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Listening To What I Cannot Hear

from At The Margin of The Sensate by David Dunn

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LISTENING TO WHAT I CANNOT HEAR (30:00)
2006
an electroacoustic composition for two-channel playback using ultrasonic sources

These sounds are all from a variety of small common objects or natural phenomena selected for their high frequency content. They were recorded with a specially designed ultrasonic microphone and high frequency digital recording system in order to record the ultrasonic frequency component normally thought to be above the human hearing range. When these sounds are drastically time expanded (10 to 20 times) through sample rate conversion, the ultrasonic component becomes audible to our ears while much of the normally audible component drops below our normal hearing range. The various sources in their order of appearance are as follows:

Small brass bell
Stopwatch
Striking a match
Antique mbira
Angolan Peach-faced Lovebird
Metal egg chime
Baobab seedpod
Small whistle
Small harmonica
Rubber band
Dried leaves
Burning logs
Small windup toys
Small ceramic wind chimes
Pieces of wood rubbing together
Miniature metal chimes
Bats at night
Eating a carrot
Aluminum foil
Key chain rattling
Tree ultrasonic emissions
Hospital Room
Electronic ultrasound oscillators
Blowing on a straw
Dog whistle
Aerosol spray can
Small bronze bell

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from At The Margin of The Sensate, released April 15, 2023

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David Dunn New Mexico

David Dunn was born in 1953 in San Diego, CA. From 1970 to 1974 he was assistant to the American composer Harry Partch & remained active as a performer in the Harry Partch Ensemble for over a decade. He has worked in a wide variety of audio media inclusive of traditional & experimental music, installations for public exhibitions, video & film soundtracks, radio broadcasts, & bioacoustic research. ... more

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