Transformed wind chimes: Nature-Symphony 17

Nature-Symphony 17 (The origin of lightning — Dialogue between a mountain and a poet) — The chimes combination in the original field recording is partially dissonant to start with (in a way that would please anyone who enjoys the music of Bela Bartok), so this was going to be interesting to start with. The result is fairly atonal, but still with many tonal or at least modal harmonies emerging and dissolving. The atmosphere is urgently questioning. The chimes recording is used in two layers, one relatively high and the other pretty low, so they are clearly differentiated. I thought I might add a layer for bamboo chimes, but no, something else came to me for that — whatever the dialogue metamorphoses into…!

The original field recording is https://freesound.org/people/Philip_Goddard/sounds/689800/.

Chimes used (Layers 1 and 2):

1. Woodstock Chimes of Olympos (tuned to an Ancient Greek scale)

2. Music of the Spheres Gypsy Chimes (Soprano and Mezzo) (tuned to different modes on an Eastern European Gypsy scale)

Layer 3 content: An extract from the original, of whatever the dialogue metamorphoses into…

I made the original chimes recording on 15 April 2014 at 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. I made the field recording for Layer 3 on the night of 18–19 July 2017 in Exeter city centre…

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

Later recording in the same session taking place. The chime on the left is the Olympos, and the Gypsy chimes are the more distant ones with black tubes. They're more distant to balance their penetrating tone with the more delicate tone of the Woodstock chimes.

Techie stuff:

The recorder for the chimes 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. Recorder for the Layer 3 recording was Sony PCM-D100 with two nested custom Windcut furry windshields.

Basic post-recording processing of the chimes recording 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 two copies of the original recording as layers:

Layer 1: at speed to reduce its pitch by the interval of a fifth — acoustic: moderately back of cathedral
Layer 2: at speed to reduce its pitch by an octave plus a major sixth — acoustic: moderately foreground in cathedral

Layer 3 had no speed / pitch change — acoustic: moderately foreground in cathedral ( )

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