For the field recording in the audio paper, I used a field recording I did in Little Venice at night. I just want some field recording on the background under my voice to create a space. I also can be use as the example, while I am saying how audition and listen field recording are overlapping the acoustic of the that space. I also used the field recording I did in elephant and castle. I went to St Mary’s Churchyard (a park near LCC) since I want both little natural soundscape with heavy traffic. I like to record those traffic with a stereo pair to create a spatial effects when those cars past from one side to other.
For the sound archive, firstly I found Ludwig Koch first recording on BBC sound effect archive, alone with a Reindeer recording that Roger Parry to shows how Zoologist record bioacoustics. Then I found Ivory-billed Woodpecker recording, that Peter P. Kellogg did in 1935, in Macaulay Library by the Cornell Lab of Ornithology. And I found recoding in UW Ethnomusicology Archives to show ethnomusicologist field recording sound like. Then I use Hildegard Westercamp – Kits Beach Soundwalk as she said how she used to filter out the city and shows how post-production of field recording being use in soundscape composition. Finally, I found Francisco Lopez, Manuela Barile and Tom Fisher composition as examples of how different field recordists used their field recording to make sound pieces. Most of their works, including Westercamp, can be found in Bandcamp or Sound Cloud.