Bivouac Recordinghttp://bivouacrecording.com/feed.xml2023-11-20T02:06:30.706000ZWerkzeugHaptic Collision #10http://bivouacrecording.com/post/haptic-collision-102023-10-24T06:44:02.496000Z2023-10-24T06:26:20ZBivouac Recording<div><br/></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/9199c437-4e74-2f19-bf0f-afcf146c9b3b/163e296f-2814-e0ce-42fe-f5d490a9cc10.jpg" style="--en-naturalWidth:1080; --en-naturalHeight:1920;"/><div style="text-align:start;"><br/>New live recordings released on our Soundcloud.<br/><br/></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/9199c437-4e74-2f19-bf0f-afcf146c9b3b/cc960a98-cc4a-5e99-41e5-98b3d2b6da9b.jpg" style="--en-naturalWidth:4032; --en-naturalHeight:2981;"/><div><br/></div>
<div style="text-align:start;"><b><span style="color:rgb(51, 51, 51);">Act 1: </span></b><span style="color:rgb(51, 51, 51);">[</span><i><a href="https://soundcloud.com/bivouacrecording/final-haptic-03-m-3">Listen Here</a></i><span style="color:rgb(51, 51, 51);">]</span></div>
<div style="text-align:start;"><b><span style="color:rgb(33, 33, 33);">劉芳一 </span><span style="color:rgb(51, 51, 51);">Liu Fang Yi</span></b><span style="color:rgb(51, 51, 51);">- Objects and electronics</span></div>
<div style="text-align:start;"><b><span style="color:rgb(51, 51, 51);">Nelson Hiu</span></b><span style="color:rgb(51, 51, 51);">- Synthesizer</span><br/><br/></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">Liu Fang Yi used objects such as a portable fan and toys and played with a microphone and contact mics. Nelson Hiu played a Korg Monologue synth.</span><br/><br/></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/9199c437-4e74-2f19-bf0f-afcf146c9b3b/07d30150-a5ec-53b2-cff3-3897428568e3.jpg" style="--en-naturalWidth:3024; --en-naturalHeight:3818;"/><div style="text-align:start;"><br/><b><span style="color:rgb(51, 51, 51);">Act 2: </span></b><span style="color:rgb(51, 51, 51);">[</span><i><span style="color:rgb(51, 51, 51);">Coming soon</span></i><span style="color:rgb(51, 51, 51);">]</span></div>
<div><b>klaux</b>- electronics</div>
<div><b>nnscya</b>- electronics<br/><br/></div>
<div>The duo played a diy synth and other digital music devices.<br/><br/></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/9199c437-4e74-2f19-bf0f-afcf146c9b3b/5cc288aa-014c-2286-3b1a-4ca58a45f356.jpg" style="--en-naturalWidth:4032; --en-naturalHeight:2985;"/><div><br/><b>Act 3: </b>[<i>Coming soon</i>]</div>
<div style="text-align:start;"><b><span style="color:rgb(51, 51, 51);">Feaston / Karen Yu / 龢wo4</span></b><span style="color:rgb(51, 51, 51);">: objects, junk, tennis ball, cymbals, guitar, amplifier, drum</span><br/><br/></div>
<div><br/></div>
<div style="text-align:start;margin-bottom:10px;"><span style="color:rgb(51, 51, 51);">Several people played with the ball bouncing it back and forth to each other hitting objects like a drum or cymbal. Other people staged a workout session lifting guitars as if exercising, letting the movements make sounds on the guitar. nnscya also played a background soundtrack. As a finale, the group assembled a plastic christmas tree with speakers playing looped sounds then put it away.</span></div>
Generations: Crashhttp://bivouacrecording.com/post/generations-crash2023-09-12T04:50:42.415000Z2023-09-08T14:13:40ZBivouac Recording<div><br/></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/6c795b0e-3d96-6420-c879-0b3ead4b96b7/b97e5e58-5ccf-12af-102a-12c039f129bf.png" style="--en-naturalWidth:3063; --en-naturalHeight:3063;"/><div style="text-align:center;"><b><a href="https://opensea.io/collection/generations-crash">Browse the NFT collection on Opensea here</a></b><br/><br/></div>
<div>I have recently started reading Ballard's 'Crash' and was intrigued by the human fetish of machines that is emphasized in the book. Perhaps it explains my own deep obsession with my mechanical tape recorders. Having stripped them down to their bare form, replaced parts and electrical components, experimented, amputated, implanted, and integrated into a digital system, all to extend its life way beyond expectations (50+ years) and intended capabilities. <br/><br/></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/6c795b0e-3d96-6420-c879-0b3ead4b96b7/d0b143ca-02a9-406f-68ee-62f95def13f8.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:1824;"/><div> <br/>The raw, chunky sounds they make, the struggle to turn the reel, creaking of the brakes, and the unexpected nature of the recording/ or playback all have an erotic, exhilarating feel to it and is why I include these sounds in the final tracks.<br/><br/></div>
<div>Just as 'The Peregrine' has been recommended as an inspiration for the obsessive, meticulous field recordist, I think 'Crash' further reveals the unsaid fetishistic relationship between us and our machines. Much like any professional that uses machines in their work, be it camera, keyboard, or retractable ballpen, I too do not deny the pleasure I feel every time I press record.<br/></br></div>
<div>This collection uses the newest Generations algorithm which builds upon the last version adding features, fixing bugs, and allowing more autonomous composition from the mixer and recorders. As the algorithm mutates, it is a step closer to total automation and almost no human interaction with the Instrument.<br/><br/></div>
<div>The source tracks used contain the audio recordings of various pornographic short films that appeal to me. Over 100 unrecorded Generations had been composed before the final tracks were documented. I selected the track that best represented the series.</br></br></div>
<div>The track is noisy and contain sexually suggestive sounds which may be offensive to some. Please listen with caution, or not.<br/><br/></div>
<div><br/></div>
Sound Bath Sessionshttp://bivouacrecording.com/post/sound-bath-sessions-22023-11-20T02:06:30.706000Z2023-05-24T03:31:10ZBivouac Recording<div><br/></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/dfd17327-2016-b226-d9a4-c736ae5b74bc/9b56abc9-412d-37cb-6f66-e9974b41cef3.jpg" style="--en-naturalWidth:3000; --en-naturalHeight:3000;"/><div><span style="color:rgb(51, 51, 51);"><br/></span>Sound Bath Sessions is a <a href="https://soundbathsessions.bandcamp.com/">subscription-supported</a>, curated audio collection featuring exclusive recordings from sound bath practitioners in Asia. The project serves as a platform to build and strengthen the Asia sound bath community by connecting listeners, practitioners, and venues with each other.<span style="color:rgb(51, 51, 51);"><br/><br/></span></div>
<div><br/></div>
<div style="text-align:center;"><a href="http://www.sbsessions.com">Visit the project site here: http://www.sbsessions.com</a></div>
Generations : Feastonhttp://bivouacrecording.com/post/generations-feaston2023-05-20T22:25:43.138000Z2023-04-06T15:05:09ZBivouac Recording<div><br /></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/a849831f-cebb-b20c-bf1c-9be70a1aa6f0/072922db-f70a-1913-6261-0f36277e7122.png" style="--en-naturalWidth:2186; --en-naturalHeight:2186;"/><div style="text-align:center;"><b><span style="font-size: 20px;"><a href="https://opensea.io/collection/brgenerations-feaston" rev="en_rl_none">Purchase Generations : Feaston NFTs on OpenSea</a></span></b><span style="font-size: 20px;"><br/><br/></span></div>
<div style="text-align:center;"><b><span style="font-size: 20px;"><a href="https://soundcloud.com/bivouacrecording/sets/generations-feaston">Listen to Generations : Feaston on Soundcloud</a></span></b></div>
<div><br/><br/>This is an NFT sound release. A mass-produced unique sound artwork. A paradox. I created a tape recorder instrument that makes recorded sound NFTs. I use Pure Data to create algorithms that create the works. The program sets the number of generations it creates. This release created 500 generations. I recorded the first generation of each batch. The generations are based on a 1 hour long recording I made of Feaston on a roof top playing with different objects and movements. Some remains can be heard from previous recordings on the tape.<br/><br/></div>
<div>There are 76 unique compositions recorded that were selected by the Pure Data program from the 500 Generations made during the Generation composition. Each one will be released every 3 days until the collection is complete.<br/><br/></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/a849831f-cebb-b20c-bf1c-9be70a1aa6f0/a9e6cbea-8889-00c8-17aa-8fb85db2ae6e.jpg" style="--en-naturalWidth:1118; --en-naturalHeight:838;"/><div><br/>This is inspired by NFT artworks that create thousands of the same image with different elements or colors (ie. BAYC or similar). In similar fashion, each generation rerecords over itself creating new improvised compositions from the original recording. The more generations pass, the more the original DNA gets mutated and distorts or gets overlaid and spliced with older sounds. In one track you can hear the previous ones from the past. It also includes the actions of now creating itself; the sound of the tape machines clicking and whirring. A paradox. A juxtaposition. An exploitation of NFT art as sound.<br/><br/></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/a849831f-cebb-b20c-bf1c-9be70a1aa6f0/8f79f2c3-fe6d-222a-3a11-f8ee37302c02.jpg" style="--en-naturalWidth:1124; --en-naturalHeight:632;"/><div><br /></div>
<div><br /></div>
Sound Bath Sessions Interview: Ravina Daswanihttp://bivouacrecording.com/post/sound-bath-sessions-interview-ravina-daswani2023-08-21T11:43:37.241000Z2023-03-20T04:41:28ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/f4d855da-dbaa-ff6e-1da9-32cd39e1342c/921144b0-a64b-209c-e97f-a86e4d318380.jpg" style="--en-naturalWidth:1600; --en-naturalHeight:1066;"/><div><br/>I interview all the sound bath practitioners that I feature so listeners can deeper connect and get to know more about their practice and their approach to sound baths.<br/><br/></div>
<div>This interview is with Ravina Daswani (@nadabyravina) who gives sound baths in her Hung Hom studio. She has a very powerful style and uses bowls selected for her by her teacher in India. Her use of gongs can cleanse any mental noise you bring to the session resulting in feelings of balance and relief.<br/><br/></div>
<div><b>Sound Bath Sessions (SBS): What is your name and where are you from?</b><br/></div>
<div><b>Ravina Daswani (RD):</b> My name is Ravina Daswani and I come from Hong Kong.<br/><br/></div>
<div><b>SBS: How long have you been a sound healer?</b><br/></div>
<div><b>RD:</b> I have been a sound therapist for 5 years.<br/><br/></div>
<div><b>SBS: What made you start to be a sound healer?</b><br/></div>
<div><b>RD:</b> I started sound healing because I have a condition called trigeminal neuralgia which is a nerve condition and when I did my first sound bath, I found that the bowls were extremely calming on the nerves. They would just be very still and very quiet for a few days.<br/><br/></div>
<div><b>SBS: What kind of objects do you mainly play?</b><br/></div>
<div><b>RD:</b> I play mainly metal singing bowls, gongs, and I have a variety of instruments that are the chimes the shamanic drum, the storm drums, and a few other instruments as well.<br/><br/></div>
<div><b>SBS: What is your approach to sound baths?</b><br/></div>
<div><b>RD:</b> My approach to sound baths is a very natural approach. I follow the energy and let the universe guide me.<br/><br/></div>
<div><b>SBS: What is your most memorable sound bath(s)?</b><br/></div>
<div><b>RD:</b> My most memorable sound bath was I was giving a session and I was using the shamanic drum and I was in such a state even I didn’t know what was happening. Like it wasn’t even me. It was just the energy that flowed and it was magical.<br/><br/></div>
<div><b>SBS: What is the most rewarding thing about doing sound baths (for clients/ yourself)?</b><br/></div>
<div><b>RD:</b> The most rewarding thing for doing sound baths for clients, myself, and family, is when people have experiences, and they tell me their experiences, and they can come back and say they felt better the next day. That whatever was troubling them didn’t bother them anymore and when their problem is clear. That’s when I feel that what I am doing in life is so worth it.<br/><br/></div>
<div><b>SBS: Who was your teacher? What was the most important thing your teacher taught you?</b><br/></div>
<div><b>RD:</b> So my sound bath teacher is Jentham Dilal and the most important thing he taught me, and he is in India and I am in Hong Kong, was to believe in yourself and just flow with the energy. That he was always with me and I believe that the universe is always there and if you connect to the universe then the universe does the work. So I ask for guidance I ask for protection and I ask that the energy flow through me. And that whatever is right for the people who are attending the session that’s what happens. And that’s how it becomes magical. <br/><br/></div>
<div><i>Ravina’s first amazing singing bowl and gong bath is now available at Sound Bath Sessions. Subscribe to listen. Follow for updates.</i><br/><br/></div>
<div><i><span style="color:#363636;">Sound Bath Sessions is a subscription-only project that releases weekly live recordings of exclusive sound baths from sound therapists and healers in Asia.</span></i><br/><br/></div>
<div><i><a href="http://www.sbsessions.com" rev="en_rl_none"><span style="color:rgb(5, 99, 193);"><u>http://www.sbsessions.com</u></span></a></i><br/><br/></div>
<div><i><span style="color:#363636;">This interview was edited for length and clarity.</span></i><br/><br/></div>
<div><iframe scrolling="no" style="border: 0;width: 100%;height: 33px;" src="https://bandcamp.com/band_follow_button_classic/3114418887"></iframe></div>
<div><br /></div>
<div> </div>
<div><br /></div>
<div> </div>
<div><br /></div>
<div> </div>
<div><br /></div>
<div style="margin-bottom:11px;"> </div>
Growing Up With Shanghai books now on Microsoft Swayhttp://bivouacrecording.com/post/growing-up-with-shanghai-books-now-on-microsoft-sway2023-03-18T15:30:09.140000Z2023-03-18T15:22:23ZBivouac Recording<div>Because of the new file limit restrictions on Issuu publications, we have decided to use <a href="http://sway.office.com" rev="en_rl_none">Microsoft Sway</a> for all of the existing transcriptions/translations. Links to the Sway files can now be seen at each <a href="https://bivouacrecording.com/tag/guw" rev="en_rl_none">project page</a>. <span style="color:rgb(51, 51, 51);"><br/><br/></span></div>
<div><a href="https://sway.office.com/AOUABFbtvS6TP4Q0?ref=Link" rev="en_rl_none">Here is a link to Xujiahui's new Sway file</a><span style="color:rgb(51, 51, 51);"><br/><br/></span></div>
<div>All of our past and future communications will slowly be migrated to and created in Sway.<span style="color:rgb(51, 51, 51);"><br/><br/></span></div>
<div>Thanks for listening!</div>
Sound Bath Sessions Interview: Edmund Chanhttp://bivouacrecording.com/post/sound-bath-sessions-interview-edmund-chan2023-08-21T12:44:33.071000Z2023-03-13T04:47:22ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/ec386d8c-8a88-cbc9-d8d6-ca0e08be9ad0/2ad8abc1-bd3b-2a1a-166d-5b7a8c109231.jpg" style="--en-naturalWidth:3450; --en-naturalHeight:2116;"/><div><br/><i>I interview all the sound bath practitioners that I feature so listeners can deeper connect and get to know more about their practice and their approach to sound baths.</i><br/><br/></div>
<div><i>This interview is with Edmund Chan (</i>@ajnayogam<i>) who gives group and personal sound baths in Hong Kong. He is interested in the use of bowls to heal mental and physical problems.</i><br/><br/></div>
<div><b>Sound Bath Sessions (SBS): How long have you been practicing sound baths?</b><br/><br/></div>
<div><b>Edmund Chan (EC):</b> Around 2 years.<br/><br/></div>
<div><b>SBS: Why did you start getting to sound baths? What made you want to become a sound bath practitioner?</b><br/><br/></div>
<div><b>EC:</b> I started to attend some sound bath healing classes a few years ago. I got my first singing bowl around 5 years ago. During the pandemic period everyone was just staying home and I just wanted to find some thing to focus on and become a professional.<br/><br/></div>
<div><b>SBS: Do you do this full-time or part-time?</b><br/><br/></div>
<div><b>EC:</b> Part-time because I have another job.<br/><br/></div>
<div><b>SBS: What instruments do you use?</b><br/><br/></div>
<div><b>EC:</b> I use metal bowls. Sometimes I will use crystal bowls. I also use the gong. <br/><br/></div>
<div><b>SBS: You have many metal bowls. Why do you have so many metal bowls?</b><br/><br/></div>
<div><b>EC:</b> Every bowl will have a different sound or different music tones because of their size or their thickness. I use so many bowls to be more fruitful during the sound bath.<br/><br/></div>
<div><b>SBS: Do the different notes mean anything?</b><br/><br/></div>
<div><b>EC:</b> For the sound healing theory, we are focusing to heal our 7 chakras in our body which are matched to the notes of the bowls: A, B, C, D, E, F, G. These metal bowls will focus on the different chakras on our body. If you have all the music notes during your sound bath you can heal all the chakras in your body.<br/><br/></div>
<div><b>SBS: Where did you learn how to play the signing bowls?</b><br/><br/></div>
<div><b>EC:</b> I learned it in a sound healing studio in HK. My teacher followed a teacher in Germany that is well-known Hans de Back.<br/><br/></div>
<div><b>SBS: So your teacher was student of Hans?</b><br/><br/></div>
<div><b>EC:</b> Yes.<br/><br/></div>
<div><b>SBS: What would you say the most important lesson you learned from your teacher was?</b><br/><br/></div>
<div><b>EC:</b> I think the most important part was how to apply the bowl on the body to heal different diseases. Like mental diseases or physical disease.<br/><br/></div>
<div><b>SBS: You do those kinds of sessions as well?</b><br/><br/></div>
<div><b>EC:</b> Yes. One-on-one sessions.<br/><br/></div>
<div><b>SBS: When you have a sound bath session with several people, how do you conduct it? Do you ask them what they like?</b><br/><br/></div>
<div><b>EC: </b>Because different people have different needs, so it depends on the bowls. Some people need specific music tone more. So I will strike it more. Generally a singing bowl can vibrate 30 seconds. If you feel the vibration disappear quicky, it means that the person needs that note more because their body has absorbed that tone and needs more of it. <br/><br/></div>
<div><b>SBS: So, you have heard this happen?</b><br/><br/></div>
<div><b>EC:</b> It’s not easy to feel it in a group session. It is better doing a one-on-one or one-on-two sessions.<br/><br/></div>
<div><b>SBS: Is there a certain technique? How do you know what the next note is?</b><br/><br/></div>
<div><b>EC: </b>It is quite random. I just play what I want. Let’s say I have some combination of the bowls that when they mix together I find that it can generate a healing tone/ rhythm so I play that combination. You remember that large bowl? It can last longer, and the sound is low frequency and lasting right? So, I will usually use the big bowl as a background sound and play with a high-pitched bowl. When they mix, then the healing will happen.<br/><br/></div>
<div><b>SBS: So you play what you feel that combination is special to you?</b><br/><br/></div>
<div><b>EC:</b> Yes. If I feel comfortable then my students will also feel comfortable.<br/><br/></div>
<div><b>SBS: Do you use the healing bowls on yourself? For example, when you feel that something is not aligned.</b><br/><br/></div>
<div><b>EC:</b> Yes. Sometimes at home I always use singing bowls to tune my chakras.<br/><br/></div>
<div><b>SBS: How often do you use it?</b><br/><br/></div>
<div><b>EC:</b> Maybe once per week. But I always play the gong at home. Because the gong can maximize my magnetic field. Or clean my magnetic field. So, I always play gong and once a week I will use the singing bowl to tune myself. <br/><br/></div>
<div><b>SBS: How long do you usually do it for?</b><br/><br/></div>
<div><b>EC:</b> 30 minutes.<br/><br/></div>
<div><b>SBS: What do you like about singing bowls? What makes you do it?</b><br/><br/></div>
<div><b>EC:</b> Because it helps my students. Last night I had a sound therapy session. Some students have some physical pain on their foot or their back, or headache, or even mental issues because they are depressed due to losing their pet recently. They tell me that the session really helped to release the pain inside their body or the back. The vibrations passed through their body, and they felt a bit relaxed on that part of muscle. One student lost her pet and she had been feeling depressed lately. After the sound therapy session, she felt more relaxed and less depressed. It helped to decrease the bad feelings she had. <br/><br/></div>
<div><b>SBS: Do you go to other sound bath sessions?</b><br/><br/></div>
<div><b>EC:</b> Yes. Sometimes I will go back to visit my teacher and join her sound bath. <br/><br/></div>
<div><b>SBS: What is your teacher’s name?</b><br/><br/></div>
<div><b>EC:</b> Betty Lau.<br/><br/></div>
<div><b>SBS: Do you have any advice for people looking for their first sound bath session?</b><br/><br/></div>
<div><b>EC:</b> It is very easy to find sound therapy on YouTube channels. But to feel the vibrations generated by the metal bowl is totally different when compared to just listening to the sounds on YouTube.<br/><br/></div>
<div><b>SBS: Let’s say I don’t know anything about sound bath and want to try it. You find that there are so many kinds of sound baths: gong, metal bowl, crystal bowl? What’s the difference? When would I go to gong, metal, or crystal sound baths?</b><br/><br/></div>
<div><b>EC: </b>Crystal bowls mostly focuses on mental relaxation. Metal bowls can help for mental and physical relaxation because of the vibrations it generates. The vibrations are stronger than the crystal bowls. Crystal bowls’ tones are more high-pitched and connect better with your mental mindset. <br/><br/></div>
<div><b>SBS: What about gongs?</b><br/><br/></div>
<div><b>EC: </b>The gong is a powerful tool for the body. For our 3 Nadis in our body. Inside our body we have 3 Nadis and 7 chakras. If this system is running well and in good shape, you will be healthy or wealthy. It aligns with your fate. Metal bowls are mainly focused towards the 7 chakras and gong is for the 3 Nadis. Gongs generate a strong vibration. If you feel good with the vibrations generated by metal bowls, then you can try the gong.<br/><br/></div>
<div><b>SBS: So gongs are for beginners?</b><br/><br/></div>
<div><b>EC:</b> I think metal bowls for beginners is better. <br/><br/></div>
<div><b>SBS: What do you think of Sound Bath Sessions project?</b><br/><br/></div>
<div><b>EC: </b>I think it is quite meaningful because you record the sound healing sessions for the HK healing industry. I think it is quite meaningful for people who don’t know much about these sessions.<br/><br/></div>
<div><i>You can find Edmund's sound baths on sbsessions.com. Subscribe to listen. Sound Bath Sessions have weekly releases featuring sound bath practitioners from Asia. </i><br/><br/></div>
<div><i><span style="color:#363636;">Sound Bath Sessions is a subscription-only project that offers live recordings of exclusive sound baths from sound therapists and healers in Asia.</span></i><br/><br/></div>
<div><i><a href="http://www.sbsessions.com" rev="en_rl_none"><span style="color:rgb(5, 99, 193);"><u>http://www.sbsessions.com</u></span></a></i><br/><br/></div>
<div><i><span style="color:#363636;">This interview was edited for length and clarity.</span></i><br/><br/></div>
<div><iframe scrolling="no" style="border: 0;width: 100%;height: 33px;" src="https://bandcamp.com/band_follow_button_classic/3114418887"></iframe></div>
<div><br /></div>
<div style="margin-bottom:11px;"> </div>
Sound Bath Sessions Interview: Candace Cheunghttp://bivouacrecording.com/post/sound-bath-sessions-interview-candace-cheung2023-08-21T13:12:49.004000Z2023-02-25T06:58:02ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/3397196a-c4e2-10e5-c071-11d9eba0a0d7/da038edb-63d2-259f-3f55-a6d4d324702f.jpg" style="--en-naturalWidth:995; --en-naturalHeight:663;"/><div><br/><i>I interview all the sound bath practitioners that I feature so listeners can deeper connect and get to know more about their practice and their approach to sound baths.</i><br/><br/></div>
<div><i>The first interview is with Candace Cheung (</i>@crystalbowloflight<i>) who regularly gives sound baths at Ikigai (</i>@ikigai.hk<i>) in Causeway Bay and other locations around Hong Kong. She distributes Crystal Tones crystal bowls so she always has many unique sounding bowls on hand to choose from which yields interesting and varied sound combinations during her sessions.</i><br/><br/></div>
<div><b>Sound Bath Sessions [SBS]: Hi Candace, how long have you been performing sound baths?</b><br/></div>
<div><b>Candace Cheung [CC]:</b> I bought all the Crystal Tones Singing Bowls in November 2020. I officially started teaching physical classes in June 2021.<br/><br/></div>
<div><b>SBS: When did you start going to sound bath classes?</b><br/></div>
<div><b>CC:</b> I started my first spiritual healing in 2017 and even earlier on I had interesting spiritual experience during meditation or energy healing. So yeah I started with meditation practice first in 2016/17 and since then I would go every week to meditate in 2016.<br/><br/></div>
<div><b>SBS: What kind of meditation was that?</b><br/></div>
<div><b>CC: </b>In the beginning it was kind of a lot of different type of religious type meditations like Buddhist and Tibetan meditation and then finally I found a meditation center in Sheung Wan which they use Crystal Tones™ Singing bowls for meditation and after that I found the sound meditation which was the one I most drawn to.<br/><br/></div>
<div><b>SBS: What made you go to the seek mediation classes in the first place?</b><br/></div>
<div><b>CC:</b> I always had this six sense or psychic feeling when I was young, but I never knew how to develop it or get further into spirituality. I hit my rock bottom of my marriage, and we tried to mend our marriage via various counselling services. I joined a hypnotising course, and during those four days I discovered who I truly am and why I had no self-worth. I decided to end this phase and started to move on to find my own path. During one session, I could see my new future house! Things just unfolded one by one. I wanted to find my aloneness to oneness. Then my spiritual journey began with trying out different meditation techniques. I found with sound, my meditation could quickly zone in and uplift my emotions or mood. My curiosity led me to learn further from different mentors.<br/><br/></div>
<div><b>SBS: What drew you to sound bowling meditation?</b><br/></div>
<div><b>CC:</b> I think especially for meditation, when you are asking for stillness of your mind, in the religious kinds they will ask you to follow different types of things or mantras. I find that sound to me personally is more powerful because I can just anchor my thoughts to the sound. I sort of feel that I am part of that sound and just flow with that sound. Sound gave me tremendous stillness and I was able to really focus and expand that mindfulness and awareness 10 times more because of the frequency of that sound.<br/><br/></div>
<div><b>SBS: How many bowls do you have now?</b><br/></div>
<div><b>CC:</b> The maximum I had a few months ago was close to 70 crystal bowls. Now I am down half.<br/><br/></div>
<div><b>SBS: Oh really? You sold that many?</b><br/></div>
<div><b>CC:</b> Yes! We are sorting the new ones hahahaha…..<br/><br/></div>
<div><b>SBS: How do you choose the bowls for performance or sessions?</b><br/></div>
<div><b>CC:</b> I think there is the intuition part of it and there is also following the music structure, especially with chakra healing. The alchemy crystalline journey [session] I do is for healing each chakra. In that case, I would select the bowls based on the tone for each chakra.<br/><br/></div>
<div>But in general, classes like at Ikigai for day to day where I think people just want just to be chilled and relaxed, I tend to choose more grounding sounds with more low bass. So that would help people if, for example, they had a ‘monkey mind’ or too many thoughts in their head, the large grounding bowl is really good to help them stabilize their thoughts. I usually choose some low tones and some higher tones just to balance the frequencies out.<br/><br/></div>
<div><b>SBS: Yes, I remember the last recording we did, you had that big bowl, and it was so… creamy. It was amazing.</b><br/></div>
<div><b>CC:</b> Ha ha! I still have that one. The big one I think a lot of people don’t really have it in Hong Kong because the apartments are small and people tend to choose 8 or 9 inch [bowls] to purchase, but to be honest, the 10 and the 12 inch are quite powerful.<br/><br/></div>
<div><b>SBS: Yes, I think it really suits the big room at ikigai. I don’t know how it would be in a smaller space. Perhaps it would be too overpowering?</b><br/></div>
<div><b>CC:</b> Yes, maybe.<br/><br/></div>
<div><b>SBS: I see you have had some sound bath performance with other musicians. Do you like collaborating with other musicians for sound baths?</b><br/></div>
<div><b>CC:</b> Yes, I love to collaborate. I think the beauty of the crystal tone singing bowls you never know how it will come out. So, in some way it’s a spiritual practice that you have to carry your mind to the unknown and expect whatever comes out. Right? I think it shocked me and I was honored when I had that recording with you because there was no music sheet to follow just the sound and what it wanted to sing. You are listening to know what the next note is.<br/><br/></div>
<div>I think collaborating with different people inspires you and allows you to know how they see spiritually. Like the vocalist I collaborated with, it was so difficult because I felt I needed to give her room to release her vocals so I couldn’t be too powerful with my bowls. Then whatever rhythm she is doing I need to be the background music to complement her. That is improvisation right there. You know, you just have to really relax yourself and really chill with it.<br/><br/></div>
<div><b>SBS: Yes, that’s the beauty of improvised music like jazz and experimental music. It’s really just playing off the other people in your group and creating something new with everybody’s ideas. It’s a live creative session. It’s beautiful when you are…</b><br/></div>
<div><b>CC:</b> In that zone.<br/><br/></div>
<div><b>SBS: Exactly. What was the most memorable collaboration or performance you have done?</b><br/></div>
<div><b>CC:</b> : I think so far, it would have to be the vocal session I had with Karina. The collaboration I had with her was so ‘there’. Even though it was practice, it didn’t I feel like practice, it was a performance. I felt like I was <i>with</i> her, like I knew when she was singing like its was two spirits meeting in that one particular land and we are in that wavelength.<br/><br/></div>
<div><b>SBS: Did you ever practice with her before?</b><br/></div>
<div><b>CC:</b> It was the first time we jammed that day. And I immediately felt her soul and her sound because there were no lyrics she was just chanting. It was amazing how her voice was able to tune with the bowl or the bowls seemed to tune to her voice. It felt like it was working two ways. It was amazing when you are inside the room you are like, ‘wow’. You are just there. It numbs your heart, that type of feeling.<br/><br/></div>
<div><b>SBS: Yes, that was really beautiful. Well actually, I have to tell you that recording with Karina will be the first Sound bath Sessions release on Sunday (26/2).</b><br/></div>
<div><b>CC:</b> Oh yeah? That’s great!<br/><br/></div>
<div>Actually, the recording you made of me before (Eyes yet to Open) when I listen to it, I can’t believe it was me. If you asked me two years ago, I don’t think I would have been able to perform like that. I think we met at the right time that I had the skill to do that.<br/><br/></div>
<div><b>SBS: I think that over the past few months your skills have been progressing with each recording. I think that the openness to collaborate and the new ways to combine the different bowls and frequencies I think that it will only get better.</b><br/><br/></div>
<div><b>Finally, what do you think about the SB community in HK? </b><br/></div>
<div><b>CC:</b> I think that the sound bath community in Hong Kong has many different varieties, and everyone is unique whether they play the bowl or gongs. I think sound baths are so dynamic. It’s like a violin, you can play the way that you feel. Everyone has their own emotions or frequency. I think that there is a lot of room to grow if we can gather the sound community together. It’s the spirituality of people we are helping, to release stress. <br/><br/></div>
<div>It is my hope that the sound bath healers have a certain spirituality when playing the bowls because if you cannot calm or heal yourself… it is not about playing the instrument, it is about involving your whole heart, whole spirit, from the bottom of your heart. It is about how you fill yourself with that mindfulness when you are playing the bowl. So, practicing it in terms of meditation is key and I hope everyone is aware of the energy they are expanding to the community in Hong Kong.<br/><br/></div>
<div><i>Candace and Karina’s crystal bowl and vocal duet sound bath session is out on Sunday 26/2. Subscribe to listen. Sound Bath Sessions have weekly releases featuring sound bath practitioners from Asia. </i><br/><br/></div>
<div><i><span style="color:#363636;">Sound Bath Sessions is a subscription-only project that offers live recordings of exclusive sound baths from sound therapists and healers in Asia.</span></i><br/><br/></div>
<div><i><a href="http://www.sbsessions.com" rev="en_rl_none"><span style="color:rgb(5, 99, 193);"><u>http://www.sbsessions.com</u></span></a></i><br/><br/></div>
<div><i><span style="color:#363636;">This interview was edited for length and clarity.</span></i><br/><br/></div>
<div><iframe scrolling="no" style="border: 0;width: 100%;height: 33px;" src="https://bandcamp.com/band_follow_button_classic/3114418887"></iframe></div>
Deep Dive: Josten Myburgh- Shed Ringerhttp://bivouacrecording.com/post/deep-dive-josten-myburgh-shed-ringer2023-01-09T09:35:49.084000Z2023-01-09T09:24:28ZBivouac Recording<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/1478658058&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/bivouac-deep-dive" title="Deep Dive" target="_blank" style="color: #cccccc; text-decoration: none;">Deep Dive</a></div></div><div><br><br>Instead of typing keywords into the search field I decided to dive into my followers, listening and commenting on random people and random tracks. I dont' really know if SC puts my followers by chronological order but I found Josten not too far from the surface. 'Shed Ringer' is a great saxophone improvisation with great tones and expressions sometimes mimicking the nature that could be heard in the back ground.<br><br></div>
<div>Here's what Josten had to say about the track:<br><br></div>
<div><span style="color:rgb(51, 51, 51);">"I recorded an improvisation while on holiday on the lands of the Badimia people in inland Western Australia, on a reserve called Mt Gibson which is managed by the Australian Wildlife Conservancy. I usually take my instrument travelling, even if it's just to get a few long tones in every day so I don't lose the embouchure muscles. It was the tail end of the wildflower season. For most of the trip we were the only people camping at the site, and so I often practiced in the shade of the camp kitchen. The tin roof was resonant and this was interesting to work with. I had to move around during the play to avoid the swarms of wasps, and circular breathing carried the risk of inhaling a fly. I am interested in the way the infinite nuances of place might inform and shape sonic decisions, both in-the-moment and in the long and intergenerational growth of a sound culture."</span><br><br></div>
<div><span style="color:rgb(51, 51, 51);">Enjoy.</span></div>
<div><span style="color:rgb(51, 51, 51);"><span style="--en-markholder:true;"><br /></span></span></div>
Generations : Nelson Hiuhttp://bivouacrecording.com/post/generations-nelson-hiu2023-09-09T04:28:23.100000Z2022-12-05T07:30:44ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/73a8d0dc-592f-6467-6c9b-bc84b7417022/95e7816e-3fc1-a2bd-a214-7bd1f42074f9.png" style="--en-naturalWidth:2153; --en-naturalHeight:701;"/><div style="text-align:center;"><span style="font-size: 20px;"></br></span><b><span style="font-size: 20px;"><a href="https://opensea.io/collection/brgenerations-nelsonhiu">Go to Collection on OpenSea.io</a></span></b></div>
<div></br></br>This past summer (2022), I had just moved to Hong Kong and was looking for interesting people to record. My friend Paul Yip who is an experimental musician and sound bath performer, recommended that I get in contact with Nelson Hiu. Upon first glance at Nelson's Instagram, he seemed like an interesting fellow, with moody photographs and short videos of solo performances. So I got in contact with him and set a date to meet.</br></br></div>
<div>Nelson lives out in Peng Chau which is a 30 minute ferry ride from the Central Piers in Hong Kong. I love taking boats and ferries. It always reminds me of my first journey to Chongming in Shanghai, the excitement and mystery of what lays on the other side. I had never been there so my imagination and anticipation were running wild. Our first meeting, though brief, was a pleasant one. We met at the Islanders Space (ig @islanders.space) which is a venue that hosts events dedicated to local urban design and exploration in Peng Chau. Nelson was curating a monthly performance series at the venue with musicians whom he knew and respected.</br></br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/73a8d0dc-592f-6467-6c9b-bc84b7417022/d545b92b-51ea-125a-1240-1427bf42996f.jpg" style="--en-naturalWidth:4032; --en-naturalHeight:3024;"/><div><i>Small Pengchau beach</i></div>
<div></br>I mentioned I was recording experimental musicians in Hong Kong for an album project and wanted to know if he would be down with participating. He agreed and we decided on a day to record as I left on the next ferry.</br></br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/73a8d0dc-592f-6467-6c9b-bc84b7417022/6a0405a7-ce22-e235-b1d0-7412c88c770c.jpg" style="--en-naturalWidth:4032; --en-naturalHeight:3024;"/><div><i>Pengchau</i></div>
<div></br>The day of the recording, I took the morning ferry to explore the island and do some field recordings. Peng Chau is a sleepy island town with most of its inhabitants living around the vicinity of the pier . There were a handful of tourists coming to the island that day to explore but for the most part it was a pretty quiet place. It is not a very big island but I was only able to explore the Eastern side before our meeting. There is never a shortage of ocean and water sounds in Hong Kong. Peng Chau had quiet green areas too. I walked around and got lost, met some dead ends, and was open to new experiences. From sea level to the top of the mountain I enjoyed every minute of it.</br></br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/73a8d0dc-592f-6467-6c9b-bc84b7417022/87bd0d0d-da95-9268-82d4-b270634fb64c.jpg" style="--en-naturalWidth:4032; --en-naturalHeight:3024;"/><div><i>Pengchau</i></div>
<div></br>After lunch we met up and went to his apartment to begin recording. It was an informal recording, just using instruments and objects he had on hand: flute, hand drums, box o' stuff, even the strands of beads hanging in the doorway were used. I decided it was going to be a dynamic recording using a mono microphone moving around, in and out of the space as he played. I focused on describing the space by affecting the polar pattern: going into corners, pointing at all the surfaces, walking outside on the balcony, and even a detail of the creaking of Nelson's rattan woven chair. This dance lasted about 30 minutes and was a great improvisation. We bid each other farewell and I went back home to rest after a rewarding adventure.</br></br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/73a8d0dc-592f-6467-6c9b-bc84b7417022/b0e43e63-40b7-25c4-9d6e-b86c2b8f24b3.jpg" style="--en-naturalWidth:3024; --en-naturalHeight:4032;"/><div><i>Nelson Hiu performing during recording</i></div>
<div></br>In the coming weeks, I had finally found a solution for the Generations project compositions and I just knew this recording would be perfect for it. I put it in and started the process. As it was the first Generation, it was going back and forth on the reels for a few weeks while i ironed out the composition process.</br></br></div>
<div>After propagating the audio for a few hours on the reels, I used previous recordings to give it some depth as each re-recording would not be as clear as the original giving a good texture and a sense of time passed.</br></br></div>
<div>As the composition process became more established, I decided that I would end the process and collected these 10 recordings you hear now. Upon giving an early recording to Nelson, he was happy to hear how it turned out and agreed to do more recordings for the project. I can't wait!</br></br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/73a8d0dc-592f-6467-6c9b-bc84b7417022/8347549e-bb19-d4d7-1530-445eeba62fc7.png" style="--en-naturalWidth:300; --en-naturalHeight:69;"/><div></br><b>NFT</b></div>
<div>It is with great pleasure to announce that the Generations : Nelson Hiu collection will be exclusively sold as an <a href="https://opensea.io/collection/brgenerations-nelsonhiu">NFT through OpenSea.</a> </br></br></div>
<div>Recently I had been turned on to NFT for audio as a way to distribute my works. I was always frustrated about how Soundcloud reviewed tracks for distribution on streaming music platforms. The gatekeeper of the gatekeeper. I also felt like I was trying to fit in with Bandcamp's traditional album model. </br></br>With Generations, where each recording is unique artwork, this further distanced me from the established framework for releasing music. What appealed to me about NFT was that I could treat my sounds like one-of-a-kind artworks. They could be unique, like paintings. Each minting yields a unique token that cannot be changed. I also see it as an effective way to invest in an artist by having an option for a percentage of each sale in the token's lifetime go to the artist. As an added incentive to buyers, the token value can be set by the current owner which has the potential for increasing in value. This benefits both the artist and the owner which is something that current established methods do not do for intanglible sound creations. It is about consumption not legacy. I have control over copyright and the amount of tokens I want to mint and sell. It redefined the meaning of what sound art was to me and made it more tangible. It's time for change.</br></br></div>
<div>Stay tuned. Thanks for listening.</div>
Generations : _http://bivouacrecording.com/post/generations2023-04-28T01:11:06.948000Z2022-11-15T14:43:58ZBivouac Recording<div>'<i>Generations:_</i>' is a project that uses aleatoric methods to create compositions using field recordings.<br/><br/></div>
<div style="text-align:center;"><b>Releases: </b></div>
<div style="text-align:center;"><a href="https://bivouacrecording.com/post/generations-nelson-hiu">Generations : Nelson Hiu</a></div>
<div style="text-align:center;"><a href="https://bivouacrecording.com/post/generations-feaston">Generations : Feaston</a></div>
<div style="text-align:center;">Generations : Ip / Chan (Coming soon)<br/><br/></div>
<div style="text-align:center;"><a href="https://discord.gg/7gqFSSHMue" rev="en_rl_none">Click here for the project Discord</a><br/><br/></div>
<div><b>Introduction</b></div>
<div>Over the past 4 years I have been thinking of a way to redefine the way I work with field recordings and built an instrument that helps me do this. I would like to share with you the current system I am using to create compositions.<br/><br/> </div>
<div>First, I would like to introduce my definitions of what a 'field recording' and a 'field recordist' are to me. <br/><br/> </div>
<div>A <i>field recording</i> is a document of a situation or place that we have no influence over. I believe the action of field recording is an improvised performance involving the movement and decisions of the recordist. The resulting recording that you hear is a document of that performance.<br/><br/> </div>
<div>I define a <i>field recordist</i> as a person who seeks to experience a deeper understanding with the world though sound that often leads to an adventure, no matter how big or small. The goal is the document of this adventure and not any compositional goal.<br/><br/> </div>
<div>My approach to this idea and the instrument design was from my background as an audio engineer, field recordist, artist, and architect, not as a musician- which I am not. This can be seen with a bias towards a more objective, technical, and process-oriented composition methods to concentrate on the real performance- the act of recording.<br/><br/> </div>
<div><b>Begin</b></div>
<div>Using field recordings as a medium for composition is difficult. Often, they are selected for their musical properties or transformed into musical elements such as ambience, noise, rhythm, and tone- purposes imposed on them to fit the needs of a 'song'. Rarely are they used in a composition verbatim.<br/><br/> </div>
<div><i>Generations</i> does not consider the recordings as an additive, and the integrity of the recording is kept throughout the composition process.<br/><br/> </div>
<div><b>Goal</b></div>
<div>The goal for this project is to create a method of composition that maintains the improvisational concepts of field recording from its documentation to its execution.<br/><br/> </div>
<div><b>The Instrument</b></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d572d955-18c3-0b9b-532e-277128bd561a/33ae48b4-df2a-9717-d950-2b27ec9a0bcf.jpg" style="--en-naturalWidth:2053; --en-naturalHeight:1170;"/><div><i>The instrument</i></div>
<div><br/>The instrument is where the composition is born. It contains physical (hardware) and user-programmed systems (software) that contain it, give it life, and allow it to evolve over time.<br/><br/> </div>
<div>The instrument is made of equipment that consumers can obtain and the components can be user defined as needed to make it work. <br/><br/> </div>
<div>The concept of ‘documentation’ is also applicable to the hardware and the preservation of their current state of decay. Tuning or calibration is not necessary unless it is to achieve a new sound. This allows for any accidents to happen and also reveals the unique aged character of each machine. <br/><br/> </div>
<div>Used magnetic reel tape also allows for serendipitous moments such as drop-outs caused by shedding or age. This can add a lot of character to the resulting sound as different kinds of tape can be combined together and/or taped over for different textures.<br/><br/> </div>
<div><b>Sequencing system</b><br/><br/> </div>
<div>System->Songs->Chunks<br/><br/> </div>
<div>The sequencing System is made up of <b>Songs </b>and <b>Chunks</b>:</div>
<div><b>Songs</b> are made up of Chunks put in a sequence.</div>
<div><b>Chunks</b> are the building blocks of 'actions' which control the machines. <br/><br/> </div>
<div>The <b>Chunks</b> are the basic functions of the tape machines and digital mixer (play, stop, record, fast forward, rewind, scene change) within a length of time.<br/><br/> </div>
<div>The unit of time is based on the arbitrary length of a human breath (B). The ‘breath’ units serve to 'humanize' the actions during sequencer playback of the Songs.<br/><br/> </div>
<div>My DAW, Digital Performer, has a feature that allows you to save Chunk sequences in a list for future use. <br/><br/></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d572d955-18c3-0b9b-532e-277128bd561a/be44eadc-2805-1fb9-7a86-3c63d50f7656.png" style="--en-naturalWidth:1366; --en-naturalHeight:768;"/><div><i>On the right is the Chunk list. These will be dragged to the left to make a Song.</i><br/><br/> </div>
<div><b>The Song</b></div>
<div>The Song sequencing had to be in keeping with the idea of the improvisational concept of field recording. The difficulty I found early on was that I was approaching this instrument the way I would play a typical musical instrument, where one knows the sound they want and makes an action to achieve it: "I want a C so I will press this". However, this method could not apply when the resulting sound is unknown such as a field recording on tape. The composition approach cannot be based on <b>sound</b> before action- it has to be based on <b>action</b> <i>before</i> sound- separating sound and action. Only a sequence of actions are needed to create this composition. This is exactly what we can create with the 'action' Chunks we just made.<br/><br/> </div>
<div>As with any program, one tries to find the most efficient way to run it. Many hours may be spent to refine a process that makes things easier and more productive. This process allowed an easy way to build compositions that result in unique evolutions of the original recordings. This also meant I could spend more time recording sound for each ‘<i>Generation</i>’ and less time making decisions to compose it.<br/><br/> </div>
<div><b>Chance</b></div>
<div>In my early experiments, I was not satisfied with my own ‘random’ compositions because the actions had no justification, or reason for existing, which the architect side of me really disagreed with. I felt I was too connected with the piece making arbitrary subjective decisions with no basis and no conviction. After all, our choices are easily manipulated and are not truly random. As I have learned through the production of my previous projects, <i> Generations</i> needed to grow organically <i>on its own</i> in order to progress.<br/><br/> </div>
<div>Taking inspiration by the aleatoric composers of the 60s who made compositions using chance: Cage, Stockhausen, Cowell, etc., I used a random number generator (RNG) to pick numbers to make my decisions. Much like using the Yi Ching (a la Cage), you present a question and chance gives you an answer. This method proved very efficient and objectively justified the events and settings happening within the composition.<br/><br/> </div>
<div>A detailed post of the process will be posted at a later date.<br/><br/> </div>
<div><b>When is it finished?</b></div>
<div>This was possibly the hardest question for me at the moment. Technically, you can do this forever with the same source audio. But there must be a limit, there must be an end. Do I leave it up to chance? Or do I choose? For the sake of efficiency I decided that I would limit the production process to 8 hours, then make a batch of final recordings.<br/><br/> </div>
<div>As a final step to encourage progress, I wanted to do something to make these compositions truly unique. I remember going to an exhibition of woodcut prints where they showed the final print and the woodblock that made it. After making the final print, the artist gouged a deep ugly ‘X’ across the wood block to prevent any more prints. I always thought this was a difficult but necessary decision a woodcut artist could make, especially after so much time had been spent carving it. To make these compositions truly unique, they must <b>be</b> unique. After the composition process is finished, the tapes will be completely erased and reused for the next '<i>Generation</i>'.<br/><br/> </div>
<div><b>The Title</b></div>
<div>Finally, naming a project is always a challenging task. The title ‘<i>Generations</i>’ was an appropriate title because the word has two meanings that I felt that relate to this project. <br/><br/> </div>
<div>The first meaning is: "<i>The action or creation of something</i>". This could be used to describe the composition that is created or the sound that is made as a result of the composition process. <br/><br/> </div>
<div>The other definition is: "<i>A type or class of objects usually developed from an earlier type</i>." This describes the process of the layering that happens during the recording and rerecording of the composition.<br/><br/> </div>
<div>As I said in a previous post, these past 4 years have been a long road of wonderful failures but recently things have been looking promising. Mostly because of the wonderful people I have recently met. One of these people is Nelson Hiu who contributed his time and talent to be a part of this project and is the artist of the first ‘<i>Generations</i>’ release. A future post about the production of this album will be released soon.<br/><br/></div>
<div>Thanks for listening.<br/><br/></div>
<div style="margin-bottom:11px;"> </div>
New Release: Eyes Yet To Openhttp://bivouacrecording.com/post/new-release-eyes-yet-to-open2022-10-18T07:23:01.208000Z2022-10-18T00:03:19ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/0530fe2c-5bd0-f52d-df7a-e870c219aab4/0e56e9b2-9b5a-fe72-6ba4-b645d4185bd7.jpg" style="--en-naturalWidth:3649; --en-naturalHeight:4393;"/><div style="text-align:center;"><br /></div>
<div style="text-align:center;"><iframe style="border: 0; width: 100%; height: 42px;align:center" src="https://bandcamp.com/EmbeddedPlayer/track=1215374921/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" seamless><a href="https://bivouacrecording.bandcamp.com/track/eyes-yet-to-open">Eyes Yet To Open by Candace Cheung / Terence LLoren</a></iframe></div>
<div><br><br></div>
<div>We are proud to announce that our first track from our 'Sound Bath' series is now available to <a href="https://bivouacrecording.bandcamp.com/track/eyes-yet-to-open" rev="en_rl_none">purchase from Bandcamp.</a><br><br></div>
<div>"<span style="color:rgb(51, 51, 51);">A spacious and hopeful soundbath performed by </span><a href="https://crystalbowloflight.com/hk/">Candace Cheung (aka. Crystal Bowl Of Light)</a><span style="color:rgb(51, 51, 51);">. A dreamy, sanguine recording that suspends you just below the surface where you are free to let go and explore your imagination.</span><br><br></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">The title "Eyes Yet To Open" was inspired by the recording and has a double meaning: the description of that feeling on a quiet morning when your body is trying to pull you into back to reality but you don't let it, and the anticipation of becoming something, possibly a change or a realization."</span><br><br></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">A 10 minute radio edit is </span><a href="https://soundcloud.com/bivouacrecording/eyes-yet-to-open" rev="en_rl_none">currently on Soundcloud</a><span style="color:rgb(51, 51, 51);"> and will be propagated to many other streaming platforms soon.</span><br><br></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);"><u>The Recording</u></span><br><br></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">Over the past few weeks I have been in contact with Candace (</span><a href="https://www.instagram.com/crystalbowloflight/">@crystalbowloflight</a><span style="color:rgb(51, 51, 51);">) about recording the sound of her many (50+) Crystal Tones crystal bowls that she owns and sells in Hong Kong. I recorded audio for some product videos they were making to take some notes on how to record them, what microphones to use, size of space, etc.</span><br> <br></div>
<div><span style="color:rgb(51, 51, 51);">While the photo studio was relatively quiet with high ceilings, it was not suitable for any kind of professional audio quality recordings. So I did some research and found a small studio space called Record Room HK on the Southern District of HK with a reasonable hourly rate. I went to see the space and it was perfect so I booked it for a later date.</span><br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/0530fe2c-5bd0-f52d-df7a-e870c219aab4/bc78b937-1344-3d04-2f68-fc67b316584b.jpg" style="--en-naturalWidth:4032; --en-naturalHeight:3024;"/><div><br></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">Candace and I decided to record a small batch of bowls for the initial recording: </span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);"><span style="--en-markholder:true;"><br /></span></span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">(from left: )</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">C (-30)</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">Apophyllite</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">Crone Goddess</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);"><span style="--en-markholder:true;"><br /></span></span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">C# (-30)</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">Mt. Shasta Serpentine</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">White Light Angel</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);"><span style="--en-markholder:true;"><br /></span></span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">C# (-10)</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">Apophyllite</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">Aqua Aura</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);"><span style="--en-markholder:true;"><br /></span></span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">A# (-20)</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">Green Goddess Limited Edition</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);"><span style="--en-markholder:true;"><br /></span></span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">D# (-40)</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">Itoigawa Jade Platinum</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);"><span style="--en-markholder:true;"><br /></span></span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">C (-20)</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">Lemon Aura Gold</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);"><span style="--en-markholder:true;"><br /></span></span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">F (-40)</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">Azezulite Green Heart Aura Gold</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);"><span style="--en-markholder:true;"><br /></span></span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">G# (-35)</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">Emerald Platinum</span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);"><span style="--en-markholder:true;"><br /></span></span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);"><span style="--en-markholder:true;"><br /></span></span></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/0530fe2c-5bd0-f52d-df7a-e870c219aab4/000c375b-6f04-e921-5e4c-f983da24d265.jpg" style="--en-naturalWidth:3024; --en-naturalHeight:4032;"/><div><i>Recording with (2) 8090 in ORTF</i><br><br></div>
<div>I found that to avoid overmodulation of the microphones and preamps, I needed to be positioned about 2-3 meters away but I think I could have gone a bit farther. This also reduced the sound of clothing noise. One of her batons was a suede one which you can hear a 'rough' sound sometimes during the track. While initially I thought this was disturbing, it is an inherent sound of the tools used to create the sound so to preserve the integrity I kept it in. Candace said that some bowls, because of the coating on the crystal, the suede baton is easier to make sound with rather than the rubber baton. <br><br></div>
<div>As usual, there are always stories from production and this was the case with ours. There were some noises that penetrated the studio wall that I didn't hear during my previous visit so we could not capture the sound of each bowl for a sample library. So we decided to make the best use of time and just recorded the sound baths. At least this will be loud enough to mask any external sounds. Also, as it was an industrial storage building, we assumed that all the workers would leave at lunch time for an hour which gave us time to record the track you are listening to.<br><br></div>
<div>In the end there wasn't much to edit save for a few clicks and pops from the walls of the room. I kept EQ and compression to a minimum and published the track.<br><br></div>
<div>I have to say that the Record Room is a good space with cool people but I recommend booking the studio at night when there will be no noises within the building. The control room, even though we did not use it, had hi end outboard gear perfect for any kind of production.</div>
<div><br /></div>
Soundbath Serieshttp://bivouacrecording.com/post/new-sound-bath-album-series2023-03-16T06:42:55.898000Z2022-10-16T22:39:53ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/c82a36bd-18bc-02f6-7f72-7566125da29f/26cdbb5b-9ec7-760c-7a1a-c1472e04a9c3.jpg" style="--en-naturalWidth:4032; --en-naturalHeight:3024;"/><div style="text-align:center;"><br/><b>Releases:</b></div>
<div style="text-align:center;"><a href="https://shop.bivouacrecording.com/track/eyes-yet-to-open" rev="en_rl_none">Candace Cheung 'Eyes Yet To Open"</a></div>
<div style="text-align:center;">Cheryl Rodriguez "The Serendipity of Circumstance" (Coming Soon)</div>
<div style="text-align:center;">Cheryl Rodriguez "Candescence" (Coming Soon)<br/><br/></div>
<div style="text-align:center;"><a href="https://discord.gg/BCZtyCJ6cD" rev="en_rl_none">Click here for the project Discord</a><br/><br/></div>
<div>This past summer when recording experimental shows in Hong Kong, I happened to meet Paul Yip, an experimental composer and sound bath practitioner. This was the first time I had ever heard the term 'sound bath' and I imagined a some kind of elaborate surround sound setup in an empty space. What I found was something quite different.<br/><br/></div>
<div>As I researched this, I found that it was a pure analog experience with objects such as metal bowls, crystal bowls, gongs, etc that are used to appeal to different chakras of the body. I have never approached sound on such a spiritual level but I loved that fact that it was ultimately an improvised performance that could be used for more than just for pleasure.<br/><br/></div>
<div>I started to think that these recordings could turn into an interesting project. However, one thing that was important for me was that I didn't want to change the reasons why I record and not just jump on the wellness 'bandwagon'. These recordings needed to mean something to me. How are these sound recordings a <i>Bivouac Recording</i>? The reasoning I came up with was: that the inherent nature of a sound bath- a unique improvised performance, by practitioners who may or may not have a musical background, that play mostly atonally, and according to emotion and sound- aligns with the concepts of improvisation and themes of my recording projects.<br/><br/></div>
<div>After giving myself a green light, I started contacting people around Hong Kong and asked them many questions about what they do, how they perform, and why they do it, what they use to perform, etc. and found that everyone had different answers for different reasons. These variations would make a great document.<br/><br/></div>
<div>I also found that some of the popular online sound libraries have yet to post interesting sound baths for licensing and am looking to post them there soon.<br/><br/></div>
<div>Stay tuned for more releases from local Hong Kong sound therapists and wellness practitioners!<br/><br/></div>
<div><iframe scrolling="no" style="border: 0;width: 100%;height: 33px;" src="https://bandcamp.com/band_follow_button_classic/3114418887"></iframe><br/><br/></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/c82a36bd-18bc-02f6-7f72-7566125da29f/6a915eed-a5d8-6f0e-eea3-19cc9a943439.jpg" style="--en-naturalWidth:4032; --en-naturalHeight:3024;"/><div><i>Recording Candace Cheung 'Eyes Yet To Open' sound bath at Record Room HK</i></div>
Deep Dive: Beynon School of Audio Architecture | Christian Fillary | The Copse is Wrought Ironhttp://bivouacrecording.com/post/deep-dive-beynon-school-of-audio-architecture-christian-fillary-the-copse-is-wrought-iron2022-09-14T02:36:04.478000Z2022-09-08T07:17:01ZBivouac Recording<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/62118613&color=%231c24c4&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/beynonarchival" title="Beynon Archival" target="_blank" style="color: #cccccc; text-decoration: none;">Beynon Archival</a> · <a href="https://soundcloud.com/beynonarchival/labelled-christian-fillary-the" title="Labelled: Christian Fillary - The Copse is Wrought Iron, March '77. Archived Medium: 1/4inch Tape" target="_blank" style="color: #cccccc; text-decoration: none;">Labelled: Christian Fillary - The Copse is Wrought Iron, March '77. Archived Medium: 1/4inch Tape</a></div></div><div style="text-align:start;"><span style="color:rgb(51, 51, 51);"><br/></span></div>
<div><span style="color:rgb(51, 51, 51);"><br/></span>Sometimes you find something that you wish you heard about a long time ago. These archived works were ressurrected in around 2013 and can still be purchased on Bandcamp today. The title of the track really intrigued me and as I read their informative description, I couldn't really believe that these tracks were done by teenagers as part of their curriculum. I wish I had known about these schools when I was growing up (if they were still around), though my musical taste at their age was nowhere as bold or experimental.<span style="color:rgb(51, 51, 51);"><br/><br/></span></div>
<div><br /></div>
<div>This track has all the qualities that are inherent with old tape stock that I try to incorporate with my own recordings. Noise, loss of high frequency, dropouts, and warbling caused by mechanical or medium imperfections. Also the audible intervention of the manipulation of the tape machine gives a sense of performance, and connection between listener, performer, and recordist. Each old tape has its own unknown state of decay which makes it like an expired film in a sense. You never know what you have until you use it.<span style="color:rgb(51, 51, 51);"><br/><br/></span></div>
<div><br /></div>
<div>Here is the description of the track:</div>
<div><span style="color:rgb(51, 51, 51);">This 10 minute opus entitled 'The Copse is Wrought Iron' was labelled as being by 17 year old Christian Fillary, March 1977. Christian was at the school for only three years as is recorded. His Seventeenth year being his final one at the school. We know very little else and we are in the dark as to why his stay was so short at the school. The copse to which he refers is judged to be Black-a-Tor Copse as this is where the school visited on many occasions for field trips. To why on this particular day it was wrought iron, has been lost to history.<br/><br/></span></div>
<div><span style="color:rgb(51, 51, 51);"><span style="--en-markholder:true;"><br /></span></span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">We think the piece was recorded in the Refectory judging by the reverberation and was maybe recorded as a live performative piece. The recording seems to have elements of reverse tape manipulation and also some electronic manipulation. This may have also been a prepared piece making full use of the tape machines flutter effect. This may have been looped and played back and recorded again and again off two machines to create a stereophonic body to which elements were performed on top. As this duplication was taking effect it would seem Christain had some tape issues as there a few audible edits in the performance. See if you can spot them. The effect is quite mesmerising while being a little sinister to say the least. This was taken from ¼ inch tape and I'm sure copied relentlessly during the exercise. Over time the tape has stretched and this distortion is audible. Enjoy good people.<br/><br/></span></div>
<div><br /></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);"><span style="--en-markholder:true;"><br /></span></span></div>
<div><br /></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">The Beynon School was founded in 1941 by Victor Beynon as an institution extolling the virtues of alternative education. The children aged between 11 and 19 attended the school in the heart of the Devon countryside up until it's closure on the 29th April 1980.<br/><br/></span></div>
<div><br /></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">The Beynon School of Audio Architecture was the department founded in 1959 to explore the relationship between new ever emerging audio possibilities (performative electronics, composition, structure, early sampling techniques) and the moving image. This experimentation peaked in the mid 1960s to the late 1970s. This is the time span that forms the bulk of the surviving archive. The word 'Architecture' was employed because of Victor's ideology that the children should 'build worlds in relation to visual stimulus that are both organic and solid but at once metaphorical and dream-like'. A scope that gave some focus while remaining wide enough to encourage experimentation. The school was also a focus for the surrounding community and the local inhabitants made use of the facilities of the school and the audio school proper. Some even adding to the archive.<br/><br/></span></div>
<div><br /></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">After Victor's death in 1992, I, his grandson Gregory inherited the archive and set about exploring its contents. The great majority of the audio-visual archive was destroyed by flooding in 1986 when the archive was being held at the Royal William Yard, Plymouth. However most of the audio material was saved as it was stored above the line of the highest part of the flooding.<br/><br/></span></div>
<div><br /></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">In September 1976 Victor wrote the Penguin published book 'The Beynon School of Audio Architecture' celebrating the school, it's ideology and it's endeavours. The book enjoyed a short but none-the-less popular publishing run.<br/><br/></span></div>
<div><br /></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">During the 1980s after the schools closure the department and it's associated contents relocated to a location on Dartmoor National Park near to the village of Widecombe. Recording and experimentation continued for a short while until 1989 when the department sold it's assets and closed it's doors.</span></div>
<div><br /></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);"><br/><br/></span></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);">You can find more archived material at the archive's </span><a href="https://beynonarchival.bandcamp.com/" rev="en_rl_none">bandcamp page.</a></div>
<div style="text-align:start;"><span style="color:rgb(51, 51, 51);"><br/><br/></span></div>
<div><span style="color:rgb(14, 48, 41);">About Deep Dive:</span></div>
<div><span style="color:rgb(14, 48, 41);">Deep Dive is a list of artists that I have found during multi-day 'diving' (down-scrolling) on Soundcloud. These tracks have inspired me and my work in some way. </span><a href="https://bivouacrecording.com/tag/deepdive" rev="en_rl_none"><span style="color:rgb(14, 48, 41);"><u>For more Deep Dive Features click here.</u></span></a></div>
Deep Dive: À Ismène | Erell Latimierhttp://bivouacrecording.com/post/deep-dive-a-ismene-erell-latimer2022-09-05T12:22:09.732000Z2022-09-04T12:30:15ZBivouac Recording<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108622545&color=%23ffd4d4&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/erell-latimier" title="Erell Latimier" target="_blank" style="color: #cccccc; text-decoration: none;">Erell Latimier</a> · <a href="https://soundcloud.com/erell-latimier/ismene" title="À Ismene" target="_blank" style="color: #cccccc; text-decoration: none;">À Ismene</a></div></div><div><br/><br/></div>
<div>In our quest for experimental sound works that exploit the inherent qualities and flaws of analog tape we came across Erell's ‘À Ismène’. The overlaying of improvised performing of the tape samples and the way the voice is spliced into and out of the experience made me think differently about our own splicing and recording methodology and how to compose with overdubbed live performances.<br/><br/></div>
<div><br /></div>
<div>From the artist:<br/><br/></div>
<div><br /></div>
<div>"‘À Ismène’ was composed in 2008 from fragments of a long-term rewriting of the myth Antigone. I wrote this text between 2006 and 2012 and recorded various parts to tape throughout the years. New fragments were added each time I performed the work live using tapes machines alongside digital recorders. There were never two performances the same. The CD ‘A Ismène’ was the final version of this work."<br/><br/></div>
<div><br /></div>
<div>"I’m a French sound artist working with voice, text, and field recordings. Originally a writer, I quickly turned to sound as my main medium for dealing with text in both live performance and studio composition using a variety of dictaphones, walkmans, analogue et digital recorders. I started out reading aloud my texts and accompanying myself, doubling my double voice on tape. I really liked the sound of analog recording and I was part of the walkman generation from a young age. Little by little I started to record sounds and to use different types of dictaphone and tape live, manipulated and mixed on the spot. Then the interplay between digital and analog sound, clean and dirty, current and nostalgic, clear and indistinct interested me and I stayed there. Alongside my artistic practice I am also a linguistic anthropologist, and so my 3 works and interest (literature/ sound and linguistic anthropology) feed each other and leave a large place to work with voice and language on different levels. Today I have a large sound library of text and field recordings recorded on tape machine and/or digital devices. I use them to compose with and without effects."<br/> <br/></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/e9573f11-2967-27f4-2e96-fe16029df1e2/c16657df-eaf0-846a-cc9c-b808ca9725f7.jpg" style="--en-naturalWidth:1044; --en-naturalHeight:960;"/><div><br/><br/>About Deep Dive:</div>
<div>Deep Dive is a list of artists that I have found during multi-day 'diving' (down-scrolling) on Soundcloud. These tracks have inspired me and my work in some way. <a href="https://bivouacrecording.com/tag/deepdive">For more Deep Dive Features click here.</a></div>
Deep Divehttp://bivouacrecording.com/post/deep-dive2022-09-05T12:43:23.089000Z2022-09-04T04:16:57ZBivouac Recording<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/1478658058&color=%23ffd4d4&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;"></a> <a href="https://soundcloud.com/bivouacrecording/sets/bivouac-deep-dive" title="Bivouac Deep Dive" target="_blank" style="color: #cccccc; text-decoration: none;"></a></div></div><div><br/> <br/></div>
<div>Breathe. Saturate. Dive. In our search for inspiration we delve into the depths of Soundcloud on a daily basis. Slowly scrolling until something catches my ear. This decent sometimes takes several days that amount to several hundred, nay, thousand tracks deep. When I resurface I come back with a few treasures that plant the seeds for new projects or that deeply have changed the way I listen. I want to share these tracks with you but a simple 'repost' within Soundcloud does not pay the homage that I feel these tracks deserve. <br/> <br/></div>
<div><br /></div>
<div>So I am starting 'Deep Dive', where I showcase all the tracks that I have 'discovered' that have inspired me with their beauty and ingenuity. For the tracks that have not been forgotten by their creator, I feature more in-depth descriptions of the track and artist and what their track has meant to me as an ultimate show of gratitude.<br/> <br/></div>
<div><br /></div>
<div>Please enjoy this chest of treasures.<br/> <br/></div>
<div><br /></div>
<div><a href="https://bivouacrecording.com/tag/deepdive" rev="en_rl_none">Click here for our Deep Dive features</a></div>
60 Minute Cities: Xi'an | 60 分钟,我的城市- 西安http://bivouacrecording.com/post/60-minute-cities-xi-an-60-fen-zhong-wo-de-cheng-shi-xi-an2022-09-04T22:58:50.587000Z2022-08-01T10:09:27ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/48a4ac2e-8eeb-aa53-3c5b-08b2f4e26f10/5794dab6-bb26-7435-5f07-adb162e3e7b3.jpg" style="--en-naturalWidth:1650; --en-naturalHeight:1275;"/><div style="text-align:center;"><br><br><b><span style="font-size: 12pt;">US $5 | RMB 30元</span></b></div>
<div style="text-align:center;"> To listen and purchase please click below/ 聆听购买</div>
<div style="text-align:center;"><span style="font-size: 12pt;"><a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-xian" rev="en_rl_none">Soundcloud</a></span></div>
<div><br><br></div>
<div style="text-align:center;">[Purchase includes Mp3 audio files and PDF of track descriptions]</div>
<div><br><br></div>
<div style="text-align:center;"><span style="font-size: 12pt;">Look | 凝视</span></div>
<div style="text-align:center;"><a href="https://issuu.com/bivouacrecording/docs/60_minute_cities-_xi_an" rev="en_rl_none">Issuu</a> <span style="font-size: 12pt;">| <a href="https://weibo.com/ttarticle/x/m/show/id/2309404797732866097285?_wb_client_=1" rev="en_rl_none">微博</a></span></div>
<div style="text-align:center;"><span style="font-size: 12pt;"><span style="--en-markholder:true;"><br /></span></span></div>
<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/1476825391&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-xian" title="60 Minute Cities- Xi'an" target="_blank" style="color: #cccccc; text-decoration: none;">60 Minute Cities- Xi'an</a></div></div><div><br><br></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">w西安是我生活过的第三座城市,也是目前定居的城市 /在这里,我认识了很多有趣的人,也做了些有趣的事/ 16年的时候,因为对实地录音的着迷,我买了一台Sony d100。这样,在我用双腿去丈量每一个去到的城市的同时,可以去感受并记录在那个时刻那个气候那个场景下即将存在或存在过的,不断重复或转瞬即逝的,随机而又必然的声音 /现在再回过头看我本次选取的录音地点,有些已经不复存在。人不能二次踏入同一条河流,同样,人也不能二次听到同样的声音。记录只是手段,是定格,是捕捉,是放大,亦或失真;但时间轴只有一个方向,无法replay //</span></span></div>
<div><br><br></div>
<div>Xi'an is the third city I have lived in and is my present home / I have met many interesting people and done some interesting works here / In 2016, because of my growing interest in field recording, I bought a Sony D100 recorder / While measuring each city I have visited with my own two legs, I can feel and record the sounds that will exist or exist in that scene at that moment and in that climate, constantly repeating or fleeting, random and inevitable / Now when I look back at the locations I have chosen this time, some of them no longer exist. One cannot step into the same river twice, and likewise one cannot hear the same sound twice. Recording is only a means, a freeze frame, a capture, an amplification, or distortion; But the timeline has only one direction and cannot be replayed //</div>
<div><br><br></div>
<div><b><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">关于艺术家</span></span></b></div>
<div><br /></div>
<div>秦岭,前硬件测试工程师。喜欢使用合成器+tabletop guitar+调音台反馈的方式来制造各种频率声响,探索drone的另一种可能。</div>
<div><br><br></div>
<div><b>About the Artist</b></div>
<div>Qin Ling / Former hardware test engineer / Uses synthesizers, table top guitar, and mixer feedback to create a variety of new sounds and explores the unexpected possiblities of drone //</div>
<div><br /></div>
<div><br /></div>
Instrument 3.1http://bivouacrecording.com/post/instrument-3-12022-08-01T10:11:22.041000Z2022-04-04T03:49:49ZBivouac Recording<div>Well it has been a crazy few months mostly full of failed experiments. However, I have learned a lot and look forward to the next batch of failures. <br><br></div>
<div><br /></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/b423a7f9-a8ae-7315-2b87-54eb80220b5d/7eff6095-0dc1-670d-8d98-0b067e574155.jpg" style="--en-naturalWidth:1821; --en-naturalHeight:2386;" width="521.5px"/><div><i>Testing.</i></div>
<div><br><br></div>
<div>To continue the previous post, I completed the motherboard with prototype board then realized that a PCB would be best for accuracy and to reduce the amount of wires. In the end, I was able to jam all the wires in but found that there was some DC leaking into the audio signal, and I just couldn't, and at this point- didn't want to, figure it out. </div>
<div><br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/b423a7f9-a8ae-7315-2b87-54eb80220b5d/f8105121-c7f6-ee8c-ccb9-a775d63506d7.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:1824;" width="627px"/><div><i>What it could have been.</i></div>
<div><br><br></div>
<div>This made me step back a bit from the build and reassess what the next step should be. I decided that this project had gotten way too complex and that more than enough time was spent on it. I just wanted to go out and record again. So I put everything back to they way it was and started over with more attainable goals and all the things I have been putting off over the past year.</div>
<div><br><br></div>
<div>The main thing was to purge the units of any superfluous functions that the instrument would not need. Some of it had been done with the first unit and now the other 3 would all be the same.</div>
<div><br><br></div>
<div>Here is the list of modifications:</div><ol><li><div>Bypass the balance and output volume knobs;</div></li><li><div>Bypass the onboard preamps (Abbey Road mod);</div></li><li><div>Remove counter;</div></li><li><div>Remove speaker switch and motor cutoff switches;</div></li><li><div>General cleaning and maintenance;</div></li><li><div>Build internal relay board in each unit;</div></li><li><div>Replace power selector shaft with shorter one, replace knob;</div></li><li><div>Replace and/or lubricate all bearings;</div></li><li><div>Replace EOT sensors;</div></li><li><div>Recap and replace potentiometers on all units;</div></li></ol><div><br><br></div>
<div>Internal Arduino relay board</div>
<div>Building and rebuilding the relay board during my prototypes so many times, the only successful things that worked was the Arduino remote control. So after cleaning up my workspace, got right into making the new internal relay boards. This got me really excited because my previous rack mounted solution started to give me problems.</div>
<div><br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/b423a7f9-a8ae-7315-2b87-54eb80220b5d/efa1883e-753e-7f0e-3d92-17d40dd23013.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:1824;"/><div><i>Installed relay board.</i></div>
<div><br><br></div>
<div>I wanted to do this ever since I got my first A77 and it's finally a reality! I rewired the 5 pin DIN connector that is already on the unit directly to the Arduino so I didn't need to install a new one.</div>
<div><br><br></div>
<div>Recap</div>
<div>I noticed that all the caps were original from the early 70s so I thought I would switch them all out while I had my soldering iron out. All caps used were mostly Panasonic FC and a Nichicon or two. The units should be good for another 50 years.</div>
<div><br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/b423a7f9-a8ae-7315-2b87-54eb80220b5d/aef2fd0c-c547-8c07-1712-96860a6afd0c.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:1824;"/><div><i>Relays and cables done.</i></div>
<div><br><br></div>
<div>Since all the caps were replaced, I need to do a full electrical calibration which is something I have been dreading since the beginning but it is a necessary step.</div>
<div><br><br></div>
<div><u>The Future</u></div>
<div><i>Plastic parts 3d print</i></div>
<div>During my disassembly, I found some things that could be replaced. Namely the selector switch housings. On the mark 2 and 3, they have really been destroyed so much that they are literally hanging by a few threads. This is probably mostly due in part of me taking apart the units so often. I am teaching myself Fusion360 and will get all of them 3d printed. I will post the files here as soon as I have made successful prototypes.</div>
<div><br><br></div>
<div>Another plastic part I want to model is the relay board front switch housing. The clear plastic on the bottom of the (relay board). The screw holes on some of my units are getting worn down and this needs to be replaced. I am sure I am not the only one out there with aging/ broken plastic parts and would be great to give back to the community that has helped me thus far. Once complete, you can have a friend or your local 3d printer make it for you.</div>
<div><br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/b423a7f9-a8ae-7315-2b87-54eb80220b5d/5a46e66a-4829-4f69-9534-9184bcdf0d74.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:1824;"/><div><br><br></div>
<div><i>Digital counter and automation</i></div>
<div>For my instrument I opted to take out the analog counter as it was inaccurate, more trouble than it is worth, and pretty useless for my purposes. Since I already had an Arduino in each unit, I thought I would make more use of it and add on a digital counter that I could program the beginning and end values of a tape so I wouldn't have to worry about a tape running out at either end. Much like a clear leader tape works, except digitally. So far I have made the counter work forwards and backwards, but the end of tape automation (stop then rewind back to the beginning) is giving me problems and I am working on a solution at the moment. If any one has successfully done this I would love to speak with you!</div>
<div><br><br></div>
<div>Follow along with the progress on the <a href="https://forum.arduino.cc/t/revox-a77-reel-to-reel-counter-autonomous-control-wth-ir-counter/969942">Arduino Forums.</a></div>
<div><br><br></div>
<div><i>Instructional videos</i></div>
<div>I thought that maybe I could share some of my knowledge of what I have learned over the past few years with modifying my units.</div>
<div><br><br></div>
<div><i>New Compositions</i></div>
<div>Finally, the main reason why I am doing these mods and upgrades is to make some compositions with this instrument. In the coming months, new compositions should be coming out on a regular basis.</div>
<div><br><br></div>
<div>So while the initial effort was not completed, I am now to a point where I feel I am much closer to finishing the instrument. I am looking forward to sharing some new compositions and recordings with you in the future.</div>
<div><br /></div>
<div><br /></div>
<div><br /></div>
<div><br /></div>
<div><br /></div>
Instrument 3.0http://bivouacrecording.com/post/instrument-3-02022-04-06T13:26:38.547000Z2021-12-01T05:25:52ZBivouac Recording<div>Since the last message, I have been thinking about how I could cut down my setup to make it even more efficient to use, setup, and transport.</div>
<div><br /></div>
<div><b>Wires</b></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/4354dfab-ca9a-5086-35d6-eb6b0ddb0fb9/38db6961-4d38-7967-1712-18b650ffd5b2.jpg" style="--en-naturalWidth:2736; --en-naturalHeight:3648;"/><div>It all started with the wires. Taking away 1 DME and the D24 helped a little but I was still left with many cables going to each A77. 4 cables for the I/O, 1 cable for the external transport control, and 1 power cable. 6 cables. Times 4 units. That is a lot of cables. </div>
<div><br /></div>
<div>I started to think bigger and decided to do what I wanted to do all along: put the Arduino transport control inside each machine. This quickly snowballed into many different directions and so I started to make a wish list for the instrument 3.0. The list seemed intimidating at first but after a few successful tests, I am confident that this will not only work, but will cut down my cabling to 2 per unit! 2 cables per unit! </div>
<div><br /></div>
<div>Moving the Arduino inside means making a new motherboard that will go inside of the machine. This part is easy (and fun). What this also means is that the 10 pin connector is now obsolete. Hmmm. What if I could just pass my 4 unbalanced I/O cables (total 8 wires) inside of the existing 10 pin input? The Arduino is still being controlled via MIDI so why not throw that in there too (MIDI = 2 wires)? Wow 10 wires exactly, perfect! </div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/4354dfab-ca9a-5086-35d6-eb6b0ddb0fb9/9be7251e-6775-3e45-3460-1561b377173a.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:2736;"/><div><b>A Little Off the Top</b></div>
<div>Ever since I have been using the A77 I felt that the lower half was just kind of in the way, with or without the wood case. There are many things protruding out hiding (protecting) the tape path. I wanted to open up the tape path not only for ease of use but also simplifying the top of the machine.</div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/4354dfab-ca9a-5086-35d6-eb6b0ddb0fb9/088874d0-13ef-ff93-f827-062685291a88.jpg" style="--en-naturalWidth:2736; --en-naturalHeight:3648;"/><div>In my first unit, I previously removed the output and balance pots and admired how much cleaner it looked. I thought about ways to remove the VU Record board and other knobs but I didn't know how much of the other features I would use in a performance or even just a recording session. Also, something just didn't sit well with me cutting and reusing something that could fail in the future. No, if I was going to do this it would have to be future proof. Well now I know, and I am going to do something about it!</div>
<div><br /></div>
<div>Moving the VU board is no small task. The record buttons and the VU meters all rely on it so moving it means extending wires and relocating everything. If you take away the Vu board and its support frame, you have to take away the input potentiometers and input selectors, and while you are at it, the reel cutoff button too.</div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/4354dfab-ca9a-5086-35d6-eb6b0ddb0fb9/fe9123af-aced-2069-b6d7-67f7e216899a.jpg" style="--en-naturalWidth:2736; --en-naturalHeight:3648;"/><div>The best solution was to place the analog components (VU and potentiometers) in a small remote unit and digitize everything else (Record button, input selector, and reel motor cutoff). I figured I only use the pots and Vu when I record something so I just connect it when recording. During playback/ performance, all the audio is managed via my mixer (DME) so I can just remove it if I want. </div>
<div><br /></div>
<div>The other settings will be controlled (on/off) via MIDI and will get rid of a lot of unnecessary features that I will never use (Radio and Mic) and put the functions that I do use with a MIDI note and keystroke.</div>
<div><br /></div>
<div>The new motherboard will be mounted in the huge empty space on the right side of the unit (where the amplifier cards would be mounted). I could just piggy back the old VU board on the back of this with some bosses.</div>
<div><br /></div>
<div>The transport and other functions will be turned on/off with the use of relays- 16 of them to be precise. Basically I am just extending the transport system to include more functions.</div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/4354dfab-ca9a-5086-35d6-eb6b0ddb0fb9/3c47aeea-59fb-5b77-f879-0bcb6cda8c0d.jpg" style="--en-naturalWidth:2736; --en-naturalHeight:3648;"/><div>Another 10 pin connector will replace one of the obsolete speaker connectors on the back for the Remote cable. The remote will have new meters, and new TOCOS 5k log potentiometers. I haven't tested the remote VU and Pot idea yet but it should theoretically work, right? </div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/4354dfab-ca9a-5086-35d6-eb6b0ddb0fb9/80841b66-1b12-1ecc-518e-94b1fb55deeb.jpg" style="--en-naturalWidth:2736; --en-naturalHeight:3648;"/><div><b>DME I/O- Mind blown yet again</b></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/4354dfab-ca9a-5086-35d6-eb6b0ddb0fb9/34afa511-6c04-b9f4-3ced-274a601219e6.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:2736;"/><div>Now that I am only using 1 cable for audio I/O and MIDI, I no longer need the heavy 16- 4 meter- XLR to RCA cables anymore. This frees up my XLR panel in the back of the rack. With this newfound opportunity, I decided that I wanted to be able to switch the I/O to the DME head amp so that I can switch between the Rear XLR panel inputs or the Revox inputs. This allows me to be able to input a condenser microphone into the mixer (via the XLR inputs) or input signal from the Revox units to the same input- all at the click of a button.</div>
<div><br /></div>
<div>How?</div>
<div><br /></div>
<div>GPI output. Another wonderful thing that blows my mind with this unit. The DME 24 has 8 GPI I/O at the back of the unit. These I/O can be used to control the DME or have the DME control other hardware. Each I/O has max.+5Vdc (16mA max.) which you can power an Arduino from, which again adds amazing possibilities for control. </div>
<div><br /></div>
<div>For this application, I will use each of the 8 GPI outputs to control 16 relays that either connect the XLR panel inputs or Revox inputs to the DME headamp I/O. Like all functions of the DME you can map this function to a MIDI message.</div>
<div><br /></div>
<div>Boom.</div>
<div><br /></div>
<div>In the end, my rack will have shrunk to a 6U rack and only 2 cables per unit. I can't wait.</div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/4354dfab-ca9a-5086-35d6-eb6b0ddb0fb9/6d49f190-5338-5729-503a-52861a24ca24.jpg" style="--en-naturalWidth:2736; --en-naturalHeight:3648;"/><div>Well I think I have said enough. Components are in the mail and metal is being fabricated. Time to warm up that soldering iron. More updates coming soon.</div>
<div><br /></div>
Vital Sounding Festival 2021- Recaphttp://bivouacrecording.com/post/vital-sounding-festival-2021-recap2021-11-24T09:00:53.719000Z2021-11-15T12:07:16ZBivouac Recording<div>The Vital Sounding Festival was an amazing experience for me. It was great to finally perform for people I have known for years in an amazing location.<br\><br\></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/5903e04f-9060-e42e-3861-427cf451f708/156b3364-97a5-6b2d-9c6e-61a7714d990e.jpg" style="--en-naturalWidth:1151; --en-naturalHeight:1727;" width="268px"/><div><br /></div>
<div><br\></div>
<div><br\>Maimai was the first performer using vintage sound generators and oscillators usually used for calibrating electronics, was repurposed to create a smooth melancholy tune. <br\><br\></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/5903e04f-9060-e42e-3861-427cf451f708/9cee472f-45b1-900d-5577-7b5d5c0d6a7d.jpg" style="--en-naturalWidth:3360; --en-naturalHeight:2240;" width="389px"/><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/5903e04f-9060-e42e-3861-427cf451f708/95355d95-f3f6-c625-001c-4ad8a7b478e2.jpg" style="--en-naturalWidth:1616; --en-naturalHeight:1080;" width="383px"/><div><br\><br\></div>
<div>Yinyi was the second performer performing a Max patch with white noise and random piano notes. He was later joined by Maimai and Sunwei each wielding ultra directional speakers creating different perspectives within the space and a movement of an otherwise 2dimensional sound.</div>
<div><br\><br\></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/5903e04f-9060-e42e-3861-427cf451f708/0a2e1da1-c206-5bb1-d48d-d4e8dd5cc3fb.jpg" style="--en-naturalWidth:1616; --en-naturalHeight:1080;" width="372.5777777777778px"/><div><br\><br\></div>
<div>Sunwei was next with a simple improvised performance using a recording megaphone, laptop speakers, and a computer fan. Using some or all of these elements to create feedback that would be recorded on the megaphone and repeated as he walked around the audience. With a little movement the characteristic of the feedback could be changed into a completely different experience.</div>
<div><br\><br\></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/5903e04f-9060-e42e-3861-427cf451f708/61ea1689-1c8e-5332-d4b2-452ac49e100c.jpg" style="--en-naturalWidth:1776; --en-naturalHeight:1184;" width="393px"/><div><br\><br\>Xiang was next with her physical representation of a sound. Using her body on the floor she translated her composed sound into human movement. It was beautiful, slow and graceful. <br\><br\></div>
<div><br /></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/5903e04f-9060-e42e-3861-427cf451f708/94a3a9e5-7b1c-0e07-4932-25f1806c9637.jpg" style="--en-naturalWidth:1616; --en-naturalHeight:1080;" width="392.0296296296296px"/><div><br\><br\>Junyi Ciao was next first handing out plastic gloves to everybody in the audience in preparation for his story. He gave instructions to constantly rub the gloves together then clap when cued by the text. Then with his cool, sultry voice began reading a text he wrote. It was a great collective experience. The sound of 100 people rubbing plastic gloves and clapping slowly immersed you into the experience.</div>
<div><br\><br\></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/5903e04f-9060-e42e-3861-427cf451f708/ff37c91b-65ef-119a-3c35-15c49c9e4162.jpg" style="--en-naturalWidth:1440; --en-naturalHeight:1080;" width="391px"/><div><br\><br\></div>
<div>Yanjun was next with his innovative equipment setup playing a mixer that was connected to itself creating intentional feedback. This feedback was further manipulated by using what looked like an RF antenna to use his body movements as a way to affect the feedback tone. Great performance.<br\><br\></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/5903e04f-9060-e42e-3861-427cf451f708/14fd623c-8b8d-fb7c-9d67-25ad159092b6.jpg" style="--en-naturalWidth:1776; --en-naturalHeight:1184;" width="387px"/><div><br\><br\></div>
<div>The next performer was me and I mixed and created feedback recording the audio from the other recorders back to the same recorder. The use of multiple speakers and sequenced surround panning created even more movement with the audio. It was a little loud a little soft. Short and sweet.<br\><br\></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/5903e04f-9060-e42e-3861-427cf451f708/65a3aae2-2768-e976-9a8f-c3bfbd3227d3.jpg" style="--en-naturalWidth:1616; --en-naturalHeight:1080;" width="379px"/><div><br\><br\></div>
<div>The final performer was Xucheng with his story and slideshow and accompanying sound recordings. Telling a story of the past and evoking a nostalgic atmosphere to end the festival.</div>
<div><br\><br\></div>
<div>All in all it was a great experience to be a spectator as well as a performer. Looking forward to shows in the very near future.</div>
Vital Sounding Festival Shanghai 2021http://bivouacrecording.com/post/vital-sounding-festival-shanghai-20212021-11-08T03:39:13.188000Z2021-11-08T03:17:02ZBivouac Recording<div><h1>VITAL实验声音艺术节·上海【RAM x Vital】</h1><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/8e15b805-ca35-bff6-71f5-d2fcd09a6b89/68de29e0-e0ad-8fe3-9fc7-c06e0f4ff3a4.webp" style="--en-naturalWidth:1080; --en-naturalHeight:1455;" alt="Image" height="autopx" width="756px"/></div>
<div>The 5th Vital Sounding Festival is coming to Shanghai! The second stop in its three date tour around China, the event will feature 8 solos from experimental musicians: JunY Ciao, Maimai, Sun Wei, Terence LLoren, Xiang, Xu Cheng, Yin Yi, and Yan Jun. The event will be held in the newly reopened Rockbund Art Museum among John Armleder's current exhibit. Performances will include improvised feedback solos, interactive field recordings, sound manipulation, storytelling, and acoustic and electric instruments. A little bit of noise, a little bit of quiet. <br><br></div>
<div><br /></div>
<div>As its name implies, it’s a vessel of vitality and motivation, although it has always been insisting on keeping it tiny. While the majority are trapped in the dilemma of being swallowed up by consumer culture, keep it tiny seems to be both a rule to settle one’s body and life down and a helpless choice. But why can't tiny things gather huge energy? Or shine? A single spark can start a prairie fire. <br><br></div>
<div><br /></div>
<div>After a year-long renovation, RAM reopened it to public just last month and John Armleder’s solo is the first exhibition presented at its renewed space. To us, it comes as quite a pleasant surprise and honor that Vital is so well-suited to happen here in juxtaposition with John Armleder's works. For one reason, John Armleder is an unconventional artist who always welcomes accidents and cultivates a constant openness. Taking place right inside his exhibition, Vital attempts to forge a spiritual connection and dialogue with his art under a different context. Moreover, the gallery space on the fourth floor, where Vital is going to take place, is covered fully with mirror reflection. In such a space, all shielding and decoration become pointless and powerless, offering visitors a stage for self-examination. This is exactly what we expect - a completely equal encounter, simple and straightforward.<br><br></div>
<div> </div>
<div>Eight solos. Why eight? It's a coincidence, and it's God's will. The number "eight" indicates a sense of integrity in our tradition. It is said that the Four Forms generate the Eight Diagrams. Eight individuals, eight different directions. Although the directions vary, everyone present is at the center of energy accumulation and finally forms a holistic energy field. Solo represents a clear state and emphasizes the uniqueness of all directions.<br><br></div>
<div> </div>
<div>In such a penetrating scene, we don't have any superb skills and exquisite cooperation to show. We don't even perform. All we want to do is to be honest. Can a single spark start a prairie fire? We do not have empirical evidence. Nor do we need to make overly optimistic assumptions. But even a spark, tiny as it is, can shine and cannot be ignored. (Jun-Y Ciao)<br><br></div>
<div><br /></div><hr /><div><br><br></div>
<div><b>Details</b><br><br></div>
<div><br /></div>
<div><b>Theme: </b>8 Solos<br><br></div>
<div><br /></div>
<div><b>Artists:</b> Jun-Y Ciao, Mai Mai, Sun Wei, Terence LLoren, Xiang, Xu Cheng, Yan Jun, Yin Yi<br><br></div>
<div><br /></div>
<div><b>Time:</b> 8:30pm, November 13th, 2021<br><br></div>
<div><br /></div>
<div><b>Address: </b>4th Floor, Rockbund Art Museum ( No.20 Huqiu Road, Huangpu District, Shanghai ), ticket checking on the first floor<br><br></div>
<div><br /></div>
<div><b>Ticket:</b> 108 rmb ( scan the code below or click "阅读原文" to buy the ticket ) <br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/8e15b805-ca35-bff6-71f5-d2fcd09a6b89/cfbe7b01-20e6-b1f8-ec70-c026d49dd684.webp" style="--en-naturalWidth:256; --en-naturalHeight:256;" alt="Image" height="autopx" width="170px"/><div><br><br></div><hr /><div><br><br></div>
<div><b>8 Solos</b>:</div>
<div>Mai Mai: one song</div>
<div>Yin Yi: Pushead</div>
<div>Sun Wei: Modified laptop feedback</div>
<div>Xiang: isle</div>
<div>JunY Ciao: Plastic Answers</div>
<div>Yan Jun: feedback solo</div>
<div>Terence: 'Generations' Shanghai Ferry</div>
<div>Xu Cheng: Tour</div>
<div><br><br></div><hr /><div><br><br></div>
<div><b><i>Introduction of artists / works</i></b></div>
<div><br><br></div>
<div><b>Terence LLoren </b>is a sound recordist based in Shanghai. </div>
<div><br><br></div>
<div>Works:</div>
<div>'Generations'Shanghai Ferry</div>
<div><br><br></div>
<div>Generation</div>
<div>Noun</div><ol start="1"><li><div>A set of members of a family regarded as a single step or stage in descent.</div></li><li><div>The production of something. <br><br></div></li></ol><div><br /></div>
<div> 'Generations' is a project that uses field recordings and analog tape to create sonic abstractions of a particular place through repeated improvised performance. Each performance is recorded, reused, and added to, creating a 'Generation'. The eventual result is a complex layered abstraction built on the original DNA of each previous Generation. A hybrid digital/analog instrument was assembled and programmed over two years to facilitate this generation process. This performance contains recordings I have made from all of the current Shanghai Ferry crossings. The earliest recording is from the Chongming Ferry dating back to 2009 before the Yangtze River bridge and tunnel were completed. The majority of the recordings were made over the past few months in preparation for this performance. The performance you will see is the same process used to create every Generation.<br><br></div>
<div><br /></div>
<div><br /></div>
<div><b>MAI MAI</b></div>
<div>Film director, experimental musician<br><br></div>
<div><br /></div>
<div>1982 Born in Xuzhou, Jiangsu Province</div>
<div>2006 Graduated from Shanghai Theater Academy</div>
<div>Works and lives in Shanghai<br><br></div>
<div><br /></div>
<div>Nine years ago, MAI MAIformed a noise rock band "Muscle snog",be vocal, guitarist and song-writer. Since 2008 he started running anexperimental music plat-form: "R.E.S.O.", in same year, hecommenced his personal experimental music project using this pseudonym"MAI MAI". During these last five years, "R.E.S.O." has presented more than 20 concerts, and became the most important stage for Chineseand oversea musicians. <br><br></div>
<div><br /></div>
<div>As a filmmaker,MAI MAI had made many short film and video works. In 2013,his short film "Four Cowardswas" selected by the 43th Tampere International Short FilmFestival (International Competition Section).<br><br></div>
<div><br /></div>
<div>Works:</div>
<div>One Song<br><br></div>
<div><br /></div>
<div><br /></div>
<div><b>Sun Wei</b></div>
<div>Artist and sound worker, creation based between field and site, involving field-based ambient recordings, acoustic electronics, compositions, and the creation of site-specific sound installations. He often focuses on listening to and observing the vibrations of different sonic media and environments and tries to blur the boundaries between them. </div>
<div><a href="http://www.sunweistudio.org" rev="en_rl_none">www.sunweistudio.org</a><br><br></div>
<div><br /></div>
<div>Works:</div>
<div>Ambient feedback electronic improvisation, laptops, amplifiers, clutter, passing time and an uncertain audience.<br><br></div>
<div><br /></div>
<div><br /></div>
<div><b>Xiang</b>, born in Chengdu in 1984. A dj and a musician, creating electronic music, field recording, electroacoustic composition. Practicing art projects which combine sound, body and performance. </div>
<div><a href="http://xiang.bandcamp.com" rev="en_rl_none">xiang.bandcamp.com</a></div>
<div><br><br></div>
<div>Works:</div>
<div>Isle</div>
<div>using pre-recorded composition, vocal and body. <br><br></div>
<div><br /></div>
<div><br /></div>
<div><b>Xu Cheng </b></div>
<div>(b.1980) is a sound artist based in Shanghai and a practitioner and organizer of sound activities. He was a member of Harsh-noise group TORTURING NURSE. He dabbles in experimental music, improvisation, electronic music and so forth. Apart from the music ontology, Xu is also interested in the interaction between sound and social spaces and its behaviors and manifestations. Xu works with varied forms of sound art: installations, experimental music, performances and theatre.<br><br></div>
<div><br /></div>
<div>Works:</div>
<div>TourLieh-tzu was learning the TAO from Huqiu-tzu. After nine years, his eyes were no different with his ears, his ears were no different with his nose, his nose was no different with his mouth, and his mouth was no different with anything else. So he traveled by the wind to a city. Lieh-tzu's journey never reached the border, definitely not, and he was still far, far away from the Pedestrian street. Just imagining a part of the Pedestrian street now would make Lieh-tzu feel tired, and he could not imagine anything but people. Even if the way to fly there did not get lost, flying to the Pedestrian street will certainly get lost, because it is too big, trying not to get lost is impossible, and Lieh-tzu also does not have a flight license.<br><br></div>
<div><br /></div>
<div><br /></div>
<div><br /></div>
<div><b>Yan Jun</b></div>
<div>mainly working on field recording, live performance and electroacoustic composition. his works are always simple. sometimes performing body movements with or without <a href="http://sound.yanjun.org" rev="en_rl_none">sound.yanjun.org</a></div>
<div><br><br></div>
<div>Works:</div>
<div>Feedback solo always picky on the electricity system of the venue as my equipment are not professional enough. the result is i haven't perform this often. and this time i'd try <a href="http://desperately.it" rev="en_rl_none">desperately.it</a>'s about using body movements to influence feedback noise. perhaps there are 25% chance to control it. each room, each sound system and each electricity system would result different sound. sometimes i'm crazy about it. that makes me think "wtf is improvisation?" and "isn't it a challenge you asked for?"</div>
<div><br><br></div>
<div><b>YIN Yi</b></div>
<div>Musician/artist/curator. Work and live in Shanghai.</div>
<div>In 1998, YIN Yi formed the slowcore band Dead Poets Society, as bassist and lead singer. In 2001, he turned to digital music. In early music career, his range of work includes live music performance, contemporary dance and physical theatre. In recent years, YIN Yi focuses his work on laptop music performance and the function of music in society.Based on the in-depth thinking and research on Sound and Listening, Yin Yi’s intermedia art work includes sound, video, performance and installation which focus on perception, identity, body, culture and medially.For him, art is a way of self cure and a touchstone for thinking and action.</div>
<div><br><br></div>
<div>Works:</div>
<div>Pusheadusing acoustic instrument recording, white noise filtering</div>
<div><br><br></div>
<div><b>Jun-Y Ciao</b></div>
<div>artist, lives in Shanghai, founder of independent art institution "Where is the Zeitgeist?" - Editing Office</div>
<div><br><br></div>
<div>Works:</div>
<div>Plastic Answers. It is a piece which should be finished by the audiences and me together. It is very simple. I give the questions and the audiences give the answers with plastic.</div>
<div><br><br></div><hr /><div><br><br></div>
<div><b>About Vital:</b></div>
<div>Vital is a site-specific project which was founded in Chengdu in 2017. At the moment the Sounding Festival is held once a year, with different themes. It is related to experimental music, media such as sound, video and body mainly in concert form but sometimes in small exhibitions, workshops, and other cooperative outlets.</div>
<div><br><br></div><hr /><div><br><br></div>
<div>Vital来上海了!正如它的名字所蕴含的,一种生命力,一种动力,尽管它一直坚持保持一个微小的状态。在四处被消费文化吞噬的困境中,保持微小似乎是一种安身立命的法则,也是迫于无奈的选择,但是微小东西何尝不能聚集巨大的能量?不能闪光?是谓,星星之火可以燎原。<br><br></div>
<div><br /></div>
<div>适逢上海外滩美术馆修葺一新,迎来首展。在约翰·阿姆莱徳的作品中发生vital实在是太契合了。一者,约翰·阿姆莱徳是一位不拘一格,无视常规的前辈艺术家,我们可以把他看作典型的非主流艺术家。vital在他的展览中发生呈现了不同时代背景下的一种精神关联;二者,在vital即将发生的四楼的展厅中,镜面的反射被布满整个空间,一切遮挡和修饰都变得虚伪和无力,构成了一个自视自省的舞台。这正是我们期待的,一种赤裸裸地平等相遇。<br><br></div>
<div><br /></div>
<div style="text-align:justify;">8 Solos,八个独奏。为何是八个?是机缘巧合,也未尝不是天意。"八"这个数字,在我们的传统中,包含了一种整体性。是谓,四象生八卦。八个个体,八个不同的方向。虽然各不相同,但是在场的所有人都在这个能量积聚的中心,最终形成一个整体性的能量场。而独奏,代表了一种明确的状态,更呈现和强调各个方位的唯一性。<br><br></div>
<div style="text-align:justify;"><br /></div>
<div style="text-align:justify;">在这样一个犀利如刀的场景中,我们没有什么高超的技巧和精妙的配合可以展示,我们甚至不会表演,我们能做的只能是诚实相对。星星之火是否可以燎原?我们没有实证过,也无须做过于乐观的臆想,但是,哪怕是一粒火星,哪怕很微小,它也同样可以闪光,并且不容忽视。(照骏园)<br><br></div>
<div style="text-align:justify;"><br /></div><hr /><div><br /></div>
<div><b><i>详情</i></b></div>
<div>主题:8 Solos<br><br></div>
<div><br /></div>
<div>艺术家:罗天瑞,卖卖,孙玮,响,徐程,颜峻,殷漪,照骏园<br><br></div>
<div><br /></div>
<div>时间:2021年11月13号,晚上八点半<br><br></div>
<div><br /></div>
<div>地点:上海外滩美术馆四楼(上海市黄浦区虎丘路20号),请先到一楼检票<br><br></div>
<div><br /></div>
<div>门票:108元(扫描下方二维码或点击文末阅读原文购票)<br><br></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/8e15b805-ca35-bff6-71f5-d2fcd09a6b89/cfbe7b01-20e6-b1f8-ec70-c026d49dd684.webp" style="--en-naturalWidth:256; --en-naturalHeight:256;" alt="Image" height="autopx" width="168px"/><div><br><br></div><hr /><div><br><br></div>
<div><b>8 Solos:</b></div>
<div>卖卖:歌一首殷漪:Pushead孙玮:笔记本加料反馈响:岛照骏园:塑料回复颜峻:反馈独奏罗天瑞:‘Generations’ 上海轮渡徐程:导览<br><br></div>
<div><br /></div><hr /><div><br><br></div>
<div><b><i>艺术家 / 作品简介</i></b><br><br></div>
<div><br /></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/8e15b805-ca35-bff6-71f5-d2fcd09a6b89/417982f9-073f-eeda-3d50-be758658e546.webp" style="--en-naturalWidth:1080; --en-naturalHeight:1077;" alt="Image" height="autopx" width="199px"/><div><br><br></div>
<div>罗天瑞是一名工作在上海的录音师。 </div>
<div><br><br></div>
<div>作品:</div>
<div><br><br></div>
<div>‘Generations’</div>
<div>上海轮渡</div>
<div> <br><br></div>
<div>Generation</div>
<div>名词</div>
<div>1) (同一家族内的)一代人</div>
<div>2) 产生,发生。</div>
<div> <br><br></div>
<div>Generations是一个采用现场录音和模拟磁带,通过重复的即兴演出创造特定地点抽象声音意境的项目。通过对每次演出的录音、重复使用和叠加来创造一个"Generation"。最终的产物则是一段建立在每个以往的Generation原始DNA之上的复杂、多层次的抽象意境。为了实现这一世代创造的过程,项目耗时两年组装、编程了一套数字/模拟混合设备。</div>
<div> <br><br></div>
<div>本次演出包含了我在目前上海所有轮渡航线上完成的录音。最早的录音是2009年在崇明岛轮渡上录制的,当时长江大桥和隧道还未建成。而大部分的录音则是在过去几个月内为本次演出录制的。</div>
<div> <br><br></div>
<div>每一个"Generation"都是通过演出的形式来创造的。</div>
<div><br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/8e15b805-ca35-bff6-71f5-d2fcd09a6b89/4312bef2-940e-9157-5791-a0464fe53304.webp" style="--en-naturalWidth:1080; --en-naturalHeight:608;" alt="Image" height="autopx" width="285px"/><div><br><br></div>
<div>卖卖</div>
<div>编剧、导演,实验音乐乐手<br><br></div>
<div><br /></div>
<div>1982年出生于江苏省徐州市</div>
<div>2006年毕业于上海戏剧学院戏文系</div>
<div>现居上海<br><br></div>
<div><br /></div>
<div>2006年卖卖组建实验摇滚乐队Muscle Snog,任主唱/吉他手和词曲作者,乐队09年兵马司发行了首张专辑《mind shop》后解散。08年,卖卖开始运行即兴音乐组织"R.E.S.O.",同时开始以个人身份进行即兴音乐的尝试。</div>
<div>卖卖的影像创作以实验短片为主,2013年,短片作品《胆小鬼们》入围了欧洲三大短片电影节之一——芬兰坦佩雷电影节国际竞赛单元。2012年,短片作品《桃花源:厌世解决方案》入围了第十一届法国Signes de Nuit国际电影节,获国际竞赛单元night award奖。<br><br></div>
<div><br /></div>
<div>作品:<br><br></div>
<div><br /></div>
<div>歌一首<br><br></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/8e15b805-ca35-bff6-71f5-d2fcd09a6b89/beb94e2d-7202-daf2-d34d-c055f0954b89.webp" style="--en-naturalWidth:1080; --en-naturalHeight:644;" alt="Image" height="autopx" width="296px"/><div><br><br></div>
<div>孙玮</div>
<div>艺术家、声音工作者,在实地和现场之间进行创作,涉及环境录音、电子即兴、作曲和特定场域的声音装置,并试图模糊之界限。<a href="http://www.sunweistudio.org" rev="en_rl_none"><u>www.sunweistudio.org</u></a><br><br></div>
<div><br /></div>
<div>作品:<br><br></div>
<div><br /></div>
<div>笔记本加料反馈,笔记本电脑、扩音器、杂物、流逝的时间和不确定的观众。<br><br></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/8e15b805-ca35-bff6-71f5-d2fcd09a6b89/e9b33475-3b8a-247d-b9db-2d9e9b77e302.webp" style="--en-naturalWidth:1080; --en-naturalHeight:720;" alt="Image" height="autopx" width="273px"/><div><br><br></div>
<div>响</div>
<div>1984年生于成都。DJ,实验乐手。主要创作电子音乐、田野录音、电子原音作曲。实践结合声音、身体、表演的艺术项目。<a href="http://xiang.bandcamp.com" rev="en_rl_none"><u>xiang.bandcamp.com</u></a></div>
<div><br><br></div>
<div>作品:</div>
<div><br><br></div>
<div>岛</div>
<div>使用预录作曲,人声,身体。<br><br></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/8e15b805-ca35-bff6-71f5-d2fcd09a6b89/1b0691ea-61ea-5aec-1f05-08d75bb01a36.webp" style="--en-naturalWidth:1080; --en-naturalHeight:1440;" alt="Image" height="autopx" width="206px"/><div><br><br></div>
<div>徐程</div>
<div>生活在上海的声音艺术家,声音活动实践者与组织者。他曾是噪音团体Torturing Nurse的主要成员之一,并涉足实验音乐、自由即兴、电子音乐等多个领域。于声音的本体论外,徐程也关注着声音与社会空间的相互关系与其相关行为与显现方式。其作品以视听表演、装置、音乐、剧场等多种形式呈现。</div>
<div><br><br></div>
<div>作品:</div>
<div><br><br></div>
<div>导览</div>
<div>列子学道于壶丘子。九年后,其眼如耳,耳如鼻,鼻如口,口无不同。遂御风而行,至一城市。列子的旅程从来不靠着边境,绝对不靠,这儿离步行街也还老远老远。仅仅想象一下现在步行街的一部分列子就会感到疲倦,而除了人,他就再也想象不出什么了。就算是飞去那里的路上没有迷路,飞到了步行街也肯定会迷路,由于它太大,想不陷进去是不可能的,况且列子也没有飞行执照。<br><br></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/8e15b805-ca35-bff6-71f5-d2fcd09a6b89/dcf19401-32ff-b326-404e-89f1df1744f1.webp" style="--en-naturalWidth:1080; --en-naturalHeight:719;" alt="Image" height="autopx" width="294px"/><div><br><br></div>
<div>颜峻</div>
<div>主要做田野录音、现场表演和电子作曲。作品很简单。有时候会做一些身体动作,不一定有声音(也不一定没有)。<a href="http://yanjun.org" rev="en_rl_none"><u>yanjun.org</u></a></div>
<div><br /></div>
<div><br><br></div>
<div>作品:<br><br></div>
<div><br /></div>
<div>反馈独奏</div>
<div>因为自己的设备不靠谱,所以对场地的电源比较挑剔,以至于很少演这个作品。这次决定无论如何都要试一下了。</div>
<div>主要是用身体的动作来影响反馈噪音。可控部分大概25%吧。每个房间、每组音响、每套电源都会有不同的结果,有时候自己也很抓狂,就开始思考"到底什么是即兴?""难道这不是自己想要的吗?"这样的问题。</div>
<div><br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/8e15b805-ca35-bff6-71f5-d2fcd09a6b89/7008262d-8804-f50c-21be-7929d5e09b71.webp" style="--en-naturalWidth:1080; --en-naturalHeight:1439;" alt="Image" height="autopx" width="213px"/><div><br><br></div>
<div>殷漪</div>
<div>音乐家、艺术家、策划人。出生于上海。</div>
<div> <br><br></div>
<div>1998年组建慢核乐队"死亡诗社",贝司手兼主唱。2001年转向数字音乐创作。殷漪早期的音乐创作领域包括:音乐表演、现代舞、肢体剧场。近年来的音乐实践主要集中于个人现场音乐表演以及音乐在社会结构中的功能性探索。</div>
<div>基于对"聆听"与"声音"深度的思考和研究,殷漪展开其跨媒介的艺术创作,作品形式包括表演、声音、影像和装置。感知、身份、文化、媒介性成为其创作焦点。</div>
<div>对于他来说,艺术是自我治愈的良方,也是思考与行动的试金石。</div>
<div><br><br></div>
<div>作品:</div>
<div><br><br></div>
<div>Pushead</div>
<div>使用原声乐器录音,白噪滤波。</div>
<div><br /></div>
<div><br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/8e15b805-ca35-bff6-71f5-d2fcd09a6b89/5039c085-e064-fe2e-24e3-f71a8d8535ad.webp" style="--en-naturalWidth:1079; --en-naturalHeight:1242;" alt="Image" height="autopx" width="199px"/><div><br><br></div>
<div>照骏园</div>
<div>艺术家,"时代精神在哪里?"编辑部编辑</div>
<div><br><br></div>
<div>作品:</div>
<div><br><br></div>
<div>塑料回复</div>
<div>这是一个和观众一起完成的作品。十分简单,我给出问题,观众用塑料回复我。</div>
<div><br /></div>
<div><br /></div>
Echoes- Shanghaihttp://bivouacrecording.com/post/echoes-shanghai2021-05-17T12:35:04.580000Z2021-04-25T11:26:23ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/dda01b1e-bf9f-e261-996f-e3093091363f/e62c4ae2-f66b-3d26-c5e2-4b7af0576a5e.jpg" style="--en-naturalWidth:1080; --en-naturalHeight:1439;"/><div><span style="font-size: 18px;"><br></span>April 25, 2021- June 6, 2021<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>This past month I was fortunate enough to be involved in an international collaboration where an exhibit of the Swiss Alpine Museum was interpreted and exhibited by curator, June Chu. The exhibit was installed in two locations: one at the MoCA Pavilion at People's Square, and another in a tunnel of an underground community space in an old housing development.<span style="font-size: 18px;"><br></span></div>
<div><span style="font-size: 16px;">The featured artists of the exhibitions were:</span></div>
<div><span style="font-size: 16px;">Christian Zhender</span></div>
<div><span style="font-size: 16px;">Fei Luo</span></div>
<div><span style="font-size: 16px;">Terence LLoren</span></div>
<div><span style="font-size: 16px;">Qifeng Sun</span></div>
<div><span style="font-size: 16px;">Yuezhou Wang</span></div>
<div><span style="font-size: 16px;">Jing Yuan</span></div>
<div><span style="font-size: 16px;">Ms. Baofan</span></div>
<div><span style="font-size: 18px;"><br></span></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/dda01b1e-bf9f-e261-996f-e3093091363f/c218d551-be96-2315-00c1-6ea5c14c8ce6.jpg" style="--en-naturalWidth:950; --en-naturalHeight:633;"/><div><span style="font-size: 18px;"><br></span>I was involved in the design process working with June and Swiss Scenographer, Frank Dittmann, on how to reinterpret the exhibit in Shanghai. As Frank was not in Shanghai, we had to design and execute the installation all within a few weeks. <span style="font-size: 18px;"><br><br></span></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/dda01b1e-bf9f-e261-996f-e3093091363f/21d6521f-509d-fc24-52cd-8d22ba0546be.jpg" style="--en-naturalWidth:950; --en-naturalHeight:633;"/><div><br /></div>
<div><span style="font-size: 18px;"><br></span>The idea of the hanging headphones was taken from the Swiss Exhibit and I was particularly proud of the final result here in Shanghai. Rather than use wireless headphones, which was not within the budget, we decided on having wired headphones connected to MP3 players. I used 100 meters of Canare cable that distributed the audio to 9 headphones. The wires were hung from the ceiling and was also used as the support for the headphones. The final connection box was all soldered on site. All audio installation was done by me. The Mp3 players were hidden in a box along the wall.<span style="font-size: 18px;"><br><br></span></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/dda01b1e-bf9f-e261-996f-e3093091363f/508b7ac2-3143-81e9-a683-3c3091d96859.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:2736;"/><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/dda01b1e-bf9f-e261-996f-e3093091363f/188907d2-e84a-02cf-35c8-021fdc2861d1.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:2736;"/><div><span style="font-size: 18px;"><br></span></div>
<div>The second location design was inspired by our conversations with Frank who mentioned the artist, Christian Boltanski, whose work incorporated shadows and silhouettes. I thought they had an amazing depth to them and would be perfect for our tunnel space. This also was a great solution to our limited budget by using a minimum amount of material for the maximum amount of space. To echo the Swiss-Shanghai silhouette concept in the MoCA Pavilion, I traced and cut the outlines of Swiss and Shanghai architecture and Swiss Alps and taped them to a cardboard platform and ceiling. I used tiny USB lights to project the shadows on the opposite wall. The entire installation was improvised and created on the spot.<span style="font-size: 18px;"><br><br></span></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/dda01b1e-bf9f-e261-996f-e3093091363f/0f7d4de3-6048-6fe3-6ec5-f44cdf78bf42.jpg" style="--en-naturalWidth:2736; --en-naturalHeight:3648;"/><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/dda01b1e-bf9f-e261-996f-e3093091363f/cd9bdf7b-7780-4bce-41a4-8c6f1d0b0a1a.jpg" style="--en-naturalWidth:2736; --en-naturalHeight:3648;"/><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/dda01b1e-bf9f-e261-996f-e3093091363f/e66c2ba0-d5aa-0b2e-9e66-40c9a21cd2f2.jpg" style="--en-naturalWidth:1280; --en-naturalHeight:960;"/><div><span style="font-size: 18px;"><br></span>The tunnel also was selected because it was a naturally reverberant space which complemented the theme of the exhibition. All the audio featured in the exhibition was to be played in the tunnel on a stereo system I installed at one end. The stereo system is hidden from view with a hung linen cloth that we also rear projected images and text on. </div>
<div><span style="font-size: 18px;"><br></span></div>
<div>This project was a fun and exciting project that could not have been realized without the trust and guidance from the curator, June Chu.</div>
<div><span style="font-size: 18px;"><br></span></div>
<div>For more information see coverage on The Paper (Chinese only): <a href="https://www.thepaper.cn/newsDetail_forward_12476664" rev="en_rl_none">https://www.thepaper.cn/newsDetail_forward_12476664</a></div>
<div><br /></div>
<div><br /></div>
The Instrument : Part 2http://bivouacrecording.com/post/the-instrument-part-22021-01-31T06:52:24.306000Z2021-01-28T02:48:53ZBivouac Recording<div><b><i>Cables</i></b><span style="font-size: 18px;"><br><br></span></div>
<div><b><i><span style="--en-markholder:true;"><br /></span></i></b></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/b76c7958-7717-2d7b-30a4-b836839f22e8/0f8ee25f-56cd-4e12-d580-66135fdfbc34.jpg" style="--en-naturalWidth:2736; --en-naturalHeight:3648;" width="nullpx"/><div><span style="font-size: 18px;"><br><br></span></div>
<div>The veins and arteries. As is tradition with any new idea I have, I make new cables. Mostly because the cables I made previously were all custom that the lengths or connectors just cannot be used anywhere else. Coming off of the relay box, I kept the solder gun warm and went straight into making cables. I used Canare wires and Yongsheng connectors. Easy to source for me and good quality.<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>I never made a MIDI cable before and believe me, they look really beautiful with these metal connectors (see above). <span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>I made a total of 37 analog/midi cables.</div>
<div>I also made:</div><ul><li><div>Four 10 pin remote control cables for the Revox units.</div></li><li><div>One 15 pin extension cable for the Fostex D2424</div></li><li><div>One DB25 AES I/O cable for communication between the DM1000 and SPX units.<span style="font-size: 18px;"><br><br></span></div></li></ul><div><br /></div>
<div>This makes a grand total of 43 finished cables, <b>93</b> connectors, and about 90 meters of cable. All93 heat shrunk and perfectly made. 93<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>You can b93elieve me when I say 93 that I was counting 93down Every. Last. One. 9.3.<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>Phew. 93<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>Of course after you finish with something, you always think of how it could be better. After connecting it all up, I am really wanting to have a more polychromatic palette of cables rather than just a rat's nest of black (boring). Maybe I can sell the black cables and make a more colorful back-end (gulp).<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div><b><i>MOTU Midi Express XT</i></b><span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>So now I needed something to manage the MIDI messages between all of my equipment. I have used MOTU software and hardware for 20 years and their MIDI patchbays were always affordable and reliable so I found a used one for a reasonable price and wired it up. <span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div><a href="https://www.soundonsound.com/people/roger-lyons-kaiser-chiefs-midi-tech" rev="en_rl_none">In my research I found this article and decided MOTU was the way to go.</a> <span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div><b><i>RME Digiface USB</i></b></div>
<div><span style="font-size: 18px;"><br><br></span></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/b76c7958-7717-2d7b-30a4-b836839f22e8/bf6a62b5-dd49-4ac1-008b-da7d8b396b73.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:2736;"/><div><span style="font-size: 18px;"><br><br></span></div>
<div>Connecting the DM1000 to the computer took a bit of consideration. I knew that once the audio was converted in the DM1000, I wanted it to stay in the digital domain wherever it went until it was output again. So I needed a multichannel USB interface that didn't take up another rack space and had a reasonable cost. I didn't need any other preamps or other extra things, just a digital I/O. The RME was the best solution and had the best reputation. This was the only thing that I bought new.<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>The DIGIface has 32 digital I/O via 4 banks of ADAT I/O which allows me to input/output sound from the computer (to the recorders) and manage the audio routings throughout the instrument using the included RME TotalMIX software. Every single connection was used like it was made just for this.<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div><b><i>Tech 21 NYC Midi Mongoose</i></b><span style="font-size: 18px;"><br><br></span></div>
<div><b><i><span style="--en-markholder:true;"><br /></span></i></b></div>
<div>A small MIDI foot pedal that can output 128 MIDI program change messages. So far I have programmed it to start the Freeze layer playback in each internal effect. The foot pedal is a bit fiddly when you want to go from say, 3 to 65, but it should make you arrange the programs in such a way that makes it easier for you. To make it more dynamic and user friendly, I will program more functions in the MIDI translator program.<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>Speaking of which...<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div><b><i>Computer and Software</i></b><span style="font-size: 18px;"><br><br></span></div>
<div><b><i><span style="--en-markholder:true;"><br /></span></i></b></div>
<div>This is the climax of this post. At least for me. Best take a seat for this one. <span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>Welcome to the Brain. The computer exclusively manages all MIDI and audio routing. For the MIDI translator, I use <a href="https://www.bome.com/products/miditranslator" rev="en_rl_none">Bome MIDI Translator PRO</a> (BMT). An amazing program that allows you to translate anything to anything (really, i mean it) and more. <span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>I hired the Bome forum moderator, Steve Caldwell, to help me make a program using BMT that remembered the fader, button, and knob positions between each USER DEFINED layer on both REMOTE layers. The USER DEFINED layer on the DM1000 has 4 banks but they are only <u>overlays</u> that are meant to be used one at a time. With this custom program, I now have a total of 8 INDEPENDENT banks over two REMOTE layers (384 controls total) that can be recalled with a button press and be used to control anything via MIDI. This was not how Yamaha intended it but this is the kind of power MIDI can have. This rack mountable DM1000 just got a whole lot BIGGER.<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>[Techie side note: The only drawback for this is that you cannot exclude (Recall Safe) these faders from a scene change like you can for the top level faders. Still searching for a solution or workaround...]<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>As an example, I mapped all of the parameters of each SPX2000 unit AND all 4 internal effects to the faders and knobs allowing live control of multiple parameters at the same time in any combination using BMT. The controls can also be automated with the internal automation on the DM1000. The sky's the limit.<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>I should add that even on the top layers, each control for the audio channels 1-48 (faders, knobs, buttons) can be used <i>exclusively </i>as a MIDI controller (no audio thru the channel) or mixed together (MIDI fader next to an audio fader) side by side, as desired. For example, I am using faders 9-16 to exclusively send MIDI messages to control the A77s (for now). Additional buttons (72 buttons) can be programmed on the USER DEFINED KEYS section. So taking all of this into account, you can have a grand total of <b>600 controls*</b> for other MIDI instruments from a single console. (Not counting all the other function buttons on the console that transmit MIDI. Even the headphone level knob sends MIDI!)<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>* Note: I think there is a limit with the amount of unique MIDI messages that can be programmed, but using BMT you can program a computer keystroke to control software, use SysEx, and so on.<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div><b><i>Studio</i></b><span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>Okokok. Deep breaths. <span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>I had to get some furniture to put all this stuff. I had a custom table made per my specifications and got rid of all the old furniture (green desk). For monitors, I bought a pair of JBL Studio 2 speakers. These are powered by my old, underused Yamaha Hi-fi amplifier (RX-V357) and subwoofer that I woke up after a very long, dusty, moldy, sleep in storage.<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/b76c7958-7717-2d7b-30a4-b836839f22e8/c583c2ae-9f63-fafc-a55a-2bd3ee7c5cbf.jpg" style="--en-naturalWidth:2736; --en-naturalHeight:3648;"/><div><span style="font-size: 18px;"><br><br></span></div>
<div>The JBL speakers are designed to be recessed in a wall but I custom made an aluminum enclosure for them and hung them on speaker wall mounts. This was a cost saving measure but also a space saving one, as these speakers are not as expensive, deep, and boxy as a typical monitor.<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>I opted for a standing studio to practice a 'live' performance. After so much soldering, I really didn't mind standing and its good practice for the future. I found I move faster that way, though I do have to take breaks more often. I had to put the DM1000 on sturdy packing paper boards to prop it up.<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div><b><i>Sonosax Mini R82</i></b><span style="font-size: 18px;"><br><br></span></div>
<div><b><i><span style="--en-markholder:true;"><br /></span></i></b></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/b76c7958-7717-2d7b-30a4-b836839f22e8/f6193eee-21a7-dc8c-23be-756ac92084df.jpg" style="--en-naturalWidth:2736; --en-naturalHeight:3648;"/><div><span style="font-size: 18px;"><br><br></span></div>
<div>My trusty Sonosax. This and my other recorders, are the breath that give this instrument life. I don't create sound.<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div> I made a new custom cable that connects to the digital stereo out of the DM1000 for quick sketches and stereo recordings. At the end of the day I take it on the road to listen to the daily recordings and take notes. <span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div><b><i>Fostex D2424 LV</i></b><span style="font-size: 18px;"><br><br></span></div>
<div><b><i><span style="--en-markholder:true;"><br /></span></i></b></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/b76c7958-7717-2d7b-30a4-b836839f22e8/2e8b8385-3727-3da8-d741-2ec4d6409191.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:2736;"/><div><span style="font-size: 18px;"><br><br></span></div>
<div>Last but not least. This was the last thing I bought. It was pretty much a new unit and very reasonably priced for a 24-track recorder. I only needed to get a compatible HD, replace the lithium battery, and change the FAN which was SO noisy. I replaced it with a Noctua NF-A8 ULN (Ultra low noise) and now it lives silently under my desk. If you have one of these HD recorder units, I HIGHLY recommend this upgrade. I found out that the reason that the fans are so loud is because the unit does not have a thermometer that regulates fan speed. So the fans are just running at its maximum speed all the time, hence all the noise. With research, I found that the Noctua was one of the quietest fans on the market at its highest RPM.<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/b76c7958-7717-2d7b-30a4-b836839f22e8/7aaff7f4-0eb5-4f1a-a57f-81deacef7819.jpg" style="--en-naturalWidth:3840; --en-naturalHeight:5120;"/><div><span style="font-size: 18px;"><br><br></span></div>
<div>I remember these Fostex units way back when and it was the remote that caught my eye. All of the controls and display are contained in a removable unit that can be extended and used as a remote control. I contacted Fostex and their great customer service answered any questions I had with this long discontinued unit. I have my eye on another one just for parts for the future.<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>The D24 + DM1000 will essentially be my DAW. To tell you the truth I have been on the fence about using this. On one hand it's a solid piece of equipment. On the other its discontinued. I reassure myself saying that many people still use vintage synths so this should be no different, no? I assume, vintage synth owners always have something in the back of their mind hoping that their synth doesn't die before they sell it. Even the A77 has a better chance of lasting longer than this unit (and it has). By using a computer it will be future proof but it also has its shortcomings. In any case, since the DIGIface is managing the audio via my computer, I can also use my DAW to playback and record files if needed. I guess it is reassuring that these equipment are built within their capabilities so there will be fewer surprises during use. I have evolved to embrace and enjoy the fleeting nature of sound, maybe I should also embrace and enjoy the finite life of recording equipment.<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>There is some housekeeping that needs to be done with this machine. The HD is cloned to another one after each session and also backed up on a computer. NOS compatible hard drives for the unit are still easily bought at the moment. I'd better stock up. The manual is very extensive and a little crazy at times, but easy to read. Once you start using it, it gets pretty easy and there is just something about pressing a physical click-y button that just makes things more fun. The audio can also be recorded in real time to a DAW.<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div>One thing is that new HDs need to be formatted in the unit before use. This takes FOREVER. 160 GB took about 12 hours to format. So its best to format all your HD ahead of time to save time. I probably didn't need to get the 160GB HD. I think 40 or 80 GB would have been more than enough for me.<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div><b><i>Special Mention: </i></b></div>
<div><b><i>Deity V-Lav Microphones</i></b><span style="font-size: 18px;"><br><br></span></div>
<div><b><i><span style="--en-markholder:true;"><br /></span></i></b></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/b76c7958-7717-2d7b-30a4-b836839f22e8/7113e8f6-c3f5-73e8-a79f-a0a99c23357b.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:2736;"/><div><span style="font-size: 18px;"><br><br></span></div>
<div>In my recent recording tests, I realized that although you can hear the tape machines in a 'live' setting, you miss this experience in the audio recording. This means you cannot distinguish the edits recorded to the tape and the edits made by stopping/ starting the machine. I tried several options from mounting microphones on stands, or on the desktop but they were in my way and were going to be pretty expensive if I got 4 of them. I needed a smaller, affordable solution.<span style="font-size: 18px;"><br><br></span></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/b76c7958-7717-2d7b-30a4-b836839f22e8/d7b98fb6-c6f6-8363-e272-2a325418cc75.jpg" style="--en-naturalWidth:2736; --en-naturalHeight:3648;"/><div><span style="font-size: 18px;"><br><br></span></div>
<div>I had made some videos for Deity a few years ago and they gave me a sampler of all their microphones at the time to try out. The D2 and D3 are great short shotgun microphones and great for field recording. They also gave me one V-Lav and I was amazed how easy it was to use. Its built-in 'smart' power supply means you can plug it anywhere which is great because some pro lavaliers usually require a 10V phantom supply via a special adapter. I gave my contacts at Deity a ring and asked if I could have some more for my new sound project. They graciously sponsored 3 more microphones and D-XLR adapters for the project. Now the recordings all have the tape machine sounds which indicate stop/start of the audio and a sense of movement. I know you haven't heard any sounds yet but trust me it is just the right touch. <span style="font-size: 18px;"><br><br></span></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/b76c7958-7717-2d7b-30a4-b836839f22e8/6a7e6608-b901-24c0-0e89-3b219d3037b3.jpg" style="--en-naturalWidth:3531; --en-naturalHeight:2647;"/><div><br><br></div>
<div><b><span style="font-size: 18px;">Which brings us back to... </span></b><span style="font-size: 18px;"><br><br></span></div>
<div><b><span style="font-size: 18px;"><span style="--en-markholder:true;"><br /></span></span></b></div>
<div>Today. One year after our journey, and the beginning of a new one. As you can see the amount of thought and hours put into creating this instrument were many but worth it. I feel that it is truly an extension of me and reflects the way I think and move.<br><br></div>
<div><br /></div>
<div>Stay tuned for sounds, articles, and videos of how this instrument evolves as well as a more in depth look at how I configure my components and creation process.<br><br></div>
<div><br /></div>
<div>Thanks for reading!</div>
Migration: Xiami to Ximalaya [China only]http://bivouacrecording.com/post/migration-xiami-to-ximalaya-china-only2021-01-28T04:29:57.883000Z2021-01-18T03:07:03ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/12d1171e-f5c4-41de-cfd3-88afd5797502/dde08d8d-2077-aa77-4c3f-726bf0e9e285.webp" style="--en-naturalWidth:256; --en-naturalHeight:256;" width="210px"/><div>Unfortunately, Xiami is officially going offline and February 2 is the last day for the platform. This really sucks for me since it was my depository for all my works here in China.</div>
<div><br /></div>
<div>I dreaded the day I would have to upload them again. I guess you need to expect this with the internet. It's always changing after all. If Soundcloud went offline, it would really be a sad day.</div>
<div><br /></div>
<div>So we have begun our search for the new platform to be graced with our tracks. I was against Ximalaya before because I was not pleased with their encoding. But upon recent listen, they must have fixed their codec because I don't hear any distortion etc. from uploaded files.</div>
<div><br /></div>
<div>I have recently gotten an artist account with QQ Music which is the largest (one of the largest?) music platform in China, but it just seems too restrictive with their license agreements. But I guess that's what you need to do to survive. You need to grant them exclusive rights to host your music for 3 years even for free tracks. I am still doing more research on this but as far as I know, you cannot upload the track on other platforms for 3 years. How they will check this I don't really know, but it just seems like there are too many strings attached.</div>
<div><br /></div>
<div>XImalaya is a popular podcast platform and less of a hassle to deal with for artists. I found before that I had more interaction with people on this platform as its less flashy and more for people looking for something new to listen to that isn't based on music. No frills. I also found out that you can upload images and text along with your audio file but I have yet to try it out. In any case, you just upload your tracks and that's it really. No fuss, no muss. You don't get paid per listens but we can figure that out later as the year goes on. </div>
<div><br /></div>
<div>So as of now, I am starting to upload our stuff on Ximalaya and see how things make out in a few months.</div>
<div><br /></div>
<div>Thanks for listening!</div>
The Instrument : Part 1http://bivouacrecording.com/post/the-instrument-part-12021-01-13T05:07:50.345000Z2021-01-13T02:48:53ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d9f0b98c-c955-4565-b5f4-39defde99c46/908b4272-4b76-b486-a1d3-2f906b5f8754.jpg" style="--en-naturalWidth:3776; --en-naturalHeight:2832;"/><div><br /></div>
<div><b><span style="font-size: 20px;">Instrument</span></b></div>
<div><i>Noun.</i><br><br></div>
<div><br /></div><ol><li><div>A tool or implement.<br><br></div></li><li><div>An object or device producing musical sounds. <br><br></div></li></ol><div><br /></div>
<div>For the past year I worked on designing, building, and programming my instrument. It had its ups and downs but in the end I learned a lot of things I didn't know before and was rewarded with something that inspired me to create something new.<br><br></div>
<div><br /></div>
<div>I wanted to have an instrument that not only allowed me to perform field recordings but also to mix and create an experience in a live setting. Above all else it should fit in my studio, be portable, be reliable, and be within budget. <br><br></div>
<div><br /></div>
<div>This post will be split into two parts.<br><br></div>
<div><br /></div>
<div><b><span style="font-size: 18px;">In the beginning...</span></b><span style="font-size: 18px;"><br><br></span></div>
<div><br /></div>
<div><i>Problem #1: Too limited</i></div>
<div>I began by using the tools I had right in front of me. Namely my A77 IV, Sony TC-5550-2, and SQN mixer. I made new cables to connect it all up and tried to 'play' it. It was far from ergonomic mostly due to the limited routing capabilities of the mixer and reel size of the Sony so I quickly grew out of it.<br><br></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d9f0b98c-c955-4565-b5f4-39defde99c46/b883a60e-20cb-9f2c-cb73-b0c97526ac80.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:2736;"/><div><br><br><i>Problem #2: Too small, inefficient</i></div>
<div>During this time, I also began to experiment with splicing tape and the different sounds it can yield. It was slow at first getting used to it again. But after a while it became a somewhat relaxing experience for me. I recorded a track to tape then I cut it up with scissors at random lengths then spliced it back up again. The random effect of the playback was interesting just by itself- a reinterpretation of a linear event. Playing back two respliced tapes really was more interesting because the edits would fall in and out of making sense with each other. It created a unique rhythm from both the splices and the audio, purely by chance. It was a random sharing of a single experience. I thought about how amazing this would sound if this was bigger. So I thought bigger. A lot bigger.<br><br></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d9f0b98c-c955-4565-b5f4-39defde99c46/392dfaf7-9f08-4f06-232e-d2ec4a09e59c.jpg" style="--en-naturalWidth:3776; --en-naturalHeight:2832;"/><div><br><br></div>
<div><b><span style="font-size: 18px;">Components</span></b><span style="font-size: 18px;"><br><br></span></div>
<div><b><span style="--en-markholder:true;"><br /></span></b></div>
<div>All the components were selected not only for their function but also how it could be used to make the same sound I had in my head- or something completely different. Ergonomics were also important and how it would fit into my workflow.<br><br></div>
<div><br /></div>
<div>There has been many modifications and custom programming for some elements. For brevity, I will talk a bit about each component and leave the intricacies out for later posts.<br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d9f0b98c-c955-4565-b5f4-39defde99c46/bf20ddfe-f08b-fbc6-1e52-5d189b80f486.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:2736;"/><div><br><br></div>
<div><b><i>Yamaha DM1000</i></b><br><br></div>
<div><br /></div>
<div>Behold, the Heart. The single thing that gives this instrument life. Ever since I saw it in a magazine in 2004 I wanted to get my hands on the DM1000. It was compact, powerful, and beautiful. It had everything I needed such as an infinitely flexible routing matrix, internal effects, automation, and an extensive, expandable I/O. In one machine, it single-handedly took the place of a (larger) slew of cables, external effects, a USB sound card and a DAW. Learning it and customizing it to the way you want to work is basically the biggest hurdle. Once you get over it though, it becomes second nature. <br><br></div>
<div><br /></div>
<div>The DM1000 is an instrument itself and the center of my universe. It is responsible for all the functions and sound that comes in or out of it. <br><br></div>
<div><br /></div>
<div>One thing that I realized is how great of a tool an external (digital) mixer is. As a test, I setup my native DAW to basically have the same routing functionality (8 mono tracks, 8 auxes on each track, 8 busses, and 4 effects) as the DM1000 and the CPU meter was already halfway filled without playing any audio. Playback through effects shot it right up to MAX. In addition, it would have been a nightmare to have as much 'live' control over the Auxes and Busses using any current MIDI controller on the market. I felt it was also a little 'buggy' and counter intuitive for this application.<br><br></div>
<div><br /></div>
<div>I thought about using my DAW in a hybrid setup mixing out of the box then using plug-ins on my DAW but I encountered the same problems with routing and mapping controls using the DM1000 HUI layer. The DM1000 DAW control is ok but not great. I had bigger things in store for it. All in all, I felt that it just didn't promote an efficient workflow for an improvised performance. With the DM1000, I know that it is designed within its limitations, so I don't have to worry about CPU overloads or crashes (most of the time).<br><br></div>
<div><br /></div>
<div>One of the main advantages of the DM1000 is that almost every function is controllable via MIDI. What this also means is that almost every knob, button, and slider, <i>transmits</i> MIDI messages. Um, so? SO that when paired with a MIDI translator software, you can have more MIDI controls than any controller on the market today in a single, rack mountable, albeit 20 kg, unit. More on this in a bit.<br><br></div>
<div><br /></div>
<div>The catch is that I cannot really carry it with me everywhere (I could, though). However, I can make/change settings offline using the Studio Manager software. Also, Yamaha consoles are pretty much in every major city that has a professional rental company so renting one for the night in a different town shouldn't be too hard (fingers crossed). Just upload my settings to the unit and I am home again. One less thing to pay an overweight baggage fee for.<br><br></div>
<div><br /></div>
<div>Additionally, I use a MY16AT ADAT card to route 16 channels of audio via the RME USB DIGIface and a MY8-AE to send tracks to the SPX2000 or any other future digital equipment.<br><br></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d9f0b98c-c955-4565-b5f4-39defde99c46/81a6dde4-5bcc-75e0-aa28-d98c3450f389.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:2736;"/><div><br><br></div>
<div><b><i>Revox A77</i></b><br><br></div>
<div><b><i><span style="--en-markholder:true;"><br /></span></i></b></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d9f0b98c-c955-4565-b5f4-39defde99c46/2ac8a134-df75-6bb6-53e9-bc073694598d.jpg" style="--en-naturalWidth:734; --en-naturalHeight:538;"/><div><br><br></div>
<div>Ever since I saw the A77 I fell in love. It was compact, beautiful design, self-serviceable, great sounding recorder made between 1968-1976. There were hundreds of thousands made which means that parts are still available from old units and also from many individuals selling newly made parts. Also, you will not find another consumer tape deck with the amount of praise, specs, and support as this recorder.<br><br></div>
<div><br /></div>
<div>My first unit I bought over 6 years ago and was greatly underused until I started my Flow/Flux project. It was OK for just playback but more units would allow more layering for added depth and live recording. I figured that I could fit at most 4 units in my studio, so that was my limit and really as much as I could control by myself.<br><br></div>
<div><br /></div>
<div>Buying an old unit is really hit or miss. There is bound to be some problems with it especially after 60+ years of life. But it can be fixed! It just takes some time to look over the service manual and asking questions on forums like <a href="http://Tapeheads.net" rev="en_rl_none">Tapeheads.net</a> . The repairs I made are quite a few so I will leave it for later posts. <br><br></div>
<div>[One recent repair: changing 50-year old motor and capstan SKF bearings with lovely new ones.]<br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d9f0b98c-c955-4565-b5f4-39defde99c46/c7472701-091c-851c-2195-e6e872816a32.jpg" style="--en-naturalWidth:2736; --en-naturalHeight:3648;"/><div><br><br></div>
<div>The main thing about the A77 that caught my attention is the REMOTE port. The A77 can be 'remote' controlled via a little external box that controls the relays in the unit. Which got me thinking:<br><br></div>
<div><br /></div>
<div>"Wouldn't it be great if I could control the A77 with <i>MIDI messages</i>?" Hmmm.<br><br></div>
<div><br /></div>
<div>More on this later.<br><br></div>
<div><br /></div>
<div>Each Revox unit has its own characteristic sound and markings. The machine-like Ka-Chunk! Click! Whirrrrr! Click ! Ka-Chunk! sound of the machines are also meant to be a part of the performance. Some of the reel motors have the date of manufacture on them. Some are made in Switzerland and others in West Germany. Other stamps and markings indicate service dates and QC markers. The dirt and grime also tell a story. If these things could talk...<br><br></div>
<div><br /></div>
<div>More on my modifications and repairs in a later post.<br><br></div>
<div><br /></div>
<div><b><span style="font-size: 18px;">The Rack</span></b><span style="font-size: 18px;"><br><br></span></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d9f0b98c-c955-4565-b5f4-39defde99c46/854a0067-012c-c3d2-e83a-967eb658d458.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:2736;"/><div><br><br></div>
<div><b><i>Yamaha SPX2000</i></b><br><br></div>
<div><br /></div>
<div>The DM1000 has 4 internal effects that contain your basic suite of studio FX. However, I wanted just a little bit more flexibility and a more updated FX palette. I also wanted to try to stay in the digital domain to/from the mixer. I would have loved an Eventide unit but until I have the money, I settled for a pair of SPX2000 units to keep its space warm for the moment (please don't tell them). Giving me a grand total of 6 stereo effects that I can route however which way I want to: serial/ parallel/ individual. Using the AES I/O everything goes in and out flawlessly digital and sounds great. Again using MIDI translator software, I can control any parameter. The Yamaha Studio Manager program can also help me edit and organize FX as I need. Cheap, digital, and easy to setup. Why not?</div>
<div><br><br></div>
<div>They were so grimy when I got them (you get what you pay for. I got mine for $150 each). One was definitely used in a bar and had a major rust problem, the other was probably kept in a forgotten dusty storage rack somewhere. I opened them up and the power supply capacitors were still ok and some button contacts needed cleaning. I gave them a good clean and gently put them into racks good as new.</div>
<div><br><br></div>
<div><b><i>Midi controlled relay box / Arduino</i></b></div>
<div><br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d9f0b98c-c955-4565-b5f4-39defde99c46/5e0ef097-c169-9347-055b-ff6be2d3e3bc.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:2736;"/><div><br><br></div>
<div>Ah, the <span style="color:rgb(17, 17, 17);">pièce de résistance. </span>There really is no off-the-shelf solution for this one can buy. It is such a custom application that you just have to dive in and make a 1 of 1 piece of art. Holding my breath, I scoured the Arduino user forums and Youtube until I found a short video of someone who made a MIDI controlled relay bank using an Arduino. And the rest is history. My code is not the best but it works. I am sure someone can make a more streamlined version. I couldn't quite understand the ARRAY function so I just did it the long, drawn out, newbie way. Hey, whatever works.</div>
<div><br><br></div>
<div><a href="https://github.com/tlloren/revoxarduino" rev="en_rl_none">Here's the code for all of you to point and laugh at.</a></div>
<div><br><br></div>
<div>The Revox remote control is basically a small external box that is a copy of a part of the control board inside the unit. When a button is pressed it completes a circuit which activates the relays inside of the box from a remote location. Learning to read a schematic came much easier than coding but eventually I was able to combine the two and make several breadboard prototypes, each one with more complexity. </div>
<div><br><br></div>
<div>[Original Revox remote]<br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d9f0b98c-c955-4565-b5f4-39defde99c46/8e870af4-61f6-1f0d-d50f-9138c37b7002.jpg" style="--en-naturalWidth:1200; --en-naturalHeight:900;"/><div><br /></div>
<div>[Remote schematic]<br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d9f0b98c-c955-4565-b5f4-39defde99c46/aed573f2-119c-8ea9-e309-e5ee7cd61d0c.png" style="--en-naturalWidth:989; --en-naturalHeight:833;" width="794px"/><div><br><br></div>
<div>[Phase 1 video: Control of A77 with preprogrammed code activating a relay bank to control all transport functions of the A77. ]<br><br></div>
<div style="--en-richlink:true; --en-href:https://www.youtube.com/watch?v=LLhCQcj6O68; --en-viewerProps:{"videoId":"LLhCQcj6O68"};"><a href="https://www.youtube.com/watch?v=LLhCQcj6O68" rev="en_rl_small">https://www.youtube.com/watch?v=LLhCQcj6O68</a></div>
<div><br><br></div>
<div>[Phase 2 video: Using MIDI from my DAW to the Arduino to control a relay bank.]<br><br></div>
<div style="--en-richlink:true; --en-href:https://www.youtube.com/watch?v=CpK_dNPREQs; --en-viewerProps:{"videoId":"CpK_dNPREQs"};"><a href="https://www.youtube.com/watch?v=CpK_dNPREQs" rev="en_rl_small">https://www.youtube.com/watch?v=CpK_dNPREQs</a></div>
<div><br><br></div>
<div>[Phase 3: Final Bread board working prototype]<br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d9f0b98c-c955-4565-b5f4-39defde99c46/0272e228-87d2-a9c0-52f5-a9ea1b1784c6.jpg" style="--en-naturalWidth:2736; --en-naturalHeight:3648;"/><div><br><br></div>
<div>This was by far the most tedious part. Between sourcing parts, buying tools, components, and equipment, then waiting for it to come, then finding out it didn't work/ needed more... Well, it took a long time. I should make a shopping cart to show what equipment I bought.<br><br></div>
<div><br /></div>
<div>Ideally, each A77 was to have a PCB that has its own relay board. This would have been the most elegant solution. I went so far as to teach myself KiCAD and designed AND had PCBs printed. This was something that was right up my alley, taking me back to my AutoCAD days. I had three versions made but none of them worked for reasons beyond my expertise. I used the same components as the breadboard so it must have been something with the traces. Anyway, this took about a month before I gave up that idea and resorted to a large scale foolproof version of the PCBs. </div>
<div><br><br></div>
<div>[Proposed PCB location.]<br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d9f0b98c-c955-4565-b5f4-39defde99c46/272023b9-5684-4725-4349-af0de8e9c36d.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:2736;"/><div>[These would have been great to use. Maybe next time.]<br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d9f0b98c-c955-4565-b5f4-39defde99c46/0cb0ca26-af9b-2920-1bf9-bb4355019f3a.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:2736;"/><div><br><br></div>
<div>After two versions, I finally got the hang of soldering the prototype board that i completed in about a week thanks to my new skills. If there is a problem, yo I'll solve it. It was much easier to find the problem and resolder it, unlike a PCB. I bought a 1U empty rack box and stuffed it all in.<br><br></div>
<div><br /></div>
<div>[Business up front...]<br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d9f0b98c-c955-4565-b5f4-39defde99c46/654ad077-bc19-eac1-963a-5d13c553bb6d.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:2736;"/><div>[...Party in the back.]<br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d9f0b98c-c955-4565-b5f4-39defde99c46/83cedcfb-379f-c699-9f3c-032a97d6890a.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:2736;"/><div>[New 10-pin remote connectors on the left, MIDI on the right.]<br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d9f0b98c-c955-4565-b5f4-39defde99c46/e613361f-01fe-e9e7-d653-37b3e724e44b.jpg" style="--en-naturalWidth:3648; --en-naturalHeight:2736;"/><div><br><br></div>
<div>To be continued...</div>
2021http://bivouacrecording.com/post/20212021-01-28T04:29:58.419000Z2021-01-02T13:47:33ZBivouac Recording<div>Well it's that time of year again to reflect and plan ahead for where we want this year to go. Last year was a big side track and its hard to think that it has been almost a year since quarantine first began in Shanghai, January 20. Things are much better now though, and I fortunately had the opportunity to enjoy the second half of the year travelling domestically. I hope that all of you are staying safe.</div>
<div><br><br></div>
<div>I haven't been on social media much this past year and the reason why is because I was working on something that I have been planning to do for several years now:</div>
<div><br><br></div>
<div>Perform.</div>
<div><br><br></div>
<div>I want to create an experience using field recordings 'live' (in quotations for the moment). It's quite a different approach for me. I always wanted people to focus on the sound not the spectacle, but this past year has given me the opportunity to take a step back and change something, everything. Perhaps it was the cabin fever during the first few months that started it. So the past year was largely dedicated to planning, designing, sketching, buying, selling, researching, programming, soldering, testing, trying, failing, cursing, fixing, maintaining, and a little bit of recording how I was going to do it. In that exact order, more or less.</div>
<div><br><br></div>
<div>This is the result.</div>
<div><br><br></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/2d1cc99e-7c86-f323-7efa-646120c8dcb6/74f891db-6fd7-8986-7d3f-bf640c0ad9ab.jpg" style="--en-naturalWidth:2000; --en-naturalHeight:1217;"/><div><br><br></div>
<div>This is the instrument that will create this experience. Building this was an amazing journey and as of January 2021 one year after I started, I have finished programming the basic functions and workflow with any additional functions to be programmed as needed.</div>
<div><br><br></div>
<div>A more elaborate post will come out very soon about the components and build.</div>
<div><br><br></div>
<div>I hope that you will enjoy our new creations this year and may your own projects be fruitful as well.</div>
<div><br><br></div>
<div>Thanks for listening.</div>
<div><br /></div>
60 Minute Cities: Buffalohttp://bivouacrecording.com/post/60-minute-cities-buffalo2022-09-04T23:03:01.696000Z2020-04-18T09:20:16ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/c16e2545-b927-49d7-9b67-ebe3f53bf924/85e86bb4-a3f2-424e-905c-fea66512f40b.jpg" style="--en-naturalWidth:3597; --en-naturalHeight:2780;"/><div style="text-align:center;"><br /></div>
<div style="text-align:center;"><b><span style="font-size: 12pt;">US $5 | RMB 30元</span></b></div>
<div style="text-align:center;">[Purchase includes Mp3 audio files and PDF of track descriptions]</div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"> To listen and purchase please click below/ 聆听购买</div>
<div style="text-align:center;"><a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-buffalo" rev="en_rl_none">Soundcloud</a> <span style="font-size: 12pt;">|</span> 虾米</div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"><span style="font-size: 12pt;">Look | 凝视</span></div>
<div style="text-align:center;"><a href="https://issuu.com/bivouacrecording/docs/60_minute_cities-_buffalo" rev="en_rl_none">Issuu</a> <span style="font-size: 12pt;">|</span> 微博</div>
<div style="text-align:center;"><br /></div>
<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/1032958327&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-buffalo" title="60 Minute Cities- Buffalo" target="_blank" style="color: #cccccc; text-decoration: none;">60 Minute Cities- Buffalo</a></div></div><div style="text-align:center;"><br /></div>
<div>"The more one was lost in unfamiliar quarters of distant cities, the more one understood the other cities he had crossed to arrive there; and he retraced the stages of his journeys, and he came to know the port from which he set sail, and the familiar places of his youth, and the surroundings of home..." *1</div>
<div><br /></div>
<div>As with cities, it is with the self. At age 18 I left Buffalo and at age 24 I returned / I brought back a perspective of life colored by experiences in Ithaca, New York; New Haven, Connecticut; Port-au-Prince, Haiti; Dhenkanal, India; Accra, Ghana; and a few cities in Guatemala (of which Quetzaltenango was the one in which I became most lost) / Sometimes memories of the places of my past superimpose themselves on my present surroundings (e.g., a bench by the side of a metro stop in Buffalo is for a moment the very bench I sat on as I lost myself in the fountain’s song in Antigua’s Parque Central two years ago); sometimes the effect of distant cities on "the port from which [I] set sail" is less tangible, being no less significant / These recordings, recorded in the fall of 2019, helped me unearth the parts of me, past and present, that tend to hide away when I ponder what is meaningful to me; they have helped me bring to light parts of life that describe my psychosocial milieu in Buffalo / I hope these 60 minutes can illustrate in part the city of Buffalo in a way which provides the listener a space to perceive, to reflect, to be present (in memory or imagination), and to create meaning // </div>
<div><br /></div>
<div>* 1: Invisible Cities by Italo Calvino</div>
<div><span style="font-size: 12pt;"> .</span></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">关于艺术家 / About The Artist</span></span></div>
<div><br /></div>
<div>Connor Orrico is a medical student interested in global health, mental health, justice, and stories of people and place, based in Buffalo, New York //</div>
Growing Up With Shanghai | 与沪成长http://bivouacrecording.com/post/growing-up-with-shanghai2023-06-18T16:19:33.629000Z2020-02-27T07:08:42ZBivouac Recording<div><div style="text-align:center;"><b>Listen to the podcast on Spotify or your favorite music streaming/podcast app</b></div></div>
<div style="text-align:center;"><b><span style="font-size: 20px;"><a href="https://open.spotify.com/show/6kqkj7VRKlPudC7bJQTSXB">Spotify</a> | <a href="https://podcasts.apple.com/us/podcast/growing-up-with-shanghai-|-与沪成长/id1693059391">Apple Podcast</a></span></b></div>
<div><br/><br/></div>
<div><a href="https://bivouacrecording.postach.io/tag/guw" rev="en_rl_none">Click here for book releases</a></div>
<div><a href="https://discord.gg/F4dyeCEDRJ" rev="en_rl_none">Click here for the project Discord</a><br/><br/></div>
<div><span style="font-size: 12pt;">Growing Up With Shanghai is a social sound project that documents the culture and people of Shanghai during the city’s development boom in the 1990s. The project follows 30-40 year old Shanghainese young adults- whose own personal development was also during a time when Shanghai was beginning its transformation into the metropolis we see today. What began as a personal project for me, became an outlet that Shanghainese could document their life and culture in their own personal way. Subtle details within their stories document local customs and dialects and touch on contemporary social issues such as remigration and urban development.<br/><br/></span></div>
<div><span style="font-size: 12pt;">The stories are recorded in the location where they occurred not only to help the storytellers recall their memories, but also to provide a complementary backdrop for their not so distant past. The stories encompass the entire Shanghai Municipality to also document the Shanghai culture beyond its city limits. The goal for this project is to record 100 people.<br/><br/></span></div>
<div><span style="font-size: 12pt;">Walking through their memories, each story brings you closer to the city. The more stories that are recorded, the more meaningful the connection with the city becomes. Each street now has a face and life to it making you a part of someone’s life. These streets are never going to be the same to you again.<br/><br/></span></div>
<div><span style="font-size: 12pt;">Every recording has a digital booklet produced that includes hand-drawn route maps, photos, Shanghainese character and Mandarin transcriptions, and English translations of the audio as a guide for people to ideally follow on location, or anywhere they may be.<br/><br/></span></div>
<div><span style="font-size: 12pt;">I hope that you enjoy your experience of this project and that one day your imagination leads you here.<br/><br/></span></div>
<div><span style="font-size: 12pt;">"与沪成长"是一个社会声音艺术项目,记录了上海在20世纪90年代蓬勃发展时期的城市文化和人。这个项目跟随30-40岁上海本地年轻人的脚步,记录他们的成长故事。这些年轻人的个人成长时期正是上海发展成为现在的大都市的转型初期。这原本只是我的一个个人项目,而后成为上海本地人可以以他们自己的方式记录他们的生活和文化的媒介。他们分享的故事里的各种微妙细节记录了当地风俗和地方方言,也提及了包括再移民和城市发展在内的一些当代社会议题。<br/><br/></span></div>
<div><span style="font-size: 12pt;">这些故事的收音都是在它们真实发生的地方完成,不仅可以帮助故事分享者重新拾起记忆,还可以基于他们还未远去的记忆基础上提供背景的补充。这些故事足迹踏遍整个上海市,也记录了超越城市界限的上海文化。这个项目目标是收录100个故事的声音。<br/><br/></span></div>
<div><span style="font-size: 12pt;">一路跟随分享者的记忆,每个故事都拉近了我们和这座城市的距离。随着收录的故事越来越多,项目本身和这座城市之间的联结也有了更多的意义。每一条街道像长出了一张脸,有了生命,将你和其他人的生活联系了起来,成为他们的一部分。这些街道于你也不再像从前一样,有了新的样子。<br/><br/></span></div>
<div><span style="font-size: 12pt;">每一个收录的录音都会制成一个电子版书册,其中包括手绘路线图、照片、上海话及普通话文本以及音频的英文翻译,为来自世界不同地方的人提供指引,帮助人们更好地跟随每一个收录地点的故事路线。<br/><br/></span></div>
<div><span style="font-size: 12pt;">我希望你可以喜欢这个项目带来的体验,说不定有一天,你也可以跟着想象实地走一遭。</span></div>
<div><span style="font-size: 12pt;">如果你希望与沪成长也能收录你的故事,请联系我们。<br/><br/></span></div>
<div><a href="https://bivouacrecording.postach.io/tag/guw" rev="en_rl_none">Click here for releases</a></div>
Replacement Soundscapes | 源声谱http://bivouacrecording.com/post/replacement-soundscapes-yuan-sheng-pu2022-08-30T00:19:42.933000Z2020-02-25T02:10:49ZBivouac Recording<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/938423251&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/replacement-soundscapes-wwf" title="Replacement Soundscapes: WWF Shanghai- Taihu" target="_blank" style="color: #cccccc; text-decoration: none;">Replacement Soundscapes: WWF Shanghai- Taihu</a></div></div><div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(14, 48, 41);">Replacement Soundscapes is a project made for companies and organizations to connect their employees and clients with their social and environmental initiatives through the use of sound. The soundscapes 'replace' your immediate sonic environment with natural sounds to enhance the mood and well-being of the listener or space.</span></span></div>
<div><span style="font-size: 12pt;">.</span></div>
<div><span style="font-family: 宋体;"><span style="font-size: 12pt;"><span style="color:rgb(14, 48, 41);">"源声谱"是一个为公司和组织设计的项目,旨在通过声音将其员工和客户与其开展的社会和环境行动联系起来。</span></span></span> <span style="font-family: 宋体;"><span style="font-size: 12pt;"><span style="color:rgb(14, 48, 41);">声景录音利</span></span><span style="font-size: 11pt;">用另一个地点的自然声音"替代"你周遭的声音环境,让你在公共和半公共环境下身心舒畅,心旷神怡。</span></span></div>
<div>.</div>
<div><a href="https://bivouacrecording.postach.io/tag/replacement" rev="en_rl_none">Click here to see installations</a></div>
<div>.</div>
<div><--- <a href="https://bivouacrecording.postach.io/tag/projects" rev="en_rl_none">Go back to Projects</a></div>
<div><br /></div>
60 Minute Cities | 60分钟,我的城市http://bivouacrecording.com/post/60-minute-cities-60fen-zhong-wo-de-cheng-shi2022-12-09T13:04:22.668000Z2020-02-24T07:25:34ZBivouac Recording<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/282823234&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities" title="60 Minute Cities" target="_blank" style="color: #cccccc; text-decoration: none;">60 Minute Cities</a></div></div><div><br /></div>
<div><br/><br/></div>
<div><a href="https://bivouacrecording.postach.io/tag/60mc" rev="en_rl_none">Click here for releases</a></div>
<div><a href="https://discord.gg/uAJYNPdmp8" rev="en_rl_none">Click here for the project Discord</a><br/><br/></div>
<div><span style="font-size: 12pt;">This album series focuses on an individual’s genius loci or the ‘spirit of a place’. Each album is a personal document of the recordists (re)discovery of their ‘city’ through sound. The 60 minutes of recordings are taken from the recordist’s own personal surroundings and include photos and text to describe the significance of these sounds to their own lives. The result is a document that reveals the deepest character of a place through a native resident’s own experience so that (locals) and non-locals, as well as the recordist, can (re)connect with the city and (re)discover the beauty of their place.<br/><br/></span></div>
<div><span style="font-size: 12pt;">This is an open project and anyone can participate. Contact us for more information on how to get involved.<br/><br/></span></div>
<div><span style="font-size: 12pt;"><span style="color:black;">这本专辑系列收录了不同录音师的精神轨迹或者叫他们</span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: 12pt;"><span style="color:black;">"</span></span></span><span style="font-size: 12pt;"><span style="color:black;">对于一个地方的态度</span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: 12pt;"><span style="color:black;">"</span></span></span><span style="font-size: 12pt;"><span style="color:black;">。每本专辑都是录音师通过声音(再一次)探索他们的</span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: 12pt;"><span style="color:black;">"</span></span></span><span style="font-size: 12pt;"><span style="color:black;">城市</span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: 12pt;"><span style="color:black;">"</span></span></span><span style="font-size: 12pt;"><span style="color:black;">的记录。这些</span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: 12pt;"><span style="color:black;">60</span></span></span><span style="font-size: 12pt;"><span style="color:black;">分钟的录音取材于录音师自己居住的周围环境,同时辅以照片和文字来讲述这些声音在他们生活中的重要性。最后形成一份记录,通过一个当地居民自己的经历勾勒出的一个地方最深刻的特点,将生活在这座城市的人、到访的人、录音师本人以及城市(重新)连接起来,(再一次)探索这座城市的美。</span><br/><br/></span></div>
<div><span style="font-family: 宋体;"><span style="font-size: 12pt;"><span style="color:black;">这是一个开放的项目,欢迎任何人参与。欲了解更多关于如何参与的信息,请联系我们。</span><br/><br/></span></span></div>
<div><a href="https://bivouacrecording.postach.io/tag/60mc" rev="en_rl_none">Click here for releases</a></div>
<div><br/><br/></div>
Social Tapes | 社区声音备忘录http://bivouacrecording.com/post/social-tapes-she-qu-sheng-yin-bei-wang-lu2022-12-09T13:06:28.846000Z2020-02-23T06:34:40ZBivouac Recording<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/1490791315&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/social-tapes-1" title="Social Tapes" target="_blank" style="color: #cccccc; text-decoration: none;">Social Tapes</a></div></div><div><br/></div>
<div><a href="https://discord.gg/S9c2EZX2gR">Click here for the project Discord</a><br/><br/></div>
<div><span style="font-size: 12pt;">Social Tapes is a collection of 'social phonography' projects from around the world. Our definition of 'Social Phonography' is the documentation of life with sound. Collections focus on any facet of life that make us human and that documents the present state of where we are today. Topics such as love, happiness, migration, religion, conflicts, nature, culture, preservation, are all encouraged. The purpose of these recordings are to build awareness to encourage action and participation with these issues.<br/><br/></span></div>
<div><span style="font-size: 12pt;">Each 'Tape' is a digital release that will be featured on the Social Tapes website. The collection of recordings will be available in our store.<br/><br/></span></div>
<div><span style="font-size: 12pt;">Social Tapes is an open project that anyone may apply to participate in. Organizations or individuals can request a Social Tape made for your cause. Please contact us for more information.<br/><br/></span></div>
<div><span style="font-size: 12pt;">《社区声音备忘录》由一系列"声音记录"项目组成,收录全世界范围内的声音。我们对"声音记录"的定义是用声音记录生活。项目关注生活里让我们作为人类的方方面面,也记录我们当下的生活状态。项目主题包罗万象,包括爱、幸福、移民、宗教、冲突、自然、文化和保护等多样化的主题。项目收录这些录音的目的是建立人们的意识,从而推动行动和提高人们对这些议题的参与度。<br/><br/></span></div>
<div><span style="font-size: 12pt;">每一个项目都是由《社区声音备忘录》网站进行专题线上发布。这些录音的系列可以于我们的商店进行购买。<br/><br/></span></div>
<div><span style="font-size: 12pt;">《社区声音备忘录》是一个开放式的项目,欢迎任何人申请加入。有需要的组织或个人可以提出制作单个《社区声音备忘录》的要求。如需更多信息,请联系我们。<br/><br/></span></div>
<div><a href="https://bivouacrecording.postach.io/tag/social-tapes" rev="en_rl_none">Click here for releases</a></div>
Bivouac. Live.http://bivouacrecording.com/post/bivouac-live2022-12-09T13:08:36.791000Z2020-02-22T08:40:22ZBivouac Recording<div><br /></div>
<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/456051&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/bivouac-live" title="Bivouac. Live." target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac. Live.</a></div></div><div><span style="font-size: 18px;"><br/><br/></span></div>
<div><a href="https://discord.gg/7aykwXKMFt">Click here for the project Discord</a><span style="font-size: 18px;"><br/><br/></span></div>
<div><span style="font-size: 12pt;">‘Bivouac. Live.’ is a project starting from March 2006 in New York City and later in Shanghai and features live performances from well-known and obscure experimental musicians in some of the most interesting venues. ‘Bivouac. Live.’ is a ‘living’ project that will be added to as we have new recordings.</span><span style="font-size: 18px;"><br/><br/></span></div>
<div><span style="font-size: 12pt;">Bivouac. Live.’ 是2006年3月从纽约开始的一个录音项目,而后来到上海,主要收录的是一些知名表演者现场演出的声音,也覆盖一些闻所未闻的试验性音乐人在一些极其有趣的场地所做的尝试。‘Bivouac. Live.’是一个"活着"的项目, 我们会不断加入新的录音。</span><span style="font-size: 18px;"><br/><br/></span></div>
<div><a href="https://bivouacrecording.postach.io/tag/bivouaclive" rev="en_rl_none">Click here for releases</a></div>
<div><br /></div>
60 Minute Cities: Denver | 60分钟,我的城市- 丹佛http://bivouacrecording.com/post/60-minute-cities-denver-60fen-zhong-wo-de-cheng-shi-dan-fo2023-04-17T03:18:02.200000Z2020-01-14T06:14:40ZBivouac Recording<div><div style="text-align:center;"><br /></div></div>
<img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/77077308-3962-468c-846b-1e7d0875c519/dfd2eb07-e700-4835-a969-152d1725bf75.jpg" style="--en-naturalWidth:4477; --en-naturalHeight:3460;"/><div style="text-align:center;"><br /></div>
<div style="text-align:center;"><b><span style="font-size: 12pt;">US $5 | RMB 30元</span></b></div>
<div style="text-align:center;"> To listen and purchase please click below/ 聆听购买</div>
<div style="text-align:center;"><a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-denver" rev="en_rl_none">Soundcloud</a> <span style="font-size: 12pt;">|</span> <a href="https://www.xiami.com/album/2105841465" rev="en_rl_none">虾米</a></div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;">[Purchase includes Mp3 audio files and PDF of track descriptions]</div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"><span style="font-size: 12pt;">Look | 凝视</span></div>
<div style="text-align:center;"><a href="https://sway.office.com/C9rSKQVw1IuBTW6t?ref=Link">Sway</a> <span style="font-size: 12pt;">|</span> <a href="https://weibo.com/ttarticle/p/show?id=2309404470349172441150" rev="en_rl_none">微博</a></div>
<div style="text-align:center;"><br /></div>
<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/966022876&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-denver" title="60 Minute Cities- Denver" target="_blank" style="color: #cccccc; text-decoration: none;">60 Minute Cities- Denver</a></div></div><div style="text-align:center;"><br /></div>
<div>"我在科罗拉多州长大,在丹佛附近住了很长一段时间,之后在2010年搬到了丹佛/在我眼中,丹佛一直是一个迷人的城市——这是一座位于落基山脉脚下,被称为"平原上的女王城"的纯朴小镇/这些录音是在2019年的夏天我到中国的第一年后回丹佛的时候录制的/为了完成这个项目,我去了几处在我记忆中十分重要的地点以及那些中国特大城市中难以寻觅的与宁静、自然紧密联系的地方/我发现在聆听那些平时被忽视的声音时,录音过程本身也让我获得了沉思冥想的宁静感/录音的另一个目的是捕捉丹佛在不同时期内变化的和不变的方方面面/和如今全球许多城市一样,丹佛正在经历着城市绅士化带来的巨大改变,也因此成为了一个许多长期生活在这里的居民无法负担的城市//</div>
<div style="text-align:center;"><br /></div>
<div>I was raised in Colorado and lived in the proximity of Denver for a long time before moving to the city in 2010 / Denver has always been a charming city in my eyes - a little cowtown known as the "Queen City of the Plains" that sits at the foot of the Rocky Mountains / These recordings were made in the summer of 2019 when I returned to Denver after my first year in China / For this project I visited locations that hold significant memories for me as well as those that offer a connection to stillness and nature that has been difficult to find in the megacities of China / I found that the recording process itself also allowed me to access a meditative sense of stillness as I listened closely to often quiet sounds / Another goal with these recordings was to capture some of the ways in which Denver has both changed and remained the same over different periods of time / Like many cities around the world right now, Denver is experiencing great change through gentrification and thus becoming a city that many long-time residents can no longer afford to live in //</div>
<div><span style="font-size: 12pt;"> </span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">关于艺术家 / About The Artist</span></span></div>
<div><br /></div>
<div>Katherine Peterson是一名对声音有着浓厚兴趣的中学数学老师/她在美国出生长大,但目前居住在中国苏州/在过去的十年中,她一直在制作实地录音,记录地域感并强调日常声音中的音乐感/她还曾做过7年电台DJ,而且最近还开始了自己的中音萨克斯个人实验项目,此前她曾在丹佛的一个前卫艺术表演团体中演出。凯瑟琳的部分录音作品收录在Patient Sounds的"Still Waiting(仍在等待)"选集中//</div>
<div><span style="font-size: 12pt;"> </span></div>
<div>Katherine Peterson is a middle school math teacher with a strong interest in sound / She was born and raised in the United States, but currently resides in Suzhou, China / For the past decade she’s been making field recordings in an effort to document a sense of place and highlight the musicality of everyday sounds / She has also spent 7 years as a radio DJ and recently began her own solo experimental project with alto saxophone after playing in an avant-garde performance art group in Denver / Some of Katherine’s recording work can be found on the compilation Still Waiting on Patient Sounds Records // </div>
<div><br /></div>
<div>Website: <a href="http://soundcloud.com/busy_signals" rev="en_rl_none">soundcloud.com/busy_signals</a></div>
Replacement Soundscapes: WWF Shanghai- Taihu | 源声谱:WWF上海- 太湖http://bivouacrecording.com/post/replacement-soundscapes-wwf-shanghai-taihu2022-08-25T07:51:22.173000Z2019-12-03T22:42:49ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/2a81cb3d-0554-4905-ba02-1ae89fdecff1/fca30ca0-fc23-46f9-aa92-925687ee01cb.jpg" style="--en-naturalWidth:2560; --en-naturalHeight:1920;"/><div>.</div>
<div style="text-align:center;">Listen <span style="font-size: 12pt;">| 聆听</span></div>
<div style="text-align:center;"><a href="https://soundcloud.com/bivouacrecording/sets/replacement-soundscapes-wwf" rev="en_rl_none">Soundcloud</a> | 喜马拉雅</div>
<div>.</div>
<div><span style="font-family: 宋体;"><span style="font-size: 12pt;">太湖位于长三角地区,是中国最大的淡水湖泊之一,面积仅次于鄱阳湖和洞庭湖,湖岸毗邻江苏和浙江两省。沿岸地区的快速发展破坏了它的自然平衡,工业污染和不良用水习惯最终导致了2007年的大规模藻类爆发,对沿岸人口和野生动植物造成威胁。此后,工业废物管理的改善和节约用水的做法使得太湖的状况逐渐得以改善。</span></span></div>
<div>.</div>
<div>Taihu is a lake in the Yangtze delta and is one of the largest freshwater lakes in China after Poyang and Dongting Lake. It shares its shores with the Jiangsu and Zhejiang provinces. Rapid development around its shores had deteriorated its natural balance and finally, in 2007 a massive algae breakout occurred as a result of industrial pollution and bad water practices endangering the human and wildlife populations along its shores. Since then the conditions at Taihu have been progressively improving as better industrial waste management and water conservation practices are put into place.</div>
<div>.</div>
<div><br /></div>
<div><span style="font-family: "Times New Roman", serif;"><span style="font-size: 12pt;">2015</span></span><span style="font-family: 宋体;"><span style="font-size: 12pt;">年,世界自然基金会(</span></span><span style="font-family: "Times New Roman", serif;"><span style="font-size: 12pt;">WWF</span></span><span style="font-family: 宋体;"><span style="font-size: 12pt;">)发起太湖国际论坛,为国际流域治理交流和推动中国流域治理改革与创新搭建平台。在政府部门、研究机构和企业界合作伙伴以及学术专家的大力支持下,该论坛已连续三年成功举办。</span></span></div>
<div><br /></div>
<div><span style="font-family: 宋体;"><span style="font-size: 12pt;">.</span></span></div>
<div><br /></div>
<div>In 2015 the World Wildlife Fund (WWF) initiated the Taihu International Forum to <span style="font-size: 12pt;"><span style="color:rgb(1, 1, 1);">serve as a platform for the exchange of international river basin governance and the promotion of the reform and innovation on basin governance in China.</span> <span style="color:rgb(1, 1, 1);">The forum has been successfully held for three years in row, thanks to strong support from partners across government departments, research institutions, business sectors, and from academic experts.</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;">.</span></div>
<div><span style="font-family: 宋体;"><span style="font-size: 12pt;">《第四届太湖国际论坛报告》(<a href="https://share.weiyun.com/5NqWUlY" rev="en_rl_none">微云</a>)于9月发布之后,我联系了上海办事处,询问其是否有兴趣在办公区域内进行公开演讲和会议的展示空间安装临时声景音响装置。</span></span></div>
<div>.</div>
<div>Following the release of the 4th Taihu International Forum Report (<a href="https://www.dropbox.com/sh/947nj5sk241ql3i/AADO7Om6WJm6t26DKwPujeIBa?dl=0" rev="en_rl_none">Dropbox</a> / <a href="https://share.weiyun.com/5NqWUlY" rev="en_rl_none">微云</a>)in September, I contacted the office in Shanghai to see if they would be interested in a temporary soundscape sound installation for the exhibition space of their office where they have public talks and meetings. The sounds from Taihu is a way to connect clients and employees to the cause they are working so hard for.</div>
<div>.</div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/2a81cb3d-0554-4905-ba02-1ae89fdecff1/15bf3a4f-7210-4d3a-b084-616c102291f0.jpg" style="--en-naturalWidth:1680; --en-naturalHeight:940;"/><div style="text-align:center;"><i>Recording location map</i></div>
<div style="text-align:center;"><br /></div>
<div><span style="font-family: 宋体;"><span style="font-size: 12pt;">.</span></span></div>
<div><span style="font-family: 宋体;"><span style="font-size: 12pt;">来自太湖的声音能够将客户和员工与他们为之辛勤工作的事业联系起来。录音地点有两处,均位于江苏宜兴。其中一处位于距太湖约</span></span><span style="font-family: "Times New Roman", serif;"><span style="font-size: 12pt;">30</span></span><span style="font-family: 宋体;"><span style="font-size: 12pt;">公里的农田周围,另一处则选在湖岸边。</span></span><span style="font-family: "Times New Roman", serif;"><span style="font-size: 12pt;">11</span></span><span style="font-family: 宋体;"><span style="font-size: 12pt;">月,水稻收获即将结束,空气中充满了拖拉机的声音和稻田燃烧的气味。而湖边则是无尽的风浪声。</span></span> <span style="font-family: 宋体;"><span style="font-size: 12pt;">灌溉用的水泵和工人住房暂时闲置,等待天气转暖后继续投入使用。</span></span></div>
<div>.</div>
<div>The recordings are done in two locations in Yixing, Jiangsu. One location is around farmlands about 30 km from the lake, and the other right at the shore of the lake. November means the end of the rice harvest season and the air was filled with tractor sounds and the smell of burning fields. At the lake, I found the endless sounds of waves and wind. Sleeping irrigation pumps and workers housing are abandoned for now, waiting for warmer weather. </div>
<div>.</div>
<div><span style="font-family: 宋体;"><span style="font-size: 12pt;"><span style="color:rgb(14, 48, 41);">声景装置将在此处运行一个月,并在</span></span></span><span style="font-family: Roboto;"><span style="font-size: 12pt;"><span style="color:rgb(14, 48, 41);">12</span></span></span><span style="font-family: 宋体;"><span style="font-size: 12pt;"><span style="color:rgb(14, 48, 41);">月的每一天连续播放</span></span></span><span style="font-family: Roboto;"><span style="font-size: 12pt;"><span style="color:rgb(14, 48, 41);">12</span></span></span><span style="font-family: 宋体;"><span style="font-size: 12pt;"><span style="color:rgb(14, 48, 41);">个小时。</span></span></span></div>
<div><span style="font-size: 12pt;">.</span></div>
<div>The soundscape installation will be in the WWF Shanghai branch office and will play every day continuously for 12 hours in the month of December.</div>
<div>.</div>
<div><span style="font-family: 宋体;"><span style="font-size: 12pt;"><span style="color:rgb(14, 48, 41);">"源声谱"是一个为公司和组织设计的项目,旨在通过声音将其员工和客户与其开展的社会和环境行动联系起来。</span></span></span> <span style="font-family: 宋体;"><span style="font-size: 12pt;"><span style="color:rgb(14, 48, 41);">声景录音利</span></span><span style="font-size: 11pt;">用另一个地点的自然声音"替代"你周遭的声音环境,让你在公共和半公共环境下身心舒畅,心旷神怡。</span></span></div>
<div><span style="font-size: 16px;">.</span></div>
<div><span style="font-size: 16px;"><span style="color:rgb(14, 48, 41);">Replacement Soundscapes is a project made for companies and organizations to connect their employees and visitors with their social and environmental initiatives through the use of sound. The soundscapes 'replace' your immediate sonic environment with natural, localized sounds to enhance the mood and well being of public and semi-public areas of a space.</span></span></div>
<div><span style="font-size: 16px;">.</span></div>
<div><span style="font-family: 宋体;">你可以通过以上链接在你自己的空间内播放录音。</span></div>
<div>.</div>
<div><span style="font-size: 16px;"><span style="color:rgb(14, 48, 41);">You can play the recordings into your own space via the links above.</span></span></div>
<div><br /></div>
<div><br /></div>
60 Minute Cities: St. Petersburg | 60分钟,我的城市 - 圣彼得堡http://bivouacrecording.com/post/60-minute-cities-st-petersburg-60fen-zhong-wo-de-cheng-shi-sheng-bi-de-bao2022-09-04T23:02:57.592000Z2019-11-30T08:29:22ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/03c9c1c5-ecd5-4fa2-b9e9-a38658ee8442/bed98c98-978f-4ac4-8e33-f2a37b34c46b.jpg" style="--en-naturalWidth:990; --en-naturalHeight:765;"/><div style="text-align:center;"><br /></div>
<div style="text-align:center;"><b><span style="font-size: 12pt;">US $5 | RMB 30元</span></b></div>
<div style="text-align:center;"> To listen and purchase please click below/ 聆听购买</div>
<div style="text-align:center;"><a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-st-petersburg" rev="en_rl_none">Soundcloud</a> <span style="font-size: 12pt;">|</span> <a href="https://www.xiami.com/album/2105536162" rev="en_rl_none">虾米</a></div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;">[Purchase includes Mp3 audio files and PDF of track descriptions]</div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"><span style="font-size: 12pt;">Look | 凝视</span></div>
<div style="text-align:center;"><a href="https://issuu.com/bivouacrecording/docs/60_minute_cities-_st._petersburg" rev="en_rl_none">Issuu</a> <span style="font-size: 12pt;">|</span> <a href="https://weibo.com/ttarticle/p/show?id=2309404446410622763087" rev="en_rl_none">微博</a></div>
<div><br /></div>
<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/934384252&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-st-petersburg" title="60 Minute Cities- St. Petersburg" target="_blank" style="color: #cccccc; text-decoration: none;">60 Minute Cities- St. Petersburg</a></div></div><div><br /></div>
<div style="background-color:rgb(242, 242, 242);"><span style="font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif;"><span style="font-size: 14px;"><span style="color:rgb(51, 51, 51);">Saint-Petersburg is a city of bridges / Wherever you go in this city sooner or later you will go out to a river or a channel blocking your path / With the desire to get to the other side, you wander along the granite embankments and the splash of waves accompanies you / At these moments you understand how much your life in this city goes hand in hand with the sounds of water… not only these sounds for sure… and over time many things change… / The sound image of my city has changed a lot over time I live here / Before there were not so many planes and helicopters in the sky / Now in the center you can hardly find a place where some street musicians would not perform / Very noisy here / Noise of passing cars was before also, now street musicians shout above it twisting the handles of the combos to the maximum / With the advent of WHSD (Western High-Speed Diameter) a new noise ring of high-speed highway appeared around the city / The urban tourism infrastructure is developing: rivers and canals are flooded with the voices of the guides, they are talking over each other / Everyone wants to declare themselves louder than others. Everyone has something to say / Not enough of those who are ready to hear / I believe that the time has come to learn to listen / The world is full of offers, statements and announcements / One has to learn to accept it as it is without trying to change anything / Accept it in all its sound diversity / Not just to hear the world, but to be it with your attention //</span></span></span></div>
<div><br /></div>
<div style="background-color:rgb(242, 242, 242);"><span style="font-family: Interstate;"><span style="font-size: 11pt;"><span style="color:rgb(51, 51, 51);">圣彼得堡是一座桥梁之城/无论走在这座城市的任何地方,你总会遇到河流或水道挡住去路/在浪花的陪伴下,你沿着花岗岩河堤漫步,渴望到达对岸/这时你就会认识到在这座城市中生活与水声的关系是如此紧密……当然不只是这些声音……事物随着时间的流逝也在不断变迁……/我的城市的声音形象在我居住于此期间发生了很大的变化/以前天上还没有那么多飞机和直升机/现在,市中心几乎找不到一处街头音乐家不愿表演的地方/这里十分嘈杂/以前是来往汽车的噪音。现在,街头音乐家把音箱开到最大,淹没了汽车的噪音/随着WHSD(Western High-Speed Diameter)高速公路通车,城市周围出现了一个新的高速公路噪音圈/城市的旅游基础设施也在日益发展:河流和运河周边导游们的声音此起彼伏/每个人都想在音量上更胜一筹,每个人都有话要说/而愿意聆听的人还不够多/我认为是时候学会如何聆听了/世界上充满了提议、声明和公告/我们必须学会不作任何改变地接受它/接受所有声音的多样性/不仅要聆听世界,而且要关注世界,成为它的一部分//</span></span></span></div>
<div><br /></div>
<div><br /></div>
<div>About the Artist:</div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">关于艺术家</span></span></div>
<div><br /></div>
<div>Vladislav Petrov / Lives in St. Petersburg, Russia / Sound artist / Was engaged in the creation of sound installations, sound design for dance-move performances and sound design for documentaries and experimental films / Currently exploring urban and natural sound landscapes, making multi-channel field recording //</div>
<div><br /></div>
<div style="margin-bottom:16px;"><span style="font-family: Interstate;"><span style="font-size: 11pt;"><span style="color:rgb(51, 51, 51);">Vladislav Petrov / 生活在俄罗斯圣彼得堡/声音艺术家/参与声音装置的创作、舞蹈表演的声音设计以及纪录片和实验电影的声音设计/目前正在探索城市和自然的声音景观,进行多通道实地录音//</span></span></span></div>
Growing Up With Shanghai: Zijin Lu | 与沪成长- 紫金路http://bivouacrecording.com/post/growing-up-with-shanghai-zijin-lu-yu-hu-cheng-chang-zi-jin-lu2023-03-17T15:21:14.799000Z2019-11-06T07:19:38ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/d8033d2c-ca84-4fda-9341-6204535bcef9/256fe4be-51ca-4128-92e1-7137c9dd7ae0.jpg" style="--en-naturalWidth:2754; --en-naturalHeight:1941;"/><div><br /></div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"><span style="font-size: 12pt;">Listen | 聆听</span></div>
<div style="text-align:center;"><span style="font-size: 12pt;"><a href="https://soundcloud.com/bivouacrecording/growing-up-with-shanghai-zi-jin-lu" rev="en_rl_none">Soundcloud</a> |</span> <span style="font-size: 12pt;"><a href="https://www.xiami.com/song/xNcg3Bc93ac" rev="en_rl_none">虾米</a></span></div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"><span style="font-size: 12pt;">Look | 凝视</span></div>
<div style="text-align:center;"><span style="font-size: 12pt;"><a href="https://sway.office.com/2Gr6ITH5R3F3KPGk?ref=Link">Sway</a></span> <span style="font-size: 12pt;">|</span> <span style="font-size: 12pt;"><a href="https://weibo.com/ttarticle/p/show?id=2309404435592581611641" rev="en_rl_none">微博</a></span></div>
<div style="text-align:center;"><br /></div>
<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/685964788&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/growing-up-with-shanghai-zi-jin-lu" title="Growing Up With Shanghai- Zijin Lu" target="_blank" style="color: #cccccc; text-decoration: none;">Growing Up With Shanghai- Zijin Lu</a></div></div><div style="text-align:center;"><br /></div>
<div>Recorded March 19, 2010.</div>
<div><br /></div>
<div>Zijin Lu was the 12th recording of Growing Up With Shanghai and was recorded almost 10 years ago. It was the first walk that Shen Yi took photos for and when I finally saw them developed I was so happy I finally found the look I wanted for the rest of the project. I remember it was a cold day on the street, and entering the narrow Nongtang, I felt it was freezing in the shadows. Celia takes us around her neighborhood just blocks away from the Bund around the area she used to live with her Grandma. In 2010, the Bund tunnel was about to open just in time for the World Expo, and the Shanghai Natural History Museum was in its old location under the shadow of the Yan‘an Lu Elevated road. She walks along her daily route to school and tells us stories of how it was growing up here with all her cousins and friends. We get lost a little when looking for the park that she used to learn Wushu with her friends after school. It’s a great story in a great location. I hope you enjoy it.</div>
<div><br /></div>
<div><br /></div>
<div><br /></div>
<div style="margin-bottom:16px;"><span style="font-family: 等线;">紫金路是"与沪成长"的第</span>12<span style="font-family: 等线;">段录音,录制于将近</span>10<span style="font-family: 等线;">年前。这次漫步是沈祎拍摄的第一次漫步,当我看到照片洗出来后十分高兴,感觉终于找到这个项目今后想要的效果了。我还记得那天街上很冷,走进狭窄的弄堂里,太阳照不到的地方冻得刺骨。</span>Celia<span style="font-family: 等线;">带我们参观了她以前和奶奶一起住的地方,离外滩仅仅相隔了几个街区。在</span>2010<span style="font-family: 等线;">年的当时,外滩隧道为迎接世博会即将通车,上海自然历史博物馆也还位于延安路高架下的旧址。她沿着曾经每天的上学路为我们讲述了和自己的兄弟姐妹以及朋友们一起成长的故事。在寻找她当时放学后和小伙伴一起练武术的公园时我们还迷路了。繁华的地段,精彩的故事。希望你会喜欢。</span></div>
60 Minute Cities: Los Angeles | 60分钟,我的城市- 洛杉矶http://bivouacrecording.com/post/60-minute-cities-los-angeles-60fen-zhong-wo-de-cheng-shi-luo-shan-ji2022-09-04T23:02:58.190000Z2019-10-21T00:26:40ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/95b8403d-ba22-4029-bfe6-bfbb3ecaef1a/334de8c8-8826-4004-8419-a211fb4bc6ab.jpg" style="--en-naturalWidth:3410; --en-naturalHeight:2635;"/><div style="text-align:center;"><br /></div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"><b><span style="font-size: 12pt;">US $5 | RMB 30元</span></b></div>
<div style="text-align:center;"> To listen and purchase please click below/ 聆听购买</div>
<div style="text-align:center;"><a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-los-angeles" rev="en_rl_none">Soundcloud</a> <span style="font-size: 12pt;">|</span> <a href="https://www.xiami.com/album/2105363778" rev="en_rl_none">虾米</a></div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;">[Purchase includes Mp3 audio files and PDF of track descriptions]</div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"><span style="font-size: 12pt;">Look | 凝视</span></div>
<div style="text-align:center;"><a href="https://issuu.com/bivouacrecording/docs/60_minute_cities-_los_angeles" rev="en_rl_none">Issuu</a> <span style="font-size: 12pt;">| <a href="https://weibo.com/ttarticle/p/show?id=2309404430119614677004&mod=zwenzhang" rev="en_rl_none">微博</a></span></div>
<div style="text-align:center;"><br /></div>
<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/904406113&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-los-angeles" title="60 Minute Cities- Los Angeles" target="_blank" style="color: #cccccc; text-decoration: none;">60 Minute Cities- Los Angeles</a></div></div><div style="text-align:center;"><br /></div>
<div>这些录音记录了洛杉矶河蜿蜒穿过洛杉矶弗拉格敦区域的河道右岸部分/不同于其广为人知,充满粗犷之美的混凝土河道,洛杉矶河在这里由多个软河床河段组成,从中涌出的天然泉使得任何混凝土围边施工都无法完成/再加上上游水处理设施排水的汇入,这段地处洛杉矶东北部重工业背景下的狭窄河道体现了洛杉矶河在城市化之前的自然状态/该项目是在2019年8月录制的/收音地点选择了弗拉格敦多条街道尽头与河岸的交汇点/每张图片拍摄的都是道路尽头,而录音本身则是在尽头之后收录的。在这里,雨水沟取代了行车道路,将水排入河道内/录音顺序与河道的流经顺序一致,从2号高速公路开始到5号公路上游的巴克利街(Barclay St.)// </div>
<div><br /></div>
<div>These recordings capture a portion of the right bank of the LA River as it meanders through a section of Los Angeles known as Frogtown / In contrast to the starkly beautiful concrete channelization for which the river is largely known, this area of the river is comprised of several soft-bottom sections whose natural springs have made any effort to pave over the river impossible / Coupled with the water that is released just upstream from treatment facilities, these narrows reveal something of the river’s pre-urban, natural state cast against the heavy industrial backdrop of Northeast LA / The project was undertaken during the month of August in 2019 / Recording locations were chosen at various points of confluence where the streets of Frogtown meet their terminus at the river’s bank / Each image documents a dead end; the recording itself, however, is captured just beyond, where navigable road turns into storm drain and empties into the river / The order of these recordings follows the course of the river, starting at the 2 Freeway and terminating at Barclay St., just upstream from the 5 //</div>
<div><span style="font-size: 12pt;"> </span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">关于艺术家</span></span></div>
<div><span style="font-size: 12pt;"> </span></div>
<div>Benjamin Bishop所录制声音的审美情趣和形式结构的动机来源于城市生态进程和退化。</div>
<div><br /></div>
<div>Benjamin Bishop captures sounds whose aesthetic interest and formal composition are motivated by the process and degradation of urban ecologies.</div>
Bivouac Recording Projectshttp://bivouacrecording.com/post/bivouac-recording-projects-22020-02-27T08:48:43.381000Z2019-06-18T02:07:40ZBivouac Recording<div><div><span style="font-size: 12pt;">></span> <span style="font-size: 12pt;"><a href="https://bivouacrecording.postach.io/post/replacement-soundscapes-yuan-sheng-pu" style="font-size: 12pt;">RePlacement Soundscapes / 源声谱</a></span></div>
<div><span style="font-size: 12pt;"><br/></span></div>
<div><span style="font-size: 12pt;">>></span> <a href="https://bivouacrecording.postach.io/post/growing-up-with-series">'Growing Up With' Series</a></div>
<div><span style="font-size: 12pt;"><br/></span></div>
<div><span style="font-size: 12pt;">>>> </span><a href="https://bivouacrecording.postach.io/post/social-tapes-she-qu-sheng-yin-bei-wang-lu">Social Tapes / 社区声音备忘录</a></div>
<div><span style="font-size: 12pt;"><br/></span></div>
<div><span style="font-size: 12pt;">>>>></span> <a href="https://bivouacrecording.postach.io/post/60-minute-cities-60fen-zhong-wo-de-cheng-shi">60 Minute Cities / 60分钟,我的城市</a></div>
<div><span style="font-size: 12pt;"><br/></span></div>
<div><span style="font-size: 12pt;">>>>>></span> <a href="https://bivouacrecording.postach.io/tag/bivouaclive" style="font-size: 12pt;">Bivouac. Live.</a></div>
<div><span style="font-size: 12pt;"><br/></span></div>
<div><span style="font-size: 12pt;">>>>>>></span> <a href="https://bivouacrecording.postach.io/post/flow-flux-liu-bian" style="font-size: 12pt;">Flow | Flux / </a><a href="https://bivouacrecording.postach.io/post/flow-flux-liu-bian">流 | 变</a></div>
<div><span style="font-size: 16pt;"><br/></span></div>
<div><br/></div><hr/><div><span style="font-size: 12pt;"><br/></span></div>
<div><span style="font-size: 12pt; font-weight: bold;">>>>>>> Flow | Flux / 流 | 变</span></div>
<div><span style="font-size: 12pt;">崇明岛是一个美丽的岛屿,距离上海市中心约1小时路程。随着一个新的桥梁和隧道的完成,上海市中心的人们如今更加方便就能来到崇明,来发现曾经遥远的美丽。</span></div>
<div><span style="font-size: 12pt;"><br/></span></div>
<div><span style="font-size: 12pt;">"变化"是岛的本质。作为冲积层,它随着长江淤积物的积累和转移而不断增长和变化。通过录音,我专注于两种形式的"变化":季节的不断自然变化(Flow),以及当地居民随着他们的社会演变(Flux)而逐渐发生的改变。虽然这些变化在本质上是分开的,一个周期性的和一个线性的,但它们却在互相帮助进步和演变。</span></div>
<div><span style="font-size: 12pt;"><br/></span></div>
<div><span style="font-size: 12pt;">录音是在驻村计划中的一年内在整个崇明岛记录的,并用卷轴到卷轴磁带或磁带的方式录音。这是一个为期几年的项目,需要更多的地点记录。</span></div>
<div><span style="font-size: 12pt;"><br/></span></div>
<div><span style="font-size: 12pt;">Chong Ming Dao is a beautiful island about 1 hour from downtown Shanghai. With the completion of a new bridge and tunnel, getting to the island makes it easier for the population of the Shanghai Municipality to explore the beauty that was once difficult to reach.</span></div>
<div><span style="font-size: 12pt;"><br/></span></div>
<div><span style="font-size: 12pt;">‘Change’ is in the very nature of the island. Being alluvial, it is ever growing and changing with the accumulation and shifting of the Yangtze River silt. Through sound recordings I focus on two forms of ‘change’: the constant natural changing of the seasons (Flow), and the gradual changes made by the local residents as their society evolves (Flux). Though these changes are separate in nature, one cyclical and one linear, they help each other to progress and evolve.</span></div>
<div><span style="font-size: 12pt;"><br/></span></div>
<div><span style="font-size: 12pt;">The sound recordings are recorded throughout Chongming island over the course of one year and was recorded with reel to reel tape or cassette. This is a several year project with many more locations needed to document.</span></div>
<div><br/></div>
<div><a href="https://bivouacrecording.postach.io/post/flow-flux-liu-bian" style="font-size: 12pt;">Click here</a></div>
<div><br/></div><hr/><div><br/></div>
<div>To know more about purchasing an album from us please see:</div>
<div><a href="https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it">https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it</a></div>
<div><br/></div>
<div><span style="font-size: 12pt;"><br/></span></div>
<div><span style="font-size: 12pt;"><--- Go back to</span> <a href="http://bivouacrecording.com/" style="font-size: 12pt;">bivouacrecording.com</a></div></div><div><br/></div>
RePlacement Soundscapes: Shanghaihttp://bivouacrecording.com/post/replacement-soundscapes-shanghai2023-04-09T11:28:21.013000Z2019-05-20T05:16:19ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/31d64778-9eea-4ea5-a56c-e911d8f59560/8acc8b0a-23b9-416b-8e77-f6705850c3ac.jpg" style="--en-naturalWidth:1476; --en-naturalHeight:1476;"/><div style="text-align:center;"><br /></div>
<div style="text-align:center;"><b><span style="font-size: 12pt;"><span style="color:rgb(1, 1, 1);">Listen:</span></span></b></div>
<div style="text-align:center;"><span style="font-size: 12pt;"><span style="color:rgb(1, 1, 1);">Soundcloud</span></span></div>
<div style="text-align:center;"><span style="font-size: 12pt;"><span style="color:rgb(1, 1, 1);"><span style="--en-markholder:true;"><br /></span></span></span></div>
<div>Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.</div>
<div><br /></div>
<div>These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.</div>
<div><br /></div>
<div>Hundreds of documented hours ensure each soundscape is unique.</div>
<div><br /></div>
60 Minute Cities: Kunming | 60分钟,我的城市- 昆明http://bivouacrecording.com/post/60-minute-cities-kunming-60fen-zhong-wo-de-cheng-shi-kun-ming2022-09-04T23:03:00.990000Z2019-04-20T06:39:31ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/05168cb0-8b68-48bb-ae72-a4c1bb0aef1a/d801c362-8a53-4cdb-abd3-cc7057a107d8.jpg" style="--en-naturalWidth:2860; --en-naturalHeight:2210;"/><div style="text-align:center;"><br /></div>
<div style="text-align:center;"><b><span style="font-size: 12pt;">US $5 | RMB 30元</span></b></div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"> To listen and purchase please click below/ 聆听购买</div>
<div style="text-align:center;"><span style="font-size: 12pt;"><a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-kunming" rev="en_rl_none">Soundcloud</a></span> <span style="font-size: 12pt;">|</span> <span style="font-size: 12pt;"><a href="https://www.xiami.com/album/2104789673" rev="en_rl_none">虾米</a></span></div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;">[Purchase includes Mp3 audio files and PDF of track descriptions]</div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"><span style="font-size: 12pt;">Look | 凝视</span></div>
<div style="text-align:center;"><a href="https://issuu.com/bivouacrecording/docs/60_minute_cities-_kunming" rev="en_rl_none">Issuu</a> <span style="font-size: 12pt;">| 微博</span></div>
<div><br /></div>
<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/758319768&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-kunming" title="60 Minute Cities- Kunming" target="_blank" style="color: #cccccc; text-decoration: none;">60 Minute Cities- Kunming</a></div></div><div><br /></div>
<div>这些录音主要集中在昆明的三月四月,随处可以听见鸟叫声,偶尔有一些小雨 / 我移居到这座位于中国西南的被称为春城的城市近20年,我喜欢这里的天气和人文 / 和在任何城市生活一样,上学、上班、回家、搭乘公交和地铁,时不时去到城市边缘的地方,享受大自然 / 我喜欢在城市里闲逛,寻找有肌理感和生活气息的地方,特别是下雨的时候 / 这些录音记录了我个人日常生活在这座城市里遭遇的一些时刻,一些声音 / 我通常手握录音笔,穿过一个地方,或者只是站着,发呆,聆听 / 所有录音为双声道,建议在安静环境使用耳机收听 //</div>
<div><br /></div>
<div>These recordings are mainly recorded in March and April of Kunming city, where birds can be heard everywhere, and occasionally there is a little rain / Kunming is called the eternal spring city, in the southwest of China, capital of Yunnan province / I have moved and lived here for nearly 20 years / I like the weather and culture here. Like living in any city, we go to school, go to work, go home, take the bus and subway, go to the edge of the city from time to time, enjoy nature / I like to wander around the city, look for places with texture and flavor of life, especially when it rains / These recordings recorded some moments and sounds of my daily life in this city / I usually hold recorder in my hand and walk through a place, or just stand, daze and listen //</div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">关于艺术家</span></span></div>
<div><br /></div>
<div>About the Artist</div>
<div><br /></div>
<div style="margin-bottom:16px;">Luo Fei (b. 1982), an artist, writer, curator, based in Kunming China //</div>
60 Minute Cities: Chongqing | 60分钟,我的城市- 重庆http://bivouacrecording.com/post/60-minute-cities-chongqing-60fen-zhong-wo-de-cheng-shi-zhong-qing-copy2023-04-17T03:18:01.836000Z2019-04-13T15:07:54ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/ba71cc28-0106-4288-bd46-d6f038f1d7aa/6f188825-6dd1-424a-94bd-bfa73bcccd55.jpg" style="--en-naturalWidth:2860; --en-naturalHeight:2210;"/><div style="text-align:center;"><br /></div>
<div style="text-align:center;"><b><span style="font-size: 12pt;">US $5 | RMB 30元</span></b></div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"> To listen and purchase please click below/ 聆听购买</div>
<div style="text-align:center;"><span style="font-size: 12pt;"><a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-chongqing" rev="en_rl_none">Soundcloud</a></span> <span style="font-size: 12pt;">|</span> <span style="font-size: 12pt;"><a href="https://www.xiami.com/album/2104776955" rev="en_rl_none">虾米</a></span></div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;">[Purchase includes Mp3 audio files and PDF of track descriptions]</div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"><span style="font-size: 12pt;">Look | 凝视</span></div>
<div style="text-align:center;"><a href="https://sway.office.com/kRhk5mIoRWyQC7Lj?ref=Link&loc=mysways">Sway</a> <span style="font-size: 12pt;">| <a href="https://weibo.com/ttarticle/p/show?id=2309404402004670677181&mod=zwenzhang" rev="en_rl_none">微博</a></span></div>
<div><br /></div>
<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/752696022&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-chongqing" title="60 Minute Cities- Chongqing" target="_blank" style="color: #cccccc; text-decoration: none;">60 Minute Cities- Chongqing</a></div></div><div><br /></div>
<div>这些录音是Asa Roast在重庆市生活和开展研究的两年时间内完成的/录音记录了一项正在制定中的研究计划,其范围从熙熙攘攘的重庆市中心一直到界限模糊的城市边缘/录音跟踪了基础设施、日常节奏、城市密度和缺失在构建和解构城市空间中的作用//</div>
<div><br /></div>
<div>These recordings were made over the course of two years that Asa Roast spent living and conducting research in the city of Chongqing / Keeping track of a developing research plan, these recordings range from the downtown density of central Chongqing to the vague limits of the peri-urban fringe / They track the role of infrastructure, daily rhythms, densities and absences in composing and decomposing urban space //</div>
<div><br /></div>
<div><br /></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">关于艺术家</span></span></div>
<div><br /></div>
<div>About the Artist</div>
<div><br /></div>
<div>Asa Roast是一名城市地理学家,目前是英国利兹大学博士研究生/他的研究涉及住房、城市化、非正式和城市理论/他于2015年至2017年间为重庆西南大学访问学者//</div>
<div><br /></div>
<div>Asa Roast is an urban geographer and PhD student at the University of Leeds, UK / His research concerns housing, urbanisation, informality and urban theory / He was a visiting researcher at Southwest University in Chongqing between 2015 and 2017 //</div>
<div><br /></div>
<div><br /></div>
Sonosax Mini R82 Reviewhttp://bivouacrecording.com/post/sonosax-mini-r82-review2022-10-18T05:56:46.993000Z2019-01-28T03:01:08ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/bb320cf3-27a4-4e58-97e9-91d63b7be60b.jpg" style="--en-naturalWidth:2976; --en-naturalHeight:3968;" width="519px"/><div><br /></div>
<div style="text-align:center;"><i>Sonosax Mini R82</i></div>
<div><br /></div>
<div style="text-align:center;"><i><a href="https://www.sonosax.ch/product/minir82/" rev="en_rl_none">Product page</a></i></div>
<div><br /></div>
<div><b>Intro</b></div>
<div><br /></div>
<div>When I was in the market for a new recorder, the Sonosax Mini R82 was the winner.</div>
<div><br /></div>
<div>Ever since I saw the R82, I knew I wanted to have it. It was an odd looking piece and like nothing out there which was why I initially hesitated to go down that route. This and the fact that there is almost no review, working photos, or anything out there that describes the experiences of using it. I also found that the manual, though comprehensive, still was not a substitute for this review. I have been using the R81 for one year now and am now comfortable to tackle any job with it. Let's take a look.</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/cbcfe7c9-5bd5-4a3d-8107-969fb9d811b8.jpg" style="--en-naturalWidth:3087; --en-naturalHeight:1777;" width="659px"/><div><br /></div>
<div style="text-align:center;"><i>My previous typical setup- fully loaded</i></div>
<div><br /></div>
<div><b>Story</b></div>
<div><br /></div>
<div>I have wanted this recorder ever since I laid my eyes on it. Still finding out what kind of jobs I wanted to focus on, I, like many others, opted for Sound Devices recorders which had all the things you needed in the industry. As time moved on and I started to focus my efforts on documentaries and my own artistic projects, I found that I was only lugging my 633 around for work and nothing else. It was just too big and clunky to carry and I found I was carrying my Sony D50 with or without my 302 to record ambiences anyway.</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/926bf48f-fdda-4a8c-894a-962490d55f68.jpg" style="--en-naturalWidth:1280; --en-naturalHeight:960;" width="724px"/><div><br /></div>
<div style="text-align:center;"> </div>
<div><br /></div>
<div style="text-align:center;"><i>Fully loaded. Just looking at it makes my back hurt.</i></div>
<div><br /></div>
<div>My trusty Petrol bag and Lectrosonics microphones were an unstoppable force. My typical bag with three receivers, all the batteries, receivers and recorders came to about 6-7+ kg. When I first bought all these equipment in 2013, I felt that this was what it meant to be professional, I just had to tough it out. I got some reality jobs that required me to be on my feet continuously recording for long periods of time. My back never seemed to relax and I knew that this was going to bite me in a big way later on if I kept on this route (which it did). I was always looking for other alternatives to my kit but never found the recorders that were comparable or better than my 633. The R82 was always in the back of my mind but I never seriously considered it until last year when I felt it was time to get rid of my heavy kit and start over. I realized that 90+% of my jobs that I wanted to work on (docs, corporate) only required maximum 1-2 wirelesses at a given time. So all my other cabinets of gear were just wasting away waiting for another turn at bat.</div>
<div><br /></div>
<div style="text-align:center;"><br /></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/c1d1f1f0-a86f-4fa1-a1ce-486ef7c820ee.jpg" style="--en-naturalWidth:2976; --en-naturalHeight:3968;" width="550px"/><div><br /></div>
<div style="text-align:center;"><i>Getting there... My first mini setup with a Tascam DR-701D. Still a bit heavy even with battery powered UCR401 (which have awesome battery life BTW)</i></div>
<div><br /></div>
<div>Another factor of replacing my equipment which was the final straw, was the recent FCC restrictions on my Lectrosonics blocks (24/26). So at the end of 2017 I decided to make the plunge and sell all my equipment and buy new. This would give me a chance to build not only my dream kit, but also the kit that would be perfect for the kind of work I wanted to be doing for the rest of my career.</div>
<div><br /></div>
<div>Since I was already on SD and Lectro there were very few manufacturers that were equal to or ‘better’ than this. Ergonomics was very important to me. There were many choices of small recorders but after researching, I decided on the Sonosax/Lectro combination for my kit. The new R4+ had come out the year before and was the natural unit to purchase but it seemed to me there was still going to be a lot of baggage that went with it and would be a similar experience as what I had with my 633, which was not desirable. Then I started to hypothesize how the R82 could fit. It was no easy task as the manual is kind of cryptic without the unit in front of you and this led to several emails with multiple questions to Pierre at Sonosax. But in the end I ordered all my equipment in December 2017 and by January began using it on new projects.</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/60bc30fd-7118-4c9e-8dd0-1daa58a3adc1.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="546px"/><div><br /></div>
<div style="text-align:center;"><i>Sketchbook pictures. Scale diagram</i></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/549b95d3-119d-47a0-bc5f-5ae0f16e5027.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="546px"/><div><br /></div>
<div style="text-align:center;"><i>Cabling</i></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/9a906c49-ba38-442a-a06c-7139df036b60.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="545px"/><div><br /></div>
<div style="text-align:center;"><i>Budgeting and layout</i></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/492b470f-6ab1-4fa0-8a7f-2c9ea2573e66.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="542px"/><div><br /></div>
<div style="text-align:center;"><i>Layout options</i></div>
<div><br /></div>
<div style="text-align:center;"><br /></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/8ed54c46-ac71-4460-86b5-c953324c6fb2.jpg" style="--en-naturalWidth:2976; --en-naturalHeight:3968;" width="574px"/><div><br /></div>
<div style="text-align:center;"><i>Final configuration</i></div>
<div><br /></div>
<div>Like any piece of new equipment, there is definitely a teething period. I had to come up with solutions to my problems and also how to make things more efficient, flexible, and lighter. Over the course of one year I have used this unit and I want to share my experiences with you so that if you are going to commit- and you really have to <i>commit</i>- then you can at least be confident that you have everything you need to know to hit the ground running.</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/d23e9f6c-8d72-4e16-b78b-df16aa7dd02d.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="869px"/><div><br /></div>
<div style="text-align:center;"><i>January 2018. Starting from scratch</i></div>
<div><br /></div>
<div><b>Introduction</b></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/b554ad50-1bd8-446c-b3f8-f6c4f1d845b0.jpg" style="--en-naturalWidth:298; --en-naturalHeight:80;"/><div><br /></div>
<div>Sonosax is a company that needs no introduction in the world of recording. Ever since they began making high-end portable mixing consoles in 1980, their consoles have been used on countless award-winning films and Jacques Sax has himself won a technical achievement Oscar for his products. Sonosax pride themselves on using the best quality for their products and as a result the sound that goes through their machines are ‘true-to-life’.</div>
<div><br /></div>
<div><b>Overview</b></div>
<div><br /></div>
<div>The MiniR82 is not a new machine. Forums and videos show that it has been on the market <a href="https://www.youtube.com/watch?v=_OEMi_sPy5A" rev="en_rl_none">since 2010</a>. Since then I have dreamed of this recorder. The R82 is the smallest professional digital 8-track recorder on the market even today. With features such as timecode in, internal SSD hard drive, CF card, line in, digital input, and of course two of the famous Sonosax analog inputs and limiters, the unit boasts pretty impressive specs for its size. Its size, however, comes at a cost with a few hardware compromises that may have kept potential sound recordists from buying this amazing unit. On top of that, images and information about this unit are very few and unfortunately don’t give this unit the justice it derserves. Until now.</div>
<div><br /></div>
<div>I think that the R82 can be called a ‘Hybrid’ recorder. For bigger jobs with a good amount of tracks and the equipment that goes with it, it is an 8 track digital recorder. For smaller run and gun, interview, and documentary shoots, it is your 1-4 track recorder in a bag. The R82’s size is not indicative of its capabilities and that is what makes it so versatile and surprising.</div>
<div><br /></div>
<div>I will talk about my thoughts of the unit and explain my final bag configuration so you can see how it can be used in a typical sound bag setup.</div>
<div><br /></div>
<div><b>In the box</b></div>
<div><br /></div>
<div>It all begins with the box. I remember opening the box for the first time. It came in a grey cardboard box. It felt heavy and when I opened it i found that there was a beautiful engraved wooden box much like a luxury watch (this is from Switzerland after all). Beautiful, and a feeling that whatever was inside was precious. In the box was the recorder, all the wires I ordered, SD to CF card adapter, and SD card wallet. <b>The purchase includes (1) 3M serial connector and (2) Binder connectors.</b></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/9feb7716-832c-4e7e-ac44-420db20f0be7.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="595px"/><div><br /></div>
<div style="text-align:center;"><i>Beautiful wooden case...</i></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/2bb7217f-52c6-442a-b835-0d96b6d86bde.jpg" style="--en-naturalWidth:2976; --en-naturalHeight:3968;" width="450px"/><div><br /></div>
<div style="text-align:center;"><i>... for a beautiful recorder</i></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/b18a207c-1b6e-4b67-a7a1-97e1a99ce5dd.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="729px"/><div><br /></div>
<div style="text-align:center;"><i>Cables and connectors</i></div>
<div><br /></div>
<div><b>Initial thoughts</b></div>
<div><br /></div>
<div><b>Price</b></div>
<div><br /></div>
<div>The unit is competitively priced as a high-end 8 track professional recorder. Sonosax gave me a discount on the extra cables/ accessories I ordered so the price came out to be around 4900 ChF which is the about the same amount in US dollars. [I don’t know how many units they still have in their warehouse, but it must be a fair few seeing as how it is still on the website after all these years. Or not?]</div>
<div><br /></div>
<div><b>Customer Service</b></div>
<div><br /></div>
<div>Sonosax customer service is quite comprehensive but they are a small company and one of a handful of people answer messages as soon as they possibly can. Pierre was my point of contact for all my questions and as it was nearing the Christmas holidays, some replies would take a couple of days up to a week. Perhaps a FAQ technical database could be beneficial to them as users could query their issues there first rather than write to them on an individual basis. Nonetheless, the personal contact is very, very, very much appreciated. Thanks Pierre and good luck on your new adventures!</div>
<div><br /></div>
<div><b>Unit overview</b></div>
<div><br /></div>
<div>‘No frills, just great sound’ is the phrase I would use to characterize the experience of using this recorder. No flashy multicolored lights or color screens here. The entire unit seems to be designed to make the recordist focus on one thing- getting great sound.</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/0058c08f-55e4-42c1-9494-1cee1c11682b.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="928px"/><div><br /></div>
<div style="text-align:center;"><i>Front face. Hello beautiful</i></div>
<div><br /></div>
<div><b>Face</b></div>
<div><br /></div>
<div>Mark my words: this is the <i>sexiest</i> recorder you will handle. The metal matte finish and sexy rounded edges are as smooth as a silk stocking and just begs you to touch it. The burled fader knobs give a sinful bite and the large engraved Sonosax logo instill confidence and envy to all who see and use it. It's the Marilyn Monroe (or equivalent) of recorders and it's even in black and white (and green). </div>
<div><br /></div>
<div>The layout is as minimal as it gets. The front face feature four squishy but firm buttons, and four LEDs that are sealed against the elements that indicate record/play mode, limiters, and clipping for the two preamps. The fifth eye is an optical sensor that automatically controls the brightness of the LEDs and LCD screen backlight. The fader knobs are flush with the face and semi-recessed in a cut out that should be comfortable enough for the biggest fingers or gloves. The LCD screen glows green (which I love, not blue like the R4) and is correctly viewed from only one orientation. The backlight automatically turns on when the lights get low and the screen is always readable in full sunlight. I cut to size a <u>smartphone screen protector film</u> to protect the screen from any scratches.</div>
<div><br /></div>
<div>The unit is really made to use in one direction with the preamp knobs on the TOP of the unit. The screen indicates which button to press with small directional arrows. Longer presses are indicated with a double arrow. For this review I will refer to the unit in this orientation.</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/cb4b3d2e-5322-4f89-93ea-ae0762dad1f5.jpg" style="--en-naturalWidth:2976; --en-naturalHeight:3968;" width="431px"/><div><br /></div>
<div style="text-align:center;"><i>The correct orientation. Long presses are indicated with double arrow, so to access the menu press and hold the 'Top' button</i></div>
<div><br /></div>
<div>The form factor is a unique one being in a horizontal configuration rather than a vertical one like most of today’s recorders. I feel that this form factor is still way ahead of its time with the industry still not catching on to notice the advantages of such a form factor especially in a sound bag (<i>See my Bag section</i>).</div>
<div><br /></div>
<div>One thing Sonosax could update would be that the user could rotate the screen so that 'Up' would be any orientation they choose. The button orientation would also follow the orientation of the screen. As of now, I am using it in a horizontal position and have trained myself to navigate the menus with the text and meters turned 90 degrees. The ability to rotate the menus would be ergonomically convenient and also aesthetically in keeping with the design. With the screen rotated 90 degrees counterclockwise, the meters and menus would be parallel with the engraved logo. The buttons would also follow the orientation of the screen when turned.</div>
<div><br /></div>
<div>The screen suffers from the same 'beauty mark' that I have seen on some other R4 units. It kind of sucked when I first saw it. I hadn't even used it for a few weeks and it just appeared. I think it got a little bigger since then but hasn't grown since. It doesn't affect the performance, it's just a little annoying to look at.</div>
<div><br /></div>
<div>The buttons have a beveled recess around them so that they can be flush with the unit. While this looks great, it seems like a dust and debris collector in the long run. On my 744t the squishy buttons began to intermittently work after two years possibly because the contacts were dirty or somehow just stopped working. However, one thing I didn’t like about the 633 was the ‘snappy’ sounding buttons and the squishy buttons of the R82 are a much quieter solution. A silent weatherproof button would be an ideal option.</div>
<div><br /></div>
<div><b>Sides</b></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/720ecbb3-26f8-4e01-991a-57c298d1ac11.jpg" style="--en-naturalWidth:2976; --en-naturalHeight:3968;" width="530px"/><div><br /></div>
<div style="text-align:center;"><i>Top side. Only 80 other people in the WORLD have this recorder!</i></div>
<div><br /></div>
<div>The <b>top</b> side panel is the 'business' end of the unit and has all your ‘small recorder’ connections- Timecode in, stereo line-in, monitor out are all on 3.5mm trs jacks. Two really small gain switches flank the analog inputs which are on VERY secure Binder connectors for the preamps which I absolutely love. I make my own cables and while it requires some fine soldering skills, the assembly of the Binder connector is foolproof and logical. It’s a beautiful piece of engineering. You can also attach a lanyard or similar here.</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/eb12798e-f6c1-4dad-b045-b56aa97c8e3e.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="658px"/><div><br /></div>
<div style="text-align:center;"><i>Right side</i></div>
<div><br /></div>
<div>The <b>right</b> side has an open CF card slot, eject button, and a USB B outlet.</div>
<div><br /></div>
<div><br /></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/3c500e3b-96dd-44ec-b2c1-c0979479923b.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="868px"/><div><br /></div>
<div style="text-align:center;"><i>Bottom side</i></div>
<div><br /></div>
<div>The <b>bottom</b> side has a DC input, multipin interface, and the battery compartment sliding door. </div>
<div><br /></div>
<div>...</div>
<div><br /></div>
<div>Ok! Let’s get into the hardware specifics:</div>
<div><br /></div>
<div><b>Inputs</b></div>
<div><br /></div>
<div>There are some minor issues about the inputs that I have to live with but so far it hasn’t caused any problems. First the preamps are beautiful in keeping with the sound quality of Sonosax products but there is a learning curve on the gain structure that is in the form of a three-way switch beside the input connector with the center being ‘0’, the bottom ‘L’, and top ‘H’. The switches are not easy to get to when you have both of the Binder connectors in and I just barely fit. Luckily you don't really have to touch the gain switches too often. <b>‘L’</b> covers most of the kind of production recordings you will get on location but it did feel a little limiting. The ‘sweet spot’ was pushing the upper end of the fader and I wish that the gain parameters were a little wider in both directions.. The ‘H’ setting gives you more gain for quieter recordings but at the price of more preamp noise. The ‘0’ setting is even quieter but at the sacrifice of any high frequencies it seems. What’s more, the ‘0’, ‘L’ ‘H’ settings are kind of confusing because if you put the preamp on ‘0’ (which I assume is ‘off’?), and you turn the fader all the way down, it does not mute the input and you will still get a faint signal into the machine. The only way to not get any signal is to turn off the input in the routing menu or disconnect the mic. I get it though, if you don't need it, take it out. Minimal, remember?</div>
<div><br /></div>
<div>The digital inputs are input via the multipin connector in the bottom of the unit. With the appropriate connector, you can easily use this directly with another 8 track digital recorder, digital mixer, 1 or 2 <a href="https://www.sounddevices.com/products/mixers-with-integrated-recorders/552" rev="en_rl_none">SD552</a> , or your favorite analog mixer with <a href="https://www.aja.com/products/mini-converters/ada4" rev="en_rl_none">1or 2 AJA ADA4</a> boxes which should also be able to be powered by 5v USB powerbank (untested). The possibilities are endless!</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/6f78416f-8a89-4b5d-bb50-b6b1b9120f17.png" style="--en-naturalWidth:391; --en-naturalHeight:263;"/><div><br /></div>
<div style="text-align:center;"><i>AJA ADA4 AD/DA 4 channel audio convertor</i></div>
<div><br /></div>
<div>I use one analog input for my boom and the other analog input for a third wireless.</div>
<div><br /></div>
<div>I used to use a wireless boom but the kind of work I regularly do or that I want to do did not justify the cost and weight. I rarely use a boom op so the mic is only really about 3 meters max from the recorder. If on some rare occasion I do need some help booming, I just have a longer XLR in my box. So I made a cable the same length as my arm to go to the Ktek pole with internal cabling. It's more reliable, and I am using the famous Sonosax preamps and limiters for my front end <i>which is what I paid for</i>, and not the Lectrosonics preamps for my boom mic. Minimal, remember?</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/f94360ab-0ae7-451e-af02-7cc42e18bee6.jpg" style="--en-naturalWidth:1440; --en-naturalHeight:1080;" width="730px"/><div><br /></div>
<div style="text-align:center;"><i>Filming with wired boom pole. No tangle-prone coiled cable for me</i></div>
<div><br /></div>
<div><b>Line Inputs</b></div>
<div><br /></div>
<div>The line inputs are exclusively for my 2 main wireless. I use a Cable Techniques Emergency RX 2 passive faders (discontinued) to control the level of my Lectro LR to the R82. This box requires no battery and is very handy, precise, and quiet. The thing with passive faders is that because there is no power, what you get in you get out- there is no boosting the gain on your audio if you need it. I found that with +5 gain on the receiver, I would usually mix at around ¾ of the way up on the fader which is a nice amount of headroom, though I would like more.</div>
<div><br /></div>
<div><br /></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/e4f2c725-3e5f-4e5b-aa5a-f926f6cf1676.jpg" style="--en-naturalWidth:2976; --en-naturalHeight:3968;" width="335px"/><div><br /></div>
<div style="text-align:center;"><br /></div>
<div><br /></div>
<div style="text-align:center;"><i>Cable Techniques Emergency RX2 (Discontinued)</i></div>
<div><br /></div>
<div>The other alternative that provides adjustable gain is the <a href="https://www.mozegear.com/p10" rev="en_rl_none">Mozegear CaPre</a>. Which is probably what I will get for a future upgrade.</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/f544fa70-7383-4847-95eb-f9df188aeb48.jpg" style="--en-naturalWidth:406; --en-naturalHeight:423;" width="277px"/><div><br /></div>
<div><b>Power</b></div>
<div><br /></div>
<div>One of the things in my old bag that contributed to its weight was batteries. Even with an NP1 (plus Sony NP-F750 for backup power in the 633) powering my entire bag, it was a ~1+kg that I really wanted to get rid of. When I saw that the power adapter supplied 5v which is the same as a USB power bank, I immediately wrote Sonosax about the possibility for powering the unit with a small USB battery pack. Pierre @ Sonosax confirmed to me that a <b>USB battery pack can be used to power the unit:</b></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><i> "</i></span><span style="font-family: Arial, sans-serif;"><span style="font-size: 12pt;"><i>The MINIR82 draws about 1 to max 2 Watts depending on configuration, which means about 0,4Amp under 5V. Thus a USB power bank could power the MINIR82, providing you have the correct DC cable.</i></span></span><span style="font-size: 12pt;"><i>"</i></span></div>
<div><br /></div>
<div>So I ordered two adapter plugs from Sonosax with open ends that I spliced with a USB cable that I cut. No more, heavy and expensive NP1 or Sony batteries! One thin <b>5000mah</b> battery lasts OVER <b>8 hours</b> without powering the unit off. The usb battery I am using is <b>120</b> <b>grams</b>. This was very forward-thinking as only now, you begin to see professional units able to be powered with USB power banks (Tascam, SD, etc). I have seen the same DC input plug on some consumer devices and although it is very slim, if feels very secure when you plug it in.</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/fb3393a9-32b9-460f-b68f-6309fd47ee44.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="773px"/><div><br /></div>
<div style="text-align:center;"><i>Sonosax power cable spliced with a right angle usb coiled cable</i></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/8382d4b9-0b29-42f1-afff-9809ce4ff265.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="569px"/><div><br /></div>
<div style="text-align:center;"><i>Thin and light 5000mah powerbank lasts about 8+ hours powering two mics and recording 4 tracks.</i></div>
<div><br /></div>
<div>The unit can also be powered by 4 AA batteries. I use rechargeable lithium batteries that are about 50% the weight of my NiMH batteries and last the same amount of time or longer. The rechargeable lithium batteries last about 4-5+ hours in the R82. In the end however, I just stopped using AAs in the unit to lessen the weight.</div>
<div><br /></div>
<div>Unfortunately, if you lose power in the middle of a recording, the <b>entire</b> last file is lost. Would be great to have an incremental save every few seconds or minute just in case power suddenly is lost. Yes, this did happen to me once when the documentary shoot was running a little over time and at the limit of my battery. Would be nice to have this parachute in a software upgrade. Be sure to get the powerbank with lights indicating the amount of power you have left as you will need to rely on it to know your battery level.</div>
<div><br /></div>
<div>If the external power gets disconnected in the middle of a recording, it will automatically switch to batteries with no interruptions.</div>
<div><br /></div>
<div>One compromise about the small form factor is that you need to remove the multipin connector if you want to replace the batteries. The battery door is metal and does not stay closed if you do not have any batteries in the unit. Also, one interesting attention to detail by Sonosax is that the battery door will not slide closed if you incorrectly install any of the batteries.</div>
<div><br /></div>
<div><b>Media</b></div>
<div><br /></div>
<div>The newer units have an SSD already installed as well as a CF card on the side. I really like using CF cards because it is a more robust media than SD card (be sure to carry a reader with you). The unit came with a CF card SD adapter for convenience, but I just use a proper CF card. One thing you have to keep in mind if you are recording in less than ideal environments is that debris can easily go in from this slot, so tape it up if you are going to dusty environments. In the Congo, we were recording at a beach and at the end of the day, I saw some fine sand just inside the CF card opening.</div>
<div><br /></div>
<div>I have been using a Sandisk Extreme 32GB without any problems.</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/563b1ca6-e476-47ca-a1fd-431c2a06844d.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="806px"/><div><br /></div>
<div style="text-align:center;"><i>Riverside beach location in the Congo. Tape up the openings at the beach!</i></div>
<div><br /></div>
<div><b>Monitoring and outputs</b></div>
<div><br /></div>
<div>There are a few workarounds that need to be done to use this as a typical bag recorder. It took a lot of planning to come up with a simple solution, but it can be done! Here’s how I did it:</div>
<div><br /></div>
<div>Unfortunately the unit does not have independent output controls for a separate camera send. The only outputs of the recorder are the headphone output and another pair via the multipin connector. The catch is that <i>both of the outputs are controlled by the overall volume of the unit</i>. This means that if you start changing the volume in your headphones, you will also change the volume in your camera sends which is not desirable since they are already calibrated with the camera. Sonosax said that this was a result of the small form factor and there simply was no space to include another output amp in the board at the time.</div>
<div><br /></div>
<div>My initial solution was simply to add a small headphone amplifier to the headphone outputs. This allowed me to adjust my personal monitor volume without touching the volume of the unit (which affects the camera sends). In the end however, I discovered that I didn’t need to use a headphone amp as my preferred listening volume provided sufficient signal to the transmitter which is <b>0dB</b> on the unit. Now I do not need the headphone amp at all. When I thought about it more, I realized that I very rarely adjust the headphone volume when I record and that it stays at the same gain pretty much all the time.</div>
<div><br /></div>
<div>The multipin connector monitor outputs are what feed my IFB and camera sends. I custom made my multipin to have male TAF3 connectors for both left and right outputs. This allows me to make ‘dongles’ to connect to any transmitter or connector as needed. This makes it very flexible and without the added weight of more XLR connectors in my bag. See my <i>Cabling list</i> below to get an idea of what I have in my kit.</div>
<div><br /></div>
<div><b>Calibration</b></div>
<div><br /></div>
<div>The R82 does not have a tone generator to calibrate with the camera. My solution was to use the LR’s tone generator to input the signal to the R82. I then adjust the fader to -20 on the meters and calibrate it as needed on the camera inputs. Easy, precise. Here are the steps:</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/6287158b-4a6b-4d12-b78d-7c4d161070f7.jpg" style="--en-naturalWidth:2976; --en-naturalHeight:3968;" width="540px"/><div><br /></div>
<div style="text-align:center;"><i>Start the tone on your Lectrosonics receiver</i></div>
<div><br /></div>
<div><br /></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/2075ae8a-9a0b-4a62-bc90-20b06943685a.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="749px"/><div><br /></div>
<div style="text-align:center;"><i>Raise the level of the input so that it reaches the -20dB line on the recorder</i></div>
<div><br /></div>
<div style="text-align:center;"><br /></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/0c6fbce4-9995-4ac7-9ca9-05de49ba2c80.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="640px"/><div><br /></div>
<div style="text-align:center;"><i>Calibrate the levels on your camera. Done!</i></div>
<div><br /></div>
<div><br /></div>
<div><br /></div>
<div><b>Too hot to handle</b></div>
<div><br /></div>
<div>In 2017, I went on a <a href="https://www.youtube.com/watch?v=cqdsdJzoRyU" rev="en_rl_none">shoot in the Congo for 1 week</a> and while the highest temperatures were around 36-38+ it was still bearable. The R82 with two phantom powered mics, however, could not take it. The unit was super hot to the touch and the screen filled with a bunch of mumbo jumbo code (see pic) and none of the buttons worked. I had to disconnect all the power for it to turn off and had to wait until the unit was at a cooler temperature in the shade for it to even turn on. Luckily this only took a few minutes as the metal body serves as an efficient heatsink. This happened several times because we were in a place with no shade that day but luckily, I was able to get some black paper and cardboard from the gaffer and taped it to the raincover and didn’t have any problems from then on. I couldn’t see the screen for the levels but at least I didn’t have an overheating problem after that. I have since made a blackout cover that I can attach to my bag in case I am in a very hot environment.</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/5a4fa361-429c-42c6-a925-f293cc9f87b5.jpg" style="--en-naturalWidth:2976; --en-naturalHeight:3968;" width="590px"/><div><br /></div>
<div style="text-align:center;"><i>Overheat mumbo jumbo</i></div>
<div><br /></div>
<div>One thing that may contribute to the overheating issue is that the LCD screen backlight is always on. I recently went on a recording excursion in the summer and put it in a Portabrace bag made for a 302. The R82 was placed vertically in the bag but because the light-sensitive eye is covered while in the bag, the LCD was at its brightest thinking it was in a darker environment. Perhaps if the backlight could be toggled on or off, this would lessen the heat.</div>
<div><br /></div>
<div>Ultimately, I feel that the main culprit of the overheating is probably that the SSD is generating a lot of heat while running. These drives can get pretty hot and require adequate heat sinking and/or airflow. Get rid of it and replace it with a second SD or CF card slot for a lighter, thinner recorder.</div>
<div><br /></div>
<div>I have yet to try the R82 in extreme cold.</div>
<div><br /></div>
<div><b>Expansion</b></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/82784e1f-eaf6-4cef-8a5a-e2f381a64db4.jpg" style="--en-naturalWidth:1920; --en-naturalHeight:1080;" width="814px"/><div><br /></div>
<div style="text-align:center;"><i>Sonosax AD8+. Possible expansion?</i></div>
<div><br /></div>
<div><br /></div>
<div><br /></div>
<div>Though it is not documented, I don’t see why the R82 cannot be interfaced with the SX-AD8+ via the Multipin input. It would input 8 digital tracks to the R82 and the ability to meter it from an external device like an ipad etc, via the wifi feature. The multipin input will need to be a little bit customized a bit in order to preserve the monitor outs (on the R82 end) but in theory it is definitely doable. This might be a pretty cool and super compact upgrade path for the future.</div>
<div><br /></div>
<div>Also, as I said before, using the AJA ADA4 boxes can help connect all your existing equipment to the unit.</div>
<div><br /></div>
<div><b>Software</b></div>
<div><br /></div>
<div>The software is pretty basic and self-explanatory and has the odd quirk but once you get used to the workflow at the beginning of every day, it becomes second nature. The manual covers all aspects of the menu system but you never really get to understand it until you get your hands on the unit. I will talk about some special features and quirks that I have found while using this unit. For this review, I am using the latest version: 4.4.</div>
<div><br /></div>
<div>A long press of the ‘UP’ button gets you to the internal menu.</div>
<div><br /></div>
<div><b>Input routing matrix</b></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/d8099729-6bfe-4e44-8de3-276be9f97609.jpg" style="--en-naturalWidth:2976; --en-naturalHeight:3968;" width="515px"/><div><br /></div>
<div style="text-align:center;"><i>Input routing matrix. This shows inputs 3,4 are being recorded to tracks 3,4 but also to track 5. They are also being mixed 'mirrored' to two tracks on the CF card where odd # tracks are Track 'A' and even # tracks are 'B'</i></div>
<div><br /></div>
<div>The input routing is in a SD 7-series kind of matrix where you can record any input or combination to any track. My typical setup is to record the inputs to their corresponding tracks (channel 1 to track 1, etc.) and then also to track 5 for a mono mix of all inputs. Just like the 7-series, this is a true recorder and there are no ‘true’ iso tracks as each track is post fader so any fader adjustments will affect the program on the track. If you need any of these features get a mixer.</div>
<div><br /></div>
<div>The CF card can record a ‘mirror’ mixdown of all the tracks or a separate 'Left-Right' combination of tracks of your choosing. I usually use the ‘mirroring’ option. The only reason I would change to Left-Right is if I had a complex output routing scheme, for example if I wanted to send different mixes to the camera and IFB- which is the <i>only</i> way to achieve this.</div>
<div><br /></div>
<div>I have not tried recording with the digital inputs yet.</div>
<div><br /></div>
<div><b>Monitor matrix</b></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/60036267-060f-4d0f-b0e1-c8b31e8145fc.jpg" style="--en-naturalWidth:2976; --en-naturalHeight:3968;" width="523px"/><div><br /></div>
<div style="text-align:center;"><i>Monitor matrix. Select how you want to hear your audio</i></div>
<div><br /></div>
<div>The monitor matrix is a menu that allows you to configure any monitor combination with any input. As the outputs are the same as your monitor outs, this matrix also controls your output routings. You can also save up to 4 user configurations for your typical requirements.</div>
<div><br /></div>
<div>On quirk I found was that if I monitor track 5 (sum of all tracks) I can sometimes hear some digital ‘noise’ from the unit, like background beeps, timecode, and something like processing noise when recording and idle). This noise is not recorded, but since the monitor output is also your camera send/ IFB, <i>everyone</i> down the line can hear this noise. One workaround was to monitor the tracks 1-4 directly as mono and not the mixdown on track 5. Another workaround was to restart the device. (Note: This electrical noise is intermittent. Sometimes it is inaudible, other times it is audible)</div>
<div><br /></div>
<div><b>Date and time</b></div>
<div><br /></div>
<div>The unit keeps the date and time for about 2 hours after the batteries are removed. After this, everything just stops. The internal clock is not too accurate that by the end of the day, it is minutes ahead or behind my Lockit time as well as the clock from internet. So using an external TC is really the best option.</div>
<div><br /></div>
<div>Be very sure you <b>check your date and time before every workday</b> and if you have removed the batteries from the unit for an extended period of time.</div>
<div><br /></div>
<div>Also, even if the unit is off, I think that the unit still pulls power from your batteries in order to keep the time and date. Be sure to unplug or take out the batteries at the end of the day otherwise the next morning you may be low or out of power.</div>
<div><br /></div>
<div><b>The two faces of the R82- Playback and Record</b></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/8e940943-0ed7-41d0-87ce-c997e2212803.jpg" style="--en-naturalWidth:2976; --en-naturalHeight:3968;" width="501px"/><div><br /></div>
<div style="text-align:center;"><i>Record. The highlighted tracks are record-enabled</i></div>
<div><br /></div>
<div><br /></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/1e0f86c7-1d75-4fde-82be-b63212317e3c.jpg" style="--en-naturalWidth:2976; --en-naturalHeight:3968;" width="497px"/><div><br /></div>
<div style="text-align:center;"><i>Playback</i></div>
<div><br /></div>
<div>Think of the R82 as having split personalities- One is record and the other is playback. When the unit is in the record mode, the red record light blinks. When in playback mode, a green LED is present indicating that you are in playback. Switching between the two modes is done in the menu. Which can be accessed with a long press of the ‘up’ button. The options at the bottom of the LCD change depending on which mode you are in and there are arrows that show which button to press for each action.</div>
<div><br /></div>
<div>The manual is pretty detailed with all the commands, so I will just talk about a few things that are unique or could be better.</div>
<div><br /></div>
<div><b>Solo Mode</b></div>
<div><br /></div>
<div>You can solo individual tracks by pressing the ‘UP’ button at anytime, and then scrolling through the tracks with the up/down buttons. You can solo while you are recording or stopped.</div>
<div><br /></div>
<div>One quirk of solo mode is that you cannot start a recording while in solo mode. You can stop a recording in solo mode but not start one. You need to first exit solo mode (long press ‘up’, then 'right') then press record (short press ‘down’) to begin recording. This could lead to a missed opportunity when you need to press record in a moment’s notice.</div>
<div><br /></div>
<div>One thing to remember is that soloing tracks will also change what is sending to the camera/ IFB so you should only solo during playback or when not recording. Mute or turn off your IFB if you do not want anyone to hear the playback.</div>
<div><br /></div>
<div><b>File Name</b></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/ed4a1f63-ea62-467d-a5bd-85a5926a5870.png" style="--en-naturalWidth:200; --en-naturalHeight:237;"/><div><br /></div>
<div style="text-align:center;"><i>The unit does not allow you to rename the entire filename only the first two characters.</i></div>
<div><br /></div>
<div>The filename of each file has a two-letter prefix of your choosing and is followed by an incremental sequence, similar to how a digital camera records files. The sequence number cannot be changed as far as I can see, so it shows how many audio files you have recorded since you started using the unit. This is a nice touch so that there can be no confusion because of overlapping track names during your shoot. It does however, <b>require</b> that you create a sound report for post to look at while editing. Usually, if the TC is correct, then it shouldn't be a problem in post, this is really as an added safety measure should the TC be off. It's a little extra time for me after wrap but I usually can just email production later on that night after a nice shower. They won't be done ingesting the camera cards until morning anyway.</div>
<div><br /></div>
<div>As there is no sound report generator in the unit, I use Wave Agent for creating sound reports after each production day.</div>
<div><br /></div>
<div>I wish the filenames could be changed to the scene name to make it easier to find a specific file without looking at the sound report.</div>
<div><br /></div>
<div><b>Metadata</b></div>
<div><br /></div>
<div>The metadata can be adjusted via the menu and you can add things such as project name and scene but that’s about it. One quirk I found was that even when a new folder is made at the beginning of the day (the R82 asks this at the beginning of every day to make a new folder), it does <b>not</b> reset the take number and you must manually bring the take counter back to 001 or make a new scene name. This makes sense for overnight shoots that go past 12am in the middle of a scene, but just be sure to adjust this before every new workday.</div>
<div><br /></div>
<div>One convenient thing is that if you change the scene number/name, it will automatically reset the take number to 001. You can also manually specify the take.</div>
<div><br /></div>
<div>I wish there was more data available for metadata editing. In the least, a <b>track naming option</b> should be available in this menu.</div>
<div><br /></div>
<div><b>My Settings</b></div>
<div><br /></div>
<div>If you want a list of all my 'Work' and 'Field Recording' user settings, I have uploaded a Word file to my dropbox that you can download and see. This will get you up and running in no time. </div>
<div><br /></div>
<div>You can get the file here:</div>
<div><br /></div>
<div><a href="https://www.dropbox.com/s/v909uaaop5vliie/Work%20and%20Field%20Recording%20Settings.docx?dl=0" rev="en_rl_none">Work and Field Recording settings</a></div>
<div><br /></div>
<div><b><i>********</i></b></div>
<div><br /></div>
<div><b><i>Additional feature Request</i></b></div>
<div><br /></div>
<div><b>Hotkeys/ Key combinations</b></div>
<div><br /></div>
<div>On such a minimal interface like this, every element needs to be as flexible and versatile as possible. ‘Hot keys’ or ‘hot combinations’ could be a great way to add more functionality by pressing two or three buttons at a time, it could perform certain user-specified or handy shortcut commands, for example: to go straight to monitor or routing matrix, playback, low cut settings, metadata, date/time, etc. This would make things easier than digging through a menu for them. Another way would be to have multiple presses- ie. pressing a button two or three times- to access different functions too.</div>
<div><br /></div>
<div><b><i>********</i></b></div>
<div><br /></div>
<div><b>Peripherals</b></div>
<div><br /></div>
<div><b>Bag</b> </div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/b51815e3-955a-480e-b1b7-aacd2691aba6.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="734px"/><div><br /></div>
<div style="text-align:center;"><i>Orca OR-27</i></div>
<div><br /></div>
<div>One thing that initially stopped me from getting the R82 8 years ago was the form factor. Back then, no bag was really made for it which made it hard to use. Today, because equipment has gotten smaller, more and more bags for smaller recorders are on the market. The smallest one that fit <i>perfectly</i> was the <b>Orca OR-27.</b> It is their smallest audio bag and yet seems that it was made especially for this recorder and the equipment that goes along with it. Despite the bag being almost half the weight of all the equipment (990g), it’s internal rigid frame really helps support the unit and more. The design of the unit as a horizontal instead of the usual vertical orientation frees up the entire bottom half of the bag allowing transmitters, batteries, lav mount kits, and even an extra mic (compact models) to be carried in one bag. I was amazed how it fit everything I needed.</div>
<div><br /></div>
<div>Routing the wires in the bag was pretty easy. The Orca bags are nice in that all the sides can come down leaving only the frame. I used some Velcro straps to secure the cables to the frame as well as velcro with adhesive backing where needed. The goal was to leave the middle totally free to store a lav kit, microphone, wireless, batteries, etc without snagging on any of the wires when putting them in and taking them out. The 'left' side of the bag is the side for access to the storage below the recorder. The 'right' side has all the wires so that stays closed during the workday. </div>
<div><br /></div>
<div>To mount the recorder in the bag I had to cut a thin piece of firm plastic to make a 'tray' and put some Velcro on it to secure it to the upper frame of the bag. Only using the pads that come with the Orca bag is not a stable solution.</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/e3c4a0fc-efb7-4828-930e-f59af8dab665.jpg" style="--en-naturalWidth:2976; --en-naturalHeight:3968;" width="522px"/><div><br /></div>
<div style="text-align:center;"><i>Front pocket has the sends and battery. Velcro is my bestest friend.</i></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/eb16dd17-3285-42bf-83c9-2437ae5f7ea8.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="707px"/><div><br /></div>
<div style="text-align:center;"><i>Driver's side view. The rear pocket has the wireless receivers</i></div>
<div><br /></div>
<div style="text-align:center;"><br /></div>
<div><br /></div>
<div style="text-align:center;"><br /></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/0f49bb55-323f-47c6-ae31-99748a1ee484.jpg" style="--en-naturalWidth:2976; --en-naturalHeight:3968;" width="483px"/><div><br /></div>
<div style="text-align:center;"><i>Right flap is only for accessing TC and RX wiring.</i></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/0d9d6d2e-a28f-428b-855a-cd70d6454457.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="721px"/><div><br /></div>
<div style="text-align:center;"><i>Empty interior</i></div>
<div><br /></div>
<div style="text-align:center;"><br /></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/c1ae9a0d-ea1e-4d7d-82b5-6fc97a8afdee.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="731px"/><div><br /></div>
<div style="text-align:center;"><i>Interior with 2 SM TX, Rycote Softie, and a hypercardioid mic (MKH 8050) (not shown). Still room for one more TX! Access is from the left door only.</i></div>
<div><br /></div>
<div style="text-align:center;"><br /></div>
<div><br /></div>
<div style="text-align:center;"><br /></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/cd8f47ce-c9f4-482e-8682-dc9138cefe6e.jpg" style="--en-naturalWidth:2976; --en-naturalHeight:3968;" width="454px"/><div><br /></div>
<div style="text-align:center;"><i>2.7 kg. (including (2) TX)= Happy back</i></div>
<div><br /></div>
<div>I put my battery, camera send, and IFB in the front pocket and up to 3 wireless receivers in the back pocket. The Timecode and RX wiring could be accessed from the right door. The left door is the side where the storage could be accessed. Under the unit I put two wireless transmitters, hypercardioid mic (MKH 8050- capsule only), maybe a windscreen depending on where we are shooting. My support case is a Pelican 1520 roller and a Ktek boompole case. Limiting myself to these bags directed my equipment choices and really got me thinking about what I really needed for shoots without being too superfluous but also prepared in case the unexpected happens. Even my windscreen had to be cut down to fit (<i>pictures coming soon</i>).</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/0583c6ce-1754-48c5-9a1d-95dc3fe4d9b2.jpg" style="--en-naturalWidth:2976; --en-naturalHeight:3968;" width="607px"/><div><br /></div>
<div style="text-align:center;"><i>My typcial setup. Everything I need is all here. The Pelican and Ktek case can be checked in and the Orca is carried on.</i></div>
<div><br /></div>
<div><br /></div>
<div><br /></div>
<div>Since the Orca does not really have space for a lav mic kit I use a separate expandable hip bag connected to the waist strap of my harness. This has all the accouterments I need to mount a lav on the go. If I need more space for another mic or windscreen, I can just add another bag on the other side or around the belt as needed.</div>
<div><br /></div>
<div><br /></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/50b8d501-e5d6-4858-91c3-062f4f9aeb32.jpg" style="--en-naturalWidth:1620; --en-naturalHeight:1080;" width="743px"/><div><br /></div>
<div style="text-align:center;"><i>Note the small hip pack on my waist</i></div>
<div><br /></div>
<div style="text-align:center;"><br /></div>
<div><br /></div>
<div><b>Cabling</b></div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/58544469-c440-4ad9-b627-9206ccaaaba9.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="892px"/><div><br /></div>
<div style="text-align:center;"><i>Central nervous system. Everything minus the bag</i></div>
<div><br /></div>
<div>Basically, all the cables from my 633 were unusable without at least one end of the connectors being replaced. So if you commit to this unit, be ready to warm up that solder wand.</div>
<div><br /></div>
<div>I make my own cables so it was easier for me to experiment and tweak it just right. I made some new ‘adapter’ cables for the multipin output to make things as flexible as possible for any scenario and kind of equipment. Here is the list:</div>
<div><br /></div>
<div><i>Inputs</i></div>
<div><br /></div>
<div> (2) Binder Phantom mic to Female XLR</div>
<div><br /></div>
<div>(1) Binder line to Female XLR</div>
<div><br /></div>
<div>(1) Two Binder Phantom Mic to 5 pin xlr Female (For my stereo mic recordings)</div>
<div><br /></div>
<div>(1) 3.5mm to Lemo (came with Nano lockit)</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/4e38faf8-8abe-48d1-9dfe-3180ffa77369.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="773px"/><div><br /></div>
<div style="text-align:center;"><i>Binder connector cables. The left stereo connector connects to a 5pin XLR. I kind of made this in a different way than is suggested but it still works.</i></div>
<div><br /></div>
<div style="text-align:center;"><br /></div>
<div><br /></div>
<div><b>Outputs</b></div>
<div><br /></div>
<div> (1) 3.5mm Male to 3.5 mm Female for Headphone (This was because there is not enough space in the bag to easily plug into the phones output on the TOP of the unit)</div>
<div><br /></div>
<div>(1) 3.5mm to 3pin mini xlr + (1) 5pin Mini xlr Female to (2) mini 3 pin XLR for Lectro LR (For Cable Techniques RX2)</div>
<div><br /></div>
<div>(1) 3M Multipin connector (from Sonosax, but you can buy these anywhere) With (2) 3pin TA3M male mini XLR for the outputs. This is so that I can make 3pin TA3F Mini female XLR adapter cables with any connector for any brand or kind of equipment or input (ie. IFB, camera hop, XLR, or other audio equipment). This also meant that I could reuse the bastard TA3F cables from my 633.</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/f122c77d-abbc-4007-abf3-91bc032aed7c.jpg" style="--en-naturalWidth:2976; --en-naturalHeight:3968;" width="555px"/><div><br /></div>
<div style="text-align:center;"><i>3M multipin connector with my TA3M adapter cable solution</i></div>
<div><br /></div>
<div style="text-align:center;"><br /></div>
<div><br /></div>
<div><i>Multipin ‘adapter’ cables</i> (for my current equipment setup)</div>
<div><br /></div>
<div>(3) TA3F to XLR F</div>
<div><br /></div>
<div>(2) TA3F to XLRM</div>
<div><br /></div>
<div>(1) TA3F to TA5F (Lectrosonics camera hop)</div>
<div><br /></div>
<div>(1) TA3F to 3.5 mm TRS (Sony UWP IFB)</div>
<div><br /></div>
<div>One day I will make another set of these cables for safety.</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/8b45f9e9-92ae-4b52-943a-9abc2032bc5b.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2600;" width="919px"/><div><br /></div>
<div style="text-align:center;"><i>The TA3F adapter cables for my current setup</i></div>
<div><br /></div>
<div><b>Conclusion</b></div>
<div><br /></div>
<div>The mini R82 is a recorder that is in some aspects still ahead of its time. It can be completely at home in any size production and although some of the convenient features that have become expected on modern production recorders are not included in the R82, one is not distracted on the thing that matters the most- the audio. The software quirks are relatively easy to get used to but unfortunately, the hardware quirks are just something we have to live with. To most, this unit will be too much of a compromise from what they are used to than what is on offer from newer units of comparable price. Not to mention the cost of making new cables just to make this unit bag usable is another thing that should be considered. If there was a newer version in the works that could justify all this or have a starter kit of cables, perhaps it could make the initial costs easier to stomach.</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/0dcb6bde-6a21-419c-9005-86f171c4aee1.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="651px"/><div><br /></div>
<div style="text-align:center;"><i>On location</i></div>
<div><br /></div>
<div>The overheating issue really was a shock and something I had not seen with my years of using Sound Devices recorders in all conditions. I think it is the hard drive that is within the unit. Perhaps if the hard drive were removed it would solve this problem, not to mention make an even lighter unit.</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/009c3177-ef51-48eb-882b-4d97e78081c0.jpg" style="--en-naturalWidth:3968; --en-naturalHeight:2976;" width="674px"/><div><br /></div>
<div style="text-align:center;"><i>Digitizing R2R</i></div>
<div><br /></div>
<div>Despite all of this, once you jump in, you may never want to turn back. If most of your bread and butter is ONLY using 1-4 channels and you want something better than what you hear these days, then this is the unit for you. I feel that because of it’s size and its unique design, this recorder is so inspirational for me and both my professional and artistic work. It is a joy to use in the field and I know that the audio from it will be the best.</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/6214a859-2436-4b3d-8e31-454d9ac78458.jpg" style="--en-naturalWidth:1280; --en-naturalHeight:853;" width="600px"/><div><br /></div>
<div style="text-align:center;"><i>Award-winning ASMR Ad shoot</i></div>
<div><br /></div>
<div>Will this review make a difference? I hope so. I hope that this will at least encourage a software upgrade. I know I am probably the only one out of the 80 other people that own this unit that is using it in this way, if at all these days. Sonosax assured me that there is no second version coming out for this format but I really want to encourage it with this article. If they were able to design a miniature masterpiece such as the R82 8+ years ago, imagine what they could do today. Jacques, if you need someone to test or give more feedback for a new MiniR82 hardware or even software upgrade, please don’t hesitate to contact me!</div>
<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/1963305a-871b-4e06-858d-e0a15cc544ea/ad966e20-b398-48c1-a211-dee54b9c6c02.jpg" style="--en-naturalWidth:1620; --en-naturalHeight:1080;" width="775px"/><div><br /></div>
<div style="text-align:center;"><i>Daydreaming</i></div>
<div><br /></div>
<div>If any of you have any other comments or questions about the unit that I haven’t covered feel free to contact me!</div>
<div><br /></div>
<div><b>Summary</b></div>
<div><br /></div>
<div><i>Pros:</i></div>
<div><br /></div>
<div>Size, weight, and track count</div>
<div><br /></div>
<div>Preamps and limiters are superb</div>
<div><br /></div>
<div>Runs on USB power</div>
<div><br /></div>
<div><i>Cons:</i></div>
<div><br /></div>
<div>Price</div>
<div><br /></div>
<div>Format needs an updated version</div>
<div><br /></div>
<div>Custom cabling</div>
<div><br /></div>
<div>The monitoring and sends are not independent of each other</div>
<div><br /></div>
<div>You cannot fully mute the analog inputs (faders 1-2)</div>
<div><br /></div>
<div>The gain structure could be a bit more generous in the ‘L’ setting</div>
<div><br /></div>
<div>The overheating issue is of some concern</div>
<div><br /></div>
<div>Could use another software version update to add more functionality</div>
<div><br /></div>
<div>Playback/ recording modes kind of fiddly (too many button presses)</div>
<div><br /></div>
<div>---</div>
<div><br /></div>
<div><b>Wish List</b></div>
<div><br /></div>
<div>A few things I would like to see on a new hardware version would be:</div>
<div><br /></div>
<div>Little finger pinches (or other designed element) on top of the knobs making it easier and more precise to adjust the faders. <b><i>Keep it sexy!</i></b></div>
<div><br /></div>
<div>No switched gain stages (‘L’ or ‘H’), or a more generous ‘L’ stage.</div>
<div><br /></div>
<div>Keep the width but change the thickness and length of the unit to accommodate two more preamps or line input faders. This would eliminate the need for the Cable Techniques RX2 line mixer and keep everything clean and in one unit.</div>
<div><br /></div>
<div>Get rid of hard drive and put more preamps instead. Or make it even thinner.</div>
<div><br /></div>
<div>I would like to have all of the inputs and multipin connector on the bottom of the unit in a ‘Zaxcom Nomad XLR’ kind of design, but still using Binder or Lemo connectors. This would have a more ‘self-contained’ and compact footprint to maximize the layout of the top face with a larger screen, more buttons and knobs to efficiently use the 'real estate' on the face of the sound bag.</div>
<div><br /></div>
<div>Keep the 3.5mm connectors to a minimum and use more Binder or Lemo connectors. Tuck ALL connections to the bottom of the unit so you have more room to expand the sides of the unit.</div>
<div><br /></div>
<div>I would like to have true Iso tracks with the ability to make a separate mix.</div>
<div><br /></div>
<div>Cover for the CF card slot and USB port to prevent debris coming in.</div>
<div><br /></div>
<div>Buttons on the top to be more weatherproof. Maybe even replace the buttons with a push button joystick, ‘trackpad’, or touchscreen of some kind. Keep the mono LCD, though.</div>
<div><br /></div>
<div>LCD quality needs to be upgraded. It might be an old part but perhaps if they are still manufacturing new units, they should find a more reliable part and replace.</div>
<div><br /></div>
<div>A more reliable internal timecode generator and a dedicated TC input/output jack would be very nice.</div>
<div><br /></div>
<div>Solid separation between the different inputs. I hear TC noise sometimes in the inputs.</div>
<div><br /></div>
<div>A more resilient recorder for extreme environments. Overheating issues are the main problem at the moment. A more weatherproof unit would be great.</div>
<div><br /></div>
<div>Electronic design should be redesigned to transfer or generate less heat while running.</div>
<div><br /></div>
<div>Possibly add a small lcd or meter leds on one edge with only meters so that it can be used while positioned vertically.</div>
<div><br /></div>
<div>DC battery meter readout that can be used with USB batteries if possible.</div>
<div><br /></div>
<div>USB C connector with USB 3 transfer speeds.</div>
<div><br /></div>
<div>Fader linking</div>
<div><br /></div>
<div>---</div>
<div><br /></div>
<div>A <b>software version update</b> would be the easiest way to add very convenient features for the existing hardware. Here are some of my suggestions for the update:</div>
<div><br /></div>
<div>More metadata editing options, especially track naming.</div>
<div><br /></div>
<div>Ability to rotate the screen at 90 degree intervals. Rotate the buttons to follow orientation of screen.</div>
<div><br /></div>
<div>Configure button ‘hot combinations’ or ‘hot keys’ to go directly to the ‘routing’ and ‘monitor’ matrix windows or other configurable windows.</div>
<div><br /></div>
<div>Start a recording while in ‘Record/ Solo’ mode.</div>
<div><br /></div>
<div>Ability to turn LCD backlight and light-sensitive diode off.</div>
<div><br /></div>
<div>Tone generator (software or hardware issue?)</div>
<div><br /></div>
<div>Incremental save to HD while recording to prevent data loss during a power failure.</div>
<div><br /></div>
<div>---</div>
<div><br /></div>
<div><b>Links:</b></div>
<div><br /></div>
<div><a href="https://www.sonosax.ch/product/minir82/" rev="en_rl_none">Sonosax product page</a></div>
<div><br /></div>
<div style="text-align:justify;"><a href="https://www.youtube.com/watch?v=cqdsdJzoRyU" rev="en_rl_none">Click here to view a project where all Africa sounds and interviews were recorded with the Mini R82 (DJI Masters- Yann Arthus-Bertrand)</a></div>
<div><br /></div>
<div style="margin-bottom:16px;"><--- Go back to <a href="http://bivouacrecording.com/" rev="en_rl_none">bivouacrecording.com</a></div>
Bivouac. Archive. releasedhttp://bivouacrecording.com/post/bivouac-archive-released2020-03-13T01:29:04.302000Z2019-01-24T09:18:10ZBivouac Recording<div><div style="text-align: center;"><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/7debd807-90ef-4b42-9ae4-8a415734a1f3/e0c484bc-c40f-40d0-bcf4-c6e1f2bc627e.jpg" /><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/7debd807-90ef-4b42-9ae4-8a415734a1f3/08699394-7093-4c49-83ca-f43cb133669d.jpg" /></div></div>
<div style="text-align: center;"><span style="font-size: 10pt;">'Empty Ears' by Keiko Yashiro</span></div>
<div style="text-align: center;"><br/></div>
<div style="text-align: center;">Listen</div>
<div style="text-align: center;">Soundcloud</div>
<div style="text-align: center;"><a href="https://soundcloud.com/bivouacrecording/sets/bivouac-archive">2003</a> / <a href="https://soundcloud.com/bivouacrecording/sets/bivouac-archive-2004">2004</a> / <a href="https://soundcloud.com/bivouacrecording/sets/bivouac-archive-2005">2005</a> / 2006</div>
<div style="text-align: center;"><br/></div>
<div style="text-align: center;">虾米</div>
<div style="text-align: center;"><a href="https://www.xiami.com/album/2104814747">2003</a></div>
<div style="text-align: center;"><br/></div>
<div>As you probably read in our Bio, we started Bivouac in 2003 as a platform to showcase experimental music to the masses. Every year we would redesign our website and find new experimental musicians and artists to feature for another year. It was exciting to scour the Myspace and <a href="http://mp3.com/">mp3.com</a> to find musicians to feature on our site. The artists came from all over the world and had a range of styles of music from drone and ambient to pure noise. These archive files have jumped from computer to computer, hard drive to hard drive, crash after crash for over 15 years. It is <span style="text-decoration: line-through;">amazing </span> miraculous that this has survived intact after all this time.</div>
<div><br/></div>
<div><br/></div>
<div>Well, here it is. Every single bit of it. We will be releasing the songs slowly via our Soundcloud. Some may be surprising, so it's best NOT to have a hot beverage in your hand as you press play. It's a good mix of earwax cleaning Pure Noise and soul tunneling Deep Listening songs which actually benefit from each other i suppose. Either way it will be a great time for you and yours. </div>
<div>From 2003-2006 we released four batches of musicians and artists on our website. We were working on our 5th release when we stopped for some reason. Probably because I was getting ready to move to Shanghai. The website files are saved on a cd-rom somewhere but actually, <a href="http://archive.org/">Archive.org</a> has something called a 'Wayback Machine' that basically archived the entire internet over time. It is here that you can resurrect our old bivouac webpages. Some images may be missing but you can get an idea of what it looked like. I taught myself Flash and created these crazy amateur experimental websites. It took a hell of a long time but it was worth it.</div>
<div><br/></div>
<div>Check out this design: <a href="https://web.archive.org/web/20040322001115/http://www.biv0uac.com:80/">https://web.archive.org/web/20040322001115/http://www.biv0uac.com:80/</a></div>
<div>Here is another design: <a href="https://web.archive.org/web/20050822133401/http://www.biv0uac.com:80/bivouac_artist01.html#">https://web.archive.org/web/20050822133401/http://www.biv0uac.com:80/bivouac_artist01.html#</a></div>
<div><br/></div>
<div>While we have lost touch with almost all of our musicians, we still have the songs they released via our website. We will be uploading these songs to our Soundcloud and 虾米 in the coming months and they will be free for download just like the old days. We hope you enjoy them. </div>
<div><br/></div>
<div>Oh yeah, and as always with our Soundcloud, read the descriptions for more info about the track.</div>
<div><br/></div>
<div>Keep listening.</div>
60 Minute Cities: Bidoune | 60分钟,我的城市- 法国-贝都因人http://bivouacrecording.com/post/60-minute-cities-bidoune-60fen-zhong-wo-de-cheng-shi-fa-guo-bei-du-yin-ren2023-04-17T03:18:03.689000Z2019-01-24T06:25:46ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/e4a69d0a-fc9d-44fb-adad-5108afa471e2/7de1ba21-7b9f-4f14-81ad-4c23f71db857.jpg" style="--en-naturalWidth:3300; --en-naturalHeight:2550;"/><div style="text-align:center;"><br /></div>
<div style="text-align:center;"><b><span style="font-size: 12pt;">US $5 | RMB 30元</span></b></div>
<div style="text-align:center;"> To listen and purchase please click below/ 聆听购买</div>
<div style="text-align:center;"><a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-bidoune" rev="en_rl_none">Soundcloud</a> <span style="font-size: 12pt;">|</span> <a href="https://www.xiami.com/album/2104462026?spm=a1z1s.6639561.471966069.20.VHrJur" rev="en_rl_none">虾米</a></div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;">[Purchase includes Mp3 audio files and PDF of track descriptions]</div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"><span style="font-size: 12pt;">Look | 凝视</span></div>
<div style="text-align:center;"><a href="https://sway.office.com/uPiTbxyUdmWzOO3K?ref=Link">Sway</a> <span style="font-size: 12pt;">| <a href="https://weibo.com/ttarticle/p/show?id=2309404401871442804815&mod=zwenzhang" rev="en_rl_none">微博</a></span></div>
<div style="text-align:center;"><br /></div>
<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/683291904&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-bidoune" title="60 Minute Cities- Bidoune" target="_blank" style="color: #cccccc; text-decoration: none;">60 Minute Cities- Bidoune</a></div></div><div style="text-align:center;"><br /></div>
<div><span style="font-size: 16px;"><span style="color:rgb(0, 0, 0);">Bidoune/ Bedouin ( بِدون )是一个阿拉伯术语,指代没有国籍的人。</span></span></div>
<div><br /></div>
<div><span style="font-size: 16px;"><span style="color:rgb(0, 0, 0);">2009年7月,我站在这个小村庄入口的屋子里,把包卸下,成为这里的第6位居民,此前我已经搬了22次家(后来又搬了2次…),当时我觉得自己像一个没有国籍的人,在寻找一个地方安放一些长久的根。</span></span></div>
<div><br /></div>
<div><span style="font-size: 16px;"><span style="color:rgb(0, 0, 0);"> 这个村庄位于Fabas村庄中心(共有300原著民)向西几千米,坐落在Parc régional des Pyrénées ariégeoises的中心,那是Courseran的微型区域。</span></span></div>
<div><br /></div>
<div><span style="font-size: 16px;"><span style="color:rgb(0, 0, 0);">通往这个村庄的路的一边,Mont Valier山脉(高2838米)和比利牛斯山脉形成了一个天然屏障,遮住了视线,这条路的宽度只勉强够两台车同时通过。在路的另一边,朝Cerizols的方向,‘小比利牛斯山脉’延绵的山景让我们抽离,沉浸在这农林间作的环境中。</span></span></div>
<div><br /></div>
<div><span style="font-size: 16px;"><span style="color:rgb(0, 0, 0);">多么美好的逃离。</span></span></div>
<div><br /></div>
<div><span style="font-size: 16px;"><span style="color:rgb(0, 0, 0);">远离一切…</span></span></div>
<div><br /></div>
<div><span style="font-size: 16px;"><span style="color:rgb(0, 0, 0);">但接近本质!</span></span></div>
<div><br /></div>
<div><span style="font-size: 16px;"><span style="color:rgb(0, 0, 0);">现在我邀请你跟随声音,由外向内, 探索我曾经的‘家’,让我们从房子周边环境开始,深入屋内。</span></span></div>
<div> </div>
<div>Un Bidoune (بِدون ) désigne dans le monde arabe une personne sans nationalité.</div>
<div><br /></div>
<div><span style="color:rgb(0, 0, 0);">Après 22 déménagements et (avant les 2 qui suivront…) je me sens quelque peu apatride et cherche un ancrage local durable lorsque je pose mes valises dans cette maison, à l’entrée de ce petit hameau dont je deviens, en juillet 2009, le 6 ème habitant !</span></div>
<div><br /></div>
<div>Situé à quelques kilomètres à l’ouest du coeur du village de Fabas (300 habitants au total) , au coeur du Parc régional des Pyrénées ariégeoises dans la micro région du Couserans.</div>
<div><br /></div>
<div>Sur le bord de la route qui y mène (et où deux voitures se croisent avec peine…) ce sont d’un côté le Mont Valier (2838m) et la chaîne des Pyrénées qui offrent comme une limite franche et infranchissable à notre horizon. De l’autre, les reliefs des « petites Pyrénées » du côté de Cerizols qui nous invitent à nous replier sur nous même, et sur l’environnement agro-forestier des environs.</div>
<div><br /></div>
<div>Douce retraite.</div>
<div><br /></div>
<div>Loin de tout donc…</div>
<div>c’est à dire proche de l’essentiel !</div>
<div><br /></div>
<div> Voici une invitation phonographique centripète à découvrir concentriquemment cet ancien « chez-moi » en partant de ses alentours jusqu’au coeur de mon foyer.</div>
<div><br /></div>
<div><span style="color:rgb(0, 0, 0);">—</span></div>
<div><br /></div>
<div><span style="color:rgb(0, 0, 0);">Bidoune / Bedouin ( بِدون ) is the Arabic term for a person without a nationality.</span></div>
<div><br /></div>
<div>In July 2009, I set my bags down in this house at the entrance to a small hamlet, becoming the 6th inhabitant, after having moved 22 times (and before 2 more to come…), feeling somewhat like a stateless person looking for a place to put down some lasting roots!</div>
<div><br /></div>
<div>The hamlet is located a few kilometers to the west of the center of the village of Fabas (a total of 300 inhabitants), in the heart of the Parc régional des Pyrénées ariégeoises, in the micro-region of Couserans.</div>
<div><br /></div>
<div>Mont Valier (2838m) and the Pyrenees Range act as a barrier to our horizon along one side of the road that leads to the hamlet (where two cars can only pass with some difficulty…). On the other side, toward Cerizols, the mountainous landscape of the "Little Pyrenees" invites us to withdraw and retreat to the surrounding agro-forestry environment.</div>
<div><br /></div>
<div>A sweet retreat.</div>
<div><br /></div>
<div>Meaning far from everything… but close to essentials!</div>
<div><br /></div>
<div>Here is a centripetal phonographic invitation to concentrically discover my former "home", starting with the surrounding area and progressing to the very heart of my home.</div>
<div><br /></div>
<div>关于艺术家</div>
<div><br /></div>
<div><span style="font-size: 16px;">Stéphane Marin热衷于公共空间的声音艺术,也为自由空间的现场演出创作多声音电声音乐,他从2003年开始涉足特定场域的艺术探索,搜寻亟待发现和聆听的非典型空间/Stéphane Marin徘徊于聆听音景和场地现场创作,渗透于冲击着现实的作品,通过艺术的、生态的和精神的方式,让自己每一天都更接近寂静//</span></div>
<div><br /></div>
<div>Acteur du développement de l’art sonore en espaces libres, ompositeur de musiques électroacoustiques multiphoniques pour le spectacle vivant en espace public, Stéphane Marin s’investit depuis 2003 dans des aventures artistiques in situ qui partent à la rencontre et à l’écoute d’espaces atypiques / C’est à la frontière entre l’écoute du paysage sonore in situ et la composition, dans la porosité que propose l’oeuvre qui se frotte au réel, que s’engage son travail / Ses trajectoires artistique, écologique et spirituelle le rapprochent chaque jour un peu plus près du silence //</div>
<div><br /></div>
<div>Zealot of sonic arts in public spaces composer of multi-phonic electroacoustic music for live performance in free spaces, Stéphane Marin has been involved since 2003 in site specific artistic adventures which seek out atypical spaces to be discovered and listened to / On the border between listening to the soundscape and "in situ" compositions, in the porosity proposed by a work who rubs the real, Stéphane MARIN’s artistic, ecological and spiritual paths approching each day a little closer to the silence //</div>
<div><br /></div>
<div><a href="http://www.espaces-sonores.com/" rev="en_rl_none"><span style="color:rgb(0, 0, 0);">http://www.espaces-sonores.com</span></a></div>
<div><br /></div>
<div><br /></div>
60 Minute Cities: Liège | 60分钟,我的城市- 列日http://bivouacrecording.com/post/60-minute-cities-liege-60fen-zhong-wo-de-cheng-shi-lie-ri2022-09-04T22:59:29.537000Z2019-01-24T06:23:36ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/61275002-3e26-463d-8242-7100d26b3c2f/4089c851-acd3-487d-9ba5-a827135ac225.jpg" style="--en-naturalWidth:3300; --en-naturalHeight:2550;"/><div style="text-align:center;"><br /></div>
<div style="text-align:center;"><b><span style="font-size: 12pt;">US $5 | RMB 30元</span></b></div>
<div style="text-align:center;"> To listen and purchase please click below/ 聆听购买</div>
<div style="text-align:center;"><span style="font-size: 12pt;"><a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-leige" rev="en_rl_none">Soundcloud</a></span> <span style="font-size: 12pt;">|</span> <span style="font-size: 12pt;"><a href="https://www.xiami.com/album/2104468710?spm=a1z1s.6639561.471966069.14.VHrJur" rev="en_rl_none">虾米</a></span></div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;">[Purchase includes Mp3 audio files and PDF of track descriptions]</div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"><span style="font-size: 12pt;">Look | 凝视</span></div>
<div style="text-align:center;"><a href="https://issuu.com/bivouacrecording/docs/60_minute_cities-_leige" rev="en_rl_none">Issuu</a> <span style="font-size: 12pt;">| <a href="https://weibo.com/ttarticle/p/show?id=2309404418485752037381&mod=zwenzhang" rev="en_rl_none">微博</a></span></div>
<div style="text-align:center;"><br /></div>
<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/684169218&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-leige" title="60 Minute Cities- Leige" target="_blank" style="color: #cccccc; text-decoration: none;">60 Minute Cities- Leige</a></div></div><div style="text-align:center;"><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">我在列日(比利时城市)工作了13年,从事的是社会工作/前前后后的时间算起来,我在那里生活了很多年/在这个城市,我出行主要是开车和步行/列日是一座小城,中间被一条叫‘La Meuse’的河流切开,这条河流让这个城市充满魅力,令人心生好奇;像是一种边界/这座城市里蕴含着无穷无尽的声音/既有宏观的声音,也有微小细节的声音/我一直都在聆听这个城市的声音,尽管有时候只有我自己/但是它总是带给我惊喜/在乡下生活了6年之后,列日对我来说又一次意味着‘我的城市’/一个我可以创作、用心聆听人类世界声音的地方/</span></span></div>
<div><span style="font-size: 12pt;"> </span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">Liège, J’y travaille depuis 13 ans comme travailleur social / J’y ai vécu par intermittences pendant de nombreuses années / C’est une ville que j’ai parcourue en voiture et à pieds / Liège est une petite ville coupée par un fleuve, «La Meuse », ce qui lui donne du charme et génère quelque chose de curieux ; en quelque sorte une frontière / Liège est un sujet d’écoute permanente / Je peux autant me concentrer sur des masses qu’aller chercher le micro détail / J’ai beaucoup écouté Liège, parfois bien malgré moi / Et pourtant, je continue d’être étonné et surpris. Après 6 années passées à la campagne, Liège est de nouveau "ma ville" / Un endroit où je peux créer et écouter le monde des humains avec attention //</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"> </span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">Liège, I have been working there for 13 years as a social worker / I lived there intermittently for many years / It is a city that I have traveled by car and on foot / Liège is a small town cut by a river, "La Meuse", which gives it charm and generates something curious; a kind of border / Liège is a subject of permanent listening / I can concentrate as much on the masses as go for the micro detail / I have listened to Liège, sometimes well despite myself / And yet, I continue to be surprised and surprised / After 6 years spent in the countryside, Liège is again ‘my city’ / A place where I can create and listen to the human world with attention /</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"> </span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">艺术关于</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"> </span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">我做音乐和实地录音已经超过15年了/最开始的时候我是演奏贝司和低音提琴/那之后,我很快开始着迷于录音,当时用的是一个旧的多声道录音机/自那时起,我感受到聆听的深度愉悦,并且开始录音工作/现在我喜欢听这世界各种各样的声音/通过实地录音,我还体验到在沉思和冥想之中聆听实地声音的快乐/这是一种感官愉悦的探索,摆脱常规,发现世界和自己的共鸣//</span></span></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);"> </span></span></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">Ludovic Medery Octobre 2017</span></span></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">Ludovic Medery 2017年10月</span></span></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">Traduction Anglaise par Marianne Goez</span></span></div>
<div><span style="font-size: 12pt;"> </span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">/ Je pratique la musique et le field recording depuis plus de 15ans / J’ai commencé la musique par la pratique de la basse et la contrebasse / Très vite j’ai été intrigué par l’enregistrement sonore avec un vieux multipistes à cassettes / Depuis j’ai découvert le grand plaisir de l’écoute et le travail avec les sons enregistrés / Maintenant, je suis à l’écoute de tous les sons du monde / Avec le field recording je découvre aussi le plaisir de l’écoute in situ, entre la contemplation et la méditation / Un plaisir exploratoire et sensible, sortir des sentiers battus et partir à la découverte des vibrations du monde //</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"> </span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">/ I practice music and field recording for more than 15 years / I started music by playing bass and double bass / Very quickly I was intrigued by the sound recording with an old multitrack taperecorder / Since then I have discovered the great pleasure of listening and working with recorded sounds / Now I’m listening to all sounds of the world / With field recording, I also discover the pleasure of listening in situ, between contemplation and meditation / An exploratory and sensitive pleasure, to leave the beaten track and to discover the vibrations of the world //</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"> </span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">Ludovic Medery Octobre 2017</span></span></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">Traduction Anglaise par Marianne Goez</span></span></div>
<div><br /></div>
60 Minute Cities: Leipzig | 60分钟,我的城市- 莱比锡http://bivouacrecording.com/post/60-minute-cities-leipzig-60fen-zhong-wo-de-cheng-shi-lai-bi-xi2022-09-04T22:59:35.921000Z2019-01-24T06:21:41ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/26744b97-68fe-4c4e-9727-3d4d38d90cdb/a3cecc35-cb96-4a92-8195-1102caff8fa0.jpg" style="--en-naturalWidth:2211; --en-naturalHeight:1709;"/><div style="text-align:center;"><br /></div>
<div style="text-align:center;"><b><span style="font-size: 12pt;">US $5 | RMB 30元</span></b></div>
<div style="text-align:center;"> To listen and purchase please click below/ 聆听购买</div>
<div style="text-align:center;"><span style="font-size: 12pt;"><a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-leipzig" rev="en_rl_none">Soundcloud</a></span> <span style="font-size: 12pt;">|</span> <span style="font-size: 12pt;"><a href="https://www.xiami.com/album/2104468722?spm=a1z1s.6639561.471966069.8.VHrJur" rev="en_rl_none">虾米</a></span></div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;">[Purchase includes Mp3 audio files and PDF of track descriptions]</div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"><span style="font-size: 12pt;">Look | 凝视</span></div>
<div style="text-align:center;"><a href="https://issuu.com/bivouacrecording/docs/60_minute_cities-_leipzig" rev="en_rl_none">Issuu</a> <span style="font-size: 12pt;">| <a href="https://weibo.com/ttarticle/p/show?id=2309404418529557348423&mod=zwenzhang" rev="en_rl_none">微博</a></span></div>
<div style="text-align:center;"><br /></div>
<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/684179277&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-leipzig" title="60 Minute Cities- Leipzig" target="_blank" style="color: #cccccc; text-decoration: none;">60 Minute Cities- Leipzig</a></div></div><div style="text-align:center;"><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">莱比锡被视为德国的新兴城市/拥有悠长历史和灿烂的文化积累,是当代世界让人振奋的地方/莱比锡是1989年德意志民主共和国政变起源地,是理查德瓦格纳出生的地方,也是巴赫写出那些经典巨作的地方/现在,这个城市不仅是东德最重要的经济中心,也是欧洲艺术最活跃的地方。</span></span></div>
<div><span style="font-size: 12pt;"> </span></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">Leipzig, it is said, is the up-and-coming city in Germany / A city that not only has an interesting history and wonderfully rich cultural past, it is also one of the most exciting places in the world of the present / Leipzig is the city where the political change in the German Democratic Republic started in 1989, it is the city where Richard Wagner was born and where Johann Sebastian Bach has written his masterworks / Nowadays, the city is not only the most important economic center in eastern Germany, it is also the city with one of the most vibrant art scenes in Europe //</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"> </span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">For me Leipzig is the city, where I was born and where I lived almost all my life / In these recordings I try to show what Leipzig means to me, and what makes it special beyond the advertising slogans //</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"> </span></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">关于艺术家</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);"> </span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">Sebastian Brock曾在莱比锡和巴塞罗那学医。同时,他也在莱比锡Deutschen Literaturinstitut学习文学。他写过很多戏剧,出版过两部小说,分别是"Silbersee" (2006) 和"Kurze Visite" (2010)。近几年,他开始尝试实地录音和声音艺术。此次60</span><i><span style="color:rgb(0, 0, 0);">分钟城市</span></i></span> <span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">– 莱比锡是他发布的第一个录音。</span></span></div>
<div><span style="font-size: 12pt;"> </span></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">Sebastian Brock studied medicine in Leipzig and Barcelona. At the same time he studied literature at the Deutschen Literaturinstitut Leipzig. He wrote several plays and published two novels, "Silbersee" (2006) and "Kurze Visite" (2010). In recent years, he has started working with field recordings and sound art. 60 Minute Cities – Leipzig is his first field recording release.</span></span></div>
<div><br /></div>
60 Minute Cities: Yerevan | 60分钟,我的城市- 埃里温http://bivouacrecording.com/post/60-minute-cities-yerevan-60fen-zhong-wo-de-cheng-shi-ai-li-wen2022-09-04T23:02:55.044000Z2019-01-24T06:19:20ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/4ea9481c-3f02-4c1b-9031-547b25c9e42e/f5f79fa1-491f-4a45-b5ab-a3f1f5b57194.jpg" style="--en-naturalWidth:3300; --en-naturalHeight:2550;"/><div style="text-align:center;"><br /></div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"><b><span style="font-size: 12pt;">US $5 | RMB 30元</span></b></div>
<div style="text-align:center;"> To listen and purchase please click below/ 聆听购买</div>
<div style="text-align:center;"><span style="font-size: 12pt;"><a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-yerevan-1" rev="en_rl_none">Soundcloud</a></span> <span style="font-size: 12pt;">|</span> <span style="font-size: 12pt;"><a href="https://www.xiami.com/album/2104468016?spm=a1z1s.6639561.471966069.2.VHrJur" rev="en_rl_none">虾米</a></span></div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;">[Purchase includes Mp3 audio files and PDF of track descriptions]</div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"><span style="font-size: 12pt;">Look | 凝视</span></div>
<div style="text-align:center;"><a href="https://issuu.com/bivouacrecording/docs/60_minute_cities-_yerevan" rev="en_rl_none">Issuu</a> <span style="font-size: 12pt;">| <a href="https://weibo.com/ttarticle/p/show?id=2309404402074870743075&mod=zwenzhang" rev="en_rl_none">微博</a></span></div>
<div style="text-align:center;"><br /></div>
<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/692552451&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-yerevan-1" title="60 Minute Cities- Yerevan" target="_blank" style="color: #cccccc; text-decoration: none;">60 Minute Cities- Yerevan</a></div></div><div style="text-align:center;"><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">因为一些人道主义项目的缘故,他在亚美尼亚旅行,这是个不错的机会,可以收录首都耶烈万的街道和偏远地方的声音/毫无疑问的是,这是一个偏远的在世界地图上看不见痕迹的首都城市/这个国家四个月前刚结束一场盛大的革命/新的政府给予了人民很多希望/这个录音记录了亚美尼亚在这个重要时间结点的声音/此前这个城市的街道空无一人/现在,随处可见欢欣的人们,尤其是小孩,每天到了晚上就雀跃地涌入各个广场和公园//</span></span></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">Traveling around Armenia for humanitarian purposes, it was a good opportunity to record the streets and remote districts of Yerevan / It is undeniable that it is a ‘middle-of-nowhere’ capital city on a world map / The country realized a huge revolution, four months ago / A new government gives a lot of hope to people / Armenia lives in this recording during a hinge period / The streets were empty before / Now, happy people, especially children, invade squares and parks every evening //</span></span></div>
<div><span style="font-size: 12pt;"> </span></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">关于艺术家</span></span></div>
<div><span style="font-size: 12pt;"> </span></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">Vincent Duseigne出生在法国,目前生活在比利时,是一位工业考古学家,专攻地下矿井研究/在这些巨大的废弃矿井里工作30多年,他发现矿井下的声音很奇特,引起人的兴趣/也因此激发他开始从事实地录音/80年代后期,他开始用一个三公斤重的磁带录音机录音/那之后,他每天都会进行实地录音/这是表达不寻常事物的一种方式,现在的人们很少愿意耐下心来聆听这个世界的声音/他做的其中一个特别的项目就是收录法国一条延绵777公里的河流,从源头流淌到入海口的声音//</span></span></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">Born French but living in Belgium, Vincent Duseigne is an industrial archeologist especially involved with underground mines / Working for 30 years in these huge abandoned places, he noticed that the sounds are often strange and challenging / In this way he began field recording / In the late 80’s, he was using a three kilogram tape recorder / Since then, his field recordings have become a daily routine / It’s a manner to speak about uncommon things, nowadays no one really takes the time to listen to the world / A special project was for example to record a 777 km long river in France, swimming from spring to estuary //</span></span></div>
<div><br /></div>
60 Minute Cities: Korcula | 60分钟,我的城市- 科尔丘拉http://bivouacrecording.com/post/60-minute-cities-korcula-60fen-zhong-wo-de-cheng-shi-ke-er-qiu-la2022-09-04T22:59:28.121000Z2019-01-24T06:16:45ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/3717ff54-d9ec-4e7e-b21d-047ec6b4b171/5349f214-599e-4c58-aa4c-d6e03365bc13.jpg" style="--en-naturalWidth:3300; --en-naturalHeight:2550;"/><div style="text-align:center;"><br /></div>
<div style="text-align:center;"><b><span style="font-size: 12pt;">US $5 | RMB 30元</span></b></div>
<div style="text-align:center;"> To listen and purchase please click below/ 聆听购买</div>
<div style="text-align:center;"><span style="font-size: 12pt;"><a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-korcula" rev="en_rl_none">Soundcloud</a></span> <span style="font-size: 12pt;">|</span> <span style="font-size: 12pt;"><a href="https://www.xiami.com/album/2104468661?spm=a1z1s.6639561.471966069.46.CYvLtF" rev="en_rl_none">虾米</a></span></div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;">[Purchase includes Mp3 audio files and PDF of track descriptions]</div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"><span style="font-size: 12pt;">Look | 凝视</span></div>
<div style="text-align:center;"><a href="https://issuu.com/bivouacrecording/docs/60_minute_cities-_kor_ula-_manja_ri" rev="en_rl_none">Issuu</a> <span style="font-size: 12pt;">| <a href="https://weibo.com/ttarticle/p/show?id=2309404403308532989983&mod=zwenzhang" rev="en_rl_none">微博</a></span></div>
<div><br /></div>
<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/684024591&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-korcula" title="60 Minute Cities- Korčula" target="_blank" style="color: #cccccc; text-decoration: none;">60 Minute Cities- Korčula</a></div></div><div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">"But if this body contains me</span></span></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">than is it also not so</span></span></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">that as I travel through places</span></span></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">places travel through me</span></span></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">and that sometimes, though I go,</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">places stay? "</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);"> </span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"> </span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><i><span style="color:rgb(0, 0, 0);">Excerpt from the poem ‘Places Stay’, by Danish author Birgitte Lyregaard</span></i></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);"> 摘自丹麦作家Birgitte Lyregaard诗集 ‘Places Stay’</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">科尔丘拉岛(Korčula)被称为‘亚德里亚海中的一颗珍珠’,小的时候和现在已经大不一样了/作为一个热门的旅游目的地,每年夏天这里都吸引了成千上万的游客前来游览/这里是我母亲出生的地方,也是我母亲的家族生活了很多个世纪的地方/这里是我儿时玩乐的地方,也是我第一次接受关于文化和环境教育的地方/如果我只能用一句话来描述科尔丘拉岛(Korčula),我会说:夏天里,这里是‘狂欢的天堂’,而冬天里则像是一个‘废弃的剧院’/这个古老的威尼斯城镇有很多特别之处 – 它的存在远早于威尼斯共和国的存在,我们现在看到的它最后的样子却无处不见后者的影子/它的地理位置 – 坐落在一个小型半岛,拂过亚德里亚海的季风,所以这里的夏天总是自然凉爽;它的建筑之美 – 作为堡垒修建,两边的街道纷纷向最高点聚拢形成鱼骨形的建筑外形 – 这是古老而特别的圣马可大教堂/于我,科尔丘拉岛(Korčula)被无与伦比的地中海风格包裹,洋溢着生气,是孕育我的地方,是有着绝无仅有音景的岛屿//</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">Korčula town, one of the "pearls of Adriatic", was in my childhood quite different place then it is nowadays / Being a popular touristic destination it attracts thousands and thousands of people every summer / It is the birthplace of my mum and a home for that side of my family for many centuries / It was my childhood playground and the place of my first cultural and environmental education / If I would have to describe Korčula in one sentence it would probably go like this: A ‘Dionysian heaven’ in the summers and a ‘ghosts theater’ in the winters / There are so many peculiarities about this old Venetian town – existing long before Venetian Republic but the final look we see today is largely influenced by it / Its position – placed on a tiny peninsula perfectly conducting several Adriatic winds, always being naturally air conditioned; its architectural beauty – being constructed as a fort in the shape of a fish bone with side streets climbing toward the highest spot – a very old and quite unusual St. Marco’s Cathedral / For me Korčula is the radiating living entity wrapped up in incredible Mediterranean nature, the place of my personal growth, and a sonic island like no other //</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">关于艺术家</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">Manja Ristic/1979年出生在塞尔维亚贝尔格莱德/是一位小提琴家、声音艺术家、策展人以及研究员,主要活跃在电声、乐器即兴演奏以及试验性声音相关艺术领域/她大学毕业于贝尔格莱德音乐学院(Belgrade Music Academy),此后前往伦敦皇家音乐学院继续学习,获得硕士学位/过去几年,她着重于开发自己的记谱体系,体系搭建的概念基于直觉图形和微分音乐器方法/她的作品大部分偏向对声音视频表演、直觉作曲以及声音生态等的共同感觉的探索/将声音艺术与乐器即兴演奏、实地录音与电子技术相结合,聆听是一种自我生成的体系的行为/她的即兴氛围独奏是混合了独特的声音集合以及‘具象音乐’的表演/她和许多各种不同的艺术家和表演者合作/Manja是Association of Multimedia Artists Auropolis的创始人(2004年创办)以及ArtSync网络广播的编辑,同时,她长期坚持试验性声音相关艺术的创作。</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">Manja Ristic / Born in Belgrade 1979 / Violinist, sound artists, curator and researcher mostly active in the field of electro-acoustics, instrumental improvisation & experimental sound related arts / Graduated at the Belgrade Music Academy, then gained PGDip at the Royal College of Music, London / In the past years focused on development of own notation system, which is built through the concept of mirroring intuitive graphics with microtonal instrumental approaches / Her work is largely turning toward exploration of synesthesia in AV performance, intuitive composition and sound ecology / Sound art merges instrumental improvisation, field recording and electronics, building concept of listening as an act through self-generating structures / Her improv-ambient solo acts are mix of unique sonic journey and "musique concerete" performance / She collaborates with a wide range of artists & performers / Manja is a founder of the Association of Multimedia Artists Auropolis (since 2004) & editor of ArtSync web radio, permanent stream dedicated to experimental sound related arts //</span></span></div>
<div><br /></div>
<div><br /></div>
60 Minute Cities: Hangzhou | 60分钟,我的城市- 杭州http://bivouacrecording.com/post/60-minute-cities-hangzhou-60fen-zhong-wo-de-cheng-shi-hang-zhou2022-09-04T22:59:26.618000Z2019-01-24T06:14:16ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/f2500713-78b3-42a3-b650-f8dccc6ab01f/cdbfe97d-1183-4a70-a39f-804c88e7979f.jpg" style="--en-naturalWidth:1243; --en-naturalHeight:961;"/><div style="text-align:center;"><br /></div>
<div style="text-align:center;"><b><span style="font-size: 12pt;">US $5 | RMB 30元</span></b></div>
<div style="text-align:center;"> To listen and purchase please click below/ 聆听购买</div>
<div style="text-align:center;"><a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-hangzhou" rev="en_rl_none">Soundcloud</a> <span style="font-size: 12pt;">|</span> <a href="https://www.xiami.com/album/2104468150?spm=a1z1s.6639561.471966069.22.CYvLtF" rev="en_rl_none">虾米</a></div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;">[Purchase includes Mp3 audio files and PDF of track descriptions]</div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"><span style="font-size: 12pt;">Look | 凝视</span></div>
<div style="text-align:center;"><a href="https://issuu.com/bivouacrecording/docs/60_minute_cities-_hangzhou-_ma_yong" rev="en_rl_none">Issuu</a> <span style="font-size: 12pt;">| <a href="https://weibo.com/ttarticle/p/show?id=2309404403307509579841&mod=zwenzhang" rev="en_rl_none">微博</a></span></div>
<div style="text-align:center;"><br /></div>
<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/684011433&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-hangzhou" title="60 Minute Cities- Hangzhou" target="_blank" style="color: #cccccc; text-decoration: none;">60 Minute Cities- Hangzhou</a></div></div><div style="text-align:center;"><br /></div>
<div><span style="font-size: 16px;"><span style="color:rgb(0, 0, 0);">水与山是杭州最美好的元素,我用声音记录下最美元素的声音//</span></span></div>
<div><br /></div>
<div><span style="font-size: 16px;"><span style="color:rgb(0, 0, 0);">The water and the mountains are the most beautiful elements of Hangzhou / I use sound to record the most beautiful elements //</span></span></div>
<div><br /></div>
<div><span style="font-size: 16px;"><span style="color:rgb(0, 0, 0);">关于艺术</span></span></div>
<div><br /></div>
<div><span style="font-size: 16px;"><span style="color:rgb(0, 0, 0);">马永振,我是刚刚毕业于北京电影学院录音系的一名声音制作者,现在在网易做游戏音效的工作,偶尔会拿着h4n出去录录音的声音爱好者//</span></span></div>
<div><br /></div>
<div style="margin-bottom:25px;"><span style="font-size: 16px;"><span style="color:rgb(0, 0, 0);">Ma Yongzhen just graduated as an Audio major at the Beijing Film Academy / He is now working at NetEase video game audio department / Also, as his hobby, he takes his Zoom H4n to go out and record //</span></span></div>
60 Minute Cities: Beijing | 60分钟,我的城市- 北京http://bivouacrecording.com/post/60-minute-cities-beijing-60fen-zhong-wo-de-cheng-shi-bei-jing2022-09-04T23:02:38.976000Z2019-01-24T06:12:14ZBivouac Recording<div><br /></div><img src="https://cdn-images.postach.io/3ee86556-cf6f-4e3e-b8f1-32c39e579cc9/a602b70b-2ec1-4ba2-931b-030b14ec7457/f8e31de6-7e8b-41c0-b00c-1c90082ce070.jpg" style="--en-naturalWidth:1947; --en-naturalHeight:1547;"/><div style="text-align:center;"><br /></div>
<div style="text-align:center;"><b><span style="font-size: 12pt;">US $5 | RMB 30元</span></b></div>
<div style="text-align:center;"> To listen and purchase please click below/ 聆听购买</div>
<div style="text-align:center;"><span style="font-size: 12pt;"><a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-beijing" rev="en_rl_none">Soundcloud</a></span> <span style="font-size: 12pt;">|</span> <span style="font-size: 12pt;"><a href="https://www.xiami.com/album/2104468379?spm=a1z1s.6639561.471966069.16.CYvLtF" rev="en_rl_none">虾米</a></span></div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;">[Purchase includes Mp3 audio files and PDF of track descriptions]</div>
<div style="text-align:center;"><br /></div>
<div style="text-align:center;"><span style="font-size: 12pt;">Look | 凝视</span></div>
<div style="text-align:center;"><a href="https://issuu.com/bivouacrecording/docs/60_minute_cities-_beijing-_jamie_lu" rev="en_rl_none">Issuu</a> <span style="font-size: 12pt;">| <a href="https://weibo.com/ttarticle/p/show?id=2309404390777961709738&mod=zwenzhang" rev="en_rl_none">微博</a></span></div>
<div style="text-align:center;"><br /></div>
<div><iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/692182782&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/bivouacrecording" title="Bivouac Recording" target="_blank" style="color: #cccccc; text-decoration: none;">Bivouac Recording</a> · <a href="https://soundcloud.com/bivouacrecording/sets/60-minute-cities-beijing" title="60 Minute Cities- Beijing" target="_blank" style="color: #cccccc; text-decoration: none;">60 Minute Cities- Beijing</a></div></div><div style="text-align:center;"><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">Jamie用一种全新的方式解读北京,重新和她已经非常熟悉的地方产生联系,用她的双耳从另一个角度去体验和感受。这些系列录音很好地记录了她通过聆听探索她生活的周边区域。从你踏下火车,来到这座被称为‘中国的脉搏’的城市的那一瞬间,她的录音地图和实地录音将为你展示一个精致而不被人熟知的北京,一个你可能从来没有听到过的北京。如果你从来没有去过北京,就让这些录音先带你游览一番吧。</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(0, 0, 0);">除了天安门和天坛之外,这一次没有为了录音特意去自己平常不会去的地方 / 对北京来说,我是外来人口,而我听到的北京,是我对北京一点点的探索,一点点点亮的地图,六个地点没经过什么犹豫就选出来了 / 虽然多少总透着些生分,但到目前为止我们的相处还算融洽/ 不敢自大的用它来代表北京,但这60分钟是我的北京 / 录音设备:ZOOM H5, Roland CS-10EM //</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(92, 92, 92);">Jamie looks at Beijing in a brand new way. Reconnecting with the locations she is all familiar with, and used her ears to experience them from a different angle. These series of recordings are a great documentation of her exploration to her surrounding areas by listening. From the moment you step off the train to the ‘heartbeat of China’, her soundwalks and field recordings showed a delicate and unfamiliar side of Bejing that you may not have heard before. And if you have never been to Beijing before, well, you have now.</span></span></div>
<div><br /></div>
<div><span style="font-size: 12pt;"><span style="color:rgb(92, 92, 92);">Except for Tian’anmen and Tian Tan, this time I did not go to places where I don’t usually go to only for the purpose of recording / To Beijing, I am a typical so called out-of-towner / When I listen to the sound of Beijing it is my way of exploring this city / Little by little, I reveal more with each place I visited / It was easy to pick the 6 places where to do the recording / Although, me and Beijing are not very well acquainted, but I think we’re in a good relationship so far / These 60 mins recordings are not meant to be a complete representation of Beijing, but they’re my Beijing / Recordings made with Zoom H5 and Roland CS-10EM //</span></span></div>