Field recording

Field recording, also known as phonography, is a type of music that captures natural or man-made sounds in various outdoor or indoor environments. This genre has become increasingly popular in recent years, with artists from all over the world using field recordings as a means of creative expression. The concept of field recording dates back to the early 20th century, with the development of portable audio recording equipment, such as tape recorders and microphones. In 1948, the French composer Pierre Schaeffer produced the first piece of musique concrète, titled Étude aux chemins de fer, which consisted entirely of manipulated recordings of various train sounds recorded on location. However, it wasn't until the 1960s that the use of field recordings in music became more widespread. Musicians such as John Cage and Pauline Oliveros began to incorporate natural sounds into their compositions, exploring the idea of music as a reflection of the natural world. In the 1970s, the genre of ambient music emerged, with artists such as Brian Eno and Tangerine Dream using field recordings to create atmospheric soundscapes. Eno's landmark album, "Music for Airports," showcased his use of piano and vocal loops, as well as field recordings of airport announcements and other ambient sounds. Throughout the 1980s and 1990s, the popularity of field recording continued to grow, with artists like Chris Watson and Hildegard Westerkamp exploring the environmental and ecological aspects of natural soundscapes. Watson, a sound recordist for the BBC's Natural History Unit, became known for his recordings of wildlife and natural landscapes, which he later used in his music. In the 21st century, field recording has found a new audience through the use of digital technology, making it easier than ever for musicians and artists to capture and manipulate sound. This has also led to the rise of a new wave of experimental musicians who use field recordings as a way to create new forms of music. In recent years, there has been an increasing interest in the use of field recordings as a means of political and social commentary. Albums such as "The Wire Tapper 50" and "Protest and Survive" showcase artists who have used field recordings to document social upheaval, political protests, and other important events.

Chris Watson: known for his extensive work in wildlife sound recording, he has recorded for the BBC and worked with David Attenborough on nature documentaries such as Frozen Planet and The Life of Birds. Jana Winderen: a Norwegian artist who uses hydrophones to record underwater soundscapes, exploring the hidden world beneath the surface of the ocean in her work. Francisco López: a Spanish artist who is known for his experimental recordings that push the boundaries of what can be considered sound, often using field recordings of environments like factories or airports. Annea Lockwood: an American artist known for her pioneering work in field recording and sound art, often using unconventional sources such as melting glaciers or the sounds of burning pianos. Bernie Krause: a musician turned field recordist who has spent decades recording the sounds of the natural world, including rainforest ecosystems and the songs of animals. Hildegard Westerkamp: a Canadian composer who is known for her work in acoustic ecology and the development of the field of soundscape studies. Pauline Oliveros: an American composer and performer, Oliveros is known for her work in deep listening and incorporating environmental sounds into her music. Viv Corringham: an English artist who creates site-specific sound walks, using field recordings and live performance to explore the sounds of urban and rural environments. Stuart Hyatt: an American artist who creates field recordings as part of large-scale multimedia installations, often incorporating video, photography, and sculpture into his work. David Toop: a British musician, author, and curator who has written extensively on sound art and experimental music, and has produced field recordings for documentaries and installations.

1. The Conet Project 2. The World Soundscape Project 3. Phonography.org 4. Chris Watson - Weather Report 5. Jana Winderen 6. Francisco López 7. Bernie Krause - The Great Animal Orchestra 8. Hildegard Westerkamp - Transformations 9. Annea Lockwood - A Sound Map of the Danube 10. Olivia Block - Heave To 11. John Downing - Sounds of Australia 12. Jenni Roditi - Sea of Vapours 13. Alan Lamb - Primal Image 14. Gordon Hempton - One Square Inch of Silence 15. Peter Cusack - Favourite Sounds Project 16. Benny Nilsen - Land 17. Angus Carlyle - The Memory of Nature 18. Dave Phillips - The Sacred Rage 19. Carsten Nicolai - Grid Index 20. Eric La Casa - Sur les vibrations 21. Yannick Dauby - Fungi from Yuggoth 22. Christina Kubisch - Magnetic Flights 23. Udo Noll - Radio Aporee 24. Richard Chartier - Tracing 25. Patrick McGinley - Luminar Interruptions

One of the most notable books on field recording is "The Field Recording Handbook" by Chris Watson. In this book, Watson, a renowned sound recordist for the BBC's Natural History Unit, shares his thoughts on the practice of field recording. He discusses the importance of listening and the art of capturing soundscapes in nature. Watson also provides practical advice on equipment, location scouting, and editing sound. Another essential book on field recording is "Phonographies: Grooves in Sonic Afro-Modernity" by Alexander Weheliye. This book focuses on the connections between recording technology and black culture in America. Weheliye argues that field recording is essential for understanding how sound and music shape collective memory and identity. He provides a critical analysis of the social and cultural significance of field recording. In "Field Recording: From Research to Wrap" by Thomas Rex Beverly, the author shares his experiences in field recording. Beverly discusses the technical aspects of recording and provides practical tips on choosing the right microphone, setting up sound levels, and working with different environments. He also discusses the emotional and creative aspects of field recording and the importance of capturing the essence of a place or sound with intention. In addition to these books, there are several notable quotes from artists and scholars on the practice of field recording. John Cage, a composer and artist, once said that "there is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot." This quote emphasizes the importance of listening and capturing the natural sounds around us. Composer and sound artist, Maryanne Amacher, once said, "sound is not just a vehicle for describing something else. Sound is the thing itself." This quote highlights the transformative power of sound and the ability of field recordings to capture the essence and power of natural sounds. Finally, filmmaker and artist, Werner Herzog, said, "the best advice I can offer to those heading out to make field recordings is to listen. Listen to what they intend to record and listen to their own responses to it. There is an intuitive rhythm and balance to the world around us that can only be learned through careful and attentive listening."

The social context of field recording is linked to the role of communities in shaping the way people interact with their environment and the sounds they produce. Field recording came into existence as the world became more urbanized, and people became increasingly isolated from their natural and cultural environments. In response, field recording was created as a way to capture and preserve the sounds of the natural and built environments so that people could reconnect with their surroundings. The cultural context of field recording is linked to movements in the arts and music that prioritize experimentation with sound and exploration of new forms of expression. Field recording became a critical tool for musicians and artists in this context as it allowed them to produce work that is more authentic and reflective of their surroundings. Notable record labels like Touch, ECM, and Staalplaat were instrumental in developing and promoting field recording as a legitimate form of music production. Technological developments have also played a significant role in the evolution of field recording. Advancements in audio-recording technology have made field recording more accessible and efficient. For example, portable digital recorders and microphones have allowed field recordists to capture sounds at a higher quality while remaining mobile and adaptable. This has made it possible to produce high-quality field recordings in a variety of contexts, including challenging and remote locations. The popularity of field recording has led to the growth of a community of journalists, artists, scholars, and enthusiasts who exchange ideas, techniques, and sounds. For example, journals like The Wire, Organised Sound, and Soundscape: The Journal of Acoustic Ecology have created a platform for enthusiasts to share their ideas and works. Additionally, online communities like the Field Recording Forum and the Quiet American have provided a space for global exchange and dialogue. Notable figures have shaped the development of field recording. One of the most significant figures is the Canadian composer R. Murray Schafer, who coined the term "soundscape" in the 1960s to describe the sonic environment of a particular location. Another notable figure is the American ethnographer and sound artist Douglas Quin, who has produced award-winning field recordings of the natural and cultural sounds of Antarctica. Other notable figures include Chris Watson, Jana Winderen, and Francisco López.