Both recordings were taken at the same location, but ten hours apart.Ī blended chorus of male and female singers intoning an " Om" chant. Side Two: Dusk in the Okefenokee Swamp (34:00)Īccessible only by airboat, Georgia's verdant wetlands are home to thousands of species both large and small, including growling alligators.Side One: Dawn in the Okefenokee Swamp (34:00).The soft rush of wind rustling the leaves of a grove in late autumn.
Spanish Train/ Cable Car (S.F.) (was to be Environments 10).Ī stethoscope heartbeat recording which can be used to calm infants, aid meditation or enhance lovemaking. Note: Announced inside Environments 4 but never released:Ĭhildren at Play/Cocktail Party (was to be Environments 9) and Side Two: Gentle Rain in a Pine Forest (34:00).Side One: Ultimate Thunderstorm (32:00).Most of the Environments recordings have been imitated, but this one-a distinct time & place now gone-remains unique.Ī warm summer night (recorded August 1970) deep in the backwoods of Eastern Pennsylvania, surrounded by insects and the occasional distant hound. The sounds of a spontaneous gathering in Central Park, April 6, 1969, with strolling musicians, dancers, anti-war protesters, and fragments of conversations. The CD reissue opted for the 16 2⁄ 3 rpm speed.įield recording with owls, crows, doves, insects, dogs and geese recorded early one morning in June 1969.
#Ocean waves by joe baker series#
A friend of Teibel's, Louis Gerstman, had access to an IBM 360 computer, and he and Teibel played around with processing the recordings until eventually the two of them hit upon a series of manipulations (basically some rolling filtering and overdubbing) which sounded 'more real than real.'įor the second side of the LP, Teibel recorded an enclosure of birds at the Bronx Zoo aviary.Īlone among the Environments series, Tintinnabulation is not natural sounds at all but a series of computer-generated bell sounds playable at any speed from 16 2⁄ 3 to 78 rpm. Subsequently, Teibel himself felt unsatisfied with his results - though his Uher stereo reel-to-reel tape recorder had faithfully captured the sounds of the surf, he felt that they were less convincing on playback. Conrad, who wished to credit Walter De Maria for his prior usage of ocean recordings, was not willing to become a partner in the Syntonic Research enterprise as envisioned by Teibel, so Teibel parted ways with the "Coming Attractions" project. Teibel immediately sensed the marketability of this material, noting its effect on improving concentration, enhancing sleep and sex, and imparting a sense of calm to the listener. Working under the direction of Tony Conrad and Beverly Grant Conrad, Teibel recorded ocean waves at Coney Island for use in their feature film Coming Attractions (1970). The initial recording in the series goes back to 1968.
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