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：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。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：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：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：On 18th February 2013 I took out with me a large and a small set of cheap bamboo chimes and three sets of quality metal wind chimes, to my regular field recording location for wind chimes the Teign Gorge, Drewsteignton, Devon, UK. This time, however, a brisk and fairly cold southeasterly wind drove me away from spots that would have been suitable on previous occasions, and this time eventually I settled for Hunter's Tor, a southrunning rather rocky crest and spur that bounds the north side of the west end of the Teign Gorge. This was about half the height from the valley bottom as compared with my previous recording spots here, and a result of this was that my recordings here got more bird sound, which was an improvement. However, the spot still turned out not to be ideal, in that, for a start, the recording was picking up some unwanted sounds from the fringing countryside. A distant cockerel belonging to one of the farm cottages down among the woods out to the west (straight ahead in the recording) kept crowing, and there was some power saw activity at times far away to the south. For the most part I removed parts of my recordings here in which the power saw was audible, though I think there is still a trace of it buried in a few of the noisier parts where the chimes were very active. As for the cockerel, although I didn't really want it, I had little option but to accept it as 'part of the scenery'. Also, the wind gusts were sometimes a bit too strong against the recorder, so that, despite its windshield, the microphone wind noise became a bit overpowering albeit quite briefly. This was primarily the case for this particular recording my first one at this spot because I had the recorder in a position that caught the wind just a little more. Well, that was my initial impression, but upon subsequent listening through my hifi system I have considerably uprated my assessment of this recording. Yes, some wind gusts are strong, but definitely within my limits of acceptability, and they simply give a greatly exhilarating effect. The sound of these particular chimes themselves is truly beautiful to my ears, at least in this setting, even though their sound is a dry staccato with no obvious 'sustain'. Indeed, I find the full 26minute recording unsatisfyingly SHORT, and I feel a certain regret at not having continued the recording to about 40 minutes I note the relative lack of interest in my bambooonly chimes recordings by visitors to my Freesound pages, and that is a pity, because they are missing something very beautiful because of the preconceptions they evidently have about bamboo chimes sound. I hung the chimes on small low branches of a particular well situated stunted tree, and had the recorder facing west, so that the fairly distant rushing sound of the River Teign well below was to the left. However, that sound is also combined with a general distant rushing sound of wind in the trees on the valley slopes which is why its volume does vary during the recordings. This recording is of the bamboo Chimes only both large and small sets. It is a 5minute excerpt from the 26 minutes full recording. http://www.broadhorizonnature.co.uk/recordingchimes5setshunterstor1302181.jpgThis photo shows my highlevel recording studio for this particular day on Hunter's Tor. The sets of chimes visible are the bamboo chimes, Chimes of Pluto, and Gypsy Chimes (Soprano and Mezzo). In this recording only the bamboo chimes were used (hanging at the same positions as shown), but the recorder was a bit further from them, on the left hand side of the track that you see in the foreground, and that meant, as already noted, that it was picking up a bit more wind than it was in the photographed position. Recording made with a Sony PCMM10 on a Velbon Mini Tripod, using the builtin microphones covered with a Rode Dead Kitten windshield. I have used a graphic EQ profile in Audacity to compensate for the slight muffling of the sound caused by the windshield. I caution that the wind noise in the microphones is bound to sound too intrusive when this recording is played back through speakers / headphones that are prone to boominess; good quality hifi speakers with extended and flat bass response are really needed for any of these recordings really to sound right. 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：On 28th November 2012 I took out with me a large and a small set of cheap bamboo chimes and two sets of Music of the Spheres Gypsy (quality, metal) wind chimes the Soprano and Mezzo sizes, the sounds of which latter two mesh together beautifully. My intention was to hang the chimes on the same tree that I had used for my recordings a week earlier, at Sharp Tor, by the Hunter's Path, high up on the north side of the oversteepened part of the River Teign valley known as the Teign Gorge, Devon, UK. In the event the wind, being from a northeasterly direction this time, was not sufficiently reaching anywhere along there, and I finally reluctantly went higher up on the slope, almost to the top, where a chilly breeze was coming over and moving the tree branches a bit. I hung the chimes on one tree and made one recording, but after nearly 10 minutes of rather modest activity the wind got up more and then appeared to be too continuously on the strong side, so I then moved to a nearby tree that was not catching the wind so strongly, to make the further recordings, including this one. Being this high up was not ideal, for the sound of the River Teign in the valley bottom, although still audible, is heard only indirectly and faintly, so, when listening to the recording, it is difficult to tell what is the nature of the very faint continuous roar in the background. Also, here I was very close to the grazed pasture that covers the broad top of the hill, and a result of this is that all this day's recordings are punctuated by faint moos from distant cattle that were far away and out of sight. This recording is of the two sets of bamboo chimes, which I had purchased locally in Exeter for just a few pounds each, plus the Music of the Spheres Gypsy Chimes, Soprano size. The refined ethereal, 'liquid' tone and precise tuning of these metal Music of the Spheres chimes contrast beautifully with the dry, earthy rattlings, clatterings and 'donkings' of the bamboo chimes. Indeed, these Gypsy chimes, with their particular timbre and tuning to some sort of Eastern European scale, sound at a distance like some ghostly organ playing. People who passed by while I was making recordings with these chimes tended spontaneously to use the words 'haunting' and 'magical'. This is a 5minute excerpt from the 29+ minutes full recording. http://www.broadhorizonnature.co.uk/chimesbamboogypsymezzorecordingaboveteigngorge450x405.jpgThis photo shows my recording studio for 28th November 2012 almost at the top of the north side of the Teign Gorge, and facing obliquely away from it. The sets of chimes visible are the large and small bamboo, with the Gypsy Mezzo in the middle.Note that actually this was a first time learning experience for me with the Gypsy chimes, and actually for best effects the Gypsy chimes needed to be about twice the distance from the recorder than I actually used on this particular day, on account of their having a stronger and more penetrating tone than my other chimes. Recording made 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.I caution that the wind noise in the microphones is bound to sound too intrusive when this recording is played back through speakers / headphones that are prone to boominess; good quality hifi speakers with extended and flat bass response are really needed for any of these recordings really to sound right. 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. N.B. Initially I gave all this day's recordings a 3dB cut of the lower bass to somewhat lighten the sound of the wind in the microphones, and so all the excerpts here from this day's recording have that bass reduction. However, subsequently, on careful listening, especially through my decent hifi speakers, I came to the conclusion that the wind noise in the microphones did not reach a level at which such processing was really necessary, and so I have subsequently restored those bass frequencies to the full recordings, with a distinct improvement in the sound as heard through my hifi speakers. Please remember to give this recording a rating http://www.broadhorizonnature.co.uk/meicon_wink.gif

描述：2012年11月28日，我带了一大一小两套便宜的竹制风铃和两套Music of the Spheres Gypsy（优质金属）风铃高音和中音尺寸，后两者的声音融合得非常好。我打算把风铃挂在一周前用来录音的那棵树上，地点是在英国德文郡泰恩河谷过陡部分北侧的猎人路边的Sharp Tor，高处。这次的风向是东北方向，没有充分到达沿途的任何地方，我最后很不情愿地走到山坡的高处，几乎到了山顶，那里有一股寒风吹过来，把树枝吹动了一下。我把风铃挂在一棵树上，做了一次录音，但在进行了近10分钟相当温和的活动后，风更大了，然后似乎是持续的强风，所以我又搬到附近一棵没有那么强风的树上，做了进一步的录音，包括这一次。 在这么高的地方并不理想，因为谷底的泰恩河的声音虽然仍然可以听到，但只是间接地、微弱地听到，所以，在听录音时，很难分辨背景中非常微弱的连续吼声是什么性质的。另外，在这里，我非常接近覆盖在山顶宽阔处的放牧草场，这样做的一个结果是，这一天的所有录音中都有远处牛群发出的微弱的呻吟声，而这些牛群离得很远，看不见。 这段录音是球体音乐的吉普赛风铃，有女高音和女中音两种尺寸。这些吉普赛风铃，以其特殊的音色和对某种东欧音阶的调谐，在远处听起来就像一些幽灵般的风琴演奏。当我用这些风铃录音时，路过的人往往会自发地用 "鬼魅 "和 "神奇 "这样的词。 这是30多分钟的完整录音中的5分钟节选。 http://www.broadhorizonnature.co.uk/chimesbamboogypsymezzorecordingaboveteigngorge450x405.jpg这张照片显示了我2012年11月28日的录音室几乎在蒂恩峡谷北侧的顶部，并斜着面向它。注意，这是我第一次学习使用吉普赛风铃，为了达到最佳效果，吉普赛风铃离录音机的距离要比我这一天实际使用的距离大一倍，因为它的音色比我的其他风铃更强，更有穿透力。 用索尼PCMM10在Hama迷你三脚架上进行录音，用Rycote Mini Windjammer覆盖的内置话筒。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。我警告说，当这段录音通过容易产生轰鸣声的扬声器/耳机播放时，麦克风中的风噪必然会听起来太具干扰性；为了使这些录音真正听起来正确，确实需要具有扩展和平坦低音响应的优质高保真扬声器。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。 N.B.最初我给所有这天的录音都削减了3dB的低频，以在一定程度上减轻麦克风中的风声，所以这里所有这天的录音节选都有这个低频削减。 然而，随后，在仔细聆听时，特别是通过我的体面的高保真扬声器，我得出的结论是，麦克风中的风噪并没有达到真正需要这种处理的程度，因此，我随后将这些低音频率恢复到完整的录音中，通过我的高保真扬声器听到的声音明显改善。 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，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，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