Green Field Recordings



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nigul | records de Queralbs

01. el Freser (01:01)
02. mitjanit (02:58)
03. Can Constans (04:07)
04. onze del matí, el camió del peix (04:18)
05. el Cremallera (01:26)
06. campana de Sant Gil. Església (00:58)
07. Núria. Quatre de la tarda (01:28)
08. pluja de nit a Queralbs (01:15)
09. parxis (00:21)
10. a Núria a peu (04:28)


"records de Queralbs" is a collection of recordings I made this summer in this beautiful little village in the Catalan Pyrenees. Queralbs is a place where time seems to have stopped, it has a rich soundscape, full of nature at its purest. In these recordings you can hear the sound of water from numerous fountains and from the Freser river, also sounds of the night, the locals chatting in the village square, or a couple of trips to the shrine of Núria ... Queralbs is one of the most beautiful places in Catalonia, not only for its breathtaking scenery but also for its history, legends and mysteries...invite you to listen and feel the spirit of this wonderful place.
All recordings were taken with a Zoom H2 portable recorder between 24 and 27 August 2011.

Jaume Muntsant (aka Nigul) 


GFR 031
Dyman | Spirits Watching Humans Walking In The Forest

01. Spirits Watching Humans Walking In The Forest (09:55)


"Spirits Wathing Humans Walking In The Forest", novo single de Dyman...
Dentro da música ambiente, Dyman explora a gravação pura da natureza, misturando o seu lado obscuro, criando uma experiência sonora para tentarmos compreender (dentro da imaginação do artista) o que sente um espírito mau, quando observa os vivos. 


GFR 030
rui almeida & nuno miranda ribeiro | glass over water under light

01. glass over water under light (22:05)


A fluorescent light is hardly an instrument, a musical instrument. This particular one, an elongated old bulb on the ceiling of Maria Oliveira's bathroom, takes a long time to warm up. When we switch it on, we get sudden flashing gasps that are followed by a quick flickering of rapidly increasing frequency. This is where sound comes in, just before darkness loses the intense short battle and light becomes constant. Rui Almeida, with an ear for the not so hidden polyphonic potential of everyday objects, got interested in the nature of the drone produced by that old bulb. When light becomes uniform, the sound, the surprisingly conspicuous, some would say unnerving, sound of the lamp starts to develop. From a linear wave, quite smooth and discreet in the background, to a morphing wrinkly surface, more distinct yet unpredictable, like an invisible pulsing skin that would wrap the bathroom into an utero.

Drumsticks are instruments, and glasses can be used as such. The bathroom sink filled with water, two glasses, drinking glasses, sometimes filled with water, sometimes not. The hands and minds of Rui Almeida and Nuno Miranda Ribeiro manipulating the glass over water under light. Maria Oliveira's photographic camera clicking its arrhythmic compass, letting the image that would cover the session develop itself. No rehearsal, no second take, an infinite attention to the present moment and to the undermost detail being revealed about timbre, color and texture and how these surfaces and materials communicate with human intention.


GFR 029
Dallas Simpson | St Livres, Switzerland, Binaural Phonographic Documentary

01. St Livres, Switzerland, Binaural Phonographic Documentary (52:47)


My personal approach to phonographic documentary uses the following principles:

1) The aim is to capture the sound of the location itself, without using the human voice directly either as narrative or commentary.

2)The recording is made from a human perspective, hence the use of in-ear binaural recording to give a personal perspective of an individual inhabiting, travelling through and engaging with the location. It is a form of 'Sound Walk'.

3) This documentary is purely observational and does not involve environmental performance.

4) Movement through the location allows an element of spatial choreography – the composition of movements of sounds in space and placement of sound elements in the 3-D perceptual sound space.

For this work I wanted to capture certain signature 'sound marks' of the locality – particularly the cowbells and the fountains. Local human habitation was present as occasional incidental background voices and was alluded to in the traffic passes. My footsteps, occasional breathing noises and personal incidentals are indicators of a human presence as narrator, but this narration is through sonic witness, not through any spoken commentary.

The main characters in this documentary are the fountains. They speak with unique voices and illuminate the character of the streets and buildings through subtle echoes and reverberation. So, in a sense, the fountains sonically illuminate and describe the village. Occasional stirring of the wind adds additional atmosphere.

What was fascinating was the synergy of the 'random gamelan-like' cowbells and the watery 'tinkes' of the fountains. These local and distant sounds percolate the village and weave together the mystery of the sonic narrative of St Livres, thus allowing the location, in a sense, to 'speak for itself'.

Dallas Simpson, August 2011 


GFR 028
ps | juhannus

o1. bus_24_helsinki_seuraraari
02. bridge_to_seurasaari
03. forging_a_nail
04. horn
05. traditional dances
06. bonfire shore
07. top of the island
08. windy south shore
09. waiting for the main bonfire
10. bus_24_seurasaari_helsinki
11. l_train_helsinki_leppavaara

total running time: 11:58



GFR 027
James Wyness | The Bridge

01. The Bridge (14:51)


The Bridge [14:51]  is one of the series of four works entitled Centre and Edge, a result of research into specific compositional practices, the production of space, the anthropology of place names, paleoanthropology, human marks on the land and the natural and human history of Southern Scotland. Field work began in 2009 when I investigated a range of environments and sonic phenomena in the Scottish Borders and North Northumberland, the focus of my digital sound archive.

The piece is composed from field recordings taken in and around the Monteviot Suspension Bridge, a footbridge over the River Teviot in the Scottish Borders.  The bridge, activated by natural phenomena and 'played' by me and my young children, was recorded using a variety of microphones. I also captured the sounds of a variety of fence wires, energised by high winds and rain, incidental electronic interference from recording equipment, and agricultural installations.

The wealth and complexity of vertical relationships between the various sound sources and their transformations helps the work to defy linear time and to simply exist as a living moving organic whole between and beyond the speakers.

The Bridge, along with the companion pieces in the series, gives the impression of a massive installation in which microphones have been left open for long durations in various outdoor spaces, attached to built structures, then all sources fed into the same listening space. The four pieces of the series have been produced to work both individually as stereo works and together as an eight channel sound installation.

Ultimately The Bridge is an engagement with chosen aspects of a regional soundscape, considered to be significant for a variety of reasons above and beyond their sonic interest.

The Maker [42:41], also from the series Centre and Edge, was released in August 2011 as an exclusive download edition on Gruen Digital at:


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David Velez | Cuatro horas en el páramo

01. Frailejones (13:10)


"Cuatro horas en el páramo" is the result of a trip I did with a team of documentarists to El Páramo de Cruz Verde near Bogotá which turned out to be very quiet an silent. Sounds captured with a handy recorder and contact microphones. 


GFR 025

Emanuele Costantini | Diario Seveso

01 - Nylstar factory – Cesano Maderno
02 - Kindergarden and ex-IRCA factory
03 - Oak forest #1
04 - Wheat harvest #1
05 - Wheat harvesting #2
06 - Dried Lambro River
07 - Bracco factory
08 - Brian Wood sawmill #1
09 - Brian Wood sawmill #2
10 - Holcim Quarry
11 - Mascheroni quarry #1
12 - Mascheroni quarry #2
13 - SIB compost factory
14 - Nylstar factory
15 - Sico factory #1
16 - Sico factory #2
17 - Sico factory #3
18 - Terninox factory #1
19 - Terninox factory #2
20 - Terninox factory #3
21 - Mount Cornizzolo
22 - Carpigna oasis #1
23 - Carpigna oasis #2
24 - Picking pears in Wiskin farm #1
25 - Picking pears in Wiskin farm #2
26 - Picking pears in Wiskins farm #3
27 - ACLI fishermans association
28 - Oak forest #2
30 - Certosa river #1
31 - Certosa river #2
32 - Donkeys farmstead
33 - Playground #1
34 - Playground #2
35 - Traffic passing by graveyard
36 - Traffic passing by graveyard #2
37 - Traffic passing by Holcim factory
38 - Traffic passing by Nylstar factory
39 - Masciago bridge #1
40 - Masciago bridge #2
41 - Meda bridge
42 - Seregno bridge
43 - Bennet Roundabout
44 - Wet far traffic passing by Nylstar factory – Cesano Maderno
45 - waste-to-energy plant
46 - Villoresi canal #1
47 - Villoresi canal #2
48 - Camnago train station

Total Running Time: 2:43:29


Brianza 1/3 is a documenarty film about the Seveso Disaster. Directed by the german director Fausto Molina who decided to explore the effect of a chemical disaster on the nature and human activity, coming back after 30 years on the same locations and spots where it all occurred in Meda (Milan area – North Italy) at 12:37 pm July 10, 1976.
The sounds are effectively the film sound track, following the director's decision not to have composed music on the images but the original location sound.
By decision, also, the recordings had to be as pure as possible without being affected by cuts, editing or restoration, so they had to be (and they are) once in a lifetime recordings and they couldn't be done a second time.
We wanted to get the today's life in a place where it is supposed to be no life at all.
The nature still doing its course and the people are still working, walking and breathing on that ground as nothing happened. 


GFR 024

Carlo Giordani | Il Segno del Posto

01 - Azzone (2004)
02 - Fanovo 1 (2006)
03 - Fanovo 2 (2006)
04 - Locri    (2005)
05 - Azzone (2007)
06 - Valmaggiore (2007)
07 - Cene (2007)
08 - Corvi    (2007)
09 - Bosco - Asini    (2007)
10 - Quiete - Brucano (2007)
11 - Azzone (2009)

Total Running Time: 1:00:57


01. somewhere @ Azzone
02. inside the small church of Fanovo
03. outside the small church of Fanovo
04. a day in Locri
05. somewhere @ Azzone
06. inside the small church of Valmaggiore
07. two donkeys near Cene
08. @ Nova Ponente - Alto Adige
09. @ Nova Ponente - Alto Adige
10. @ Nova Ponente - Alto Adige
11. somewhere at Azzone

Microphones: Audio Technica AT4040 and AT4041; Soundman OKM II Pro; handmade cheap piezo and electret mics.
Recorders: SHARP SR70 MD recorder, TASCAM DA-P1 DAT recorder, TASCAM HD-P2 recorder
Some postprocessing 


GFR 023

darius ciuta | fi-zm

01. fi-zm (60:00)
02. ree-0R (51:01)



GFR 022


01. Jurmala Calm (0753)
02. Under the World Tree (10:03)
03. Deeper and Deeper (10:57)
04. Discovering the Silences (09:52)


Jurmala Calm - The tack is time compressed and multilayered audio documentation of calm seaside day in Jurmala (Latvia).

Under The World Tree - Waters from above. It begins to rain, the observer is under umbrella and then, slowly, follows the emerging water flows on the ground.

Deeper And Deeper - The movements of substances under iced streams, melting snows and springs erupting under water. Spoken words sample is taken from R. Katinaite-Lumpickiene audio book "Paraic nama"

Discovering The Silences - Layers of close-up location recordings made at the various waterfalls: early springtime rush of wild energies.

4 WATERS was initially conceived and performed in the live event Ritual (18 May 2010) 


GFR 021

Michael T.Bullock | Organ Lesson

01. Organ Lesson (24:33)



GFR 020

Claudio Curciotti | SIWA OASIS (Feld Recordings from Egypt)

01. Mosque's call, donkeys and antenna's radiations
02. Mosque's call, donkeys and fridge's noise
03. The Magrheb
04. The Young Muezzin
05. Allah Akbar
06. Allah Akbar 2
07. The Prayer (binaural)
08. The Sermon
09. The Sermons
10. The Sacrifice
11. The Sacrifice's Childs
12. The Victims
13. The Cut
14. The Concha
15. The Town
16. The Street
17. The Sport Cafe (binaural)
18. The Party (binaural)
20. The Cart
21. The Hotspring
22. The Youngsters
23. Bye Bye Mousa

Total Running Time: 1:04:30



Siwa Oasis is a sound field work about Siwa, the oasis located 560 km from Cairo in the western desert of Egypt. During a 2 weeks stay in the oasis, I made several hours of recordings, living and sharing the experience with native people. The result of the research is an hour-lenght release that selects audioclip documenting the daily life and some religious happenings like collective prayer and animal sacrifice. The unusual silence of the oasis makes more audible the natural reverberations of that environment and isolates the electric and mechanic noises present nearby the town and any human settlements. What I've noticed was
a substantial reduction of background noise in the oasis compared to other location like a western city. The very low level of radiation made possible for the microphone to capture many sound details often hidden by the background noise. At the same time the microphone was able to perceive very clearly the subtle wave
signal coming from one of the few antennas located in the place. A radiation's sound usually imperceptible in big cities where the waves overlap and disappear into a background white noise. Siwa Oasis is then a work about silence and its relation with human and artificial noises.


GFR 019

Andrea Borghi | Diospyros Kaki / Tipologia-F

01. Diospyros Kaki (04:07)

02. Tipologia-F (05:12)



The first one it's a pure field recording of rainy day in Versilia, Tuscany, late October 2010.
I used old microphones (for possible water damaging) collocated under a "cachi tree" (Diospyros kaki) and just I 've worked on a particular equalization to put in evidence the "polyphonic" sounds of the rain dripping as a continuous drone from the leaves of the tree.

The second (Tipologia-F) it's a field recordings based composition. I've treated the sounds source recorded in the Art School of Pietrasanta, Tuscany,  during an examination day. In a surrealistic silence of the school-room we can ear some softly voices and an emotive tension among the students, and all these sounds are lost in a natural reverberation and echoes generated by the ambiance.


GFR 018

José María Pastor Sánchez | Coimenzo IV (Cordoba - España)

01. Comienzo IV (35:34)




GFR 017

MZ-N710 | Moulin Gaud

01. Transmission (03:51)

02. Palier, axe (01:39)

03. "Babillard" de la trémie à grain (01:58)
04. Premier étage (02:51)

05. Microcentrale (01:37)



The Gaud mill is an old flour mill in the village of Jayat, in the department of Ain (France). It is now a museum where the Association des Moulins de l'Ain is active. The waterwheel has been built with iron and wood in the professional school of Ambérieu en Bugey. Since 2003, the public can visit the mill on the Journées des Moulins. An old turbine and a micro-power plant can be seen at work then. Thanks to Michel Darniot, the president of the association, who permitted the recording of sounds in the mill.

Le moulin Gaud est un ancien moulin à farine bressan, situé à Jayat, commune du département de l'Ain (France). Il a été transformé en musée par l'Association des Amis des Moulins de l'Ain ( La roue hydraulique a été construite en bois et en fer au lycée professionnel d'Ambérieu en Bugey. Depuis 2003, le moulin peut être visité lors des Journées des Moulins. A ces occasions, une ancienne turbine est mise en mouvement, et une microcentrale électrique est ouverte au public. Merci à Michel Darniot, président de l'association, qui a permis l'enregistrement des sons dans le moulin.




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