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Journal · Lowfield
Lowfield, in print.
Our field-recording imprint. Lowfield leaves one microphone running in places at the hour they belong to nobody — a working yard at first light, a crossing at the turn of the tide, a room at the end of a shift — and presses the take whole. Every sleeve is a single photograph and almost no type. Nothing is added and nothing is taken out.
16:10
Hydrophone Field Recording: What a Microphone Underwater Actually Hears2026-08-11 · What a hydrophone actually captures underwater versus what an airborne microphone captures at the same location, the specific technical problems of recording across a turning tide, and why Lowfield's pressed edition of Low Water Mark ended up being the airborne take rather than the submerged one.
17 min
16:31
The Story Behind Nightshift: One Building, Two in the Morning2026-07-19 · The story behind Lowfield's Nightshift — a single unbroken take of a light-industrial building at two in the morning, why that hour, what is actually audible on the record minute by minute, and why it was pressed as an edition of three hundred.
17 min
16:25
Recording Outdoors in Wind: What a Single Microphone Actually Has to Solve2026-06-24 · Why wind is the hardest problem a single outdoor microphone faces, what a windscreen genuinely fixes versus what it only reduces, and the editorial line Lowfield draws between wind as noise and wind as the actual subject of the take.
17 min
16:14
What Is a Field Recording? A Definition Built From the Tape Up2026-06-02 · What separates a field recording from ambient music, foley and a nature-documentary sound bed — and why Lowfield's house rule, one microphone and one unbroken take, is the definition itself rather than a taste.
17 min
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