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一整天事实上我确实在那里坚持了一上午但后来我不得不收拾东西逃走了，因为空气温度只有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

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来到了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

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

描述：2013年2月6日，我带着一套Woodstock Gregorian Tenor风铃和两套Music of the Spheres Gypsy风铃Soprano和Mezzo尺寸的风铃来到英国德文郡的Teign Gorge，后两者的声音完美地融为一体。实际上，我期待着大风的到来，就像我一周前的录音一样，尤其是一夜之间的大风，但事实上，风势已经缓和下来，只有 "强"（蒲福尔等级的6级），但比上次更冷，所以这对我来说必然是更大的挑战（我有雷诺氏病，四肢寒冷的问题）。由于我预计会有大风，所以我选择了与上周相同的地点在穿过山谷边的树林上升到猎人路的顶部附近，因为猎人路正好从顶部的树林中走出来。事实证明，这里仍然可以获得非常有用的风力变化，可以让风铃工作，当阵风穿过树林时也有非常好的声音但一般来说，没有像上周那样壮观的戏剧性。 我确实尝试过将格里高利钟声和吉普赛钟声结合在一起但这两种钟声不兼容，一起产生了混乱的不和谐的胡言乱语，我删除了用这种组合做的两段录音但幸运的是，我又继续将我今天拿出来的东西做得最好，结果录音的效果相当好，有来自远处泰恩河的漂亮背景音，而定期穿过树林的较大阵风的声音细节也很可爱，有助于赋予声音景观特别立体的质量。 这段录音是伍德斯托克格里高利次中音风铃，按照格里高利圣歌的音阶调音，使其发出明亮而 "宏大 "的声音http://www.broadhorizonnature.co.uk/trackhighabovefinglebridge.jpg从Fingle Bridge上升的轨道顶部附近向另一边看去，后者隐藏在下面。录音机在我身后约15米处，就在这条轨道的斜坡上。 用索尼PCMM10在Velbon迷你三脚架上进行录音，使用内置的麦克风，用Rode Dead Kitten防风罩覆盖。我使用Audacity应用了一个自定义的EQ配置文件来纠正挡风玻璃造成的高频消音。 请注意，只有非常好的扬声器/耳机具有非常宽广和平坦的频率响应，才能使这段录音真正公正。 还请注意，这段录音的音量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 。) 请记得给这个录音评分！ http://www.broadhorizonnature.co.uk/meicon_wink.gif

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来到了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一整天事实上我确实在那里坚持了一上午但后来我不得不收拾东西逃走了，因为空气温度只有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

描述：2013年2月18日，过了中午，我不得不从英国德文郡德鲁斯泰恩峡谷西端的亨特托（Hunter's Tor）的录音中撤退，因为在急促的东南风中我太冷了。于是我来到谷底，在渔夫之路旁边的提恩河边寻找一个合适的地方悬挂风铃。结果那里的风太小了只有零星的可用的阵风作为最后的手段，我逆流而上，来到提恩河峡谷的树林外，进入通往多格玛什桥的公路的开阔地的起点。起初，风在这里很好地吹动了树枝，但我认为 "索德法则 "在起作用，因为当我开始第一次录音时，风就减弱了，然后它一般只在零星的温和呼吸中出现，只有罕见的真正有用的阵风，而那些阵风在我在这里进行的三次录音中的第二次确实完全消失了。 然而，一切都没有失去，因为这是一个很好的偶然事件。我想要一件东西，但却得到了另一件。从逻辑上讲，我不可能把录音机和风铃放在正确的相对位置，以达到我想要的录音效果，所以水声比我真正想要的要大，淹没了风铃的安静音调，也淹没了除了最近的鸟声之外的所有声音。这是这里的三张录音系列中的第一张，它的风铃声最多，但几乎没有明显的鸟声。然而，所有这三张录音都是一套非常好的轻轻的湍流的河水声，还有一点钟声和鸟声（后者在其他两张录音中）。我猜想，那些正在寻找可以入睡的声音的人，会非常喜欢这三张录音，而且比我实际要制作的'更激烈'类型的风铃录音更喜欢它们.

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：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：On 30th January 2013 I took out with me a set of Woodstock Chimes of Pluto and two sets of Music of the Spheres Gypsy wind chimes the Soprano and Mezzo sizes, the sounds of which latter two mesh together beautifully. I was aiming for the same recording location as I used for my previous wind chimes recordings in November 2012 but this time a very strong wind was blowing over the more exposed parts, and, on the Hunters' Path from Drewsteignton (Devon, UK), high up on the side of the socalled Teign Gorge above Fingle Bridge, as I was coming out of the woods that clothe the steep valley slopes I was suddenly blasted by a wind of about gale force (force 8 on the Beaufort scale), and realized that my previous recording locations here would most likely be too windy this time. So, I withdrew very slightly back into the top of the woods, descending slightly to just below the top part of the narrow track that ascends steeply from Fingle Bridge to join the Hunters' Path, and found a suitable group of low tree branches that were sufficiently sheltered to be getting a very nice range of wind strength, from very little indeed up to 'fresh' (force 5 on the Beaufort scale). Thus today was an opportunity to record a gale in the woods, with wind chimes intermingled in the wind sound and indeed quite often buried in it as the most powerful gusts came. The results turned out to be interesting and very much in accordance with what I had been hankering after for as long as I'd been thinking of recording wind chimes. It is important, therefore, to enable yourself to perceive this particular day's recordings NOT as 'failed' or otherwise bad chimes recordings, but as extremely successful galeinthewoods recordings complete with wind chimes. As well as the wind commotion, actually the River Teign far below was making its own quieter commotion, for it was particularly full after a lot of heavy rain, but during my whole 5+ hours' recording session I could never quite differentiate between the rushing sound of the Teign and the wind. One thing you are bound to notice is that the degree of activity of the chimes does not tally all that much with the degree of roaring of the wind in the trees. This is because of my relatively sheltered position, so the big and powerful eddies in the flow of the air as it comes over the hill into the valley go careering through the tree branches above and around me, but the gusts that come to me and the recorder and chimes are almost all NOT those directly but smaller subsidiary eddies that come spinning off the big ones. It is inevitable that the wind commotion will make particularly fatiguing listening, especially to the fulllength recordings, when played through anything other than really good speakers / headphones. Please note that in the fulllength recordings made on this day, ALL of them have some awesomely powerful and loud wind gusts that at times virtually drown out the chimes, so any of the excerpts here seeming louder or quieter than others is in fact misleading, as all the full length recordings have very loud and also almost quiet (albeit far from silent) moments. Please note also, that if you watch the waveform image here on Freesound while playing the excerpts you will NOT get the proper effect. The big wind gusts sound immensely more powerful and even frightening when you are NOT watching that, so you never know how much more the sound is going to increase, maybe to blow you and indeed the whole of Existence away :) Another listening tip if you have really good and wide stereo separation you will find that the wind sound is not simply a fluctuating roar (really rather boring), but a wonderful drama of ogreish 'wind monsters' chasing around here, there, and who knows where The threedimensional movement really makes an exciting drama of it all. This recording is of the Woodstock Chimes of Pluto. Without being combined with chimes tuned to other scales, the radiant, 'happy' quality of the Pluto chimes shines through. This is a 5minute excerpt from the 34 minutes full recording. http://www.broadhorizonnature.co.uk/recordingnrtopofwoodsabovefinglebridge.jpgThis photo shows my recording studio for 30th January 2013 almost at the top of the north side of the Teign Gorge, and facing obliquely over the valley, so that the great gusts of wind come roaring from the right and then go careering round over and down into the valley. The sets of chimes visible are the Gypsy Mezzo (left, and further away) and the Pluto (right).Note that the former being further away is not a bit of carelessness of mine, but a quite deliberate placement. I learnt from my first Gypsy Chimes recordings (back in November) that for best results those particular chimes need to be placed further from the microphones than the Woodstock or bamboo chimes (at least, those that I have), on account of their more penetrating and potentially overpowering tone.http://www.broadhorizonnature.co.uk/trackhighabovefinglebridge.jpgLooking the other way from near the top of the track ascending from Fingle Bridge, which latter is hidden way down below. The recorder is about 25 metres behind me, just a little down the slope from this track. Recording made with a Sony PCMM10 on a Velbon minitripod, using the builtin microphones covered with a Rode Dead Kitten. http://www.broadhorizonnature.co.uk/arrowlongright.gif Please note that all recordings from 5th January to 2nd Feb 2013, inclusive (i.e. including this one) did not receive any correction for highfrequency attenuation caused by the new Rode Dead Kitten windshield. Subsequently I was able to work out a graphic EQ profile to apply to all recordings that used that windshield, and have applied it retrospectively but I have no plans to go through the hassle of reuploading here the recordings that originally missed out on that correction. Therefore, copies of recordings made in that period, including this one, which I supply on CDs or as licensed copies for commercial use, will have better sound quality and will sound clearer, more 'present', and with more precision of detail than what you hear from here. Please note that only very good speakers / headphones with a very extended and flat frequency response will do this recording real justice, and, as already noted, lesser speakers / headphones would make this sound quite fatiguing to listen to. Please also 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 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"