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Posts Tagged ‘Sound Devices 788’

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Last summer I spend one week at Raufarhöfn, a small village in north east of Iceland, close to the arctic circle. Most of the time it was a fool‘s weather for „quality“ recording. But anyway, I recorded almost 6 to 10 hours every night close to the sore. Most of theese recordings contains rumbling wind noise, but sometimes – very few times, I got what I was looking for.
Here is one of them, recorded 17th of June 2016.
It is early morning. The clock is around four. Birds are busy to protect and teach their young to search for food. Shortly after the recording starts, you can hear a fisherman pass by on his car on way to the harbor. Then later, the fishing boat goes, and passes by on the way to the sea. It takes a long time for the enginenoise to disrepair.
This is a peaceful recording. A typical midsummer morning soundscape at the arctic circle, where the sun never goes down. Many bird spices are in this recording, but mostly Common Eider and their youngs. Also you can hear Oystercatcher , Golden Plover, Purple Sandpiper, Red Necked Phalarope, Whimbrel, Common Snipe, Redwing, Snow Bunting, Svan, Great Northern Diver, Northern Fulmar, Kittiwake, Raven and probably may other.
Quality open headphones are recommended while listening at low to mid level.

(256kbps / 55Mb)

Recorder: Sound Devices 788
Mics. Sennheiser MKH20 (AB40)
Pics: Canon EOS–M

Location: 66.451296, -15.946621
Weather: Light gust, cloudy

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I am used to feed birds daily in my garden with all kinds of leftovers.
There are always some birds that watch my garden every day, and when they see me in the garden, some starling give a high pitch signal and some of them fly away. But shortly after that they come back with a flock of other birds, normally common starlings and redwings. Some birds like one blackbird and some redwings are now extra gentle around me while I prepare the food in the garden.
Christmas day, 25th of December 2016, was just like another „feeding day“. But it was snowing, so the traffic noise wash less than usual and therefore a perfect day to record a birds activity.
This recording starts slowly. Just few birds have arrived when the recording starts. But in the end the birds have eaten almost everything and they start singing, packed in the trees all a around my house.

(224kbps / 48Mb)

Recorder: Sound devices 788
Mics: Rode NT1a in Rycote Cyclone (AB50 setup)
Pix: GoPro Hero3
Weather: Cloudy, light breeze, snowing and -3°C

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Pablo Sarasate was born 10 March 1844 in Pamplona, Navarre, the son of an artillery bandmaster. He began studying the violin with his father at the age of five and later took lessons from a local teacher. His musical talent became evident early on and he appeared in his first public concert in A Coruña at the age of eight.
His performance was well-received, and caught the attention of a wealthy patron who provided the funding for Sarasate to study under Manuel Rodríguez Saez in Madrid, where he gained the favor of Queen Isabella II. Later, as his abilities developed, he was sent to study under Jean-Delphin Alard at the Paris Conservatoire at the age of twelve.
There, at seventeen, Sarasate entered a competition for the Premier Prix and won his first prize, the Conservatoire’s highest honour. (There was not another Spanish violinist to achieve this until Manuel Quiroga did so in 1911; Quiroga was frequently compared to Sarasate throughout his career.)
Sarasate, who had been publicly performing since childhood, made his Paris debut as a concert violinist in 1860, and played in London the following year. Over the course of his career, he toured many parts of the world, performing in Europe, North America, and South America. His artistic pre-eminence was due principally to the purity of his tone, which was free from any tendency towards the sentimental or rhapsodic, and to that impressive facility of execution that made him a virtuoso. In his early career, Sarasate performed mainly opera fantasies, most notably the Carmen Fantasy, and various other pieces that he had composed. The popularity of Sarasate’s Spanish flavour in his compositions is reflected in the work of his contemporaries. For example, the influences of Spanish music can be heard in such notable works as Édouard Lalo’s Symphonie Espagnole which was dedicated to Sarasate; Georges Bizet’s Carmen; and Camille Saint-Saëns’ Introduction and Rondo Capriccioso, written expressly for Sarasate and dedicated to him.
Of Sarasate’s idiomatic writing for his instrument, the playwright and music critic George Bernard Shaw once declared that though there were many composers of music for the violin, there were but few composers of violin music. Of Sarasate’s talents as performer and composer, Shaw said that he „left criticism gasping miles behind him“. Sarasate’s own compositions are mainly show-pieces designed to demonstrate his exemplary technique. Perhaps the best known of his works is Zigeunerweisen (1878), a work for violin and orchestra. Another piece, the Carmen Fantasy (1883), also for violin and orchestra, makes use of themes from Georges Bizet’s opera Carmen. Probably his most performed encores are his two books of Spanish dances, brief pieces designed to please the listener’s ear and show off the performer’s talent. He also made arrangements of a number of other composers’ work for violin, and composed sets of variations on „potpourris“ drawn from operas familiar to his audiences, such as his Fantasia on La forza del destino (his Opus 1), his „Souvenirs of Faust“, or his variations on themes from Die Zauberflöte. In 1904 he made a small number of recordings. In all his travels Sarasate returned to Pamplona each year for the San Fermín festival.
Sarasate died in Biarritz, France, on 20 September 1908, from chronic bronchitis. He bequeathed his violin, made by Antonio Stradivari in 1724, to the Musée de la Musique. The violin now bears his name as the Sarasate Stradivarius in his memory. His second Stradivari violin, the Boissier of 1713, is now owned by Real Conservatorio Superior de Música, Madrid. Among his violin pupils was Alfred De Sève. The Pablo Sarasate International Violin Competition is held in Pamplona. (Wikipedia)
Following recording Zigeunerweisen is performed by Chrissie Telma Guðmundsdóttir (violin) and The Iceland Amateur Symphony Orchestra directed by Oliver Kentish.
This was recorded at Seltjarnarnes Church 16th of October 2016.
Thanks to Oliver and Chrissie who gave me a permission to publish this recording on the web.

(320Mbps / 24,4Mb)

Recorder: Sound devices 788
Mics: Neumann KM184 (NOS) & Line Audio OM1 (AB40) in 3m above orchestra. Sennheiser MKH20 for bass and Line Audio CM3 on soloist (Chrissie).
Location: 64.1485379,-22.0052351

More information:
Chrissie Telma Guðmundsdóttir
Oliver Kentish
The Iceland Amateur Symphony Orchestra

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Svínafellsjökull icefall lay in a valley between Svínafellsheiði and Hafrafell. It is an icefall from Öræfajökull which is the highest mountain/glacier in Iceland around 2109 meters high.
I spent several nights beneath Svínafellsjökull icefall in May, both 2015 and 2016, recording 8-10 hours overnight recording. I was always trying to capture iceberg breakdown into the glacier lagoon, because last time I record it in 2014 it was disturbed with huge tsunami.
But most of the breakdown was probably somewhere between 1300-1700 meters, high in the mountain.
Anyway, during the night when traffic goes down and the weather was calm, it was always interesting to listen to the glacier in the „silence“. It starts like a thunder with low frequency rumble, high in the mountains. Then a strange „white noise“ falls slowly down the the wally, all the way to the end of the icefall toe. I am still not sure if it was an echo from the mountain or some crawling sound from the glacier. But it was so slow that I am almost sure that it is was not an echo from surrounding mountains.
But this is not what you will hear in the following recording. After one of this overnight recording in 15th of May 2016 I decided to record near to a frozen pond close to the glacier’s toe. The time was around eight o´clock in the morning so the tourist traffic had not began to disturb the soundscape. The temperature was just below zero, but the morning sun was already melting the ice in the area. The soundscape was amazing. With closed eyes it sounds like a busy place with bunch of small elves. Small trickle, ticks and cracks makes the soundscape worth to listen and to record.
At 17th minute the glacier start to crawl and then again one minute later with low frequency rumble.
Quality open headphones are recommended while listening at low to mid level.

(256 kbps / 56Mb)

Recorder: Sound devices 788
Mics: Sennheiser MKH8020/8040 (parallel ORFT)
Pix : Canon EOS-M
Location: 64.001270, -16.877298
Weather: Clear sky, calm, 1°C

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An outwash plain, also called a sandur is a plain formed of glacial sediments deposited by meltwater outwash at the terminus of a glacier. As it flows, the glacier grinds the underlying rock surface and carries the debris along. The meltwater at the snout of the glacier deposits its load of sediment over the outwash plain, with larger boulders being deposited near the terminal morraine, and smaller particles travelling further before being deposited. Sandurs are common in Iceland where geothermal activity accelerates the melting of ice flows and the deposition of sediment by meltwater.
The original sandur from which the general name is derived is Skeiðarársandur, a broad sandy wasteland along Iceland’s south-eastern coast, between the Vatnajökull icecap and the sea. Skeiðarársandur is the largest sandur in the world, covering an area of 1,300 km2 (500 sq mi). Volcanic eruptions under the icecap have given rise to many large glacial bursts (jökulhlaups in Icelandic), most recently in 1996, when the Ring Road was washed away (minor floods have also occurred since then). This road, which encircles Iceland and was completed in 1974, has since been repaired. The 1996 jökulhlaup was caused by the eruption of the Grímsvötn volcano, with peak flow estimated to be 50,000 m3/s (1,800,000 cu ft/s) compared to the normal summer peak flow of 200 to 400 m3/s (7,100–14,100 cu ft/s). Net deposition of sediment was estimated to be 12,800,000 m3 (450,000,000 cu ft).
The main braided channels of Skeiðarársandur are the Gígjukvísl and Skeiðará rivers, which incurred net gains of 29 and 24 cm (11.4 and 9.4 in) respectively during the 1996 jökulhlaup. In the Gígjukvísl there was massive sediment deposition of up to 12 m (39 ft), which occurred closest to the terminus of the glacier. The erosional patterns of Skeiðarársandur can be seen by looking at the centimeter-scale elevation differences measured with repeat-pass laser altimetry (LIDAR) flown in 1996 (pre-flood), 1997, and 2001. Of the overall deposition during the 1996 jökulhlaup, nearly half of the net gain had been eroded 4 years after the flood. These two rivers on the sandur display drastically different erosional patterns. The difference in sediment erosion can be attributed to the 2 km (1.2 mi) wide trench near the terminus where the Gígjukvísl flows, in contrast with the Skeiðará, which has braided flows directly onto the outwash plain. The Gígjukvísl river is where some of the highest level of sediment deposit occurred and also where the largest erosion happened afterward. This indicates that these massive jökulhlaup deposits may have a large geomorphic impact in the short term, but the net change on the surface relief could be minimal after a couple years to a decade. (*Wikipedia)
This recording is just 23 minutes of 1o hours long overnight recording. It is very quiet and highly amplified. The microphones are unexpected located near to Northern Wheatear´s nest which is between stones in old ruins in the middle of Skeiðarársandur. You can hear wing flaps and some kind of a conversation between the birds and the youngsters. The birds sounds a little bit out of phase but that could be either because the bird is mostly behind the microphones, or the stone wall, or because the fury windshield was still soaking wet after heavy rain one hour earlier.
At 1:35 min a thunderous boom sounds from glacier in distance. During the recording the weather changed from calm to be windy.
Quality open headphones are recommended while listening at low to mid level, or in speakers at low level.

Sögur af Skeiðarársandi 1. hluti

Hér er á ferðinni rúmlega 20 mínútna löng upptaka sem er partur af 10 klst langri næturupptöku frá því 29. maí 2016 á Skeiðarársandi. Á sandinum svo til miðjum er hlaðin rúst sem líklega hefur gengt því hlutverki að vera fjárrétt áður en árnar á sandinum voru brúaðar. Í upptökunni má heyra að í vegghleðsluni er hreiður Steindepils. Hann pirrar sig eitthvað á óboðnum gesti þessa nótt, hljóðnemunum, en virðist svo líka eiga einhver samskipti við unga sína með lágværu tísti eða muldri. Heyra má að á þessum rúmu 20 mínútum að veðrið breytist frá því að vera logn yfir í rok.
Mælt er með því að hlusta á upptökuna í góðum opnum heyrnartólum og á miðlungs- lágum hljóðstyrk.

(256kbps / 43Mb)

Recorder: Sound Devices 788
Mics: Sennheiser MKH20 (AB40)
Pix: Canon EOS-M
Weather & time: Clam and windy, Drissle rain, at 2AM
Location: 63.969892, -17.160032

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I think I don‘t need to present the nature reserve in Flói in many words. It is a wetland / moors in south of Iceland. I have already published in this blog several hours of „Flói recordings“.
Last spring was cold, wet and windy so I did not spend much time there. But in June, I stayed there for two nights while I recorded several hours of recordings during the nights.
As usual I fell in to sleep in the field during that time, so I did not know what I was recording. Last week when I was searching trough the recordings, I noticed some interesting moments.
At 14th of June the overnight weather forecast was nice and I started to record at midnight. Between 2 and 5 in the morning the wind went down so the field got „quieter“ for far distance sound waves.
I put up Rode NT1 in NOS in the same place as usual and pointed them to north. The soundscape is always spectacular in this place.
This soundscape is probably not what everyone would hear by bear ears. The recording is highly amplified. In this circumstances and Rode NT1, I normally adjust the gain on the recorder between 54-58dB. In this particular recording the gain is increased again in post about +24 dB so the peak level in one moment (at 13:16) reach 0dBf.
Many bird species are audible in this recording like Red throat Diver, Common Snipe, Golden Plover, Dunlin, Whimbrel, Gull, Arctic Tern, Northern Wheatear, Greylag Goose, Whooper Svan, Meadow Pipit and other bird species I have forgotten, or can’t name. Other audible animals like horses and sheep’s are there too.
Background noise is mostly from the Atlantic ocean’s waves along the south coast behind the mics. Then as usual, traffic noise and sometimes a party music somewhere in the county.
Quality open headphones are recommended while listening at low to mid level, or in speakers at low level.

Flói 2015. 1. Hluti

Hér er á ferðinni upptaka úr friðlandinu í Flóa frá því á laugardagskvöldi og sunnudagsmorgni 14. júní 2015. Eins og fyrri upptökur úr Flóa sem finna má hér á síðunni eru hljóðnemarnir ávallt staðsettir á sama stað við sömu tjörn norðan við fuglaskoðunarhúsið.
Í upptökunni má heyra í ýmsum fuglategundum. Má þar nefna lóm, hrossagauk, heiðlóu, lóuþræl, spóa, máfa, kríu, steindepli, grágæs, álft og þúfutitling. Þá heyrist lika í hestum og kindum.
Bakgrunnssuð er einkum brim meðfram Suðurströndinni og einkum við Ölfusárósa. Svo berst hávaði frá bílum og partítónlist einhvers staðar í sveitinni.
Mælt er með því að hlusta á upptökuna í góðum opnum heyrnartólum og á miðlungs- lágum hljóðstyrk.

Download mp3 file (256kbps / 60,7Mb)

Recorder: Sound devices 788
Mics. Rode NT1 (NOS)
Pix. Canon EOS M
Weather: clear sky, mostly calm, between -1 to 4°C
Time: 14 June 2015, between 2 and 3 o’clock
Location: 63.900933, -21.191876

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Whatever the mainstream media says, the Paris talk COP21 was a fraud. The outcome was almost nothing, just promises. For me and many others is it too late. The chain reaction has already started so radical actions was needed at last sixteen years ago.
Paris talk was tailor made for investors, corporations and politicians with different needs, probably to make different outcome from previous conferences.
I have wait for political actions all times since beginning of this century so I was really hoping for radical actions after COP21.
The only thing that Icelandic politics brought from COP21 was mostly a nonsense. Icelanders were already doing most of the “solutions” for other reasons. Icelanders will just plant trees and fill up drainage ditches to restore swampland. When investors are ready somewhere in the future, Icelanders will change fossil fuel cars into electric cars.
At the same time Icelanders will increase tourism, even though extreme growth in tourism last decade has already damaged the nature with following pollution and intrusion. Icelanders will also keep on making cheap power for antitrust corporations by building more polluting power stations. They are even going to search for oil well in the North Atlantic ocean.
So as so many earthlings Icelanders intend to continue their greedy and polluting lifestyle.
We are in War against Mother nature like we are all brainwashed by Sauron . We are not only polluting the earth´s atmosphere with poison gasses. We are also polluting the ground, the oceans and fresh waters with dangerous materials and gasses. Irritating audible noise is now everywhere, from the sky, on the surface and in the ocean.
Unpolluted space on our planet is now rarer than gold, in fact more valuable too.
I want to dedicate the accompanying recording to our foolish lifestyle. It was recorded on Mosfellsheiði, east of Reykjavik 25th of July 2013. It should be a quiet place, far away from busy roads in beautiful open landscape. But instead a rumbling noise filled the air from all directions. The recording contains “fossil fuel cars and air traffic”. But the loudest steady noise comes from Hellisheiðarvirkjun, a geothermal power station in more than 10 km distance. It normally blows huge amount of gases into the atmosphere. It is mostly hot steam but is mixed with toxic gases like carbon dioxide (CO2), hydrogen sulphide (HS) and also substantial quantities of hydrogen (H2). Other gases such as nitrogen (N2), methane (CH4) and argon (Ar) are in the gas mixture, but in lesser extent.
Quality open headphones are recommended while listening at mid-low level

Erum við heilaþvegin af Souron?

Loftslagsráðstefnan í París COP21 var mér mikil vonbrigði. Ég hafði vonast eftir mjög rótækum aðgerðum STRAX, en niðustaða ráðstefnunnar varð aðeins í grófum dráttum sú, að fyrirtæki og fjárfestar þurfa að huga að í lotslagsmálum á næstu árum. Það er einfaldlega of seint.
Enginn þorir að takast á við vandann. Menn ætla bara að bíða og sjá hvort það sé nauðsynlegt að gera eitthvað og vonast svo til að tæknin bjargi öllu. Flest okkar hafa séð hversu skelfilegt ástandið þarf að verða svo menn taki nýja stefnu. Nægir þar að nefna mengun í iðnaðarborgum Kína. Fátt bendir til annars en að ástandið verði eins á heimsvísu. Það er því eins og mannkynið sé heilaþvegið af “Sauron
Framtíðn er því ekki beinlínis til að gleðjast yfir. Því vill ég tileinka upptöku hér fyrir neðan viðfangsefninu. Meðfylgjandi mynd er tekin á upptökustað. Allt virðist þar í fljótu bragði óspillt og ómengað. En það er ekki allt sem sýnist. Í loftinu er óvenju mikið af óheppilegum ósýnilegum gastegundum af mannavöldum eins og frá Hellisheiðarvirkjun.
Hljóðritið gefur aðeins til kynna hljóðmengun á stað þar sem ríkja ætti “þögn” ef mannfólkið hefði haft vit og rænu á því að þróast í sátt og samlyndi við Móður náttúru.
Mælt er með því að hlusta á upptökuna í góðum opnum heyrnartólum og á miðlungs- lágum hljóðstyrk.

Download mp3 file (256kbps / 50Mb)

Recorder: Sound Devices 788
Mics: Sennheiser MKH20 (AB40)
Pics: Canon EOS-M (see more pictures)
Weather: Calm, Sunny, ca. 14°C at 20:00 o´clock
Location: 64.110946, -21.541311

Þeir sem vilja fræðast meira um Loftslagsmál geta hlustað á útvarpsþáttinn Þræði á Rás 1.
En dagana 28. nóvember, 5. og 12. desember 2015 var fjallað um loftslagsmál og ráðsetnuna í París sem þá stóð sem hæst.

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