lengthy negotiations, running to months then years, were needed for 2 recording sessions to take place inside the structures of the humber bridge - directly under the carriageway and in the north bank footing tower. eventually permission was granted and, for the first time, a private individual was allowed to make sounds recordings.
care was taken to choose the specific locations and the set the equipment for recording. my normal way of working is to be in the location listening and to record when the moment feels right, but on these occasions that was not possible, as only maintenance and inspection teams are allowed to stay in these restricted spaces.
so, after positioning the contact mics and conventional microphones, I pressed record and returned to the main bridge offices. 4 hours later I was escorted back to retrieve my equipment and, hopefully, 4 hours of recordings. what was actually gathered was around 1 1/2 hours of usable material and a 2 1/2 hour recording of an inspection team walking around the recording locations discussing various technical, structural details. whilst frustrating on one level, it is this kind of unplanned for situation that makes field recording a creative act rather than a mere technical exercise.
the piece presented here features two sections of the recording sessions, in 2008: firstly under the road carriageway and then in the north footing tower.
care was taken to choose the specific locations and the set the equipment for recording. my normal way of working is to be in the location listening and to record when the moment feels right, but on these occasions that was not possible, as only maintenance and inspection teams are allowed to stay in these restricted spaces.
so, after positioning the contact mics and conventional microphones, I pressed record and returned to the main bridge offices. 4 hours later I was escorted back to retrieve my equipment and, hopefully, 4 hours of recordings. what was actually gathered was around 1 1/2 hours of usable material and a 2 1/2 hour recording of an inspection team walking around the recording locations discussing various technical, structural details. whilst frustrating on one level, it is this kind of unplanned for situation that makes field recording a creative act rather than a mere technical exercise.
the piece presented here features two sections of the recording sessions, in 2008: firstly under the road carriageway and then in the north footing tower.
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