Find research datasets worth reusing

opencc-zeroAug 2023View details →

Estonian National Bibliography - sound recordings

A subset of sound recordings metadata from the Estonian national bibliography. The Estonian national bibliography (Eesti rahvusbibliograafia - ERB) covers publications in all languages in Estonia and abroad, regardless of the medium and date of publication. The database of the national bibliography is constantly updated with newly published works. A separate part of the national bibliography is the Estonica collection, which includes both publications in foreign languages by Estonian authors and publications about Estonia and Estonians published abroad. The database is managed by the National Library of Estonia, which manages the Estonian national bibliography in accordance with the relevant laws. For more info, see <a href="https://digilab.rara.ee">https://digilab.rara.ee</a>.

A Universe of Sound: Processing NASA Data into Sonifications to Explore Participant Response

Files containing additional data for the first and second open-ended response questions of the survey discussed in Section 3.3 of the paper "A Universe of Sound: Processing NASA Data into Sonifications to Explore Participant Response" and text descriptions of the associated sonifications of three astronomical objects (the Galactic Center, Cassiopeia A, and the Chandra Deep Field South).

Data for "ChickenSense: A low-cost deep learning-based solution for real-time poultry feed intake monitoring using sound technology"

The dataset includes two types of data: scale and audio. The scale data is recorded using a hanging scale and measures the feeders' weight with a 5 Hz frequency. The audio data contains 1824 hours of recorded audio using a piezo-electric sensor attached to a bucket feeder to capture vibrations as audio signals with a sampling rate of 48 kHz. Each .wav file contains 15 minutes of audio recording. Along with the raw data, a part of the dataset containing 36 30-second audio recordings was sampled and labeled in four classes, including pecking, singing, anomaly, and silence, resulting in 3319 labeled events.

CAPTDURE: Captioned Sound Dataset of Single Sources

Description This is a dataset with captions for a single-source sound that can be used in various tasks that use environmental sounds. The dataset consists of 1,044 single-source sounds and 4,902 captions (3 or more captions per single-source sound). This dataset also consists of 1,044 multiple-source sounds and 3,132 captions (3 captions per multiple-source sound). The detail of the dataset is described in [1]. Conditions of use This dataset was made by Hitachi, Ltd. and is available under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) license. Citation If you use this dataset, please cite as follow: [1] Yuki Okamoto, Kanta Shimonishi, Keisuke Imoto, Kota Dohi, Shota Horiguchi, and Yohei Kawaguchi, "CAPTDURE: Captioned sound Dataset of Single Sources," Proc. INTERSPEECH, pp. 1683-1687, 2023. Feedback If there is any problem, please contact us <ul> <li>Yuki Okamoto, <a href="mailto:y-okamoto@ieee.org">y-okamoto@ieee.org</a></li> <li>Yohei Kawaguchi, <a href="mailto:yohei.kawaguchi.xk@hitachi.com">yohei.kawaguchi.xk@hitachi.com</a></li> </ul>

opencc-by-4.0Jul 2023View details →

Stable isotopes reveal intertidal fish and crabs use shellfish farms as foraging habitat in Puget Sound, Washington

This is the dataset used for my second thesis chapter. The data consists of carbon and nitrogen stable isotope data collected in 3 locations in North Puget Sound in 2020-2022. Locations are Samish Bay, Padilla Bay, and Drayton Harbor. Stable isotope data is presented in standard permil format, with values referenced from the Vienna Pee Dee Belemnite and atmospheric nitrogen standards, which are the international reference standards commonly used as isotopic references for carbon and nitrogen.  Primary productivity samples, snails, oysters, and clams were collected by hand at low tide. Fish and crabs were collected via beach seine and crab pots deployed concurrently with seining.  Samples were collected either within bivalve farms, or within eelgrass meadow reference sites outside of farmed areas. All code and data necessary to reproduce the analysis is available via my Github page.  The metadata spreadsheet contains descriptions of each column in the datasheet. For more information, see my chapter 2 thesis.

The Air Listening Station: Bridging the gap between Sound Art and Sonification - Sonification examples

Example audio files: 1) aesthetic_direction_01.mp3 --> Initial aesthetic direction/proof of concept created using 1 hour of PM_10 and PM_2.5 data rendered at a 10:1 ratio (i.e. 60 minutes of air quality data results in 6 minutes of audio).  Created using the Ultimate Grainer module of Ajax Sound Studio’s Cecilia 5 audio signal processing environment. 2) sample sonification - original - good AQ - 5x bad AQ.mp3 --> contains several example outputs created using the sonification instrument created in Supercollider presented during the <a href="https://radioart.zone/sunday-28-august">radio art zone broadcast on August 28, 2022</a> <ul> <li>[0:00] - original field recording before processing</li> <li>[0:30] - example of "good" air quality data</li> <li>[1:02] - example of "bad" air quality data #1</li> <li>[2:10] - example of "bad" air quality data #2</li> <li>[2:45] - example of "bad" air quality data #3</li> <li>[3:08] - example of "bad" air quality data #4</li> <li>[3:38] - example of "bad" air quality data #5</li> </ul>

opencc-by-4.0Sep 2023View details →

Interwoven Sound Spaces Documentary

This is a documentary shot and edited by Tim Nowitzki about the Interwoven Sound Spaces project (2022). Interwoven Sound Spaces is an interdisciplinary project which brought bringing together telematic music performance, interactive textiles, interaction design, and artistic research. A team of researchers collaborated with two professional contemporary music ensembles based in Berlin, Germany, and Piteå, Sweden, and four composers, with the aim of creating a telematic distributed concert taking place simultaneously in two concert halls and online. Central to the project was the development of interactive textiles capable of sensing the musicians’ movements while playing acoustic instruments, and generating data the composers used in their works. Musicians, instruments, textiles, sounds, halls, and data formed a network of entities and agencies that was is reconfigured for each piece, showing how networked music practice enables distinctive musicking techniques.

opencc-by-4.0Jun 2023View details →

Monthly averaged fast-ice thickness in McMurdo Sound from a sea-ice monitoring station

Updated monthly averaged fast-ice thickness on level first year fast ice in McMurdo Sound, Antarctica from a sea-ice monitoring station. Fast-ice thickness is derived from temperature measurements and manual drill hole measurements, and linearly interpolated to produce mid-month values. Do not use the original version (SIMS_thickness.xlsx) as an error has been discovered. SIMS_thickness_V2.xlsx is the corrected dataset. A description of the stations and the methods used can be found in Gough et al., 2012 and Richter et al. 2022. Gough, A. J., Mahoney, A. R., Langhorne, P. J., Williams, M. J. M., Robinson, N. J., & Haskell, T. G. (2012). Signatures of supercooling: McMurdo Sound platelet ice. Journal of Glaciology, 58 (207), 38–50. doi:10.3189/2012jog10j218 Richter, M. E., Leonard, G. H., Smith, I. J., Langhorne, P. J., Mahoney, A. R., & Parry, M. (2022). Accuracy and precision when deriving sea-ice thickness from thermistor strings: a comparison of methods. Journal of Glaciology, 1–20. doi:10.1017/jog.2022.108

opencc-by-4.0Sep 2023View details →

Data: "Happy new ears: rapid adaptation to novel spectral cues in vertical sound localization."

Data related to the manuscript entitled: "Happy new ears: rapid adaptation to novel spectral cues in vertical sound localization.". For more information, read the README file.

"I made the recording because Iam an amateur recording engineer and also work for a radio station. At the time, Iwas researching for a religious programme, for the radio and by pure chance and good luck, Iwas in the centre of York at the time the street preacher was there. Iam building up a personal library of 'ambient sounds' to use on various radio shows as 'sound effects'. The recording was taken outside St Helen's Church in St Helen's Square, in the centre of York. There was a fairly large crowd walking about, shopping. It was a Saturday. Some people were standing and listening to the man, some were mocking him, others didn't even notice. It was a sunny day, with a slight wind. St Helen's square is a large 'meeting place' for people with seats, flowers and usually musicians. I live in the centre of York and hear a lot of very interesting sounds there, everything from busking musicians, to many foreign languages, church bells, animals and much more. Ireally liked the recording of the preacher as it is quite clear that he passionately believes what he is saying. He was unaware that Iwas recording him. Iwish Ihad captured his whole sermon. He, and other members of his church visit the centre of York quite often, and preach there. Idon't know the name of his church." [Jools/vedas]19 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice

"I made the recording because Iam an amateur recording engineer and also work for a radio station. At the time, Iwas researching for a religious programme, for the radio and by pure chance and good luck, Iwas in the centre of York at the time the street preacher was there. Iam building up a personal library of 'ambient sounds' to use on various radio shows as 'sound effects'. The recording was taken outside St Helen's Church in St Helen's Square, in the centre of York. There was a fairly large crowd walking about, shopping. It was a Saturday. Some people were standing and listening to the man, some were mocking him, others didn't even notice. It was a sunny day, with a slight wind. St Helen's square is a large 'meeting place' for people with seats, flowers and usually musicians. I live in the centre of York and hear a lot of very interesting sounds there, everything from busking musicians, to many foreign languages, church bells, animals and much more. Ireally liked the recording of the preacher as it is quite clear that he passionately believes what he is saying. He was unaware that Iwas recording him. Iwish Ihad captured his whole sermon. He, and other members of his church visit the centre of York quite often, and preach there. Idon't know the name of his church." [Jools/vedas]19

"It was recorded on Sunday, morning of the 28th of September as some of the slower runners of the Berlin Marathon made it past Torstrasse near my flat. Iwas out to buy some bread for breakfast, but Iusually bring a camera and my Edirol R-1 recorder whenever Igo out. Since Iwas freshly returned to Berlin Iguess Iwas sensitive to the more antiquated sounds which still survive there, like that of the organ grinder. Iam generally interested in how human beings are replacing the presence of Nature with an artificial environment made entirely by human hands (and thus far more understandable, it is hoped). In this new Human Nature, the sounds of Nature are also Human made. Iwrite about these things, but Ialso use the sounds in my videos and my interactive and generative media work, so generally Iam wandering around building up my archive of media documents for use as material in future works." [Baruch/ gottlieb]17 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice

"It was recorded on Sunday, morning of the 28th of September as some of the slower runners of the Berlin Marathon made it past Torstrasse near my flat. Iwas out to buy some bread for breakfast, but Iusually bring a camera and my Edirol R-1 recorder whenever Igo out. Since Iwas freshly returned to Berlin Iguess Iwas sensitive to the more antiquated sounds which still survive there, like that of the organ grinder. Iam generally interested in how human beings are replacing the presence of Nature with an artificial environment made entirely by human hands (and thus far more understandable, it is hoped). In this new Human Nature, the sounds of Nature are also Human made. Iwrite about these things, but Ialso use the sounds in my videos and my interactive and generative media work, so generally Iam wandering around building up my archive of media documents for use as material in future works." [Baruch/ gottlieb]17

"I'm something of an untrained, unofficial cultural anthropologist myself. Ihave a business interviewing people to capture their personal histories. I'm always interested how people fit into their world and how they affect their world. I'm a graphic designer who works in the same building as the printing presses that I recorded. Iwalk past the presses every day on my way to talk to the folks in the prepress department. I'm on friendly but not drinking terms with the pressmen. I'm a friend with the prepress manager. Three Heidelberg presses are installed side by side in an open warehouse-like room. The presses are about twenty feet long and about five feet high. With their series of four humps or mounds where each printing cylinder is located, the presses remind one of giant, gray, mechanical caterpillars. Each press has a cyan cylinder, a magenta cylinder, a yellow cylinder and a black cylinder – so the humps are brightly colored. The presses are well lit by banks of fluorescent lights hanging from the ceiling over each press. When you walk into the press room you hear the sound of rock music blaring from a boom box radio mixed with the general din of the presses. It is only when you walk up to a press like Idid for the recordings that you really start to hear the individual strains of clicking, clacking and mechanical, syncopated chattering. When I made my recordings I was intrigued by the subtle variations in the sounds produced by these machines that aren't apparent when you first walk through the door. The pressmen were kind enough to allow me to walk right up to the presses and poke my microphone quite close to the rotating press cylinders. Iuse a Danish Pro Audio microphone about the size of a pencil eraser. An extremely sensitive mic with the capacity for capturing loud sounds such as the presses up close. Rotating the mic to one side or the other focused on the unique sounds coming from one cylinder or the other." [Kevin/KMerrell]18 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice

"I'm something of an untrained, unofficial cultural anthropologist myself. Ihave a business interviewing people to capture their personal histories. I'm always interested how people fit into their world and how they affect their world. I'm a graphic designer who works in the same building as the printing presses that I recorded. Iwalk past the presses every day on my way to talk to the folks in the prepress department. I'm on friendly but not drinking terms with the pressmen. I'm a friend with the prepress manager. Three Heidelberg presses are installed side by side in an open warehouse-like room. The presses are about twenty feet long and about five feet high. With their series of four humps or mounds where each printing cylinder is located, the presses remind one of giant, gray, mechanical caterpillars. Each press has a cyan cylinder, a magenta cylinder, a yellow cylinder and a black cylinder – so the humps are brightly colored. The presses are well lit by banks of fluorescent lights hanging from the ceiling over each press. When you walk into the press room you hear the sound of rock music blaring from a boom box radio mixed with the general din of the presses. It is only when you walk up to a press like Idid for the recordings that you really start to hear the individual strains of clicking, clacking and mechanical, syncopated chattering. When I made my recordings I was intrigued by the subtle variations in the sounds produced by these machines that aren't apparent when you first walk through the door. The pressmen were kind enough to allow me to walk right up to the presses and poke my microphone quite close to the rotating press cylinders. Iuse a Danish Pro Audio microphone about the size of a pencil eraser. An extremely sensitive mic with the capacity for capturing loud sounds such as the presses up close. Rotating the mic to one side or the other focused on the unique sounds coming from one cylinder or the other." [Kevin/KMerrell]18

"The sound comes from a meadow in the Sierra Nevada Mountains in California. The meadow is at an elevation of 2400 meters near a mountain named Olancha Peak, which is 3700 meters in altitude. Ihave a group of friends with which Ibackpack (trek) into the mountains. Our goal was to spend some time in the mountains and hike to the top of Olancha Peak (…) By the time we reached the meadow, we were in a forest and there was still snow on the ground in some places. We took the trip in June of 2006. The Sierra Nevada Mountains are a large mountain range. Much of the range is protected by national parks or preserved areas we call 'wilderness areas' (…) Ihave been backpacking for nearly 40 years and Iwill hopefully continue with this challenging activity for 40 years more! Many of my friends are much younger than Iam and it gives me much satisfaction to be able to have as much or more stamina for this activity than they have! When we are on these trips, we hike up peaks, catch fish, drink some whiskey around campfires and enjoy our time in the beautiful solitude. My memories of this trip were of the steep, hot hike from the desert to the cool meadow; the overall beauty of the nature, the absolute solitude of our campsite near the meadow; the strenuous hike to the top of Olancha Peak; the camaraderie of my friends; and, of course the sound of the frogs in the meadow. The frog sounds were astounding to me and Iwould listen in awe of the creature's instinctual desire to reproduce and continue the existence of their kind. Surely there were different species in the meadow for some of the frog sounds were different than others. The sounds only occurred after the Sun went down for the evening. Istood next to the creek in the meadow and recorded the sounds using my digital camera." [Peter/plentz1960]16 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice

"The sound comes from a meadow in the Sierra Nevada Mountains in California. The meadow is at an elevation of 2400 meters near a mountain named Olancha Peak, which is 3700 meters in altitude. Ihave a group of friends with which Ibackpack (trek) into the mountains. Our goal was to spend some time in the mountains and hike to the top of Olancha Peak (…) By the time we reached the meadow, we were in a forest and there was still snow on the ground in some places. We took the trip in June of 2006. The Sierra Nevada Mountains are a large mountain range. Much of the range is protected by national parks or preserved areas we call 'wilderness areas' (…) Ihave been backpacking for nearly 40 years and Iwill hopefully continue with this challenging activity for 40 years more! Many of my friends are much younger than Iam and it gives me much satisfaction to be able to have as much or more stamina for this activity than they have! When we are on these trips, we hike up peaks, catch fish, drink some whiskey around campfires and enjoy our time in the beautiful solitude. My memories of this trip were of the steep, hot hike from the desert to the cool meadow; the overall beauty of the nature, the absolute solitude of our campsite near the meadow; the strenuous hike to the top of Olancha Peak; the camaraderie of my friends; and, of course the sound of the frogs in the meadow. The frog sounds were astounding to me and Iwould listen in awe of the creature's instinctual desire to reproduce and continue the existence of their kind. Surely there were different species in the meadow for some of the frog sounds were different than others. The sounds only occurred after the Sun went down for the evening. Istood next to the creek in the meadow and recorded the sounds using my digital camera." [Peter/plentz1960]16

"I was the class teacher at that time. It was a class trip, usually organized near the end of the schoolterm in summer. The pupils went there by bike to have a barbecue at the sandy banks of the river Rhine near Dusseldorf. The landscape around is mostly dominated by agriculture and glasshouse cultures. You find a mixture of former villages nowadays completely suburbanized. The population finds jobs in the nearby urban centers like Dusseldorf, Neuss and other big cities. The reason why Irecorded the scene is simply because Iam interested in collecting sounds in general by doing recordings in different surroundings like nature, cities and everything between. My memories about the event are that it was a relaxing and funny atmosphere, which is not always the case while teaching in a classroom" [Reinhard/reinsamba]15 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice

"I was the class teacher at that time. It was a class trip, usually organized near the end of the schoolterm in summer. The pupils went there by bike to have a barbecue at the sandy banks of the river Rhine near Dusseldorf. The landscape around is mostly dominated by agriculture and glasshouse cultures. You find a mixture of former villages nowadays completely suburbanized. The population finds jobs in the nearby urban centers like Dusseldorf, Neuss and other big cities. The reason why Irecorded the scene is simply because Iam interested in collecting sounds in general by doing recordings in different surroundings like nature, cities and everything between. My memories about the event are that it was a relaxing and funny atmosphere, which is not always the case while teaching in a classroom" [Reinhard/reinsamba]15

"I was on vacation in Mala, living in a self-catering holiday cottage, together with my girlfriend (we're together for 11 years now), recovering from a heavy workload in the second half of 2008. We were sitting outside, probably sipping a beer, when we heard the sound of bells approaching. Stepping on the stones that enclose the little forecourt of the cottage, we could just see the goat herd being driven by. Idashed for my R09 (recording equipment) to get that impression – but too slowly too late, it seemed, the herd had disappeared and with it the sound. When Iwas about to pack my R09 again the sound appeared to come back, so Idashed down the driveway, just in time to see the herd pass, and then Ifollowed it a couple of hundred meters, walking behind the herd, trying not to breathe or make stepping sounds, eventually, when dogs started barking and a car approached from behind, I stopped and let the goats go on, the car passes, honks ... and Icut the recording and walk back to the cottage." [Peter/ptroxler]13 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice

"I was on vacation in Mala, living in a self-catering holiday cottage, together with my girlfriend (we're together for 11 years now), recovering from a heavy workload in the second half of 2008. We were sitting outside, probably sipping a beer, when we heard the sound of bells approaching. Stepping on the stones that enclose the little forecourt of the cottage, we could just see the goat herd being driven by. Idashed for my R09 (recording equipment) to get that impression – but too slowly too late, it seemed, the herd had disappeared and with it the sound. When Iwas about to pack my R09 again the sound appeared to come back, so Idashed down the driveway, just in time to see the herd pass, and then Ifollowed it a couple of hundred meters, walking behind the herd, trying not to breathe or make stepping sounds, eventually, when dogs started barking and a car approached from behind, I stopped and let the goats go on, the car passes, honks ... and Icut the recording and walk back to the cottage." [Peter/ptroxler]13

"The place where Idid record the sound "saunan lämmitys" is our family's summerhouse. My father bought it year 1955. He was born nearby in Virojoki village in 1911 and passed away in 2003. As you know Sauna a is very relaxing and important thing to Finns. We like the warm and silence of sauna atmosphere and heating the sauna is almost religious to us. For me it is remembering moments Ispent with my dead father and other relatives. Iam 56 years old internist and living 600 km away from that place but still I visit there for about 2 months yearly." [Timo/timofei]14 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice

"The place where Idid record the sound "saunan lämmitys" is our family's summerhouse. My father bought it year 1955. He was born nearby in Virojoki village in 1911 and passed away in 2003. As you know Sauna a is very relaxing and important thing to Finns. We like the warm and silence of sauna atmosphere and heating the sauna is almost religious to us. For me it is remembering moments Ispent with my dead father and other relatives. Iam 56 years old internist and living 600 km away from that place but still I visit there for about 2 months yearly." [Timo/timofei]14

"I am a journalist myself, working for a public radio and television in the Netherlands. As a radio reporter Ivisited Bangladesh just after the cyclone Sidr hit the coastal area in November 1997 (…) Itravelled to the islands on a boat. On that boat were two boatmen and one of them started singing while we were sailing. As Igeotagged this song you can see exactly where it was. Iwas staying at that time in Pirojpur, took a taxi to the river and got a boat. Along tall typical motorboat. It was a journey of three-quarters of an hour during which he sang two songs." [Jeroen/zeshoog]12 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice

"I am a journalist myself, working for a public radio and television in the Netherlands. As a radio reporter Ivisited Bangladesh just after the cyclone Sidr hit the coastal area in November 1997 (…) Itravelled to the islands on a boat. On that boat were two boatmen and one of them started singing while we were sailing. As Igeotagged this song you can see exactly where it was. Iwas staying at that time in Pirojpur, took a taxi to the river and got a boat. Along tall typical motorboat. It was a journey of three-quarters of an hour during which he sang two songs." [Jeroen/zeshoog]12