Disquietude Podcast 0005

Marc Weidenbaum from Disquiet asked if he could include one of my Landsounds tracks for the Disquietude Ambient Podcast. It is an honor to be played next to the other artists on the podcast and hope you enjoy listening to them too. click on the logo to go to the Disquiet site and below that is the podcast.

“The goal of the Disquietude podcast is to collect adventurous work in the field of ambient electronic music. What follows is all music that captured my imagination, and I hope that it appeals to your imagination as well.”

The sound piece is the result of my ongoing Arts Council funded DYCP, completed on the Goldsmiths short course Field Recording: Soundscape Composition.

Goldsmiths short course Field Recording: Soundscape Composition

Since the 13th January I have been doing a short course at Goldsmiths lead by Marcus Leadley, not actually at Goldsmiths because as with almost everyone else in the world I have been restricted in movement in the hope we will one day get “back to normal”. Anyway this post isn’t about that.

Last year I successfully applied for Arts Council National Lottery funding to develop my creative practice. One of the things I wanted to do was develop a more academic approach to the sound recording I have been doing for a while (since 2014) under the moniker of Landsounds . I had found out about the Field Recording: Soundscape Composition course and on successfully securing funding I booked to start in January.

The course took us through so many elements of sound recording I won’t list it all but I wanted to touch on some of the sections which have been most influential so far. I say so far as I am still digesting much of it and I am sure it will all eventually permeate my practice.

Contact Mics

I have made 4 now and love how simple they are. The sound below is recorded using two of them.

Binaural Mics

Listening through binaural mics has opened up a whole new experience for me. When I began sound recording the first thing that amazed me was the altered perspective of the sound, binaural mics appear to bring another dimension to that sense of perspective. I have been using a matched pair of mics from FEL Communications Ltd, they are small and sound amazing and were recommended by a fellow student on the course.

Reaper

Until starting the course I had been using Audacity to complete my sound recordings. I had tried using Garage Band, Logic and more recently Qbase as these have been free with hardware but I never really clicked with them. Reaper seems more intuitive for me and I have picked up the basics very quickly.

The following composition was made using many of the things I learnt on the course

It was a pleasure to be taught by Marcus and look forward to using the information I gathered on the course in future sound work.