They say that wind in the San Francisco Bay Area doesn’t blow, it sucks. Actually, that’s physically accurate.
When California’s Central Valley heats up, the Sierra Nevada mountain range prevents the air from moving east, so it goes straight up. The cool, heavy air from the western coast then rushes in to fill the gap. This is what causes San Francisco’s famed summer winds and fog, creating summers that feel colder than winters.
Depending on what you’re trying to record, this can be a blessing or a curse. When I saw part of my fence moving about in 15-20 knot winds, I figured something interesting was happening. I could hear some subtle creaking, but if my ears were hearing it, I figured more was going on beneath the surface.
Windy days, of course, are great times to pull out the contact microphones. (Coincidentally, Tim Prebble just announced his second contact microphone sound library at the time of this writing.) No windscreens, no infrasound distortion, nothing. When I placed my contact mic on a fencepost, I got not only wood creaks, but the strain of metal wires tied into the fence to promote upwards growth of roses and vines. This added a metallic overtone that’s quite interesting.
It feels evocative of the strains and groans of a ship heaving at sea, or a castle gate straining under the weight of many warriors or beasts of war (recorded as always at 192khz, this kind of material sounds great pitch shifted -2 octaves). It’s been nice to get back to the world of contact microphones! Posted with no processing whatsoever, so you can actually hear some nearby windchimes in the background if you listen carefully, whose vibrations must have been picked up by the planks in the fence.| 1 Comment »