reophasito
Date: Tue Jan 22, 2013 8:06 am ((PST))
M. en C. Fernando Gonz=E1lez-Garc=EDa
Red de Biologia y Conservacion de Vertebrados
Biblioteca de Sonidos de las Aves de Mexico (BISAM)
Km. 2.5 Carretera Antigua a Coatepec, No. 351
Congregaci=F3n El Haya
Xalapa, Veracruz, Mexico
91070
Universidad de Alicante, Espa=F1a.
Centro Iberoamericano de la Biodiversidad (Cibio)
Correo electronico:
Correo electronico:
Pagina web: www.ecologia.edu.mx/sonidos
_____
From: Bernie Krause
To:
Sent: Tue, 22 Jan 2013 09:24:50 -0600
Subject: [Nature Recordists] Wild Sanctuary website
Today, we've officially launched our new web site, one completely dedicated=
to the field of soundscape ecology: http://www.wildsanctuary.com
The site, composed, orchestrated and conducted by my dear wife, Kat, and ex=
ecuted by a wonderful community of magicians, contains many sections. But t=
he most resonant of is the WildStore which contains the heart of our messag=
e -- representative recordings from sites covering much of the planet and a=
n arc of time that spans 45 years in the field.
In the Soundscape section, for instance, and aside from my own work, biopho=
nies from the Arctic (Martyn Stewart, Kevin Colver, and me), to the Antarct=
ic (Doug Quin), to the Amazon (David Monacchi), to the American Southwest d=
esert (Jack Hines), to the American Northeast (Ruth Happel), also examples =
of Borneo, Sumatra, New Zealand, Fiji, and the Galapagos, among others, can=
be found. Especially remarkable for its lyricism and quality is a brand ne=
w and rare recording by Volker Widmann titled "Dawn in the Black Forest." T=
his is truly a masterpiece. No less astonishing is the observation that abo=
ut half of the recordings in my archive and album collection are from habit=
ats so compromised by human endeavor, that the biophonies can no longer be =
heard in any recognizable form.
Other sections include music related to or inspired by natural soundscapes =
such as "Meridian," an album of soundscapes and music (by former Peter Gabr=
iel keyboardist and Wyndham Hill artist, Phil Aaberg) following spring as i=
t moved north 16 miles (30km) a day along the 111 meridian; Native Voices, =
a collection of music and stories from groups closely linked to natural wor=
ld experience like the Nez Perce, Ba'Aka, and Yup'ik eskimos; A Children's =
title; and a new Special Collection segment that features species-specific =
birds from the American West (Kevin Colver).
As for my bioacoustic work, my first field recordings were made in 1968 usi=
ng a Nagra IVs and Schoeps XY systems, and were incorporated as components =
of orchestration for a synthesizer music album my late music partner, Paul =
Beaver, and I were doing for Warner Brothers, a title called "In a Wild San=
ctuary," the first music composition to express the theme of ecology. In 19=
81, the same year I earned my PhD with an internship in bioacoustics, I did=
my first digital recording using a Sony beta version called the F1 in Wyom=
ing, We also beta-tested the Sony DAT recorders in the mid-1980s switching =
to MS (Sennheiser) and transitional digital formats (DAT) in the latter hal=
f of that decade. By January, 2002, I was experimenting with double MS syst=
ems at Gray Lodge Wildlife Refuge (N. of Sacramento).
This one's for you. And we are thrilled to be part of this ever-expanding c=
ommunity.
Ciao,
Bernie Krause
Wild Sanctuary
POB 536
Glen Ellen, CA 95442
707-996-6677
http://www.wildsanctuary.com
SKYPE: biophony
FaceBook:
http://www.facebook.com/TheGreatAnimalOrchestra
http://www.facebook.com/BernieKrauseAuthor
Twitter:
http://www.twitter.com/berniekrause
YouTube:
https://www.youtube.com/BernieKrauseTV
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