Emmanuel Mieville
Hovering over Santa Cruz, Madeira Island
懸浮在馬德拉島聖克魯斯上空
Hovering over Santa Cruz, Madeira island.
懸浮在馬德拉島的聖克魯斯上空。
As I think about my presence in Santa Cruz, on Portugal’s Madeira island, standing on a pier next to the sea, it recalls my most intense experience of field recording, and the ideal collaboration between the composer and the nature itself.
當我回想起自己站在葡萄牙馬德拉島的聖克魯斯海邊碼頭時，那是我最強烈的實地錄音經驗之一，也是作曲者與自然本身理想合作的時刻。
As for me, the field recording is not a straight documentation process, where you capture the soundscape – it’s a collaboration between location recording and nature, which yields a musical output.
對我來說，實地錄音不是單純記錄聲景的過程，而是一場與自然共同演出的合作，最終產出的是音樂性的成果。
So here is the situation: I was standing on the pier, recording the sea, the waves were quite dynamic, swelling against the rocks scattered in the water and the pier.
那時的情境是這樣的：我站在碼頭上錄音，海浪極為生動，不斷拍打著水中與碼頭邊緣的岩石。
I was strolling along the pier for a long distance with my headphones, focusing on listening and monitoring the sounds.
我戴著耳機沿著碼頭走了好一段路，專注地聆聽與監聽聲音。
Clearly, what I’m calling monitoring isn’t what the word suggests in technical terms or what it is in the studio recording/mixing sessions.
當然，我這裡所說的「監聽」，並不是技術層面或錄音室混音中的那種意義。
My headphones aren’t closed, they are permeable to the real sound, the surrounding sound.
我的耳機並非封閉式，而是允許真實環境聲音穿透的設計。
So my perception is a merging of the two sources: one from my recorder, and one from sensory stimulation of my ears by the external input.
因此我所感知到的，是來自兩個來源的融合：一是錄音機中的聲音，另一是外部聲音對我耳朵的直接刺激。
I was hearing for quite a long time a low rumble in my headphones, but couldn’t determine where it was coming from.
我在耳機中聽到一段長時間的低頻隆隆聲，但無法判斷來源。
And suddenly, a plane appears, coming from the other side of the bay, flying very low, maybe 500 meters above the sea.
突然，一架飛機從海灣的另一側出現，以非常低的高度飛來，或許距海面僅有五百公尺。
And as the airport is situated just above the bay, the plane heads to it, and passes over me.
由於機場正位於海灣上方，飛機便朝著那裡飛去，從我頭頂掠過。
I’m struck and excited, but point my recorder and microphones towards the plane, without time to adjust the recording level.
我又驚又喜，立即將錄音機和麥克風對準飛機，根本來不及調整錄音音量。
What an intense experience!! And the result was beyond expectations, the sound of the engine was not clipping, and there was no saturation.
真是強烈的體驗！而且結果出乎意料——引擎聲沒有爆音，也沒有失真。
A beautiful engine sound with a climax, and a light doppler effect.
那是一段極美的引擎聲音，有著明確的高潮與輕微的多普勒效應。