Marcus LeadleyGuest
Suzie CrossHost
So it sounds like there was, um, different reasons or different things that you were trying to record, um, when you first started out in field recording.

I, I, I wouldn't pretend to be an expert in, in, in, in, in birds or wildlife generally, but just, just being able to capture those sounds was quite extraordinary.

I mean, s- certainly even in the, you know, in the, in, in the 1980s when I first began to do it, it wasn't something, you know...

There were pl- plenty of photographers around, but there really were not many phonographers.

So the whole world of recording fascinated me and so the natural world naturally kind of found a, found a, a space in my interests.

So I guess you'd be using more sort of traditional microphones f- at that time for recording wildlife.

Condenser and dynamic microphones especially were still very much what you were plugging into tape recorders and for, for lou- for loud sounds.

Dynamic mics are great if you wanna record, you know, engines or trains or something like that.

Uh, if you listen back to any of the, the great recordings by people like Atwood from the 1960s, it's all, it's all dynamic microphones.

You know, youYou start getting into the use of shotgun microphones and, um, you know, different, different forms of spaced pairs and things like that.

And you begin to hear the different image that these can create and how some things are better for certain things than others.

And, you know, I very much sort of explored those options and then gradually became aware of the agenda that I've kind of separated out in the book, which I refer to as just basically a hidden sounds agenda, where you need either specialist microphones or devices to actually be able to even hear these sounds.

Sounds from underwater or electromagnetic sound, converting electromagnetism into an audible form, or sound above or below human hearing.

And in these realms, there, there are just, just some fascinating, fascinating sounds that tickle the ears and make you wonder what on earth it is you're hearing.

And, uh, hidden sounds is something I'm, I'm particularly interested in for my own artistic practice.

So it sounds like there was, um, different reasons or different things that you were trying to record, um, when you first started out in field recording.

I, I, I wouldn't pretend to be an expert in, in, in, in, in birds or wildlife generally, but just, just being able to capture those sounds was quite extraordinary.

I mean, s- certainly even in the, you know, in the, in, in the 1980s when I first began to do it, it wasn't something, you know...

There were pl- plenty of photographers around, but there really were not many phonographers.

So the whole world of recording fascinated me and so the natural world naturally kind of found a, found a, a space in my interests.

So I guess you'd be using more sort of traditional microphones f- at that time for recording wildlife.

Condenser and dynamic microphones especially were still very much what you were plugging into tape recorders and for, for lou- for loud sounds.

Dynamic mics are great if you wanna record, you know, engines or trains or something like that.

Uh, if you listen back to any of the, the great recordings by people like Atwood from the 1960s, it's all, it's all dynamic microphones.

You know, youYou start getting into the use of shotgun microphones and, um, you know, different, different forms of spaced pairs and things like that.

And you begin to hear the different image that these can create and how some things are better for certain things than others.

And, you know, I very much sort of explored those options and then gradually became aware of the agenda that I've kind of separated out in the book, which I refer to as just basically a hidden sounds agenda, where you need either specialist microphones or devices to actually be able to even hear these sounds.

Sounds from underwater or electromagnetic sound, converting electromagnetism into an audible form, or sound above or below human hearing.

And in these realms, there, there are just, just some fascinating, fascinating sounds that tickle the ears and make you wonder what on earth it is you're hearing.

And, uh, hidden sounds is something I'm, I'm particularly interested in for my own artistic practice.
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