Mark Brennan, you wrote,
> I forgot to mention, I should also add that the album does indeed have so=
me
> motors in it! For two reasons, firstly because I wanted to paint an audio
> picture of what things sound like today, that human noise is very apparen=
t
> in the natural soundscape both in a good way but also as noise pollution.
> So this is to raise awareness a little but also because I find some of th=
e
> sounds interesting and I think they add to the composition if you look at
> it as a whole and purely sound for listening pleasure. If you click on th=
e
> individual tracks you can read the story behind some of the recordings.
Thanks for the gift, but forgive my bad manners for looking it in the mouth=
a little=85
I heard motors in the seaside recording near the beginning. Then I heard gr=
avel crunching, and didn't know whether it was a car passing or gravel in t=
he surf at first. Then there was a train in the night sequence.
It used to be that we would stop and curse when human sounds intruded on ou=
r recordings. More often now we record through, because our media aren't so=
limited in length (as tape was), and, as you say, for accurate documentati=
on of the soundscape conditions.
I agree that the human sounds are interesting, but I fear they may cut the =
audience for your production down to just a few phonographers. I turn in my=
raw footage to the parks where I record, for documentation. For artistic w=
orks from the same material, I take out the human sounds with editing or fi=
ltering. When I listen to nature sounds I just want to hear nature, and I t=
hink my taste is pretty typical.
De gustibus non disputandum est, but perhaps you might consider that leavin=
g anthrophony in seems inconsistent with the subtitle of your web page, "Pr=
istine, downloadable soundscapes of Eastern Canadian nature, for wellness, =
relaxation & personal listening."
-Dan
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