描述：录音：一个立体声的现场录音，一阵风吹过竹丛的声音。除了叶子的声音外，竹子的茎也断断续续地相互撞击。Zoom H2后置机载话筒与Dead Kitten.

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：录音：一个立体声的现场录音，一阵风吹过竹丛的声音。除了叶子的声音外，竹子的茎也断断续续地相互撞击。 索尼ECMMS907 Deadcat >FEL电池前置放大器 >Zoom H2 line in.

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

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 this 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 a repeat of this recordings' combination of chimes. 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 and Mezzo sizes. 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 25+ minutes full recording. In the latter, up to nearly 10 minutes in, the activity is very gentle and slow, giving a haunting and quite eerie prelude to the considerable activity that follows on once the wind gets up. This excerpt covers the final bit of that quiet 'prelude', then leading on into a short portion of the 'action'. 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：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 this and the further recordings this recording being a repeat of the previous recording's combination of chimes. 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 and Mezzo sizes. 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 26+ 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.(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：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, Mezzo size. The refined ethereal, 'liquid' tone and precise tuning of these metal Music of the Spheres chimes, together with the rather ponderous sounding of this size of chime, contrast beautifully with the often frenetic 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 27+ minutes full recording. It includes a moment of some sort of nature drama. During a period of little wind and therefore quiet and hesitant mysterious soundings from the chimes, there is a sudden 'startle' call from a blackbird, followed by some sort of scuffle among the dead leaves close by and then suddenly the scuffle erupts and up fly two male blackbirds, with another 'startle' call. One perches in the tree, very close, while the other perches a little way away, and then for about a minute they are both giving their sharp staccato "Take Take Take..." warning calls, until the next main gust of wind comes along and shifts the focus to the chimes again. I make a speculative guess that the two blackbirds may have been 'mobbing' a predator that had caught a bird I have seen such behaviour on the green outside my flat in Exeter. On the other hand it may have been just a territorial dispute (i.e. brawl) between two competing males. 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.(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：风在竹林里

描述：这是我在这个地方连续录制两个 "主要 "风铃时，用第二个录音机录制的第二张，也是较短的一张。 2013年3月5日，我带着一大一小两套廉价的竹制风铃和三套优质的金属风铃，来到我经常实地录制风铃的地点英国德文郡德鲁斯泰因顿的泰恩峡谷。这一次，在我从德鲁斯泰格顿走过来的第一个小时里，迎接我的是意想不到的完全没有风。对于记录鸟类来说，这很好，但对于风铃来说就不一样了。然后，我宁愿自己只记录鸟类，而我的风铃只是一个令人厌烦的死物，在猎人之路漫长的大部分开放和相对平坦的路段上，在陡峭的山谷北侧的高处，我注意到一棵特殊的位置很好的矮橡树，似乎在向我招手，向我指出它有一个很好的合适的树枝排列，这将使我在不同组的风铃之间获得适当的平衡。所有这些都很好，但当然只是为了记下下次使用，因为现在我想在没有风的情况下录制风铃，看起来很傻！我想这是一个很好的机会。 好吧，除了那一刻开始有了风的气息，刚好足以让树枝动起来。就这样，我在这里布置了一下，风逐渐大了起来，毕竟风铃给我带来了可爱的表演。 正如已经指出的，这是第二次，也是这次特别录音中两次 "远距离 "录音中较短的一次，为此，我再次使用Joby GorillaPod将录音机放置在猎人小道上与风铃相同（下坡）的树枝上，距离稍远，所以可能离 "主要 "风铃录音机位置约50米。我搬到这个位置，特别是因为在靠近风铃的地方，鸟儿的声音似乎已经不大，但在这里还是比较有声有色，这里几乎有一片树丛。然而，令我失望的是，当我把这段录音录好后，风来了不少，但鸟声却很少。然而，这并不是故事的全部。这个地方的特殊树木，包括好心接待录音师的那棵树，仍然带着相当多的老枯叶，当阵风吹过时，它们沙沙作响，剧烈地响着。当时我想这可能是一个相当浪费的记录。 在这种情况下，从我后来回到家里的角度来看，这至少是我在那天获得的最美好的录音之一。枯叶的声音给人一种真正美丽的风的印象，可以隐约听到吉普赛风铃的声音，在焦距内出现和消失，这就是我一段时间以来一直想从那些吉普赛风铃中捕捉的神秘的、强烈的忧郁的、甚至是 "幽灵般的 "声音。我现在唯一的遗憾是，我没有让这个录音至少运行整整半个小时。 录音中使用的风铃是竹制风铃，有大有小（不精确地调成全音阶的样子），还有Music of the Spheres吉普赛风铃，有中音和高音两种尺寸（调成听起来很麻烦、很忧郁的东欧吉普赛风铃）。然而，实际上只有吉普赛风铃能在这么远的地方听到，至少在任何重要的程度上。 这是10多分钟录音中的5分钟节选。 (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。) http://www。broadhorizonnature.co.uk/recordingchimesbymidhunterspath.jpg">http://www.broadhorizonnature.co.uk/recordingchimesbymidhunterspath.jpg这张照片显示了正在进行的 "主要 "录音中的第二次。请注意吉普赛风铃的位置明显比竹制风铃更靠后，而为了获得良好的平衡，录音机也离它们相当远。这批乐器实际上被隐藏在这里描述的远处录音的位置上。 用索尼PCMM10在Joby GorillaPod上进行的录音，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，以纠正挡风玻璃造成的高频消音，同时也纠正了低频中可听到的 "驼峰"，这是我在处理所有录音前得到的。 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 did become a bit more intrusive than I would have chosen albeit quite briefly and still just about within my own 'acceptable' range. 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 ALL the chimes I brought out, so this is quite a 'symphony' I set up both large and small sets of bamboo chimes to be closest to the recorder, with the Woodstock Chimes of Pluto (tuned to a bright and 'happy' pentatonic scale) a little behind and to their right, and the Music of the Spheres Gypsy Soprano and Mezzo chimes (tuned to an Eastern European Gypsy scale) placed rather further back on account of their more forceful and penetrating tone. The interaction of the two scales produces an intriguing effect, which seems to radically change the nature of both scales and produce a sound different from either. This is a 5minute excerpt from the 76 minutes full recording. Although this recording, played back on my hifi system does sound to me extremely beautiful and engaging, with very detailed and often very delicate sound, the balance between the metal and bamboo chimes is not quite as I originally intended. That is because, for logistical reasons, I had to accept the bamboo chimes being just a bit more 'forward' in the sound stage than I had intended, so they come out at times a bit more aggressively in the recording than I originally intended. If I had moved the recorder further back in order to improve the balance, it would have had to be placed on the other side of the track (see photo below), and I was already aware that my first recording of this session, with the recorder in exactly that position, must have suffered because of the recorder's greater wind exposure there. I couldn't change the positions of the chimes in order to adjust the balance, because I was already using the five really workable hanging points (i.e. that were in reach for me), and those, being on tree branches, were naturally nonadjustable. However, having said that, on further listenings to this recording on my hifi system I am impressed by an exquisite beauty about this whole 'symphonic' show, and regard it as a wonderful partial serendipity such as authentic field recordings are inclined to bring. I had succeeded nicely in my intent to have a slightly more distant perspective on the Gypsy chimes, and I have succeeded in getting the Pluto chimes well balanced with them. The forwardness of the bamboo chimes actually works out very nicely, emphasizing a certain distance from and remoteness of the metal chimes. I find myself focusing sometimes on the bamboo sound, full of wholetone scale and tritone colour, and sometimes on the metal, so gaining more variety of experience from the nearly 76minute full recording. Also, that confounded cockerel, which got my goat so much while I was making the recording, is only just audible and thus not at all the problem that I thought it would be. And additionally, my relistening leaves me wondering where the supposedly overstrong wind gusts were, for actually, in my books, I could hardly have got a better and more satisfying range of wind and chimes sound at this particular spot http://www.broadhorizonnature.co.uk/meicon_wink.gif As to why the full recording is so long that was not intended, and was a result of a most silly and frustrating little confusion. It is actually two consecutive recordings there, joined together. I had recorded about 45 minutes of all the chimes, and my intention was then to record the same minus the Chimes of Pluto which combination would have sounded very different. However, after I'd pressed the recorder's Stop button, I was dismayed to see that the last recording was file number 1 because I had started off with a recording of the bamboo chimes only, prior to that one, and so the apparent implication was that the supposedly just completed recording had actually never happened. I therefore assumed that when I thought I was starting the recording of all the chimes, I must have done something silly like pressing Stop instead of Pause. And so, mentally effing and blinding and gnashing and wailing, I set to, repeating the recording, because a reasonably long recording of the whole ensemble was the top priority. But then, as that recording neared completion I remembered a pertinent little point I'd clean forgotten about in the heat of my surprise at seeing file number 1 as being the last recording. I'd actually come out with two of the recorders, and I'd made the first recording on No. 1, after which that recorder's battery level indicator started flashing, and as my fingers were painfully cold I chose to change over to No. 2 recorder, just to avoid messing around changing batteries. So, of course my second recording was indeed file number 1 on recorder No. 2 So, what I lost was not the original full ensemble one but the opportunity for recording the whole lot minus the Pluto chimes (I had to move on then as I was getting too cold). http://www.broadhorizonnature.co.uk/recordingchimes5setshunterstor1302181.jpgThis photo shows my highlevel recording studio for this particular day on Hunter's Tor, while this recording was taking place. The sets of chimes visible are the bamboo chimes, Chimes of Pluto (right, silvery), and Gypsy Chimes (Soprano, left, and Mezzo) beyond (with the black tubes). 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：2013年3月5日，我带着一大一小两套廉价的竹风铃和三套优质的金属风铃，来到我经常实地记录风铃的地点英国德文郡德鲁斯泰因顿的泰恩峡谷。这一次，在我从德鲁斯泰格顿走过来的第一个小时里，迎接我的是意想不到的完全没有风。对于记录鸟类来说，这很好，但对于风铃来说就不一样了。然后，我宁愿自己只记录鸟类，而我的风铃只是一个令人厌烦的死物，在猎人之路漫长的大部分开放和相对平坦的路段上，在陡峭的山谷北侧的高处，我注意到一棵特殊的位置很好的矮橡树，似乎在向我招手，向我指出，它有一个很好的合适的分支安排，这将使我在不同组的风铃之间获得适当的平衡。当然，这一切都很好，而且是为了下次使用，但是，当然，没有风！"。 好吧，除了那一刻开始有了风，足以让树枝动起来。就这样，我在这里布置了一下，风渐渐大了起来，毕竟风铃给我带来了精美的、特别漂亮的表演。 然而，在这一过程中，不止有一只苍蝇，因为一连串的高空飞机飞过，所以我不得不在这段录音中剪掉不少片段，在编辑后的录音中仍有一些短暂的、非常遥远的飞机声而且，在这一侧山顶的田地里一定有一台拖拉机在工作，因为我可以听到一种安静的、唠唠叨叨的非常低频率的马达声。这主要影响了之前的录音，但也出现在这段录音中，主要是在开头的几分钟。一旦我把受影响最严重的部分剪掉，我就选择画一条线，只接受所有仍然 "在 "的声音，作为特定的乡间声景的一部分。 使用的风铃是竹制风铃，有大有小（不精确地调到全音阶的样子）和Music of the Spheres Gypsy Chimes，有中音和高音两种尺寸（调到听起来很麻烦、很忧郁的东欧吉普赛音阶）。 至于这段录音中的鸟儿，我无法说出它们的名字（至今），而且无论如何，在我在这个位置的录音过程中，它们唱得越来越少，所以我很高兴目前转移到更低的位置进行录音，在那里仍有相当数量的鸟儿在唱歌。 这是29分钟以上的录音中的5分钟节选。 (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找到。)http://www.broadhorizonnature.co.uk/recordingchimesbymidhunterspath.jpg这张照片显示了这个录音的发生。注意吉普赛风铃的位置明显比竹制风铃更靠后，而为了获得良好的平衡，录音机也相当靠后。 用索尼PCMM10在Velbon迷你三脚架上进行录音，用Rode Dead Kitten防风罩覆盖内置麦克风。我使用Audacity应用了一个自定义的EQ配置文件，以纠正挡风玻璃造成的高频消音，同时也纠正了低频中可听到的 "驼峰"，这是我在处理所有录音前得到的。 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