. I</span></div>
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<span class="s1">When it comes to portable sound recording devices the technical quality is increasingly high and democratic in its accessibility. This has lots of benefits of course but it is not, in any way, a guarantee of anything, especially the listening or the created content. Whether it be in musical instruments, cameras or audio recording devices i’ve never been interested in buying the latest model or trying to keep up with some (it has to be said stereotypically male) attitude that fetishises equipment. I’ve used the same recorder (Sound Devices) for several years now, alongside older ones that, for me, connect with a musical / material driven approach to sound exploration (tape & minidisc recorders for example). However the launch of the mixpre3 / 6 tempted me & so i’ve spent the last few weeks seeing how the mp6 ‘felt’. Whether it allowed me to focus on the listening, to fit into my process so to speak.</span></div>
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<span class="s1">Overall i’m pleased with it. It feels solid, reliable and in terms of the sound quality, it, mostly, is in line with my experience with Sound Devices equipment over the years. As i’ve said elsewhere there are one or two key niggles:</span></div>
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<li class="li1" style="text-align: justify;"><span class="s2"></span><span class="s1">companies such as Sound Devices have, in my opinion, to begin taking into account that their previous core market (location sound) is now the smallest sector & those of us who have different approaches to listening would, for example, appreciate much better headphone pre-amps, especially for durational listening & for when working with extended methods (contact microphones, hydrophones etc).</span></li>
<li class="li1" style="text-align: justify;"><span class="s2"></span><span class="s1">there are some grey areas in understanding key functions that also reflect the fact that SD are still ‘speaking’ to location sound recordists & failing to grasp that there are aspects of that area of sound culture that many users actively choose to reject for various reasons. Some of these areas are about certain features such as the limiters (on or off in some modes where selection isn’t an option for example) & fader function / structures. </span></li>
<li class="li1" style="text-align: justify;"><span class="s2"></span><span class="s1">A firmware fix is needed to allow linking of 4 channels for ambisonic recording. SD perhaps sped up the release of the MP3/6 as a reaction to the success of the Zoom F series but it still needs to fully grasp & accept that users now expect to be able to use double m/s or ambisonic systems as a ‘standard’ ability of any recorder / mixer.</span></li>
<li class="li1" style="text-align: justify;"><span class="s2"></span><span class="s1">A hirose connector for mains or other powering options would have also been useful. It can however be acquired by purchasing an additional sled (from Hawk Woods), as indeed can Li-ion battery operation.</span></li>
<li class="li1" style="text-align: justify;"><span class="s2"></span><span class="s1">i’m also somewhat intrigued by the occasional noise that occurs when you switch modes without turning the knobs / gain faders down. Its mentioned by SD but its slightly unclear as to why this happens or what the long term effect could be. Some further explanation / details would be interesting.</span></li>
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<span class="s1">(* i’ll note at this point that my mixpre6 is having to be returned as it has a fault. With unterminated inputs & all settings identical the noise level on channel 1 is significantly higher than all other channels. It might be worth other users doing this test. Unterminated inputs can vary but Sound Devices confirmed via email that the levels should still be similar).</span></div>
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<span class="s1">So, it is a bit less intuitive ‘out of the box’ so to speak. Once has to spend longer getting to grips with its menu & the different operating options than with most other devices in this area, but that is partly of course because it isn’t designed simply as a portable recorder: its a pre-amp / mixer / recorder & so there’s a bit more scrolling through menu’s & setting input / fader & record options at first.<span class="Apple-converted-space"> </span></span></div>
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<span class="s1">Once you have your core setting’s established the mixpre6 is a very compact, solid & impressive recorder. The new Kashmir pre-amps sound nice with conventional microphones & tests so far seem to show equally impressive results with extended recording techniques (contact mics, hydrophones etc). The headphone amplifier however sounds different than the one used in the 7 series recorders & with contact mics this means one has to spend some time getting used to the difference between what one can hear in the field & the resulting recording.</span></div>
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<span class="s1">I’ve been running tests on different powering solutions & find that the ravpower usb-c power packs last for days. I’ve also received the new Hawk Woods sleds for powering via Hirose and via MDV / L-mount batteries. As is to be expected from Hawk Woods these are well built and thought out additions to the mixpre's and have been testing well. The ergonomics of the SD version of the MDV / L-mount sled are somewhat cumbersome for those of us who aren’t location crew recordists and indeed for those who are but don't like the way the two batteries stick out top and bottom from the mixpre. </span><br />
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<span class="s1">. Hawk Woods SD-1 retails in the UK for £108 & allows the mixpre's to be power from a main power supply with hirose connector or indeed with NP1 batteries with their associated hirose shoes.</span><br />
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<span class="s1">. Hawk Woods SD-2 retails in the UK for £144 & allows for the mixpre's to be powered by 1 MDV / L-mount battery, which expands the run time, with a 7200mah battery, to between 8-12 hours at least.</span></div>
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<span class="s1">I tend not to spend time on the various forums for sound - they are, as readers will know, largely blokes talking about kit in ways that reflect the problematic idea that the technology is what matters most. What I will say is that for anyone who likes a more creative, explorative approach to sound the mixpre’s offer the possibilities that really quiet pre-amps can bring in a small enough device to be able to carry it around any situation; urban or rural. Those familiar with the SD 7-series recorders will perhaps want to know whether it sounds as good & my reply is that i’m suitably impressed so far but it’ll take me a few months to know whether the mixpre6 ‘connects’ to me sonically in the same way as my other SD recorder does. I need to reach a point where I listen <i>through</i> it rather than to it.</span></div>
Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-79438535394817628272016-11-20T22:06:00.002+00:002016-11-20T22:06:32.508+00:00<div class="" data-block="true" data-editor="2a14g" data-offset-key="4ri2i-0-0" style="color: #1d2129; font-family: Helvetica, Arial, sans-serif; font-size: 14px; line-height: 18px; white-space: pre-wrap;">
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<span data-offset-key="4ri2i-0-0" style="font-family: inherit;">well, I have to see I do feel rather chuffed that JrF hydrophones are being used on Planet Earth II with Attenborough & have been used to identify & record, for the first time, a new species of river dolphin ! </span></div>
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<span data-offset-key="6nghu-0-0" style="font-family: inherit;"><a href="http://www.bbc.co.uk/iplayer/episode/b083wt7z/planet-earth-ii-3-jungles">http://www.bbc.co.uk/iplayer/episode/b083wt7z/planet-earth-ii-3-jungles</a></span></div>
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Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-77401327988801712742016-07-28T22:51:00.002+01:002016-07-28T22:51:27.492+01:00<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/175799748" webkitallowfullscreen="" width="640"></iframe>
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<a href="https://vimeo.com/175799748">fjallsarlon</a> from <a href="https://vimeo.com/jezrileyfrench">Jez riley French</a> on <a href="https://vimeo.com/">Vimeo</a>.Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-25759884889949207782016-07-16T10:41:00.002+01:002016-07-16T10:41:56.002+01:00<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/174896431" webkitallowfullscreen="" width="640"></iframe>
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<a href="https://vimeo.com/174896431">gunnuhver</a> from <a href="https://vimeo.com/jezrileyfrench">Jez riley French</a> on <a href="https://vimeo.com/">Vimeo</a>.Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-84201552700010005662016-05-19T09:14:00.002+01:002016-05-19T09:14:16.199+01:00<div style="text-align: center;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3318170789/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="http://engravedglass.bandcamp.com/album/dissolves-kockums-factory-malmo">dissolves | kockums factory, malmo by Jez riley French | engraved glass label | a quiet position</a></iframe></div>
Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-35612553237477168052016-05-10T13:29:00.001+01:002016-05-10T13:29:30.650+01:00JrF contact mics & hydrophones - built specially for the acoustic garden display at this years Chelsea Flower show, in collaboration with the Peter Eustance, Papworth Trust & Evelyn Glennie:<br />
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<a href="https://www.rhs.org.uk/shows-events/rhs-chelsea-flower-show/exhibitors/2016/gardens/papworth-trust-together-we-can">https://www.rhs.org.uk/shows-events/rhs-chelsea-flower-show/exhibitors/2016/gardens/papworth-trust-together-we-can</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi60zvhJ8M2noN4M2EINgXpOYnalGd0XeFdUMYGRBG9dgsOkzheQ1RRTmMk879kX9G_-lpKH8x54lmLd1Vl8yovEU6jvdbMIVPapgqocs-uGI-eQewXiqi34tF5DbVFZJFUq_XWzZZ6Q8bp/s1600/Papworth-Together-we-can-2-940-x-627.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi60zvhJ8M2noN4M2EINgXpOYnalGd0XeFdUMYGRBG9dgsOkzheQ1RRTmMk879kX9G_-lpKH8x54lmLd1Vl8yovEU6jvdbMIVPapgqocs-uGI-eQewXiqi34tF5DbVFZJFUq_XWzZZ6Q8bp/s320/Papworth-Together-we-can-2-940-x-627.jpg" width="320" /></a></div>
Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-23277655194755788592016-05-05T13:34:00.001+01:002016-05-05T13:34:26.671+01:00<div style="text-align: center;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=439603365/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="http://engravedglass.bandcamp.com/album/estonian-strings">estonian strings by jez riley french</a></iframe></div>
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digital reissue of 'estonian strings'</div>
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(nb. headphones / conventional speakers advised)</div>
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<a href="https://engravedglass.bandcamp.com/album/estonian-strings" rel="nofollow" style="color: #3b5998; cursor: pointer; text-decoration: none;" target="_blank">https://engravedglass.bandcamp.com/album/estonian-strings</a></div>
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review by Cheryl Tipp (British Library):</div>
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Estonian Strings. Jez riley French is well known for his work exploring sounds that are normally hidden from the general listener. His recordings bring forth new life into environments that are not actively forthcoming when it comes to sharing their acoustic qualities, thereby opening up new sound environments to explore. "Estonian Strings" is the latest offering from French and takes the form of a 42 minute composition based on recordings made during his first trip to Estonia in the spring of 2009. With his constant desire to investigate new sonic sources, French applied his contact microphones to a variety of "found strings". "I found transmitter cables, long chimney support cables, disused piano wires stretched across old farm utensils, rust covered fences -- each one a surprise, a discovery and a joy to listen to." The result of this foray into the unknown is a select series of field recordings that have been patiently worked together to create a pulsating, otherworldly piece that quietly beckons to the listener. Headphones are a definite must if you want to fully appreciate the multilayered intricacies of this work. With headphones, 'Estonian Strings' takes on an almost mesmeric quality; the piece is unhurried and minimal, yet it seems almost impossible to remove oneself from this strange world. The changing tone of the work is unquestionably subtle, but there is enough happening to retain more than a passing interest in the content. With his ear for the unusual and an unflinching curiosity, French once again opens up a portal to reveal a wealth of usually concealed sounds. Just the right balance has been struck between content and composition here, making 'Estonian Strings' an intriguing and enjoyable listening experience. ct</div>
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Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-58535044571544626592016-04-24T08:41:00.001+01:002016-04-24T08:41:41.259+01:00'glen buck loch' + photographic score<br />
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0℃ exhibition, BlanClass, Yokohama, Japan<br />
27-29 / 5 / 2016<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrvA7pcB6pxmu3b4ZpR2zBHto2lsWiuKzqIIDJv9t2N_roccIKreyprEZ2pUkBJdvH9GZYU-P9tkC8CRlpYlAjxiRdfEKuoK4H8FpzT4W3ijah_v8blR4dloZDx58XUtNQPoaqzBamF_e_/s1600/jez+riley+french+-+score+for+listening+59.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrvA7pcB6pxmu3b4ZpR2zBHto2lsWiuKzqIIDJv9t2N_roccIKreyprEZ2pUkBJdvH9GZYU-P9tkC8CRlpYlAjxiRdfEKuoK4H8FpzT4W3ijah_v8blR4dloZDx58XUtNQPoaqzBamF_e_/s400/jez+riley+french+-+score+for+listening+59.jpg" width="282" /></a></div>
exhibition also includes work by:<br />
Sawako Kato<br />
Hafdís Bjarnadóttir<br />
Akio Suzuki <br />
Jana Winderen<br />
Francisco Lopez <br />
Leah Beeferman<br />
Yukio Fujimoto<br />
Katie Paterson<br />
Philip Samatzis<br />
& more<br />
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<a href="http://blanclass.com/english/schedule/20160529">http://blanclass.com/english/schedule/20160529</a>Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-80681765808726182562016-04-21T16:40:00.002+01:002016-04-23T07:16:53.169+01:00<b style="font-family: calibri; text-align: justify;">Orford Ness </b><br />
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<b>Sound Recording field trip to an </b>internationally important coastal nature reserve, with a fascinating</div>
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20th-century history</div>
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<span style="-webkit-text-stroke-width: initial;">with Chris Watson and Jez riley French</span></div>
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5-7th July, 2016</div>
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A unique mid-week field trip to the <b>National Trust’s Orford Ness National Nature Reserve</b> with access to areas normally off limits to visitors (with careful guidelines as site has fragile habitats and was used as a military testing facility) and two nights on Orford Ness! </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIxzov2fiVVp4RD47r9pHSxEZ5QD-6GkmBe92R3UZhzYgl7_fQDaqbngKQdfsh_LGvbMpLw-ngnIl7fx6RU8OB3FYSB55KX6L3X8Fkx2F5A7AKG1KPpgfaSkxhL9un2_PQ9CHWcarMyLHG/s1600/1966618_bb1e9c8c.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIxzov2fiVVp4RD47r9pHSxEZ5QD-6GkmBe92R3UZhzYgl7_fQDaqbngKQdfsh_LGvbMpLw-ngnIl7fx6RU8OB3FYSB55KX6L3X8Fkx2F5A7AKG1KPpgfaSkxhL9un2_PQ9CHWcarMyLHG/s320/1966618_bb1e9c8c.jpg" width="320" /></a>During the trip there will be extensive exploration of recording the Ness and its abandoned military structures with conventional microphones (inc. surround and ambisonic options), parabolic arrays, contact mics, hydrophones, ultrasonic detectors, coils and geophones.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWN0Oc7jRtmSWmZenGnhuKsmJ_mrCMVr3TAlam8kPW1UrSfO1A8TWCVyoTYQZgyO8DDe-52EcirsPH1eLD1af3DPeu_O95CjQ1ZnZxTMYDUoMP8h7SOJWuNO78d9WiIwnlpddv2sb9AWyu/s1600/287752_595e8e12.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWN0Oc7jRtmSWmZenGnhuKsmJ_mrCMVr3TAlam8kPW1UrSfO1A8TWCVyoTYQZgyO8DDe-52EcirsPH1eLD1af3DPeu_O95CjQ1ZnZxTMYDUoMP8h7SOJWuNO78d9WiIwnlpddv2sb9AWyu/s320/287752_595e8e12.jpg" width="320" /></a>To ensure the best experience for all we are limiting the number of places to 10 participants.</div>
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This is an amazing opportunity to explore and record one of the most historically fascinating sites in the UK important in the development of military techniques and equipment from WWI to the Atomic age. Whilst the Ness has plenty of nature to record, this particular trip is likely to also appeal strongly to those interested in architectural acoustics, psychogeography and various approaches to the use of field recording in the wider sound arts. </div>
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For more information on the site visit:</div>
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<span style="font-kerning: none; text-decoration: underline;"><a href="http://www.nationaltrust.org.uk/orford-ness-national-nature-reserve">http://www.nationaltrust.org.uk/orford-ness-national-nature-reserve</a></span></div>
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<a href="https://en.wikipedia.org/wiki/Orford_Ness">https://en.wikipedia.org/wiki/Orford_Ness</a></div>
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The trip is, of course, suitable for participants interested in any aspect of field recording, sound and the act and art of listening, however due to the unique aspects of the site the trip might be of particularly interest to those working with field recording as a process in the wider arts (sound, installation, video art). Chris and Jez will be on hand to instigate discussions on the various subtle aspects of working with found sound, diffusion or recordings and interacting with environments. In addition, linking with Framework (Resonance FM's field recording based show) participants will be invited to contribute to a special edition of the show based around this trip.<br />
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Accommodation is in the ‘basic’, self-catering building on the ness itself. There are 3 bunk rooms so we will book participants based on availability in male and female rooms. Participants will need to bring their own sheets, quilt or sleeping bag and pillows + food and drink for the duration. There is no catering element to this trip so we will all have to pitch in & prepare meals together. If we can persuade the ferry operator there might be one evening trip back to the mainland so we can go to the pub for a meal. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg0o9wNpiIRmDxlBBFj21PqqpVZyP2ZXPe9xeLiPcHo_yBCow2EyfgwJIWOwqZr3IVS2ZAUWB_aKUCyiiAWItwND87AnKfCdu1hTwBtFEN3GPaIfHa71yhk3k8SIAqQ5zfZGf4gATYhzg7/s1600/IP122NU-Orford-Ness.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg0o9wNpiIRmDxlBBFj21PqqpVZyP2ZXPe9xeLiPcHo_yBCow2EyfgwJIWOwqZr3IVS2ZAUWB_aKUCyiiAWItwND87AnKfCdu1hTwBtFEN3GPaIfHa71yhk3k8SIAqQ5zfZGf4gATYhzg7/s320/IP122NU-Orford-Ness.jpg" width="320" /></a><b>day one:</b> please aim to arrive at Orford Quay at 2:00pm. We will then ferry everyone to the ness and be transported to the accommodation building to settle in. </div>
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We’ll hold a welcome meeting, giving us all the chance to get to know each other and discuss our aims for the trip and begin exploring the ness, recording during the afternoon, evening and through the night.</div>
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<b>day two:</b> further exploration of the ness, including access to the various abandoned buildings + the option for playback sessions in the evening.</div>
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<b>day three: </b>further exploration of the ness, including access to buildings. We’ll aim to be ready to leave the ness by the ferry at 5pm or before if you wish.</div>
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<b>Cost: £350 </b>per person </div>
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<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
<b>what’s included: </b></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
. access to Orford Ness, including various military structures and natural </div>
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habitats</div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
. accommodation for 3 days / 2 nights on Orford Ness</div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
. parking in the public car park and ferry crossings on National Trust’s Octavia</div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
. access to help, assistance and advice from Chris and Jez </div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
. two NT guides, with in-depth knowledge of the Ness and on site transport</div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
. Chris and Jez will also bring extensive recording equipment with them, which participants will also<br />
be able to try alongside their own kit.</div>
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<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
<b>what’s not included:</b></div>
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. food and drink</div>
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. bed linen (please bring your own)</div>
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. travel to and from Orford</div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
. travel / personal insurance</div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
nb. it is envisaged that participants will have some experience of field recording and have their own<span style="-webkit-text-stroke-width: initial;"> recording equipment</span></div>
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<span style="-webkit-text-stroke-width: initial;"><br /></span></div>
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<b>suggestions of what you should bring:</b></div>
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. clothes for all weather conditions</div>
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. decent boots capable of coping with different weather conditions </div>
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. bed linen or sleeping bag and pillow cases, towel, toiletries</div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
. recording equipment inc. headphones</div>
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. batteries, chargers etc.</div>
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. camera</div>
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. food and drink for the duration </div>
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. notebook and pen</div>
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. head torch</div>
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. laptop for editing and playback of recordings</div>
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There is some mobile signal on the ness, but it can be patchy. It is unlikely there will be any internet access on the ness.</div>
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To book a place:</div>
<ol>
<li style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin: 0px 0px 10px; text-align: justify;"><span style="font-family: "helvetica";"></span>please email Jez at: <a href="mailto:tempjez@hotmail.com"><span style="-webkit-text-stroke-color: rgb(4, 51, 255); color: #0433ff;">tempjez@hotmail.com</span></a> to reserve your place.</li>
<li style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin: 0px 0px 10px; text-align: justify;"><span style="font-family: "helvetica";"></span>you will then be sent a link to the NT booking process and will be required to pay in full for your place (this is because demand will be very high for places and due to the NT booking process. In the event that you have to cancel your place up to 2 months before the trip the NT will refund your payment minus a £50 cancellation fee. Cancellation after this will only trigger a refund if we can fill your place on the trip, minus the cancellation fee).</li>
<li style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin: 0px 0px 10px; text-align: justify;"><span style="font-family: "helvetica";"></span>please also email Jez your full contact information, including mobile number, details of any flights / trains you are taking to reach the meeting point, a brief description of your areas of interest in sound, the equipment you will be bringing and any questions you have. Please also update Jez on any changes to your travel plans in the weeks prior to the trip. </li>
</ol>
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<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
<b>Chris Watson</b></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
Chris Watson has developed a particular and passionate interest in recording the wildlife sounds of animals, habitats and atmospheres from around the world. Most recently Watson has been exploring aspects of spatial sound through Ambisonic installations in collaboration with galleries around the world such as in The Louvre, RMIT Melbourne, Krakow Botanical Gardens, The Millennium Gallery Sheffield, Opera North in Leeds and the Royal Opera House in London’s Covent Garden. Chris can be heard regularly on BBC Radio, releases albums for the Touch label and leads workshops on field recording around the world.</div>
<div style="-webkit-text-stroke-color: rgb(4, 51, 255); -webkit-text-stroke-width: initial; color: #0433ff; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
<span style="font-kerning: none; text-decoration: underline;"><a href="http://www.chriswatson.net/">www.chriswatson.net</a></span></div>
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<b><br /></b></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
<b>Jez riley French</b></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
Alongside performances, exhibitions, installations, Jez lectures and runs workshops around the world on field recording and the act and art of listening. His range of JrF specialist microphones have become widely used by recordists, sound artists, musicians and cultural organisations and have had a significant influence on the development of sound culture in recent years. He also curates various other projects exploring the broad ideas surrounding field recording as a primary art of sound / sound art.</div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
Recent work includes commissions for Tate Modern (UK), Artisphere (USA) and for organisations in Italy, Iceland, Japan, Spain and the UK. A section of his piece for Tate Modern was also chosen to be part of the ‘500 years of British Art’ series at Tate Britain.</div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
In recent years he has been working extensively on recordings of surfaces and spaces (natural and man made) and developing the concept of photographic scores. Jez is particularly associated with the development of extended recording techniques, including the recording of structural vibrations, contact microphone recording, ultrasonics, infrasonics, internal electronic signals via coil pick-up's and recordings made with hydrophones.</div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Calibri; margin-bottom: 10px; text-align: justify;">
Amongst his key recent works are pieces capturing the sound of the dolomites dissolving, ants consuming fallen fruit, the Tate Modern building vibrating, the infrasound of domestic spaces around the world, glaciers melting in Iceland and the tonal resonances of natural and human objects in the landscape.</div>
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<span style="font-kerning: none; text-decoration: underline;"><a href="http://jezrileyfrench.co.uk/">jezrileyfrench.co.uk</a></span></div>
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Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-42968700333598698922016-03-25T12:33:00.001+00:002016-04-08T04:46:13.000+01:00<div style="text-align: center;">
nice web archive of the workshop in Ayr with myself and Chris Watson: </div>
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<a href="http://river.uws.io/#The+River+Issue">http://river.uws.io/#The+River+Issue</a></div>
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<span style="color: #0000ee;"><u><br /></u></span><a href="http://river.uws.io/#The+River+Issue"></a>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0c4IWqJE9Sq4lkKzXvdFFg3w3lfctLeB2pc4Qpq1vbi44dOj5rKd6xa8s5YrYdX9ulsr2YEK6lxd54bTlE8ldpuDIxa6A-9O1ksmC736GkgvtpfeXl9IBX9mOEDB1EaoizkSJ9DjDdGyH/s1600/_MG_3321_grey_1024.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0c4IWqJE9Sq4lkKzXvdFFg3w3lfctLeB2pc4Qpq1vbi44dOj5rKd6xa8s5YrYdX9ulsr2YEK6lxd54bTlE8ldpuDIxa6A-9O1ksmC736GkgvtpfeXl9IBX9mOEDB1EaoizkSJ9DjDdGyH/s320/_MG_3321_grey_1024.jpg" width="320" /></a></div>
Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-29101938076689584032016-03-17T13:56:00.001+00:002016-03-17T13:56:32.188+00:00<div class="" data-block="true" data-editor="1ru1h" data-offset-key="6vfir-0-0" style="color: #373e4d; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 18px; white-space: pre-wrap;">
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<span data-offset-key="6vfir-0-0">the 1st Source film on the subject of the links between sound and photography is now online, featuring myself, Dawn Wilson & Angus Carlyle:</span></div>
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/dRnuEVT9His" width="560"></iframe></div>
Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-28209097833178025432016-03-11T08:21:00.001+00:002016-03-11T08:21:11.527+00:00<div class="" data-block="true" data-offset-key="p0jg-0-0" style="color: #141823; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 18px; white-space: pre-wrap;">
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<span data-offset-key="p0jg-0-0">the new issue of Source Photographic review is a fascinating survey of the links between sound and photography including Eve Forrest, writing about the 1980s LPs that make up the 'Photographers' gallery of music and sound', an article on recent books that include sound recordings and portfolios of work by Joséphine Michel who has been photographing birds as sound emitting objects, & myself (Jez riley French) whose photographs are designed as 'scores for listening' and Paul Gaffney whose work is a direct response to a piece of music. </span></div>
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<span data-offset-key="ddfhk-0-0">Source have also commissioned a series of films & audio interviews via their website to go along with the print issue, including myself again, Angus Carlyle, Dawn Wilson, Cheryl Tip, Jon Wozencroft, Laura Pannack and Ian Rawes. </span></div>
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<span data-offset-key="9ros4-0-0">a valuable addition to the resources on this rarely covered subject - £6 + p&p from the website:</span></div>
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<span data-offset-key="8f6ql-0-0"><a href="http://bit.ly/sonicphot">http://bit.ly/sonicphot</a></span></div>
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<span style="color: #0000ee;"><u><br /></u></span></div>
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<a href="http://bit.ly/sonicphot"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOcxjzALssw0EeRFVRUV9P7oDlrx-UY0UvoijX13-XTwh2_O0v3fAwq0R34VXXiBmXZmkAHreJ5OWUT8ZiJwid39160zkN2wrHkrFWWdPIgUHEr1FBUn_G1uu3rQ6UYKVBRoOXEiCHnOu8/s1600/cover_85_700.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOcxjzALssw0EeRFVRUV9P7oDlrx-UY0UvoijX13-XTwh2_O0v3fAwq0R34VXXiBmXZmkAHreJ5OWUT8ZiJwid39160zkN2wrHkrFWWdPIgUHEr1FBUn_G1uu3rQ6UYKVBRoOXEiCHnOu8/s640/cover_85_700.jpg" width="587" /></a></div>
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Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-11288221644395211532016-03-02T13:08:00.001+00:002016-03-02T13:08:40.117+00:00<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;">pleased to announce the release of <i>'portable music'</i> on Touch's Touchline series - three pieces based on structural resonances, close listening to locales and geothermal ultrasonics from Iceland - featuring myself, Pheobe Law, Sofia Miorelli, Maria Silvano, Maddalena Carta, Michele Spanghero, Sandro Carta, Gabriella Ferrari, Antonio Della Marina, the audience & villages at Topolo & its locale....</span></div>
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<a href="https://touchshop.org//product_info.php?products_id=726">https://touchshop.org//product_info.php?products_id=726</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhporKEzSRoA54ljc1-EE9odGVLOYoxNX4y4PnXKhqbz62zqLCFINuSeAe_JybuhNHzX47fiA8zNfszfbstiHQT356FVyArhsfWK-MWchz73u4xv4t_eZN9OUNbHexOZLdhqN8XVIAj9a6k/s1600/portable+music+artwork.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhporKEzSRoA54ljc1-EE9odGVLOYoxNX4y4PnXKhqbz62zqLCFINuSeAe_JybuhNHzX47fiA8zNfszfbstiHQT356FVyArhsfWK-MWchz73u4xv4t_eZN9OUNbHexOZLdhqN8XVIAj9a6k/s640/portable+music+artwork.jpg" width="640" /></a></div>
Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-27902799767835417612016-01-17T10:30:00.000+00:002016-01-17T10:30:00.728+00:00my article on Sami yoik, featuring interviews with Ande Somby & Chris Watson + audio from Ande, Nils-Aslak Valkeapaa, Johan Ander Baer & Ulla Pirttijarvi is now online. As you can hear / read Yoik is a tradition that remains locked to the environment & some of the most powerful recorded examples were (& still are) recorded in the field:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNRytGtNNdceRNrU_bLszXBeDi94OIFdJvW6Rwzyddai9du4guhF-vT2nIux3Q3HOuR_ek2Le1ipd6EUR6okPvzTuJQFNwprkXV1PGpsKyuFxW1iyrey_9d29CiDnUi6Pqom2Aw548sJch/s1600/nav-cover.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNRytGtNNdceRNrU_bLszXBeDi94OIFdJvW6Rwzyddai9du4guhF-vT2nIux3Q3HOuR_ek2Le1ipd6EUR6okPvzTuJQFNwprkXV1PGpsKyuFxW1iyrey_9d29CiDnUi6Pqom2Aw548sJch/s320/nav-cover.jpeg" width="320" /></a></div>
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<a href="http://www.caughtbytheriver.net/2016/01/17/yoik-jez-riley-french-chris-watson-field-recording-norway-ande-somby-nils-aslak-valkeapaa-sami-ulla-prittijarvi-johan-anders-baer">http://www.caughtbytheriver.net/2016/01/17/yoik-jez-riley-french-chris-watson-field-recording-norway-ande-somby-nils-aslak-valkeapaa-sami-ulla-prittijarvi-johan-anders-baer</a>/Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-11096538387155628592015-09-01T20:52:00.001+01:002015-09-01T20:52:37.015+01:00nice mention on Katy Bentham's updated blog + her recording of a hedge using some JrF contact mics:<br />
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<a href="https://benthamfineart.wordpress.com/2015/05/01/audio-st-marys-recapping-lighthouses-and-field-recording/">https://benthamfineart.wordpress.com/2015/05/01/audio-st-marys-recapping-lighthouses-and-field-recording/</a>Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-87663010233038999242015-08-18T10:58:00.003+01:002015-08-18T16:15:12.027+01:00<span style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19px;">i'm pleased to announce that JrF d-series hydrophones are being used on a new series for the BBC exploring Oceans.</span><br />
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<span style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19px;"><br /></span>Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-87799048809125907212015-08-15T13:57:00.001+01:002015-08-15T13:57:56.894+01:00<div style="text-align: center;">
a new interview of the Architect Of Sound website:</div>
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<a href="https://architectofsound.wordpress.com/2015/08/15/aos-presents-jez-riley-french-field-recordist-artist-and-creator-of-jrf-microphones-qa/">https://architectofsound.wordpress.com/2015/08/15/aos-presents-jez-riley-french-field-recordist-artist-and-creator-of-jrf-microphones-qa/</a><br />
<span style="color: #0000ee;"><u><br /></u></span><a href="https://architectofsound.wordpress.com/2015/08/15/aos-presents-jez-riley-french-field-recordist-artist-and-creator-of-jrf-microphones-qa/"></a>
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Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0tag:blogger.com,1999:blog-1398878528072318544.post-12433676535567751822015-07-31T09:41:00.007+01:002015-07-31T09:41:56.949+01:00<div style="text-align: center;">
(abandoned) star farm - iceland</div>
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<a href="https://vimeo.com/134987991">jez riley french - (abandoned) star farm - iceland</a> from <a href="https://vimeo.com/jezrileyfrench">Jez riley French</a> on <a href="https://vimeo.com/">Vimeo</a>.</div>
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recorded in Iceland, June 2015</div>
Jez riley Frenchhttp://www.blogger.com/profile/00498669367246901197noreply@blogger.com0