You are invited to participate.

The purposes of World Listening Day are:

• to celebrate the practice of listening as it relates to the world around us, environmental awareness, and acoustic ecology;
• to raise awareness about issues related to the World Soundscape Project, World Forum for Acoustic Ecology, World Listening Project, and individual and group efforts to creatively explore phonography;
• and to design and implement educational initiatives which explore these concepts and practices.

World Listening Day is being organized by the World Listening Project, in partnership with the Midwest Society for Acoustic Ecology. July 18 was chosen as the date for World Listening Day because it is the birthday of the Canadian composer R. Murray Schafer, who is one of the founders of the Acoustic Ecology movement. The World Soundscape Project, which Schafer directed, is an important organization which has inspired a lot of activity in this field, and his book The Soundscape: Our Sonic Environment and the Tuning of the World helped to define many of the terms and background behind the acoustic ecology movement.

Participating

BASE is not holding any formal event this year, but I encourage you to spend some time listening, or organize a soundwalk with friends to celebrate this inaugural day!

Hildegard Westerkamp has written a wonderful treatise on soundwalking – I encourage you to read it and try it out!

-jeremiah moore

a FREE concert in Yerba Buena Gardens

3rd and Mission Streets, San Francisco

Sunday evening June 6th, 7pm promptly

BRING your BOOMBOX!

update: hear Aaron and Jeremiah discuss Phantom Power and BASE on KUSF (mp3 link) thanks to host Jacob Heule!

Curated by Bay Area Sound Ecology featuring works and talks by Bernie Krause, Andrea Williams, Jeremiah Moore

Bay Area Sound Ecology (BASE) is proud to announce “Phantom Power,” a free site‐specific concert superimposing potential and vanished soundscapes over the existing urban soundscape at Yerba Beuna Gardens, in the heart of downtown San Francisco. Amidst the myriad contemporary sonic identifiers present in the garden today, the audience is invited to experience a phantom image of other soundscapes which were lost to history, which never came to be, or which may yet come to pass. BASE co-chairs Aaron Ximm and Jeremiah Moore curate a selection of artists to create a concert envisioned as a transient “intervention,” reminding listeners that the familiar soundscape of the places we inhabit, like sound itself, is ephemeral and contingent. Composers will present short works that introduce a subtle layer of sound to the existing environment, evoking how the site sounded years ago, or how it might someday sound. Yerba Beuna Gardens has many layers of history to explore, and for its unique situation amid the cultural institutions and life of the city.

A moment of focused listening will be set aside, to consciously reflect on the soundscape as it currently exist. Artists will then introduce their work and discuss their vision. A Q&A session will convene after the event to discuss the project’s contrasting visions.

Some of the compositions will be heard ‘in motion,’ two of the composers are choreographing movement in the space. A third piece will be ‘conducted’ with different voices being raised and lowered to a specific effect. Featuring the work of: Andrea Williams – presenting the premiere of Garden TOOR Bernie Krause – participate in mixing the Soundscapes of California Jeremiah Moore – presenting the premiere of Cycles

Please visit  http://www.basoundecology.org on or after June 7 to download the concert tracks.

Festival Organizers – Project Soundwave: http://www.projectsoundwave.com/2010/june13/

Facebook Event: http://www.facebook.com/event.php?eid=124667687560609

Note: This is a low-environmental impact event using a crowd-sourced “sound cloud”. Attendees are asked to bring ipods, CD players, small portable speakers, boomboxes (we will have a limited supply as well). The compositions would be distributed to audience-participants beforehand via the internet (link to downloadable mp3s available in June), and at the event on CDs.

FREE EVENT
June 13, 7pm, outdoors at Yerba Buena Gardens
Mission Street between 3rd and 4th, San Francisco
Produced as part of Project Soundwave: Green Sound 2010
Festival Event Page

The following Tracks are material for a live participatory performance at Yerba Buena Gardens in San Francisco.  Please download the following tracks  and bring them loaded onto your portable player / amplification system.

Download All Tracks at Once (recommended)

Download all tracks in a single .zip file:

Phantom Power Tracks (.zip 124 MB)

ANDREA WILLIAMS – Garden TOOR

The tracks constitute a site specific soundwork, intended to be heard simultaneously each from from a separate mobile speaker system, within the environs of Yerba Buena Gardens.

Participants: Please download all four tracks; at the performance you will be asked to play one of the four color-coded tracks.

14 minutes 35 seconds.

Garden TOOR – Red

Garden TOOR – Blue

garden TOOR – Green

garden TOOR – Yellow

JEREMIAH MOORE – Cycles

The tracks consitute a three-part soundwork, intended to be played simultaneously on separate speaker systems during a predefined walk in Yerba Buena Gardens.

Participants: Please download the following three tracks; at the performance you will be asked to play either A, B or C.

14 minutes 56 seconds.

Cycles A

Cycles B

Cycles C

BERNIE KRAUSE

Please download the following four approx. 1 min 30 second tracks:

Ocean Dreams

Ocean Wonders

Sequoia

Sonoma

A paragraph regarding critical mass and the sound of bike transport:

“For us cyclists, the sounds of our whirring wheels and gentle gear changes is a pleasant confirmation of our self-propulsion. One of my favorite aspects of Critical Mass is the completely altered soundscape that accompanies our progress through the City. Sure, sometimes we’re hooting and hollering, and there are at least a half dozen folks who might show up with serious sound systems pumping loud tunes into the air (a side note: the SFPD ticketed all the sound systems last month for lack of sound permits in their ongoing war of attrition, trying to literally raise the price for participating in CM). But the majority of time the sound is that of rolling bikes, murmuring voices, tinkling bells, and laughter. It’s such a lovely kind of quiet, full of life and sweet energy, but so different from the anonymous, unaccountable thrumming of machines that fills our ears so often that we frequently stop noticing until they are turned off. And once you’ve ridden through the city in a mass of bicycles, it’s hard not to remember that different urban environment, and wonder why it can’t be more like that all the time.”

Noise Map

The second thing is this SF dept. of Health “Transportation Noise Map” which is quite visually beautiful (to my sensibility anyway) though I question it’s accuracy.

Transportation Noise Map of San Francisco, 2008

Scroll down to “Traffic Noise” and click the thumbnail map to download a PDF version

I haven’t done any digging, and am unlikely to, but I have to assume this is based on modeling not actual measured SPL (that would be far too expensive to accomplish) and I wonder modeled on what data?  Strange that South Van Ness – a shade busier than Folsom, two shades less busy than Mission, is red while Mission is hardly even orange.  Not sure I want this map to represent the city when it comes to making policy decisions.  However if you zoom into the upper right corner, the image does bear some resemblance to the pride flag.

On the noise-complaint front, for better or worse or both, you can look at the inner workings of the SF Noise Task Force.

-jeremiah

The ASAE’s first retreat will be held July 9-11, 2010, hosted by the Midwest Society for Acoustic Ecology and the World Listening Project in Chicago. This will be the first acoustic ecology conference held in Chicago, home to a thriving sonic arts community and center world for world-class architecture, located on the shore of largest group of freshwater lakes on Earth.

Among other events, we are planning discussions around “Florasonic” – a sound art installation at the Fern Room in the Lincoln Park Conservatory by Lou Mallozzi Founder and Director of the Experimental Sound Studio (ESS), an afternoon soundwalk at Indiana Dunes National Lakeshore, Douglas Center for Environmental Education, a Chicago nightlife soundwalk, and a public forum on urban sound environments addressing local, national and international sound and environment issues from multiple perspectives.

While this event has been designed to allow members of the ASAE to meet and plan for the future, members of the greater WFAE community are invited to participate.

Contact andrea@andreapolli.com or info@mwsae.org for more information.

featuring recordist, composer and instrument builder

Cheryl Leonard

who will present work from her recent trip to Antartica on grant from the National Science Foundation.

BASEbot 005 will be held

SUNDAY, February 21st, 2010
2:30 pm doors, starting promptly at 3
~an hour of formal presentations followed by Q&A and mingling.

at

Dan Dugan Sound Design
290 Napoleon Street Studio E
San Francisco, CA 94124

http://www.dandugan.com/Directions_to_DDSD.html

Please come LISTEN as

Recordist, composer and instrument builder Cheryl Leonard will present field recordings from Antarctica, excerpts of works composed from those recordings, and a short musical instrument demo followed by a Q&A.

If there is sufficient interest and time, afterward there will be an open-salon listening and discussion period – providing an opportunty to play your short (under five minute) sound excerpts and to discuss ideas or works in progress. We will provide a CD player and minijack hookup for iPods and the like.

Cheryl will have copies of her new Antarctic field recordings cd available for purchase for the special discount price of $10. She’s also open to trading copies for other BASEbot people’s cds of their field recordings, sound art, and/or experimental music

The event will be recorded and made available via our forthcoming podcast.

About Cheryl Leonard

Cheryl Leonard is a composer who visited Palmer Station in January 2009 on an Antarctic Artists and Writers grant from the National Science Foundation. During her month on the ice she explored the local islands and glaciers, searching out and recording natural soundscapes. The Antarctic Peninsula in the austral summer is full of wildlife, icebergs, melting glaciers, and fascinating sounds.

Glass shards and pinecones, glaciers, boxspring mattresses, a flock of accordions, circular saw blades, viola, the erhu, hyenas and whales and elk, Cheryl E. Leonard’s music finds its raw materials just about anywhere. From these diverse sources come works that embrace the spectrum of musical possibilities: improvised to composed, acoustic to electronic, diaphanous to bombastic, notes to noise. Many of Leonard’s works explore subtle textures and intricacies in sounds not generally considered musical. These investigations often include the creation of instruments, primarily from found natural materials. Her interests include: developing site-specific compositions and instruments, guerrilla performance, and collaborating across artistic disciplines.

Cheryl Leonard’s website:
http://www.allwaysnorth.com/

Her fascinating antarctic blog:
http://www.musicfromtheice.blogspot.com/

Gordon Hempton requires no introduction for many in the recording world – his recording work speaks for itself, and he’s been at it for a long time.  He’s got a book out on natural quiet and his journey of advocacy, co-written with John Grossman.  It’s called One Square Inch of Silence: One Man’s Search for Natural Silence in a Noisy World.  More info at onesquareinch.org/book

Gordon discusses the sounds of his back yard, and his journey toward becoming a natural quiet advocate.

@ 7:38 – recording: Coyote duet recording from Gordon’s back yard
@ 10:03 – on John Muir
@ 12:31 – Human noise intrusions into the story of the book coming to be
@ 17:30 – Establishment of One Square Inch (OSI) and effects
@ 20:57 – recording:  24-hours of Dawn Chorus compressed into One Minute
@ 25:22 – John Muir as a sound recordist (in text).  History of Muir and Hempton
@ 28:18 – recordings: Waters of the Muir world
@ 30:10 – recordings: Three waterfalls of Yosemite

At about 34 minutes a discussion ensues, topics including John Muir, hydrophones, the human-listening perspective, Ann Kroeber on the sound of space (and contact mics), the acoustics of Gordon’s backyard, binaural equipment, recording as a listening practice.

More discussion:
@ 51:57 – Finding good locations to record in nature.  Being still.
@ 2:00:21 – Not being eaten by the wildlife.  Noise and legislation.  Mark Twain and Mississippi songbirds.
@ 2:07:56 – recording: an amazing Sage Grouse recording.
@ 2:10:23 – recording: Dawn on the Mississippi River – a beautiful tour through the first minutes of the dawn chorus as the birds organize themselves acoustically.

Gordon is on tour with his new book One Square Inch of Silence: One Man’s Search for Natural Silence in a Noisy World co-written with John Grossman and published by Simon and Schuster.  Gordon spoke at length about his journey into becoming an outspoken advocate of natural quiet, from following in the footsteps of John Muir to creating the One Square Inch of Silence project in the Olympic National Forest.

We heard some wonderful recordings, notably a beautiful coyote duet recorded in Gordon’s backyard and an unearthly Sage Grouse mating ritual.  You can listen for yourself in our podcast.

We discussed the act of recording as a state of active and still receptivity – akin to meditation in many ways – and the physical and mental discipline required.  The ways in which the recordist’s sphere of awareness expands to include more and more of the world around – the margins, the periphery – and the things you notice while in that state to which you’d otherwise be oblivious.

After, I find myself thinking of how our culture has so reduced the likelihood of entering that state, a state any other animal probably spends a good deal of time: simply observing.  Which ties back to the idea we discussed last summer with the folks from NYSAE of listening itself as a potentially radical act amidst industrialized consumer society.  To simply quiet onesself and listen.

The event was our most conversational salon to-date – a great success.  Thanks to Gordon for coming, to Aaron for inviting him, and to Dan and Sharon for hosting us in their home – and just before the big NAB conference at that.

-Jeremiah Moore, San Francisco 2009

–

Gordon Hempton is an acoustic ecologist and Emmy Award-winning sound recordist who has provided audio services to Microsoft, Discovery, National Public Radio, and other organizations, and who has been profiled by major media including CBS News Sunday Morning, NPR, and People. He lives in Joyce, Washington.

Links

http://onesquareinch.org/ – website dedicated to the One Square Inch of Silence project

http://onesquareinch.org/book/ – Links for buying the book

http://soundtracker.com/ – Gordon Hempton’s site, where you can buy his recordings

Ideas

During discussion at the meeting, a couple of ideas came up for possible future events:

• A technical salon in which we DO focus on gear and techinique for once, topics being things like field recording technique, fieldwork habits and ideas, recorders, microphones, windscreens, editing technology etc.  Perhaps we could work with the Nature Sounds Society on a DIY Microphone Windscreen workshop.
• A conversational BASEbot salon organized around, for lack of a better term, “the zen of recording.”

Anyone interested in the above, please chime in via email or the mailing list.

Here’s the setup:  Jim is sitting in the center of Dan Dugan’s control panel, with Pro Tools behind him and faders for a quadrophonic monitoring system.  On and off, he talks and plays sounds which he’s gathered for the occasion.  About twenty people sit, listen and discuss.

We start with sounds from an exhibit installation about hybrid California cultures titled Trading Traditions.  Over the course of an hour and a quarter, we hear among other things Foghorns, quad recordings from San Francisco’s Tenderloin district, a Thanksgiving dinner, and evocative insects and frogs.

Later James talks about upcoming projects, including a documentary he’s mixing on the staging of the opera Doctor Atomic.  There’s a discussion of the sound of air itself clipping.  At around 68 minutes, we go around an mention favorite sounds.

On a technical note:  It was a hot evening in San Francisco and we had a fan running during the presentation.  Traffic can be heard going by the open doorwas going by, and a band down the street was practicing.  This recording documents that soundscape.  Where possible I’ve crossfaded from the room mic to a clean recording of the sounds.

-jeremiah

Seed Magazine Slideshow: Ear to the Ground

A 2-hour sound collage for radio hosted by Jeremiah Moore and Aaron Ximm

Orignally broadcast February 22, 2009 on free103point9.org, an episode of Giant Ear, the radio voice of the New York Society for Acoustic Ecology.

Last August, Jonny Farrow, Ned Mooney and Andrea Polli of our New York-based sister organization New York Society for Acoustic Ecology (NYSAE) [1] were visiting San Francisco.  We had a meet up and mind-meld, out of which came an idea:  Could BASE produce a two-hour show for Giant Ear))), NYSAE’s monthly radio program on free103point9.org [2]?

The theme of our show was very clear from the start:  we would focus on the sounds of the place where we live, the greater San Francisco Bay Area.  We live in an area full of clear soundmarks and vast contrasts juxtaposed.  The Bay shores of Alcatraz Island, the swells of the Pacific on Ocean Beach, the wharves and marinas; the grit and tourist-charm of Chinatown, the ice cream carts and taquerias of the Mission, the sound exhibits of the Exploratorium, the windmill fields of Livermore and Pleasanton.  Group social sounds of public ceremony, celebration, protest and everyday life.  And closer times like a Mah-Jong game, a family dinner, and the last notes of a funeral dirge.  The sounds of getting around, footsteps, subways, cable cars and of course – like everywhere – trucks, cars and planes.

To realize this idea, we called on members of our community to send us their sounds.  And we scoured our own libraries for favorite material.

About 45 minutes of our show (from 0:03:34 to 0:53:23) was performed by Jeremiah Moore and Aaron Ximm live on-the-air on Pirate Cat Radio [3].  Thanks to DJ Yuri G for having us on – check out his show Psionic Dehiscence.

In keeping with the “Imagined” part of our concept, in several places we played composed works in their entirety.  At 1:18:38 “Sweeper” by Jeremiah Moore, at 1:35:24 “Maritime Suite: Port” and at 1:46:37 “Maritime Suite: Starboard” both by Aaron Ximm.

And so, it’s with great pleasure that I present our program.

Thanks for listening.

-jeremiah moore

San Francisco, Feb 2009

[1] NYSAE www.nyacousticecology.org
[2] Free103Point9.org Transmission Arts
[3] Pirate Cat Radio www.piratecatradio.com

–

Credits

Produced by Jeremiah Moore
Hosted by Aaron Ximm and Jeremiah Moore
Engineered by Jeremiah Moore at Listen Studio, San Francisco

Contributors (alphabetical by first name):

Aaron Ximm [quietamerican.org] – Various field recordings including Bernal hill owls; composed works “Maritime Suite: Port” and “Maritime Suite: Starboard”

Andrew Roth [naturalsounds.org] – “Exploratoraphone” a sound-collage exploration of the sounds of… the Exploratorium

Chris Watson [chriswatson.net] – Three perspectives on windmills near Livermore, CA

Claire Schoen [claireschoenmedia.com] – Two episodes of her radio series Earthtones, on Elephant Seals of Point Año Nuevo and on the Wave Organ

Dan Dugan [dandugan.com] – “May 22, 5:29 AM, West Road of Alcatraz Island. Roost of herons and egrets. Also Western gull, white-crowned sparrow, others.”

David Silberberg [d4doc.com] -Berkeley Traffic, UC Berkeley Campus ambience, Cordonices Creek Berkeley CA.

James Goode – “Belt_Railroad_Tarp” is a field recording made on June 22nd, 2008 near the entrance to Heron’s Head Park. A black and yellow San Francisco Belt Railway diesel locomotive, covered in plastic tarpaulin ripped to shreds in some places, sat idle amongst chest-high weeds and pillaged tracks. I placed a stereo microphone in a

Jeremiah Moore [jeremiahmoore.com] – Various field recordings; composed work “Sweeper” exploring harmonic structure of mechanical street sweeper

Jim LeBrecht [berkeleysoundartists.com] – Foghorn, Thanksgiving Dinner

Jim McKee [earwaxproductions.com] – Recordings of Doyle Drive, Aquatic Park, Green Street Mortuary Band, and Tuvan sound check at Grace Cathedral

Joseph Lawrence – Saratoga Rain “Recorded a couple days before Christmas in Saratoga right after a lot of rain had fallen…the sound of water falling about 10 feet through a typical sheet metal drain pipe and hitting the angle at the bottom, flowing out onto the ground. Plus a little bit of light rain in the background.”

Robert Beahrs – Chinatown to the Embarcadero soundwalk “I recorded this soundwalk on May 5th, 2008 with binaural microphones, ducking into shops here and there while generally walking down California Street. Listen for the juxtaposition of musical worlds, languages, street sounds, as well as the California line cable car that passes by me. It is chronological, and, besides a few splices, unprocessed.”

Thanks To:

Jonny Farrow
New York Society for Acoustic Ecology
Free103point9.org Transmission Arts
Giant Ear)))
DJ Yuri G of Psionic Dehiscence
Pirate Cat Radio

post updated: photo added

On May 14th sound designer James LeBrecht presented a selection of favorite sounds he has recorded over the years with a focus on his recent installation for the Oakland Museum exhibit TRADING TRADITIONS: CALIFORNIA’S NEW CULTURES (January 19-April 6, 2008) as well as other recordings both urban and natural.

Award-winning sound designer James LeBrecht has supervised or edited sound for feature films and documentary project that include The Blood of Yingzhou District, Daughter from Danang, Battlefield Earth and The Skulls.

In the exhibition world, James has designed sound for the E3 conventions in Los Angeles, the Rock and Roll Hall of Fame and the Luxor Hotel in Las Vegas. Game credits include work for clients such as EA, MAXIS, TECMO and Midway Studios-Austin.

James has designed and produced sound effects and music for over 100 professional theatrical productions and co-authored the book “Sound and Music for the Theatre: The Art and Technique of Design” with Deena Kaye.

For Basebot, James started with some selections from TRADING TRADITIONS “which vividly depicts how immigrants to the Bay Area don’t just want to fit in, but to remain distinct within the community at large and among other newcomers.” He did the sound design for the exhibit and recorded much of the material that was used. We all listened as he skipped around through the various different clips that he had. One was a round being sung in a church. There was a clip of a multicultural dinner with at least 3 different languages being spoken at various times which was fun to hear. Also interesting was hearing all the different sounds from the dinner table and kitchen as well as a piano being played in the background. He then played a different take on Gershwin’s Rhapsody In Blue with ethnic instruments from mostly eastern cultures as the orchestra, which was a highlight for me. James also had some great foghorn recordings that he sampled for us.

Some other recordings were of some street scenes late at night in the tenderloin. There was some discussion of technique and equipment. James had purchased a Zoom recorder which led to some talk of the benefits and disadvantages of the Zoom and how it works. We listened to some urban soundscapes he’d recorded in quadrophonic, and discussed the differences between recording in quad and stereo. Someone asked about mixing down from quad to stereo and James talked a bit about his work in film and dealing with this aspect of recording. Dan Dugan remarked on the disappearance of various urban sounds that you don’t hear nowadays such as the Filmore District of the 1960s – more people on the streets in certain neighborhoods before more cars were routed through those streets.

Toward the end of the evening James played some old recordings he did in his mother’s backyard in Maryland. These were summer recordings with evening insect and frog sounds. There was also a thunderstorm clip too that was fantastic. James talked a bit on using PZM mics for certain location recordings, which led to some talk on frequency issues with certain mics. This then led to another discussion of what were people’s favorite sounds. For some, childhood sounds were favorites while others had more specific personal choices. All in all it was a fun evening with interesting sounds and conversation.

- Blair Collins

Links:

James’s Studio:  Berkeley Sound Artists

James’s book with Deena Kaye on Theatrical Sound Design (Amazon Link): Sound and Music for the Theatre: The Art and Technique of Design

Exhibit site from the Oakland Museum of California: Trading Traditions

[editors note:  an audio recording will be available once it's edited]

About Andrew Roth

For more than a decade Andrew Roth has been an active member of The Bay Area sound community. After graduating from Oberlin College in 1995, he took up residence at San Francisco’s Earwax Productions, working on both popular commercial and smaller independent projects ranging from radio to theme parks, television, film, games, and everything in between. In 2001 Andrew founded Natural Sounds, with the dual purpose of continuing his growing post-production business as well as promoting a growing catalogue of natural sound recordings captured during his travels.

The first of these, Natural Sounds of Costa Rica (now in its 7th printing) provides a sampling of the myriad soundscapes of that Central American country. After much delay, he will soon be releasing its follow-up, Natural Sounds of Japan. This new collection covers an even greater variety of aural terrain, tying in the rich cultural and historic fabric of the country, and recorded across the entire archipelago throughout its many distinctive seasons. The goal of all these recordings have been to create as complete a transportive and immersive listening experience as possible.

Andrew’s Presentation

Andrew shared sounds from his work-in-progress Natural Sounds of Japan. The first recording was a rich array of animals from a subtropical island between Japan and Okinawa. A dove’s flutey sound, a melody reminiscent of certain strains in Gagaku, the court music of imperial Japan. Then microphones inside a pipe found jutting out of the ice in the far northern winter capture an unearthly desolate cold beauty. Ice sheets on a frozen-over beach creak like old doors. A bamboo forest, several days dry from rain, emits pointed resonant pops pinks and cracks. It begins to rain and thunder as an enormous boar appears… And then, taking us to Costa Rica, we hear the breathing of an active volcano.

It was fun to hear the sounds in the context of the stories of their recording. What do you do when a wild boar the size of a dinner table – an animal which could kill you in an instant – appears foraging in front of your microphone? In this case, you don’t move, and don’t stop rolling. And how artificial these recordings are: ten minutes either side of the ice recordings is a fisherman chainsawing holes in the sea ice for a group of tourists to scuba dive through – and everywhere planes and traffic are carefully edited out. On recording in Japan, to paraphrase Andrew: “Japan is really good for nature recording because, due to the political situation where there’s always money to build, it’s full of roads into the middle of nowhere.”

We talked technique a bit. Andrew’s finished soundscapes are constructed of layers from wide-spaced omni ambience recordings and mono spot-recordings of individual species. His mixes can be kaleidoscopic at times – wide and full – always something interesting happening. The idea being to build a translation of the original natural-context listening experience into the medium of recordings-heard-on-speakers.

Personally, I was impressed with the beauty of a wide-spaced omni stereo array in capturing the sense of space you experience in the woods – particularly the way a breath of wind moves among trees.

Aaron and I recorded the evening. It’s available on the BASEbot podcast.

-jeremiah moore
jan 31, 2008 sf

BASEbot is an experiment in bringing people together around listening and the soundscape. It is envisioned as a meeting place for ear-minded people, and ultimately a platform for soundscape oriented projects. Toward that end I think our first salon was a great success! We had about 40 people attend to hear Chris Watson’s excellent presentation of sounds and techniques.

The meeting was launched by host Dan Dugan, well known as inventor of the Dugan Automatic Microphone Mixer and for his work with the Nature Sounds Society. Dan described his personal history and introduced the space for our meeting: his comfortable surround-sound equipped studio and home.

BASE co-chair pro tem Jeremiah Moore then introduced BASE and outlined the goals of the organization: to be a broadly-inclusive multidisciplinary forum for all Bay Area residents interested in listening and the soundscape. Jeremiah also described the (roughly bimonthly) BASEbot forum, which we envision will consist of one or two featured speakers, a time for announcements and calls for discussion, a break for informal discussion, and finally a sign-up listening salon, for sharing recordings and other soundwork with a like-minded and supportive (or if desired, critical) audience.

Finally, Aaron Ximm (other BASE co-chair pro tem) briefly introduced the night’s featured speaker, Chris Watson, one of the best-known field recordists in the world. Chris delivered an hour-long lecture in two parts. Part One defined a personal ontology for recordings, dividing sounds into (sometimes metaphorical) ‘atmospheres,’ ‘habitats,’ and ‘featured species,’ and described several favorite techniques Chris has used to make those different kinds of recordings. Part Two featured an in-depth account of recent work with four-channel surround sound hydrophone recording, both in the open water and buried in shallow sand or mud. Both sections were richly illustrated with favorite old and new and unreleased recordings, in both stereo and four-channel surround.

Chris’ presentation was recorded via a stereo microphone in the room; the hour-long two-part lecture now available via the BASEbot Podcast.

BASE is currently forming as an organization, and we invite any interested persons to join us. We anticipate meeting next in February 2008. We hope to draw members from the broadest group – be they sound designers, radio producers, composers, musicians, bioacousticians, or simply humans who listen.

Chris Watson: www.chriswatson.net

-Aaron Ximm and Jeremiah Moore, BASE co-chairs

Though I’m setting this up in may 2008, we’ll engage in a bit of revisionist history, back-dating the posts for BASEbot 1 and 2 to the dates of the events. (And back dating this post so it appears first!) How’s that for subterfuge.

I’m personally pleased to present these recordings, and am looking forward to more in the months to come.

-jeremiah