Barry Blesser, you wrote,
>What we experience when we walk through a forest listening to the sounds o=
f
>birds includes nature's acoustic geography. Forests have there own unique
>reverberation, including sonic turbulence, thermal inversion sound channel=
s,
>diffused reflections, and so on.
>
>During my 5 years of research into auditory spatial awareness, which is
>discussed in my book Spaces Speak, Are You Listening? Experiencing Aural
>Architecture, I considered the importance of the aural properties of space=
s
>within which the sound source and listener exist. There is strong, but
>speculative, evidence that most species are very aware of nature's aural
>architecture.
>
>My book established the foundation for cultural earcons but I need help in
>advancing the discussion. Additional information about the book can be fou=
nd
>at the MIT Press web site:
>http://mitpress.mit.edu/catalog/item/default.asp?ttype=3D2&tid=3D10947 and=
I
>will send a copy of the Introduction and Table of Contents to anyone who
>requests them.
I added it to my Amazon wish list.
>I would be delighted to open a dialog on how those who are recording natur=
al
>sounds are dealing with the issue of natural acoustics.
It isn't an issue for me, more of an awareness. My awareness was
tuned up years ago by a Gordon Hempton talk where he talked about his
technique for finding the right spot for his binaural head, listening
for a rich "sound stage" with a wide panorama and front-to-back
depth, too.
For set-pieces I like often set up at the edge of a meadow facing in,
so I get a "wide shot" of the trees on the other side, and a nice
reverberation for sounds in the meadow.
-Dan Dugan
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