quarta-feira, novembro 24, 2004

DG1: TRAKTION FREE/ Mais coisas boas de graça

Mackie Traktion 1 Audio/MIDI App Now Free (Win, Mac)

Written by Peter Kirn, In Tracktion  

Forget limited-feature bundled apps or the now-defunct Pro Tools Free; Mackie's got your free general-purpose audio tool right here. Traktion is available free for a limited time, and rivals the flagship audio/MIDI workstations for functionality, with audio and MIDI recording and editing, VST plugin and instrument hosting and ReWire support, a built-in sampler and filters, and pro-level mastering tools, collaboration, and project management. Best of all, it does all this in a single-window interface vaguely reminiscent of Ableton Live, so it's a lot easier to approach than apps like Apple Logic.

Give it a try via the free promotion page (registration is all you need).

terça-feira, novembro 16, 2004

DG1: refs/ SOUNDSCAPE

Aqui vão algumas referências a conceitos que vos serão úteis para a preparação da componente escrita do projecto 1.3, nomeadamente: a ideia de paisagem sonora desenvolvida por R. Murray Schafer e Barry Truax e ainda uma lista geral de conceitos patente no livro Handbook for Acoustic Ecology, editado por Truax.

Soundscape

Since a soundscape is shaped by both the conscious and subliminal perceptions of the listener, soundscape analysis is based on perceptual and cognitive attributes such as foreground, background, contour, rhythm, silence, density, space and volume, from which are derived such analytical concepts as KEYNOTE, SOUND EVENT, SOUNDMARK, SOUND OBJECT, SOUND SIGNAL.




sexta-feira, novembro 12, 2004

DG1: .edu/ .edu

De .edu para .edu aqui estão eles…

http://besser.tsoa.nyu.edu/impact/f01/Focus/Media-arts/glitch/index.htm

terça-feira, novembro 09, 2004

DG1: Ainda Fluxus

A Child's History of Fluxus

Long long ago, back when the world was young - that is, sometime around the year 1958 - a lot of artists and composers and other people who wanted to do beautiful things began to look at the world around them in a new way (for them)…

Dick Higgins

http://www.artnotart.com/fluxus/dhiggins-childshistory.html

sábado, novembro 06, 2004

DG1: Audio 2

PEAKS GLOSSARY

AIFF
Apple's Audio Interchange File Format used for recording and storing digital audio.It is also Peak 's default file format and is supported by many Macintosh software applications.
AUDIO CARD (third-party audio card, audio expansion card; audio recording/playback card)
A third-party expansion card that plus into a NuBus or PCI or PCMCIA slot in your Macintosh. These cards enhance a computer's audio recording and playback capabilities.
BIT RESOLUTION (BIT RATE)
Describes how many bits -as in "0s " and "1s "-are available to describe a digital recording.In practice, the bit resolution defines the dynamic range of a sound, whereas the sample rate defines the frequency range. 16-bit audio is the professional Compact Disc standard; 8-bit audio is suitable for less demanding applications, such as multimedia presentations. More bits result in better quality, but also require more hard drive storage space. Also refer to dynamic range, frequency,and sample rate.
CLIPPING
A type of audio distortion that occurs when a source signal (such as >from an audio CD player) is recorded at such a high level that the recording device (such as a Macintosh running Peak) runs out of "headroom." It can also occur when a signal is played back from a audio source into an audio destination at an excessive level, such as when a mixing console feeds a signal to a power amplifier at an extremely high level. In either case, clipping represents a mismatch in level between an audio source and an audio destination. When digital clipping occurs, such as during digital recording, the results can be a harsh "crackling" or "raspy" sound.
dB (decibel)
This is the most common unit used for measuring the level of audio. The greater the number of decibels, the higher the audio signal. Within Peak, the record and playback meters show a signal's relative level in terms of dB. There are many different kinds of decibel scales, but for the purposes of using Peak,"dB" can be used to describe the relative gain of different passages of audio, or to describe the available headroom during recording. Also refer to gain and headroom.
DSP
DSP stands for digital signal processing. In the world of audio, DSP refers to manipulating a digital audio signal by processes such as level changes, reverberation, delay,  or other such effects. Peak uses DSP to perform many of its audio processing tasks -including those found in the DSP menu or Toolbar.
DYNAMIC RANGE
In audio recording terminology, dynamic range refers to the range in level between the quietest and loudest passages of a selection of audio. It is usually expressed in decibels. Bit resolution determines a recording 's dynamic range. An 8-bit recording has 256 available levels, which translates into a dynamic range of 48dB. This may be suitable for some applications, but it may also sound noisy, since the difference in gain between the loudest passages and the quietest passages (which may contain hiss and other potential noise) is not that great. A 16-bit recording has 65,536 available levels, which translates into a high-quality dynamic range of 96dB. As a rule of thumb, you can calculate dynamic range in decibels by multiplying the bit rate by "6." Also refer to bit resolution, decibel, and gain.
FADE-IN/FADE-OUT
A fade-in is a process where the gain of an audio signal is increased from zero (silence) to its full volume. A fade-out is a process where the gain of an audio signal is decreased from its full volume to zero (silence).
FREQUENCY
Sound consists of waves, which occur in cycles. Frequency refers to how frequently these wave cycles occur in a given period of time (generally, one second). The higher the frequency of a sound, the higher its "pitch" as perceived by human ears. Frequency is measured in Hertz (Hz), or cycles per second. Roughly speaking, humans are able to hear sounds in the frequency range between 20Hz and 20,000Hz (20kHz).
GAIN
1) The process of amplifying a signal.
2) A way to express relative signal levels for audio. For instance, by adding 6 decibels of level to a signal, we double the perceived loudness of the signal. Also refer to decibel and headroom.
HEADROOM
Describes how much gain is left before a signal induces clipping or distortion. When recording with Peak, the record meters indicate how much headroom is left before clipping. When playing back audio in Peak, the meter strip at the bottom of the screen will indicate this as well. Most professional audio engineers leave between 3dB and 12dB of headroom while recording, to minimize the possibility of clipping. If you leave too much headroom, however, your signal may be recorded at too low a level, and you may end up with excessive noise or hiss. Also refer to clipping, decibel,and gain.
HZ (HERTZ)
This is the unit of measurement for frequency, and refers to the number how many "cycles per second" a sound wave generates. In the world of sound, the higher the number of Hertz, the higher the frequencyof a sound and hence the higher its "pitch" as perceived by human ears. A thousand Hertz can be expressed as 1kHz (one kilohertz), so that 20,000 Hertz may also be referred to as 20kHz.
LOOP
Loops are used to sustain or repeat a section of audio. They can be used for material that you intend to transfer to a sampler, or simply for playback within Peak itself.
PLUG-INS
Plug-Ins are optional software enhancements for Peak that are available from BIAS and other developers that support either the Adobe Premiere Audio Plug-In Standard, the Digidesign AudioSuite and TDM standards, and the Steinberg VST standard. By installing plug-ins in Peak's Plug-Ins folder, you can enhance Peak's audio editing and processing capabilities with tools such as filtering, reverberation, chorusing and flanging, noise reduction, spatialization, and more.
QUICKTIME
This is an audio format developed by Apple Computer for QuickTime-based multimedia. It is supported by all Macintosh software applications that support QuickTime. The QuickTime format is best if you plan to use an audio document in multimedia applications that support QuickTime, such as Adobe Premiere or Macromedia Director.
SAMPLE
(verb) Sampling refers to the act of recording audio material digitally by a sampling instrument or other digital recording device. See sampler and sample rate.
SAMPLE
(noun) A sample refers to audio material which has recorded digitally or "sampled" by a sampling instrument or other digital recording device. Sample also refers to a single wave-cycle" snapshot" of sound. See also sampler and sample rate.
SAMPLER
A sampler is an electronic instrument capable of digitally recording or "sampling" a sound and playing it back from a keyboard or other controller. Samplers are used extensively in all areas of audio production, ranging from recording and performance, to film production and sound design. See sample rate.
SAMPLE RATE
Sample rate describes how frequently an analog audio signal is been "sampled" or analyzed as it is recorded and converted to a digital medium. Sample rate directly affects audio fidelity in terms of upper frequency response: the higher the sample rate, the higher the available frequency response. A fundamental principle of sampling states that to accurately capture a sound, the sample rate must be at least twice the highest frequency in the sound. The standard sample rate for Compact Discs is 44.1 kHz. The following are common sample rates which are supported by many Macintosh computers and Peak software.
96.000KHz
This is the standard sample rate for Digital Video Disc (DVD) audio, and is often used by sound editors working in audio post-production for DVD. This rate results in an upper frequency response of 48kHz - well above the range of human hearing.
48.000KHz
This is one of two standard sample rates for digital audio tape (DAT) recorders, and is often used by sound editors working in audio post-production for video or film. This rate results in an upper frequency response of 24kHz- well above the range of human hearing.
44.100kHz
This is the standard sample rate for Compact Discs, digital audio tape (DAT) recorders, and high-fidelity audio applications on Macintosh and PC-compatible computers with 16-bit playback capability. It is colloquially called "forty-four one" (as in 44.1kHz). Most sound engineers working in music production - or anything that may be distributed on a CD - work at this rate. This rate results in an upper frequency response of 22,050Hz - above most people 's hearing range.
22.050kHz & 11.025kHz
These sample rates are sometimes used for lower-fidelity audio playback on Macintosh and PC-compatible computers. Many games, web-sites and other multimedia productions utilize 22.050kHz (or lower)8-bit audio, since it uses half the disc space of CD-quality audio. The 22.050kHz sample rate results in an upper frequency response of 12.025kHz; this may sound "muffled," since most people can hear considerably higher frequencies than 12.025kHz. Also refer to bit resolution, frequency, and Hertz.


FORMATOS

AIFF
 This is Apple 's Audio Interchange File Format.It is also Peak 's default file format and is supported by many Macintosh software applications.
Sound Designer II
 This is Digidesign 's audio file format for its digital audio products. Use this format if you wish to use an audio document in a Digidesign audio application.
.au
 This file format is commonly used on the World Wide Web and in Java audio applets. It is supported by many platforms and programs.
WAVE
 This is Microsoft 's Windows Audio File Format.It is supported by many Window 's software applications and some Macintosh applications. The WAVE format is best if you plan to use an audio document in an application that supports or requires WAVE format files.
QuickTime
This is Apple 's audio file format fo QuickTime-based multimedia. It is supported by all Macintosh software applications that support QuickTime.The QuickTime format is best if you plan to use an audio document in multimedia applications that support QuickTime, such as Adobe Premiere or Macromedia Director ™.
Raw
This is the header-less raw file format that may be useful for some game platforms.
RealAudio
 This is the file format for RealNet-works ™ RealAudio 5.0, 3.0 and 2.5 Encoders, used for preparing audio for streaming over the internet.
System 7 Sounds
 This the Apple audio file format used for Macintosh Operating System Sounds.
JAM image files
 This is the JAM audio image file format. JAM audio image files may be created in Peak and used in Adaptec JAM for burning audio CDs.
Sonic AIFF
 The file format used by Sonic Solutions audio workstations.
.paf
 This is the file format used by Ensoniq's Paris audio system. Note this file format favors mono and dual mono files.
Shockwave
 This is the file format used for Macromedia's Shockwave, for preparing audio for streaming over the internet.
MPEG-3 (MP3)
 This saves your document in MPEG-3 format.
MP4, etc.


HD STORAGE/ ARMAZENAMENTO

[O tamanho do ficheiro sonoro é directamente afectado pela 'sample rate' e pela 'bit resolution' da gravação digital: maior fidelidade/maior ficheiro.]

16-bit/44.1Khz/mono=5MB/min, stereo=10MB/min. 24-bit/44.1Hz/st=15MB.min.

DG1: Audio 1

AUDIO BASICS

The characteristics of any wave, and therefore any sound, can be roughly described by using two simple variables, frequency and amplitude.

Frequency
It is a measure of how frequently a wave cycle repeats, which is calculated in cycles-per-second, or Hertz (Hz) for short. Frequency is related to pitch, our perception of whether a sound is a low rumble or a high squeal. The frequency range of human hearing is theoretically from 20 Hz at the lowest end to 20,000 Hz at the high end (your actual mileage may vary). You'll often see high-frequency numbers written as kiloHertz (kHz), which is metric-speak for ‘thousand Hertz’.

Amplitude
The second variable that describes a wave is amplitude, which is a measure of the wave's energy level. Amplitude relates to our perception of volume or loudness. Big waves with lots of energy are high-amplitude, and sound loud. Small waves with little energy are low-amplitude, and sound soft or quiet. Amplitude is measured in decibels (dB). Decibels are talked about in a couple of different ways. When measuring sound pressure levels, zero dB is defined as the effective bottom limit of human hearing, the point of silence. 120 dB is the effective top limit or human hearing, the veritable threshold of pain, exemplified by the sound of a jet aircraft (or a Who concert). Another common use of decibels is the full scale measurement. For example, the dynamic range of a compact disc is 96 dB, with 0 dB representing maximum loudness and -96 dB representing silence. We'll dispense with the dBSPL measurement; assume that we're talking about dBFS (Full Scale).

Pitch
As we have seen before, pitch is the term for how high or low sound is perceived by the human ear. It is determined by a sound’s frequency. Middle C on the piano, for example, vibrates at 261 cycles per second and its frequency is measured in Hertz (Hz). The higher the frequency, the higher the pitch. But most sounds are a mixture of waves at various frequencies, and musical tones always contain many pitches, known as harmonics.

Here is a harmonics series (N, 2N, 3N, 4N according to Fourrier’s Theorem):
· 200 Hz: fundamental
· 400 Hz: second harmonics
· 600 Hz: third harmonics
· 800 Hz: fourth harmonics, etc.

The various frequencies that comprise a sound can be amplified or reduced with equalization to change the sound’s overall tone and character.

Timbre
This notion is difficult to quantify. Timbre is defined as the tone, color, or texture of a sound. It enables the brain to distinguish one type of instrument from another.

Effects
Sound waves reflect and disperse off various surfaces in our environment such as the walls of a concert hall. We rarely ever hear the pure direct vibration of a sound wave before it is masked or altered by the coloration of thousands of small reflections. Sounds are coloured by the material and substances they travel through. Changing the environment creates changes in tone quality, equalization and timbre of a sound. By using audio effects, you will create these changes yourself.


EQUALIZATION, GATES & DYNAMICS PROCESSING

Equalization
EQ for short is best known from the bass and treble knobs found on any home stereo. In the most basic scenario, the range of frequencies across the audible spectrum is divided into two bands by a filter; one band contains the low end (bass) and the other contains the upper range (treble). You'd use the bass and treble controls to boost or cut the volume energy of the signal within that band.

Graphic EQ
A more complicated type of equalizer you may have seen is the graphic EQ. The typical graphic EQ filters the frequency spectrum into many bands, perhaps ten or twenty, so you can make more precise adjustments to the sound by boosting or cutting the volume level of narrow frequency ranges.

Gates & Dynamics Processing
A gate is a common audio circuit which lets you turn on, or off, the flow of a signal. The gate continuously measures the signal which is being fed to it. If the input signal is at a low amplitude (quiet) then the gate stays shut, allowing no signal to pass. If the amplitude of the input signal rises above an arbitrary line (i.e., is ‘loud enough’) then the gate opens and passes the signal to its output. This arbitrary ‘loud enough’ line, which triggers the gate's opening and closing, is known as the threshold.

Downward Compression
A simple use for a gate is the process known as limiting. A limiter measures an input signal; when the amplitude is below the threshold, the signal passes untouched. As the input amplitude rises above the threshold, attenuation (cut) is applied to the signal, so as to reduce unwanted peaks in the audio material. This is also commonly known as downward compression.

Upward Compression
This is a process similar to limiting, except in this case gain (volume boost) is applied to signals which fall below the threshold. This increases the volume level of soft passages; signal that exceeds the threshold is passed unamplified.

The Compressor/ Limiter
A common studio tool is the compressor/ limiter, which is typically a hardware device that combines the two functions described above. Imagine that you're watching a volume meter and you have your hand on a volume knob; when the signal is low you crank it up, when the signal is too hot, you turn it down. Thus, soft program material is boosted in volume, loud program material is dropped in volume, and the dynamic range (the difference between softest and loudest) of the signal is reduced. Compressor/limiters are very useful for smoothing out uneven volume levels in recordings.

The Expander
An expander is essentially the opposite of a compressor/limiter; it expands the dynamic range by exaggerating the differences between soft and loud passages. Expanders attenuate (cut) the volume of low-amplitude signals and/or add gain to (boost) the volume of high-amplitude signals. The process of attenuating low-amplitude signals is called downward expansion; the corresponding process of adding more gain to signal peaks is called upward expansion. Downward expansion is helpful for noise reduction.


DIGITAL AUDIO, SAMPLE RATE AND RESOLUTION

From Analog to Digital
As you know, a sound wave is a series of periodical vibrations. A microphone, for example, ‘translates’, or converts, these acoustic waves into electrical ones. At this analog state, every new conversion will degrade the sound a little more. Even the smallest amplitude variation provokes a distortion of the signal; every copy brings along a flattening, a loss of dynamics, more background noise, etc. With digital sound on the contrary, making a copy equals copying a list of numbers, a trifle for the computer. The most current format for the digital representation of an audio signal is PCM (Pulse Code Modulation); sound waves are translated into a series of numbers. When we use a mike to convert sound into electrical signals, the latter is then translated into a numeric value by an ADC (A/D converter, Analog to Digital Converter). And, as it is impossible in the digitizing process to record the infinite number of data that characterize a sound wave, samples are selected at regular intervals, like ‘snapshots’ of sound, with the sample rate corresponding to the number of samples per second. The digital signal is therefore discontinuous. It is neither definable at every moment, nor for every amplitude; the computer will have to reconstruct the wave form by stringing the samples back together, more precisely, by calculating the most likely curve between two samples.

Sample Rate
Sample rate has a direct bearing on two things, audio quality and file size. So, when sound is being converted into digital information, the number of samples has to be considered. And that’s where Nyquist & Shanon’s Theorem comes in: Sample rate must be equal or superior to twice the maximum frequency of a given signal. Why? Sample rate defines an audio file’s upper frequency limit. As we have seen, the human ear perceives sounds up to about 20,000 Hz. This means that the sample rate should be at least 40,000 Hz. Luckily, many applications can handle relatively low sample rates. The human voice, for example, contains frequencies around 10 kHz; it theoretically needs a sample rate of 20 kHz. Nevertheless, at 4 kHz, that means a sample rate of 8 kHz, the human voice is still comprehensible and this is what the telephone uses, for long distance transmissions. But sometimes, big surprise! So you better always make some tests and systematically listen to the results. When using a low sample rate, too low with regard to the frequencies of the original audio signal, you get aliasing, a special sort of background noise / distortion.

Some standard sample rates:
· 32 KHz: digital FM radio (bandwidth limit 15 kHz)
· 44.1 KHz: professional audio and audio CD
· 48 KHz: recording standard for MiniDisc and some DATs, as well as some professional digital multitrack recorders
· 96 KHz, and up to 192 KHz (2 x 96): DVD

Bit-rate Resolution
Bit-rate resolution is another key factor for defining digital audio quality. It’s the number of values used to digitally represent data and determines how precisely a sound’s dynamic range is represented. To understand this notion, a little detour on the binary system’s wild side… The binary system is based on two values only, 0 and 1. Binary coding produces a digital signal composed of a series of numbers called bits (short for binary digits), organized in a very specific way. An 8-bit series is called a byte; it has 28 (or 256) possible combinations between 0 and 255 (from ‘00000000’ to ‘11111111’). 16 bits have 216 (65,536) combinations, and 24 bits have 224 (16,777,216) combinations, 256 times more than 16 bits! That’s why resolution is essential for sound quality. Remember, an audio CD has 16 bits. Practically speaking, 16-bit-files have a better signal-to-noise ratio than 8-bit-files, which means they have much less audible noise. But, the lower the sample rate, the lower the resolution, the smaller the audio file in terms of memory or binary volume. And this is where the dilemma begins… the choice of sample rate and bit-rate resolution will drastically define sound quality.

Keep in mind:
· Sample rate, expressed in kHz, corresponds to the number of samples per second. It has to be equal or superior to twice the signal’s maximum frequency.
· Digital resolution, expressed in bits, is the number of values used to represent digital data.
· The quality of digital audio is defined by both sample rate and bit-rate resolution.

Digital Audio Compression
A codec, coding and decoding, corresponds to a whole set of compression and decompression algorithms. There is a surprising number of codecs; it would be difficult to make their list complete. The compression bit rate corresponds to the number of bits that one second of data occupies in the compressed file. You can also talk about compression ratio or compression rate, and express it like this: 10 : 1, 12:12, etc. Digital compression is close to the methods used for A/D converting.

There is two types of digital compression:
· Destructive, or lossy compression, compression with loss of data, that eliminates bits, sometimes without loosing quality
· Undestructive, or lossless compression, with no data loss, corresponding to a set of algorithms which preserve the original data by way of a compression / decompression process.

Destructive compression is based on the fact that humans almost never hear frequencies above 20 kHz; that’s why it’s also called perceptual encoding. It also takes advantage of the fact that certain frequencies are masked by others. For comparison, the JPEG format used for images  is based on destructive compression.

Compression technologies can be standard or proprietary. The Moving Picture Expert Group works under the co-direction of both the ISO (International Standards Organization) and the IEC (International Electro-Technical Commission), in order to establish video and audio compression standards. The MPEG format is a type of audio compression based on the perceptual encoding techniques mentioned above. In the audio field, the most popular format (and one of the most powerful within the MPEG family) is MPEG level 3, MP3 for short, developed in 1987 by the Fraunhofer Institut. Level 3 allows a reduction of down to 1/12th the size of the original signal without much sacrificing quality. But careful, once again everything depends on the original signal. An example: MP3 is excellent for electronic music, but much less so for jazz, classical, and other acoustic music, the latter generating many harmonics which, as you know, determine timbre and tone color of an instrument. MP3 very badly digests accumulated harmonics series and might transform them into some sort of ‘mash’ in songs with many acoustic instruments.

DG1: LOOP/ CYCLE

According to WIKIPEDIA, our f(avorite)ree encyclopedia:

Loop
The term loop, in its general sense, refers to something that closes back on itself. It has been used in the following particular applications...

http://en.wikipedia.org/wiki/Loop


Cycle
A cycle is anything round, in the physical sense (e.g. a bicycle) or in a temporal sense (e.g. the cycle of the seasons). Cyclic is the adjective. Pages for cycle lovers include...

http://en.wikipedia.org/wiki/Cycle


and holy smoke ;)

Loop quantum gravity
http://en.wikipedia.org/wiki/Loop_quantum_gravity

quinta-feira, novembro 04, 2004

DG1: Chris

http://www.chris.musgrave.org/
Christopher Musgrave (USA) investigates the relationship between space, perception and cognition using ephemeral materials such as sound, light, time and media. His installations, performances and compositions push the limits of what is within our understanding of the perceivable. In its exploration of varying phenomena, Musgrave's work aspires to alter the perception of the viewer by finding the radical in the everyday and to implicate them in creating meaningful associations.

quarta-feira, novembro 03, 2004

DG1: Gary Ferrington

Estes dois textos de Gary Ferrington pretendem servir de referência para a componente escrita do projecto 1.3. O pequeno texto que vos é pedido, terá como ponto de partida o exercício que Ferrington propõe no seu texto, "Take A Listening Walk and Learn To Listen", obviamente, o método de análise não terá forçosamente que concretizar-se através de uma caminhada. Aliás, o seu segundo texto aqui presente, "On A Clear Day I Can Hear Forever" constitui um bom exemplo de escuta a partir de um ponto fixo. O texto pedido poderá constituir uma abordagem completamente independente do exercício prático.


Take A Listening Walk and Learn To Listen

Author: Gary Ferrington
http://www.acousticecology.org/writings/ferr-walk.html


Have you ever noticed how much time you spend making noise each day? There are friends and family to talk to. Music to play on the stereo, television programs to entertain you, grass to mow, dishes to wash and laundry to do. Your days are full of sound making.

Some of these sounds are important in that they provide useful information. Other sounds entertain. And still others are the by-products of human activity which form an ambient background for daily life.

It's interesting that even when we have a moment for reflective quiet we try to fill it with sound. For many of us quiet seems empty and void and because of that we seemingly become anxious without sound.

Taking time to listen to the sounds around us is worth the effort. We live in an acoustic environment full of subtle and not so subtle sounds that both enrich and detract from our daily life. Giving attention to these acoustical events not only enhances our appreciation of natural and human soundscapes but also makes us aware of endangered sounds and those sounds, which like weeds, may be destroying the soundscape.

We all listen of course. But purposeful listening is learned. By practicing purposeful listening we give attention to the soundscape around us. Here is a simple example. Stop for a minute at the end of this sentence and listen to the immediate sounds around you.

What did you hear? I heard a city bus pass by and a helicopter flying overhead. I also heard birds, the wind, a hall clock, and children playing.

What is important is that we both took a moment to stop and purposefully listen. In doing so, we started the first step to opening our ears and mind to the soundscape which surrounds us every day.

Some sounds may be disturbing to one's personal health. Those sounds that irate like the thumping of a neighbors stereo, or city traffic, can cause one to be anxious and disturb one's rest. In the long run one's cardiovascular system may be effected.

Other sounds are relaxing and give one a sense of peacefulness. Many believe the sound of the ocean surf or a flowing stream provide restful acoustic experiences.

Purposeful listening can be made into an enjoyable experience when combined with walking. A listening walk is something one can do by oneself, or share with others.

A few simple rules apply. First, talking is not permitted. The purpose is to listen and one's vocal and mental quite is important for a walk to be effective. Second, plan a journey through a soundscape which may initially provide a variety of sounds. Later seek out more quiet soundscapes which require developed listening skills. Third, after the walk reflect about what you've heard and what affect it had on you.

Where to walk and the length of the walk should be determined by personal or collective interests. Sometimes initial walks are interesting if done in places where a variety of sounds can be heard. Then, as noted above, choose increasingly difficult walks which include more and more quiet.

I once took a walk in Vancouver, British Columbia which began on a tree lined West End residential street filled with morning bird song. Then I proceeded onto the promenade along the bay where the subtle sound of waves washing over loose gravel could be distinctly heard. Bicyclists and joggers passed by and I listened to their sounds as well.

I turned from the bay and walked into the lobby of an old hotel and out the back door. The hushed sounds of thick carpet and overstuffed chairs created a aural sense of solitude and elegance.

I then went on to explore the acoustics of an apartment vestibule with hard reflective surfaces echoing every body movement. An empty band gazebo and the sound of a rain storm resonating on the roof brought the walk to a close as I returned to the tree lined street where large rain drops collected and fell from overhead branches thumping onto my opened umbrella.

Allow 30 to 60 minutes for a listening walk. First walks may seem a bit strange especially when participating with a group of people. I recall that on a recent walk strangers passed our listening group and noticed our quietness. One passer-by suggested that we must be some type of religious order given our non-talkative demeanor.

Each listening walk you make will provide you with new experiences. If you walk alone write down your reflections in a journal. If you are with a group spend a bit of time debriefing your shared experiences. Take the same walk at different times of the day or under varied weather conditions. Notice the differences in the quality and quantity of sounds you'll hear.

The more you walk and listen the more you'll discover. Listening walks are not only informative they are entertaining. There's always an ever changing concert of sound around you.

What is important is that you are taking time to listen and to give yourself time to reflect. Such activity openness one to…


On A Clear Day I Can Hear Forever

By Gary Ferrington
http://www.acousticecology.org/writings/ferr-clearday.html


I live in a city. Not a big city, but one large enough to have an array of traffic and human made sounds that can irritate one if allowed. There are still quiet mornings. But the fact is that the quality of this quiet time has diminished over the years as the city has grown.

Sometime around 3 AM and continuing for several hours more, the soundscape beyond my closed windows settles into a momentary period of quietude, broken occasionally by a passing auto.

This is a safe time. A time when one can open the windows and let the inside and outside become a single acoustics space.

It is daylight at this time in the Summer. The birds have already started to vocalize and this quickly becomes a morning chorus. I've never made the time to identify each species, but I nevertheless enjoy their collective voices.

This brief period of relative peacefulness is broken with the gruff arrival of the morning garbage truck. It's hydraulic drive lifts a heavy dumpster up and over it's cab. With a screaming assist from the truck's engine all of the collective waste crashes into the truck's gaping hold. Another two minutes of whining sounds and the dumpster settles back to the earth with a distinctive thud on pavement. The truck departs. But the solitude has changed.

The sound of tire friction against pavement increases as commuters begin their weekday driving rituals. An occasional siren marks and emergency somewhere in the city. Gradually, the songfest of morning birds fades and is lost in the human sound of the cityscape.

I am not one that is totally displeased with the sounds of my city. In many ways the sounds generated by cars on wet streets, or human voices from the sidewalk ten floors below provides a connectedness between myself and an active living world. In fact residing in a high rise apartment provides me with an opportunity to listen to the city in a way that might other wise be impossible to do. Here above the trees and having no other tall buildings around is a space through which distant sounds easily travel.

As I write this article, I hear the horn of a Southern Pacific locomotive some three miles away. The sound of the railroad is such a dominate feature of this city that I've actually learned the engineer's code for approaching a grade crossing, pulling into and out of the depot, and when one train meets and passes an other. I know, from listening, the length of a train, its progress through the city and whether it is carrying passengers or freight.

Interestingly enough I've also learned the acoustic schedule of the many airline flights to and from Denver and Salt lake. The 6:10 AM flight is always prompt in leaving providing there are no delays in it's planned flight to Colorado. Often, given the stillness of morning, I can hear it's engines deep thundering roar for ten to fifteen minutes after it passes overhead flying East over the distant Cascade mountain range. On a cloudy day the sound is amplified and appears more foreboding as it passes.

Come late evening the planes return like birds returning to roost until the light of morning again calls them to take flight. One by one their distant sound is heard and their landing pattern takes them high above my apartment.

It's Sunday and though the commuter traffic this morning is not as intense as it will be tomorrow, it nevertheless forms an ambient background against which any other sound needs to make itself heard. St. Mary's church is one such soundmark. It's original bronze bell brings a soft mellow sound to the ear. It's resonance is not as strong as I imagine it once was in calling the faithful to worship. But it can still be heard within the Parish it serves.

On the other had, the bigger and recently refurbished carillon of the Presbyterian church rings clear even against the ambiance of it's worshipers leaving by car for home or Sunday brunch. This soundmark rises above the city in a tall bell tower allowing the ringing to waft across the city.

When not calling its members to church the carillon chimes out the hour in increments of time from early morning until 10 PM when a city ordinance restricts sound making until the next day. It's tolling now tells me that as I write it is a quarter past the hour.

The sound of the wind is one which is always present in my city. There is a prevailing flow of air from the Northwest which blows most every day. It often brings storms from the coast some sixty miles away. In summer it cools the air heated by the pavement of streets and sidewalks. It also bends the trees and rustles the leaves causing a pleasing, restful sound.

The wind also plays with our tall building which is a definite obstacle in it's path through the city. It squeals and whistles as it blows through opened doors and down hallways or finds its way through unsealed windows. This is especially chilling to hear in the winter while the snow falls outside.

Though I can hear and enjoy the sound of children playing in the distant park, the sound of a crow flying past my window, people chatting over coffee at the market a block away, or skateboarders and bicyclist passing by, it is the absences of these sounds in winter that impresses me the most. When the snow falls and the traffic stops the city becomes strangely quiet.

It's in these brief periods of time that I can hear the very distant Willamette river flowing on its journey to the Pacific. It is a time when I think I can hear forever.


Gary Ferrington is a Senior Instructor in media literacy and technology at the University of Oregon's College of Education. He is currently a member of the WFAE restructuring committee and serves as the webmaster for the World Forum for Acsoutic Ecology. E-mail: gary_ferrington@ccmail.uoreong.edu