Transformed wind chimes: Nature-Symphony 16

Nature-Symphony 16 (Dance of the shimmering Irish mountain mist arising) — An earthy life-affirming energy! I shed tears of laughter at the end of this, as I heard the culmination of what I'd just perpetrated! Don't be deceived by the quiet and beguiling beginning, for this work has a tremendous buoyant vibrancy, and that despite its sections of relative repose!

Three copies of the original recording are used as layers, giving a mind-bogglingly rhythmic complexity when the bamboo chimes are getting excited. And yes, despite this being 'just' wind chimes, there is a definite dancing rhythm, and indeed a tune going with it. That's something I didn't consciously contrive at all; it's just the way things came out. As with the big tune in Nature-Symphony 9a, both rhythm and tune here, although heavily implied, are never precisely stated, so people could get a whole range of more specific impressions of them, according to how their own creative imaginations kick in.

The original field recording is https://freesound.org/people/Philip_Goddard/sounds/693689/ .

Chimes used:

1. Bamboo chimes, large and small (rather indeterminate tuning)

2. Woodstock Chimes of Pluto (moderately high-pitched, on pentatonic scale)

3. Woodstock Chimes of Polaris (high-pitched, on pentatonic scale)

4. Woodstock Chimes of Mercury (very high-pitched, on pentatonic scale)

5. Woodstock Chimes of Mars (very high-pitched and penetrating, on odd scale, which tends to give a 'major' (mode) element in ensembles)

I made the original recording on 2 January 2014 at what became my regular spot for chimes recording: in the bit of stunted open copse extending down the steep and rough valley slope from the Hunter's Path high up on the north side of the Teign Gorge, Drewsteignton, Devon, UK — just by (and below) Hunting Gate at the highest point on that path.

Advisory
To get the best out of this, listen with high-grade headphones.

The original recording taking place. Note recorder position, on tree branch (identified by its light grey furry windshield).

Techie stuff:

The recorder was Sony PCM-M10 with Røde DeadKitten furry windshield (the original, more effective, light grey version); it was perched on a roughly horizontal tree branch by means of a GorillaPod.

Basic post-recording processing was to apply EQ in Audacity to correct for the muffling effect of the windshield, with eventual stereo widening using the VST plugin A1 Stereo Control (160% widening).

To create this Nature-Symphony I used three copies of the original recording as layers:

Layer 1: an octave below original (at half-speed) — acoustic: back of cathedral
Layer 2: an octave below that (at quarter-speed) — acoustic: moderately back-of-cathedral
Layer 3: a minor third below that (at relevant still lower speed) — acoustic: moderately foreground in cathedral

Thus each layer has not only its particular speed and pitch, but also its own perspective within the virtual space. Layer 3 gets the most impressive bass bamboo chime sound I've yet achieved — especially breathtaking in the final climax.

Please remember to give this recording a rating — Thank you!