Electronic kits can be worthwhile for us as field recording geeks. This time I bought the Kemo kit for a Listening Stethoscope since I was interested in amplifying the softest of sounds, such as wind blowing through the trees. For the price of 11.80 €, I was skeptical at first but with a little soldering the board works just fine. The official product description is quite shady when they say that their device enables you to listen through walls, etc. Apparently somebody lacked the fantasy of doing something legal with the stethoscope.
However, if you look for a quick and dirty recording of soft sounds, the Kemo Listening Stethoscope is a good choice, since the IC’s triple op amp enhances ordinary sounds very well. But still, don’t expect crystal clear one-to-one realistic recordings, you need to be able to either filter out or ignore the high frequency noise. Another challenge is to keep the right distance between mic and headphones because the device is so sensitive that it is prone to feedback. Needless to say, you’ll only get a mono recording.
For you to get an impression, I made a very dirty recording out of the window with somebody practicing the violin next door. I connected the headphone output with a male mini jack that went into the line in of my old Tascam DR-07.
Abstract. This thesis examines the rhythms and sounds of embodied work processes by composing with field recordings. It attempts to give an overview on the basic discourse about the use of field recordings. Several difficulties of defining the field are pointed out and representational problems are discussed. In order to derive a concept of the sounds of work processes, the soundscape of the industrialized world is described. The practical part concerns a case study in the Port of Rotterdam.
Ambiguities of the word aufnehmen (German). Verder lezen
There are spaces where communication takes a lot of effort, which is often due to certain acoustic features. To provide evidence and details, a measurement was performed. In this case the acoustics of a room were approached by analyzing its capacity to transmit speech and having a closer look at reverberation time and low frequencies. article
In his habilitation “Vom Musikalisch-Schönen” (On the musically beautiful) of 1854, Hanslick discusses the aesthetics of music. His work is impressively anti-romantic and eloquently fights against the ideas of his time.
My essay introduces Hanslicks terminology and juxtaposes it to the philosophical ideas of the 19th century. A conclusion of how to apply Hanslicks theory to contemporary music is given.
The results of phonological research in the 19th century helped create synthetic speech. In the 20th century digital signal processing made it possible to apply this knowledge to electronic music. The essay gives an overview about the techniques involved and briefly discusses compositions of Paul Lansky and Klarenz Barlow.