Sound – The Artist in Studio Hundy

Sound of Alchemy

Singing to the Sound of Jura

We have just returned from a fabulous immersive 4 day sound residency in Argyll, hosted by John Wills (www.positiveambisonics.org / Instagram – john.wills.ambisonics). Staying in a cosy 1960’s, beautifully converted caravan off Carsaig Bay (in John and Pinkie’s 1.5 acre woodland garden), we experienced the landscape around the Sound of Jura socially, visually and sonically.

Cosy 1960’s caravan in woodland garden

Carsaig Bay overlooking the Sound of Jura

Lapping of waves – using Zoom H5 with inbuilt XY stereo mic capsule (recorded at Carsiag Bay)

Recordings

Gently guided by John into the field of ambisonics (capturing 360° sound using a special 4 channel spacial configuration of microphones) we ventured out to experiment with field recordings. This unique full ambient surround sound was supplemented with recordings using a hydrophone, a contact mic and my own H5 stereo field recorder, as well as a condensor mic in the studio.

Sonic landscape

In this rare, sonically unpolluted environment we were able to listen deeply to the sounds of the environment at Taynish nature reserve Nature Scotland; experience the acoustics of an 11^th century chapel Historic environment Scotland; record inside a cairn (Nether Largie South) at one of the many local Neolithic and Bronze age sites Kilmartin-glen: Nether Largie South Cairn and dive into the “hidden” acoustic territory of fungi, moss, wood, reeds and, amongst others, wire fences. I even found myself befriending the sound of the wind – something, as a field recordist, I thought I’d never do!

A couple of field recordings using Zoom F8 with a Jez Riley French contact mic with probe

Wire fence –probe in rotten fencing post (recorded at Nether Largie)

Moss – probe buried in thick moss (recorded in the wooded garden at +VE ambisonics)

Deep listening

Inspiration

Inspired by the first days ambisonic recordings, particularly when played back in John’s studio using an 8 speaker array (Left-Right, Front-Back, Up-Down), Clare and I were enthused to explore a recurrent theme we’ve encountered in various ways in our lives – the 4 elements.

Linked, as they are, to the 4 or perhaps 5 stages/processes and colours associated with alchemy:

Black – negrado; White – solutio; Green- coagulato; Red – rubado and ultimately Gold, this audio residency seemed like a great opportunity for investigating the “Sound of Alchemy”

Facilitated by John’s expertise as a musician and sound engineer we spent 3 further days “playing” sonically with the concepts of Earth, Water, Air and Fire and their metamorphic transitions. A studio full of instruments (bodhrán, lyre, guitars, electronic drum kit, a synth and more) – as well as Clare’s bamboo pipe and our voices – enabled us to match and meld our various field recordings with instrumental and vocal accompaniments.

Ambisonic recording of the Bamboo pipe using Zoom F8 with Sennheiser Ambeo Ambisonic mic

Bamboo pipe played by Clare (recorded in Keills 11th century chapel)

Perhaps the highlight of this journey came when we listened back to our Hebridean lament, sung in Keills chapel. The combination of our two voices bouncing across the ancient stone walls created a lovely subtle reverb.

We wanted a distinct contrast to this, recording the same chant outside accompanied by lapping waves. So on our last day we “sang” to the Sound of Jura, capturing the unique atmosphere on Carsaig beach using John’s Sennheiser Ambeo Ambisonic mic –featured image. Offsetting these two vocal recordings in the studio created another dimension for this lament and we decided to incorporate it into our now almost complete soundscape.

Four very exciting days spent with an amazing tutor enabled us to create and complete an 18 minute soundscape. The “Sound of Alchemy” morphs from the earthy sounds of stone with drumming on rock, through watery elements of lapping waves, trickling streams and the gentle sound of an “untuned” lyre (bluesy), into the airy element of whistling wind accompanied by a breathy bamboo pipe, merged with the mysterious sounds from a contact mic in the reeds. The final crackling element of fire (moss) incorporates a crescendo of cymbals leading into the choral “Nay Hey” – a layered polyphonic Hebridean lament.

More details of our journey through each of the four elements in sound will follow shortly.

Thanks again to John Wills for his amazing and inspiring residency (Positive Ambisonics Residencies)

In/Visible

Scottish Mental Health Arts Festival 2024

As part of the SMHAF (Scottish Mental Health Arts Festival) 2024, LiveBorders have a programme of shows and workshops exploring this year’s theme – In/Visible – including Clare’s solo show CAN I BE A BUTTERFLY?

The SMHAF theme considers “what it means to be ‘visible’ or ‘invisible’ when we think about our mental health. Which aspects of our mental health do we keep hidden and which do we feel able to share? How can we use the arts and creativity to make mental health more ‘visible’, in a way that engages people and challenges stigma?“(SMHAF 2024)

CAN I BE A BUTTERFLY, initially performed as part of this year’s Duns Play Fest, is a semi-autobiographical, part imagined, solo play about Chronic Fatigue Syndrome and its possible message to a fast world.

The show opens up questions central to the theme – particularly around feeling unseen or unheard. Using movement, poetry, sound, song and text the performer (Clare’s Many Threads ) weaves her own story around the fairytale of Briar Rose accompanied by the voices of others who have experienced ME and Chronic Fatigue Syndrome.

I am, we are, she is invisible

From: Dream sequence in Can I be a Butterfly?

It will be performed at the Heart of Hawick on 16th October at 7.00pm Heart of Hawick Booking

The show was devised between January and April 2024 and integrates voices from 4 very profound recorded interviews held in February and March this year. Each of the interviewees gave us permission to use their voices as part of the play. Creating the soundscape has been a collaborative project that has accompanied Clare’s devising process In collaboration.

Listening to the stories and experiences of the interviewees on the recordings, we tried (through the cutting and pasting process for the sound effects) to honour the uniqueness of what each person had expressed. This process felt as if it allowed the “invisible” to become “visible” through the medium of sound and finally, through the show itself, enabled these voices to be heard Voices heard.

A short extract from the Castle sequence in Can I be a Butterfly?

"Briar Rose woke early, before anyone else was up and began to explore parts of the castle where she had never been before.............    She arrived at a door and there was a key in the door. She turned the key and the door swung open. Inside was a spiral staircase. She began to climb".

Extract from SFX 5 – Castle sequence

Find the other LiveBorders events that are part of the SMHAF 2024 programme at SMHAF programme 2024 – Scottish Borders

Voices heard

“Gently powerful”

After many weeks of devising, sound designing, editing and rehearsing, CAN I BE A BUTTERFLY was performed in front of an audience of over 70 at the Duns Play Fest on Sunday.

Preparing the space – warming up

Performance

Clare’s devised solo play was about Chronic Fatigue Syndrome and its possible message to a fast world. Using movement, poetry, sound, song and text, she wove her own story around the fairytale of Briar Rose accompanied by the voices of others who have experienced ME and Chronic Fatigue Syndrome.

It was very well received, with really positive feedback from those we were able to speak to after the performance. A few examples of comments we’ve received subsequently:

It was a brilliant show, thank you for presenting your situation so well. Really memorable and well written. You are a very talented woman. LB

An excellent, mind stopping soul reviving performance. Thank you. RS

MASSIVE congratulations and well done. Too much to review in a text. The sound/editing/narrative was so well done – how it was interwoven with the physical performance. Structure, story, movement and sound so authentic and strong. J said the performance was “aptly pared down but also so rich”. A-LK

I’ve been working collaboratively with Clare on the sound design to produce a range of audio effects for the show. The sound desk did us proud, after just an hour’s tech run early Sunday morning. Many thanks to Marc on sound and Kirk on lighting; we were delighted with the sound reproduction in the main stage area.

The voices that we’d included from the 4 interviews were crystal clear and, at moments, it felt as if there were 5 people present in the theatre space speaking about their experience of Chronic Fatigue Syndrome.

One of the sound effects I’d created accompanied Clare’s movement peice, depicting the hedge growing on the outside of the castle, whilst Briar Rose slept in the tower on the inside. Listen on headphones if you can.

SFX 8 – Hedge growing sequence

The recordings of the Duns and Smailholm singing groups performing “Curl Up and Dream” were very atmospheric.

SFX 7 -“Curl Up and Dream” – Duns singing Group

SFX 10 – “Curl Up and Dream”- Smailholm singing Group

The two poems written, read (so beautifully) and recorded by Lucy fitted seamlessly into the performance.

The Epilogue poem – The Stone – written by the late Jay Ramsay, encapsulated so much of what was being explored within the play and felt like a fitting memory to Jay’s special interest in the alchemical.

The golden butterfly prop is shown here on the cover of his collaborative book – Alchemy of the Invisible. A sequence of paintings by Jenny Poretzky-Lee with poems by Jay Ramsay.

Thanks to Duns Play Fest and to all those that came along to Clare’s solo show to witness a small window into the world of Chronic Fatigue Syndrome.

Programme notes/credits

See more at Clare’s Many Threads

A view from the sound desk

Dress rehearsal – Can I be a butterfly?

Wednesday saw our final rehearsal of “Can I be a butterfly” in the local village hall, with a small audience in the round.

Using my vintage Sony amp (bought in July 1977) and 4 speakers, dismantled from our hi-fi system at home, we created a “sound in the round” effect for the 11 SFX audio files that are now part of the show.

The 6 audience members gave us very complementary feedback after the performance. This was extremely encouraging for the last few days before the play receives its debut on Sunday 28th April at Duns Play Fest.

A short audio clip, that did find its way into one of the final sound effects, brings together the voices of 3 of the 4 interviewees. This forms part of a sequence towards the end of the show, as Briar Rose wakes from her long sleep and “hears something new”.

From SFX 9 – “shift”

If you are in the Scottish Borders this Sunday (28th April) come along to Duns Play Fest at 6.15pm to see the show. Duns Play Fest Tickets – Can I be a butterfly?

In collaboration

A solo play about Chronic Fatigue and its possible message to a fast world

During the last 6 weeks I’ve been busy creating the soundscape for a devised solo show that my partner, Clare at Clare’s Many Threads, has been working on since January.

Clare will be performing Can I be a butterfly at the local Duns Play Fest here in the Scottish Borders on 28th April at 6.15pm Duns Play Fest 2024

Can I be a butterfly? is a semi-autobiographical, part imagined, solo play about Chronic Fatigue Syndrome and its possible message to a fast world.

Using movement, poetry, sound, song and text, Clare weaves her own story around the fairytale of Briar Rose accompanied by the voices of others who have experienced ME and Chronic Fatigue Syndrome.

Creating the soundscape has been a collaborative project that has accompanied Clare’s devising process. We have been working with 4 very profound recorded interviews. Each of the interviewees gave us permission to use their voices as part of the play.

It has involved a lot of intense listening and a painstaking process of cutting and weaving together their stories and experiences – often similar and sometimes very different. Trying all the time to honour the uniqueness of what each person expressed when they spoke to Clare during the interview/conversations.

As well as the voices from the 4 interviewees, the collaboration has gone wider, incorporating into the soudscape recordings of the singing groups in Duns and Smailholm, performing a song Clare composed for the show.

A full run through this week at the local village hall went well, but was not without its fair share of technical glitches.

Some of the early sound editing work has not made its way into the final play. “Colour of Fatigue” is one such clip. We couldn’t find a place for it, despite the fact that it encapsulates the gravity and humour expressed in the interviews:

What’s the colour of fatigue?

In the final stages of rehearsing and refining the play, we’d both like to acknowledge the collaboarative contributions of the 4 people who were interviewed (Gill, Lucy, Adrian and Eula), the poems Lucy recorded for the show and the singing groups in Duns and Smailholm.

If you are in the area on 28th April come along to Duns Play Fest to see the show. Duns Play Fest Tickets – Can I be a butterfly?

Clare’s Many Threads is the Artist name of Clare Watson. She is an interdisciplinary practitioner living in the Borders, who works with theatre practice, walking, creative writing, textiles and song.

Sounds of June

A change of tone …… Slurry!

Intrigued by the sounds coming from the local farm, I spent time this month recording various audio clips that I have used to create an edited piece called “Slurry“. It not only features sounds from nature, but also includes some more unusual “noises” from mechanical devices on the farm. All part of the soundscape at Girrick in June.

Slurry

My fascination with the quality of the various sounds was perhaps matched by an equal measure of curiosity from those working on the farm; puzzled by the bizarre sight of me (with my recording equipment) – standing by the roadside as cattle were herded along the lane, following tractors into yards and keeping a very safe distance whilst slurry was being transferred.

The mechanical sounds of both slurry mixer and vaccum pump on the tanker were ideally suited to creating a more “abstract” sound piece in post-production. If you can, listen on headphones – a definite change of tone!

Slurry Abstraction

Thanks to all those at Girrick farm for allowing me to capture an aspect of their busy schedule in June.

Sounds of May

Birdsong at dawn – choral gladness

For a few weeks in early May, drifting in and out of sleep during the wee small hours, I had been listening to the sound of birdsong in the comfort of my warm bed. I decided (a little reluctantly) to rise very early and record the dawn chorus in all its full magnitude. Setting my alarm for 3.30am I emerged sleepily from my bed……but was disappointed to find that the showers of April were downpours in May:

May downpour

A second try a few days later was thwarted by the wind:

A very windy dawn

On my third early morning I was in luck. The weather was perfectly still and dry.

I recorded a full 20 minutes with only the occassional interuptions by distant cars or a plane flying overhead. I have condensed this into a 5 minute clip, with minimal editing – just extracting key phases of the chorus and crossfading the clips.

Listen and enjoy without the need to be out of bed at dawn!

Dawn chorus at Girrick

The daylight hours of May have also seen a lot of bird activity in the garden, including an intriguing little nest high up in the Birch tree. I think it is a Chaffinch, but hard to tell from below.

A Spotted flycatcher has been investigating the birdbox, but doesn’t seem to have taken up residence as yet …….

Spotted Fly catcher bringing moss into bird box

… and various birds have been bathing in the pond or the shallow birdbath on the decking.

Blue tit splashing around in the bird bath – watercolour sketch

There were also a few rare moments of dramatic lighting this month.

Sounds of April

Nature emerges from its winter quietness

April seems to be the month that nature really begins to emerge from the “quietness” of its winter shell. Plant life responds with new life and the budding process abounds. Bees visit early blossoms and birds sing out their varied songs.

Last year in early April, at the start of lockdown, I began the practice of sketching one emerging bud in the garden each day.

Sketches of emerging buds - Pencil with watercolour wash

This year I have been busy listening to the range of sounds that fill the air. Some, that really represent this month, have proved difficult to capture. I didn’t have my recording equipment the day I sat quietly by the fence and heard the sound of cows munching on fresh grass, having returned to the fields with their new calves. Next time I went out with my recorder, the cows were far away in the valley!

I did, however, create a small soundscape, in an attempt to encapsulate some of the other sounds that typify April. Listening on headphones will give you the full effect, hopefully immersing you in the sense of Spring.

Soundscape of Spring

Apple Tree buds opening – pencil with watercolour wash

Sounds of March

Croaking chorus

A regular occurence in March – a gang of frogs appear from nowhere and, for a few weeks, “occupy” the pond in front of Studio Hundy. Their characteristic “croaking” can be heard from afar, as you walk down the garden approaching the pond. As they pick up your presence, this transforms into a multitude of “plopping” sounds as all the frogs dive below the surface. For a few minutes, until they gradually emerge again, the only visual evidence of their presence is the large clumps of spawn laying on, or just below the surface.

I managed to capture the croaking chorus by placing my field recorder on the edge of the pond, hiding in the studio, and using a remote extension. It also captures other characteristic Sounds of March in the background!

Croaking away

The surface tension with the spawn reminds me of mercury

Sounds of February

Icicles on Eden

As the snow and freezing temperatures from the East gradually subided, melt water filled the local brook – the Eden water – bringing some beautiful sights and sounds. A short composite of two field recordings captures the richness of those sounds:

Melt water on Eden

Icicles formed on Alder, growing in abundance on the banks, dipping their branches into the undulating currents of the now fast flowing stream.

Frozen pools on the valley floor created the unique patterns that only nature can offer.

The sound and movement of the water, in the quietness of a cold February day, inspired me to make a short video.

Melt water on Eden

I have experimented here; bringing together the video footage with a multi-layered voice recording and nature sounds. The latter being recorded in situ with my hand-held Zoom H5 audio equipment.