Tractor Music

Sound Art Composition.

This piece was developed from a single recording of a vintage Titan tractor, which I captured at The New Forest Show. Eight different pitches of the original sound have been used, each an octave apart. Mechanical melodies have been produced by triggering elements of the original sound in semitone steps.

The County Show 2

Sound Art Composition.

An electronic concerto for six country pursuit commentators, stationary engine and analog step-sequencer. The source field recordings used in this work were captured at The New Forest and Hampshire County Show in July 2015, Brockenhurst, Hampshire, England.

Six manipulated commentaries revolving around country pursuits comprising log cutting, showjumping, hunting, dog handling, cattle and sheep competitions form the basis of the composition.  The rhythmic percussion underpinning the piece is generated from field recordings of small stationary agricultural engines (including the RA Lister and the Wolseley) produced in the early 20th Century.

This version of the piece contains musical elements. Also have a listen to The County Show 1, which features just manipulated environmental sounds without the music.

Slow Stream

Sound Art Composition.

What does a forest stream sound like when slowed down, especially when the trickles and bubbles become unusual rhythmic structures?

This is a Sound Art piece and developed from crossfading four different sound sources together. Some of them have been slowed down by recording them onto magnetic tape on an elderly Ferrograph reel-to-reel machine, to as much as 1/64th of their normal speed to reveal the hidden and unusual sounds present. I recorded the source material along the Ober Water forest stream near Brockenhurst.

The piece starts with the stream at normal speed and then bit by bit, it gets progressively slower, and interesting rhythms start to emerge.


A Sound Art Composition. Christmas 2018.

A collage-based Sound Art piece created from field recordings taken at Christmas 2018 in Lymington and Brockenhurst. Each of these sound objects were transferred from the original field recordings onto a 1964 vintage Brenell STB1 reel to reel tape machine and processed. Some have been slowed down, others reversed, some treated with the machine’s three head tape echo. I was aiming to create a rather melancholy ambience.