Here are some links to a few albums of hers, ambient recordings from an underground water cistern in Washington that has 45 seconds of reverberation and she sings to/with her echos, creating resonating harmonics. The samples are just clips just a few minutes each, in MP3 but is still enough to make your ribbons buzz if their gonna, and to judge if it's worth forking out the dough for discs. I just got my CD's I ordered and do not regret the purchase, other than the fact it's gonna cost me a lot of money before I can play it very loud without hearing the occasional buzz from my Ohm's or my Maggies .
Released late July 1999, this new solo album is recorded live in a two million-gallon underground cistern. The 45-second reverberation is uniquely sculpted by the eighty-eight pillars supporting the roof of the structure which is sometimes called, The Cistern Chapel. Falling grains of sand, water droplets, bird songs and the drone of planes and insects add subtle texture to the incredible ambience. The long, enchanting reverberation is natural and has not been electronically enhanced.
The first stuff I heard streaming the other day intrigued me and I found her site, saw she was accessible so asked her about the recordings. Here's a little bit of her reply:
My favorite place to sing is in Port Townsend, Washington in the "Cistern Chapel" of old Fort Worden. At forty-five seconds long, the cistern may have the world's longest reverberation. Due to technology innovation, I no longer have to travel to Port Townsend to record. My engineer up there, Neville Pearsal created/recorded a convolution reverberation of the cistern. My local engineer, BZ Lewis, Studio 132 in Oakland purchased the reverb package and I now record in his studio. The ambient sound of the cistern is meticulously recreated. With headphones on and my eyes closed, the reverberation sounds exactly like singing into the cistern. There is, however a dynamic difference that turns out to be a plus in one way and a minus in another. Since I improve my compositions, the "static" behavior of the convo reverb allows me to have more control over the behavior of the reverb. The live behavior of the cistern is full of surprises. In a way, the cistern sings me when I'm there. It won't allow me to do certain volume changes, for example. If I try to "push" the sound to energetically, it sounds like I'm in a blender.
Her album recorded in the 'virtual Cistern Chapel' described above: http://www.tunnelsinger.com/newcd.htm