Before my recent field recording trip to Hamburg, I wrote part one of this post, making assumptions about the process of sound mapping a city (read it again here), and decided to write once I got back on things I’d learned from the process, which can be divided into practical considerations and more theoretical thoughts, […]
As mentioned in a previous post, I’m off to Hamburg next week for a few days to record the sounds of the city for the upcoming ‘day in the sonic life of Hamburg’ project – the aim is to record as many of the unique and interesting sounds that define Hamburg’s sonic character, in order […]
Following on from my previous post about field recording tips, which was a bit more on the technical side, I’ve been musing over what makes a good field recording from a more conceptual and subjective point of view, and have come to a few conclusions about what a good field recording should contain. I should […]
We’ve had a few emails from people who’d love to get involved with the project but haven’t tried field recording before or don’t know how to approach it. While it’s not exactly rocket science to get a serviceable sound recording even with a mobile phone, you can of course get as technical as you want […]
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"As this wave from memories flows in, the city soaks it up like a sponge and expands. A description of [the city] as it is today should contain all [the city's] past. The city, however, does not tell its past, but contains it like the lines of a hand, written in the corners of the streets, the gratings of the windows, the banisters of the steps, the antennae of the lightning rods, the poles of the bags, every segment marked in turn with scratches, indentations, scrolls."
- Italo Calvino, Invisible Cities
Grand Prix winner and Coup de Coeur winner, Académie Charles Cros
