描述：2012年11月14日，用Hama迷你三脚架上的索尼PCMM10，用Rycote Mini Windjammer覆盖的内置麦克风进行录音。我在WavePad中使用了一个图形均衡器，以补偿Windjammer造成的轻微消音现象。我还对低频进行了3dB的减弱，以使麦克风中的风噪不那么 "沉重"

描述：Recording made on 6th November 2012 with a Sony PCMM10 on a Hama minitripod, using the builtin microphones covered with a Rycote Mini Windjammer. I have used a graphic EQ profile in WavePad to compensate for the slight muffling of the sound caused by the Windjammer. My three wind chimes recordings made on this particular day mark the beginning of a new project of mine, which I provisionally call Wind Chimes In the Wild, to produce a collection of truly authentic recordings of a range of quality wind chimes out in Nature, where 'the elements' are an important aspect of each recording. I was moved to point myself towards this project because of the sheer awfulness of all the commercial wind chimes recordings that I'd bought or otherwise heard. The problem was usually not the chimes themselves, but the sheer laziness and contempt for the listener of whoever recorded / produced those recordings, which turned out ALL to be faked in various ways either being just repeating loops of a very short recording, or jiggled mechanically and not by any wind, as shown by regularly repeating patterns in the waveform (and far too consistent a sound level), and any wind or other natural sounds clearly just dubbed on, with no relationship between wind strength variations and the chimes activity. The only decent wind chimes recordings that I'd found were a small number on Freesound, and they include some really beautiful ones. So, I decided to help fill the gap left by the lazy and profiteering commercial producers of wind chimes recordings, and make real 'in the wild' wind chimes recordings, with full authenticity, including even wind noise in the microphones at times. The latter, although for many purposes regarded as undesirable, actually enhances my recordings at least provided it doesn't get really disruptively loud. After all, if you're out in the wind you do get the wind rumbling, booming and drumming in your ears, and really it's a nuisance only when it gets really strong and gets drowning out what you actually mean to be listening to out there. On 6th November 2012 I took out with me three sets of Woodstock wind chimes, with the intent to record some 10 minutes of each solo, and a full halfhour of each of the four possible combinations of these. In the event conditions enabled me to get only three recordings. I hung the chimes on small low branches of stunted trees by the Hunter's Path overlooking the oversteepened valley (popularly known as the Teign Gorge, though it is not actually a gorge) in the vicinity of Sharp Tor, very near Drogo Castle. This recording is of the tenorpitched Chimes of Olympus together with the smaller and thus higherpitched Chimes of Pluto. The Olympos chimes are tuned to a very melancholic sounding ancient Greek pentatonic scale, while the Pluto chimes are tuned to a very sweet sounding pentatonic scale (actually a bit sweeter than I prefer), and thus there is an intriguing interaction between the two sound worlds, resulting in an overall balancing out of the emotional effects. I hung the chimes on low branches of a stunted tree very slightly off the track, where a rock crag jutted out over the very steep slope to the valley bottom. However, I could not workably put the chimes actually on top of the crag because of lack of trees just there, so the situation of this recording is a bit odd, for the recorder is actually pointing more or less back towards the track, facing away from the valley slope, and placed on a small prominence on that hunk of rock, which latter, thus, is behind the recorder and blocking direct sound from the River Teign far below in the bottom of the valley. However, you still hear the sound indirectly, as a distinct continuous rushing, which is neither wind nor traffic. To my ears the wind noise in the microphones adds considerably to the positive effect, very much augmenting the feel of wildness. However, for some people the wind in the microphones would be more or less troublesome, simply because it works well only with listening equipment that has a reasonably flat and well extended bass response. Any tendency to boominess, or indeed a significant deficiency in very low frequency response (as would be the case in virtually all computer speakers) would make that wind noise more problematical. This excerpt from the halfhour full recording is the opening five minutes. For some reason, as with the other two recordings I made on that day, there is a fair bit more 'action' and indeed at times boisterousness after the first five minutes which works out quite satisfyingly when listening to the full recordings. Since I uploaded this excerpt I came to the conclusion that the wind noise in the microphones did need a slight 'taming', so I used a graphic EQ profile on the full recording to slightly reduce the heaviness of that noise (which is more apparent after the first five minutes). Please note that the volume level of this recording has been carefully adjusted for listening purposes, and ALL my recordings so far are meant to be listened to with a volume setting that would give a realistic level for playback of CLASSICAL music (a large but not exceptional symphony orchestra). If you have the right volume setting, you should not need to change that setting from one recording of mine to another.(Later note: This recording with better sound than here is on one of my commercial CDs, and can be found in my eStore.) Please remember to give this recording a rating http://www.broadhorizonnature.co.uk/meicon_wink.gif

描述：2012年11月14日，用Hama迷你三脚架上的索尼PCMM10，用Rycote Mini Windjammer覆盖的内置麦克风进行录音。我在WavePad中使用了一个图形均衡器，以补偿Windjammer造成的轻微消音现象。我还对低频进行了3dB的减弱，以使麦克风中的风噪不那么 "沉重"

描述：2012年11月14日，用Hama迷你三脚架上的索尼PCMM10，用Rycote Mini Windjammer覆盖的内置麦克风进行录音。我在WavePad中使用了一个图形均衡器，以补偿Windjammer造成的轻微消音现象。我还对低频进行了3dB的减弱，以使麦克风中的风噪不那么 "沉重"

描述：2012年11月14日，用Hama迷你三脚架上的索尼PCMM10，用Rycote Mini Windjammer覆盖的内置麦克风进行录音。我在WavePad中使用了一个图形均衡器，以补偿Windjammer造成的轻微消音现象。我还对低频进行了3dB的减弱，以使麦克风中的风噪不那么 "沉重"

描述：2012年11月21日，我带着一大一小两套廉价的竹制风铃和两套Woodstock（优质金属）风铃出门。我把风铃挂在夏普托的一棵位置特别好的矮树的小树枝上，就在猎人之路旁边，那里可以俯瞰过陡的山谷（俗称提恩峡谷，虽然它实际上不是一个峡谷），非常靠近德罗戈城堡。实际上，这块岩石挡住了谷底提恩河的视线和最直接的声音，在这个地方，我有必要把录音机朝向另一个方向，背对着猎人之路。 这一天，提恩河的背景声音其实比平时要大不少，因为一夜之间下了一场特殊的雨，造成当地相当普遍的洪水事件，因此今天的河流都非常满。 这段录音是我在埃克塞特当地购买的两套竹制风铃，每套只花了几英镑，再加上伍德斯托克的格雷戈里风铃。这两套竹编钟的调音都不准确，但尽管如此，大编钟给出了一些全音阶的感觉（与其他编钟一起使用时，听起来一定很有趣），而小编钟虽然看起来调音更不确定，但在大编钟的范围内加入了三音和其他 "有趣 "的音程。我总是选择将两套竹编钟放在一起使用。这种组合有一种有趣的、"泥土 "般的声音，对我的耳朵来说，听起来不错，但与我的一些金属风铃结合起来，也会产生非常有趣的效果，至少我自己觉得非常漂亮。 格雷戈里风铃是男高音版本，按照格雷戈里圣歌的音阶精确调音，其精致的空灵、"液体 "音色和精确的调音与竹制风铃的干燥、泥土的嘎嘎声和 "咚咚 "声形成鲜明对比。 这是37分钟以上的完整录音中的5分钟节选。 http://www.broadhorizonnature.co.uk/chimesgregorianplutorecordingsharptordrogo500x375.jpg这张照片显示了我2012年11月21日的录音室在Teign Gorge北侧高处的Sharp Tor。可以看到的钟声是Woodstock Gregorian Chimes和Chimes of Pluto. 用索尼PCMM10在Hama迷你三脚架上进行录音，用Rycote迷你Windjammer覆盖内置麦克风。我在WavePad中使用了一个图形均衡器配置文件来补偿Windjammer造成的轻微消音。我提醒大家，当这段录音通过容易产生轰鸣的扬声器/耳机播放时，麦克风中的风噪必然会听起来过于刺耳；要想让这些录音真正听起来，确实需要质量好的高保真扬声器，并具有扩展和平整的低音响应。请注意，这段录音的音量是经过仔细调整的，到目前为止，我所有的录音都是要用一个音量设置来听的，这个音量设置可以为古典音乐（一个大型但不特别的交响乐团）的播放提供一个真实的水平。如果你有正确的音量设置，你应该不需要从我的一个录音中改变这个设置。 请记得给这个录音打分！ http://www.broadhorizonnature.co.uk/meicon_wink.gif

描述：2012年11月14日，用Hama迷你三脚架上的索尼PCMM10，用Rycote Mini Windjammer覆盖的内置麦克风进行录音。我在WavePad中使用了一个图形均衡器，以补偿Windjammer造成的轻微消音现象。我还对低频进行了3dB的减弱，以使麦克风中的风噪不那么 "沉重"

描述：2012年11月21日，我带着一大一小两套廉价的竹制风铃和两套Woodstock（优质金属）风铃出门。我把风铃挂在夏普托的一棵位置特别好的矮树的小树枝上，就在猎人之路旁边，那里可以俯瞰过陡的山谷（俗称提恩峡谷，虽然它实际上不是一个峡谷），非常靠近德罗戈城堡。实际上，这块岩石挡住了谷底提恩河的视线和最直接的声音，在这个地方，我有必要把录音机朝向另一个方向，背对着猎人之路。 这一天，提恩河的背景声音其实比平时要大不少，因为一夜之间下了一场特殊的雨，造成当地相当普遍的洪水事件，因此今天的河流都非常满。 这段录音是我在埃克塞特当地购买的两套竹制风铃，每套只花了几英镑，加上冥王星的伍德斯托克风铃。这两套竹制风铃的调音都很不准确，但尽管如此，大的那套风铃还是给人以全音阶的感觉（与其他风铃一起使用时，听起来一定很有趣），而小的那套风铃，虽然在调音上似乎更不确定，但在大的那套风铃的范围内增加了三音和其他 "有趣 "的音程。我总是选择将两套竹编钟放在一起使用。这种组合有一种有趣的、"泥土 "般的声音，对我的耳朵来说，听起来不错，但与我的一些金属风铃结合起来，也会产生非常有趣的效果，至少我自己觉得非常漂亮。 冥王星风铃被精确地调成了非常明亮甜美的五声音阶，其精致空灵的 "液体 "音色和精确的调音与竹制风铃的干燥、朴实的嘎嘎声和 "咚咚 "声形成了鲜明的对比

描述：2012年11月21日，我带着一大一小两套廉价的竹制风铃和两套Woodstock（优质金属）风铃出门。我把风铃挂在夏普托的一棵位置特别好的矮树的小树枝上，就在猎人之路旁边，那里可以俯瞰过陡的山谷（俗称提恩峡谷，虽然它实际上不是一个峡谷），非常靠近德罗戈城堡。实际上，这块岩石挡住了谷底提恩河的视线和最直接的声音，在这个地方，我有必要把录音机朝向另一个方向，背对着猎人之路。 这一天，提恩河的背景声音其实比平时要大不少，因为一夜之间下了一场特殊的雨，造成当地相当普遍的洪水事件，因此今天的河流都非常满。 这段录音是我在埃克塞特当地购买的两套竹制风铃，每套只花了几英镑，另外还有Woodstock Gregorian Chimes和Chimes of Pluto。这两套竹制编钟的调音都不准确，但尽管如此，大编钟还是给出了一些全音阶的雏形（与其他编钟一起使用时，听起来一定很有趣），而小编钟虽然在调音上看起来更不确定，但在大编钟的范围内加入了三音和其他 "有趣 "的音阶。我总是选择将两套竹编钟放在一起使用。这种组合有一种有趣的、"泥土 "般的声音，对我的耳朵来说，听起来不错，但与我的一些金属风铃结合起来，也会产生非常有趣的效果，至少我自己觉得非常漂亮。 格雷戈里风铃是男高音版本，按照格雷戈里圣歌的音阶精确调音。冥王星风铃较小，因此声音较高，是按照明亮的五声音阶进行调音的。这些金属伍德斯托克风铃精致空灵的 "液体 "音色和精确的调音，与竹制风铃干燥、朴实的嘎嘎声和 "咚咚 "声形成鲜明对比。 这是29分钟完整录音中的5分钟节选。 http://www.broadhorizonnature.co.uk/chimesgregorianplutorecordingsharptordrogo500x375.jpg这张照片显示了我2012年11月21日的录音室在蒂恩峡谷北侧高处的夏普托。可以看到的钟声是Woodstock Gregorian Chimes和Chimes of Pluto. 用索尼PCMM10在Hama迷你三脚架上进行录音，用Rycote迷你Windjammer覆盖内置麦克风。我在WavePad中使用了一个图形均衡器配置文件来补偿Windjammer造成的轻微消音。我提醒大家，当这段录音通过容易产生轰鸣的扬声器/耳机播放时，麦克风中的风噪必然会听起来过于刺耳；要想让这些录音真正听起来，确实需要质量好的高保真扬声器，并具有扩展和平整的低音响应。请注意，这段录音的音量是经过仔细调整的，到目前为止，我所有的录音都是要用一个音量设置来听的，这个音量设置可以为古典音乐（一个大型但不特别的交响乐团）的播放提供一个真实的水平。如果你有正确的音量设置，你应该不需要从我的一个录音中改变这个设置。(后记：这段录音声音比这里好在我的一张商业CD上，可以在我的电子商店。)

描述：2012年11月21日，我带着一大一小两套廉价的竹制风铃和两套Woodstock（优质金属）风铃出门。我把风铃挂在夏普托的一棵位置特别好的矮树的小树枝上，就在猎人之路旁边，那里可以俯瞰过陡的山谷（俗称提恩峡谷，虽然它实际上不是一个峡谷），非常靠近德罗戈城堡。实际上，这块岩石挡住了谷底提恩河的视线和最直接的声音，在这个地方，我有必要把录音机朝向另一个方向，背对着猎人之路。 这一天，提恩河的背景声音其实比平时要大不少，因为一夜之间下了一场特殊的雨，造成当地相当普遍的洪水事件，因此今天的河流都非常满。 这段录音是由伍德斯托克格里高利钟声和冥王星钟声组成。格里高利风铃是男高音版本，按照格里高利圣歌的音阶精确调音。冥王星风铃较小，因此声音较高，是按照明亮的五声音阶进行调音的。这些不同音高和调谐的风铃组合在一起，产生了相当好的音乐效果，远远超过了两者的总和。 这是34分钟以上的完整录音中的5分钟节选。 http://www.broadhorizonnature.co.uk/chimesgregorianplutorecordingsharptordrogo500x375.jpg这张照片显示了我2012年11月21日的录音室在蒂恩峡谷北侧高处的夏普托。可以看到的钟声是Woodstock Gregorian Chimes和Chimes of Pluto. 用索尼PCMM10在Hama迷你三脚架上进行录音，用Rycote迷你Windjammer覆盖内置麦克风。我在WavePad中使用了一个图形均衡器配置文件来补偿Windjammer造成的轻微消音。我提醒大家，当这段录音通过容易产生轰鸣的扬声器/耳机播放时，麦克风中的风噪必然会听起来过于刺耳；要想让这些录音真正听起来，确实需要质量好的高保真扬声器，并具有扩展和平整的低音响应。请注意，这段录音的音量是经过仔细调整的，到目前为止，我所有的录音都是要用一个音量设置来听的，这个音量设置可以为古典音乐（一个大型但不特别的交响乐团）的播放提供一个真实的水平。如果你有正确的音量设置，你应该不需要从我的一个录音中改变这个设置。 请记得给这个录音打分！ http://www.broadhorizonnature.co.uk/meicon_wink.gif

描述：Recording made on 6th November 2012 with a Sony PCMM10 on a Hama minitripod, using the builtin microphones covered with a Rycote Mini Windjammer. I have used a graphic EQ profile in WavePad to compensate for the slight muffling of the sound caused by the Windjammer. My three wind chimes recordings made on this particular day mark the beginning of a new project of mine, which I provisionally call Wind Chimes In the Wild, to produce a collection of truly authentic recordings of a range of quality wind chimes out in Nature, where 'the elements' are an important aspect of each recording. I was moved to point myself towards this project because of the sheer awfulness of all the commercial wind chimes recordings that I'd bought or otherwise heard. The problem was usually not the chimes themselves, but the sheer laziness and contempt for the listener of whoever recorded / produced those recordings, which turned out ALL to be faked in various ways either being just repeating loops of a very short recording, or jiggled mechanically and not by any wind, as shown by regularly repeating patterns in the waveform (and far too consistent a sound level), and any wind or other natural sounds clearly just dubbed on, with no relationship between wind strength variations and the chimes activity. The only decent wind chimes recordings that I'd found were a small number on Freesound, and they include some really beautiful ones. So, I decided to help fill the gap left by the lazy and profiteering commercial producers of wind chimes recordings, and make real 'in the wild' wind chimes recordings, with full authenticity, including even wind noise in the microphones at times. The latter, although for many purposes regarded as undesirable, actually enhances my recordings at least provided it doesn't get really disruptively loud. After all, if you're out in the wind you do get the wind rumbling, booming and drumming in your ears, and really it's a nuisance only when it gets really strong and gets drowning out what you actually mean to be listening to out there. On 6th November 2012 I took out with me three sets of Woodstock wind chimes, with the intent to record some 10 minutes of each solo, and a full halfhour of each of the four possible combinations of these. In the event conditions enabled me to get only three recordings. I hung the chimes on small low branches of stunted trees by the Hunter's Path overlooking the oversteepened valley (popularly known as the Teign Gorge, though it is not actually a gorge) in the vicinity of Sharp Tor, very near Drogo Castle. This recording is of the smallest of the chimes I'd brought the Chimes of Pluto, which are moderately highpitched and are tuned to a very sweet sounding pentatonic scale (actually a bit sweeter than I prefer). I hung them on a stunted tree right beside the track, overlooking the very steep slope to the valley bottom, from where you can hear a distinct continuous background rushing sound of the River Teign. The only workable place where I could put the recorder was actually with the minitripod straddled on a junction of low branches of this tree, and it was distinctly exposed to the wind, which made quite a lot of noise in the microphones, but, at least to me, makes a lot more variety and interest in the recording, though I wouldn't want it any stronger than it gets later in this recording. I chose not to make further recordings at that spot that day and since I uploaded this excerpt I have used a graphic EQ profile on the full recording to slightly 'tame' the heaviness of that noise. Actually, for some people the wind in the microphones would be more or less troublesome anyway, simply because it works well only with listening equipment that has a reasonably flat and well extended bass response. Any tendency to boominess, or indeed a significant deficiency in very low frequency response (as would be the case in virtually all computer speakers) would make that wind noise more problematical. This excerpt from the 12minute full recording is the opening five minutes. For some reason, as with the other two recordings I made on that day, there is a fair bit more 'action' and indeed at times boisterousness after the first five minutes which works out quite satisfyingly when listening to the full recordings. The photo below is of the actual setup for this recording, with the recorder on the minitripod just visible rather awkwardly astride the base of a branch. http://www.broadhorizonnature.co.uk/chimesplutohunterspath299x355.jpg Please note that the volume level of this recording has been carefully adjusted for listening purposes, and ALL my recordings so far are meant to be listened to with a volume setting that would give a realistic level for playback of CLASSICAL music (a large but not exceptional symphony orchestra). If you have the right volume setting, you should not need to change that setting from one recording of mine to another.(Later note: This recording with better sound than here is on one of my commercial CDs, and can be found in my eStore.) Please remember to give this recording a rating http://www.broadhorizonnature.co.uk/meicon_wink.gif

描述：Recording made on 6th November 2012 with a Sony PCMM10 on a Hama minitripod, using the builtin microphones covered with a Rycote Mini Windjammer. I have used a graphic EQ profile in WavePad to compensate for the slight muffling of the sound caused by the Windjammer. My three wind chimes recordings made on this particular day mark the beginning of a new project of mine, which I provisionally call Wind Chimes In the Wild, to produce a collection of truly authentic recordings of a range of quality wind chimes out in Nature, where 'the elements' are an important aspect of each recording. I was moved to point myself towards this project because of the sheer awfulness of all the commercial wind chimes recordings that I'd bought or otherwise heard. The problem was usually not the chimes themselves, but the sheer laziness and contempt for the listener of whoever recorded / produced those recordings, which turned out ALL to be faked in various ways either being just repeating loops of a very short recording, or jiggled mechanically and not by any wind, as shown by regularly repeating patterns in the waveform (and far too consistent a sound level), and any wind or other natural sounds clearly just dubbed on, with no relationship between wind strength variations and the chimes activity. The only decent wind chimes recordings that I'd found were a small number on Freesound, and they include some really beautiful ones. So, I decided to help fill the gap left by the lazy and profiteering commercial producers of wind chimes recordings, and make real 'in the wild' wind chimes recordings, with full authenticity, including even wind noise in the microphones at times. The latter, although for many purposes regarded as undesirable, actually enhances my recordings at least provided it doesn't get really disruptively loud. After all, if you're out in the wind you do get the wind rumbling, booming and drumming in your ears, and really it's a nuisance only when it gets really strong and gets drowning out what you actually mean to be listening to out there. On 6th November 2012 I took out with me three sets of Woodstock wind chimes, with the intent to record some 10 minutes of each solo, and a full halfhour of each of the four possible combinations of these. In the event conditions enabled me to get only three recordings. I hung the chimes on small low branches of stunted trees by the Hunter's Path overlooking the oversteepened valley (popularly known as the Teign Gorge, though it is not actually a gorge) in the vicinity of Sharp Tor, very near Drogo Castle. This recording is of the tenorpitched Gregorian Chimes together with the smaller and thus higherpitched Chimes of Pluto. The Gregorian chimes are tuned to a Gregorian chant scale, while the Pluto chimes are tuned to a very sweet sounding pentatonic scale (actually a bit sweeter than I prefer), and thus there is an intriguing interaction between the two sound worlds, which helps to keep one's attention rather than send one to sleep. I hung them on low branches of a stunted tree very slightly off the track, where a rock crag jutted out over the very steep slope to the valley bottom. However, I could not workably put the chimes actually on top of the crag because of lack of trees just there, so the situation of this recording is a bit odd, for the recorder is actually pointing more or less back towards the track, facing away from the valley slope, and, in this case, placed on the ground, pointing up at about 45 degrees at the chimes, with the crag's hunk of rock behind the recorder and blocking direct sound from the River Teign far below in the bottom of the valley. However, you still hear the sound indirectly, as a distinct continuous rushing, which is neither wind nor traffic. I made this recording with the recorder on the ground rather than the more 'intuitive' position on a prominence on the crag, because I was concerned that the recording I'd just made with the Olympos and Pluto chimes might be spoiled by too much wind noise in the microphones, and I thought there might be less of that with this different placement. In the end it turned out that this recording got very little wind noise at all in the microphones and, ironically, I find that the other recording comes out better because of its wind noise in the microphones, which to me was 'just right'. Actually, for some people wind in the microphones would be more or less troublesome anyway, simply because it works well only with listening equipment that has a reasonably flat and well extended bass response. Any tendency to boominess, or indeed a significant deficiency in very low frequency response (as would be the case in virtually all computer speakers) would make that wind noise more problematical. This excerpt from the 14+ minutes full recording is the opening five minutes. For some reason, as with the other two recordings I made on that day, there is a fair bit more 'action' and indeed at times boisterousness after the first five minutes which works out quite satisfyingly when listening to the full recordings. Please note that the volume level of this recording has been carefully adjusted for listening purposes, and ALL my recordings so far are meant to be listened to with a volume setting that would give a realistic level for playback of CLASSICAL music (a large but not exceptional symphony orchestra). If you have the right volume setting, you should not need to change that setting from one recording of mine to another. Please remember to give this recording a rating http://www.broadhorizonnature.co.uk/meicon_wink.gif

描述：2012年11月21日，我带着一大一小两套廉价的竹制风铃和两套Woodstock（优质金属）风铃出门。我把风铃挂在夏普托的一棵位置特别好的矮树的小树枝上，就在猎人之路旁边，那里可以俯瞰过陡的山谷（俗称提恩峡谷，虽然它实际上不是一个峡谷），非常靠近德罗戈城堡。实际上，这块岩石挡住了谷底提恩河的视线和最直接的声音，在这个地方，我有必要把录音机朝向另一个方向，背对着猎人之路。 这一天，提恩河的背景声音其实比平时要大不少，因为一夜之间下了一场特殊的雨，造成当地相当普遍的洪水事件，因此今天的河流都非常满。 这段录音是伍德斯托克格里高利钟声的。这些是男高音版本，精确地调成了格里高利圣歌的音阶。这段录音经常被我认为一定是石鸡的报警声所打断，它大概对我在那个地方闲逛感到有点不高兴。 这是27分钟以上的完整录音中的5分钟节选。 http://www.broadhorizonnature.co.uk/chimesgregorianplutorecordingsharptordrogo500x375.jpg这张照片显示了我2012年11月21日的录音室在蒂恩峡谷北侧高处的夏普托。可以看到的钟声是Woodstock Gregorian Chimes和Chimes of Pluto. 用索尼PCMM10在Hama迷你三脚架上进行录音，用Rycote迷你Windjammer覆盖内置麦克风。我在WavePad中使用了一个图形均衡器配置文件来补偿Windjammer造成的轻微消音。我提醒大家，当这段录音通过容易产生轰鸣的扬声器/耳机播放时，麦克风中的风噪必然会听起来过于刺耳；要想让这些录音真正听起来，确实需要质量好的高保真扬声器，并具有扩展和平整的低音响应。请注意，这段录音的音量是经过仔细调整的，到目前为止，我所有的录音都是要用一个音量设置来听的，这个音量设置可以为古典音乐（一个大型但不特别的交响乐团）的播放提供一个真实的水平。如果你有正确的音量设置，你应该不需要从我的一个录音中改变这个设置。 请记得给这个录音打分！ http://www.broadhorizonnature.co.uk/meicon_wink.gif

描述：2012年11月21日，我带着一大一小两套廉价的竹制风铃和两套Woodstock（优质金属）风铃出门。我把风铃挂在夏普托的一棵位置特别好的矮树的小树枝上，就在猎人之路旁边，那里可以俯瞰过陡的山谷（俗称提恩峡谷，虽然它实际上不是一个峡谷），非常靠近德罗戈城堡。实际上，这块岩石挡住了谷底提恩河的视线和最直接的声音，在这个地方，我有必要把录音机朝向另一个方向，背对着猎人之路。 这一天，提恩河的背景声音其实比平时要大不少，因为一夜之间下了一场特殊的雨，造成当地相当普遍的洪水事件，因此今天的河流都非常满。 这段录音是我在埃克塞特当地购买的两套竹制风铃，每套只花了几英镑。它们都有相当不精确的调音，但尽管如此，大的一套给人以全音阶的感觉（当与其他风铃一起使用时，听起来一定很有趣），而小的一套，虽然在调音上似乎更不确定，但在大的一套的范围内增加了一个三音和其他 "有趣 "的音程。我总是选择将两套竹编钟放在一起使用。这种组合有一种有趣的、"泥土的 "声音，对我来说，"原样 "听起来很好，但与我的一些金属风铃结合起来，也会产生非常有趣的效果，至少我自己觉得它们非常漂亮。在这段录音中，它们的声音或多或少是安静的，因为风还没有达到最佳水平。 这是13分钟以上的完整录音中的5分钟节选。 http://www.broadhorizonnature.co.uk/chimesgregorianplutorecordingsharptordrogo500x375.jpg这张照片显示了我2012年11月21日的录音室在Teign Gorge北侧高处的Sharp Tor。可以看到的钟声是Woodstock Gregorian Chimes和Chimes of Pluto. 用索尼PCMM10在Hama迷你三脚架上进行录音，用Rycote迷你Windjammer覆盖内置麦克风。我在WavePad中使用了一个图形均衡器配置文件来补偿Windjammer造成的轻微消音。 请注意，这个录音的音量水平已经被仔细调整过了，到目前为止，我所有的录音都是要用一个音量设置来听的，这个音量设置可以为古典音乐（一个大型但不特殊的交响乐团）的播放提供一个真实的水平。如果你有正确的音量设置，你应该不需要从我的一个录音中改变这个设置。(后记：这段录音声音比这里好在我的一张商业CD上，可以在我的电子商店。)

描述：2013年2月6日，我带着一套Woodstock Gregorian Tenor Chimes和两套Music of the Spheres Gypsy wind chimes来到英国德文郡德鲁斯泰格顿的Teign Gorge。我的目标是在芬格桥上面的树林顶上再录制一整天事实上我确实在那里坚持了整整一个上午但后来我不得不收拾东西逃走，因为气温只有4度左右，还有一些风寒因素，我的手和脚因为太过寒冷而给我造成了压力