beatboss67

[beatboss67]

Hardware vs Software Experiment

This week, I am stepping away from live music reviews which have featured in my two previous blogs.  The focus of this blog will be to discuss audio related skills that I am developing in the recording studio.

To put this in context, as an audio engineer I anticipate that I will be required to create sound clips for various scenarios.  There are of course multiple techniques that can be used, but I will be highlighting the difference between sound created using software tools (eg MIDI instruments) compared to hardware devices such as the Roland Juno 60 - a 61 key, polyphonic synthesizer.

Trent – it would be worthwhile to include pics of the software and hardware that you used.  Perhaps extract some pics from the web?

The activity was broken down into two different stages with a discussion of what we felt about the two different effect gear types amongst ourselves.

For the first stage, the group were given fifteen minutes in order to create as many different audio clips with the different gear, some doing software (midi instruments) while the others used the hardware (Roland Juno-60). The resultant sounds were graded by three different standards: (i) quantity - how many were created in 15 minutes, ii) originality - how many of them were unique compared to simply copying and pasting the same clip and (iii) relevancy - would the sound clip be usable and how it could be implemented.  For reference, I created my initial audio clips using the hardware option.

https://soundcloud.com/user-15742260/juno-samples

The next stage involved the creation of a sound track (no vocals but a chorus, verse and bridge) using either Software or Hardware. For this activity, we were required to switch from the previous technique (I had utilised the Roland Juno-60 for creating the audio clips).  As such, I created my sound track using the Midi instruments software package. This activity was very interesting as it was easy to get the right key and instrument onto the midi recording but doing further work on it was more challenging then when I used hardware to create the audio clips.

In summary, I have made the following conclusions after completing this group activity. The first is that when it comes to creating single samples for foley or sound sampling, the hardware option provided a more interactive and tactile experience because I was creating audio from a blank canvas, rather than simply moving a mouse on a computer to create it.  However, from a speed efficiency and productivity perspective, the creation of a full track composition for the songs, the use of software is the best choice. The reasoning behind this conclusion is that the hardware, requires the user to have a basic level instrumental background (particularly piano) in order to use the gear for particular notes while on a software you can simply edit the notes in for the desired structure.

Another point to note, is that when recording a hardware instrument, there is a requirement to print the audio onto the sheet, which in essence makes what you create permanent and if you want to change it you would either have to record over the part that was wrong or cut up the recording.  In contrast, software instruments are more forgiving, in that if you make a mistake, it is easy to correct or change by moving the bad note up the octave or further across a bar or two to get the best sound.  

[beatboss67]

Queen+Adam Lambert

Hi All, back again and I’ve got to say that I’m glad to be an audio engineer! Normally it would mean that I would be mixing tracks for bands or making EP’s with artists, but today I got to do something a little bit different.

Initially my day started out doing some voluntary work.  This was arranged via Elaine at SAE.  It involved setting up the VIP area at Perth Arena for the “Queen + Adam Lambert Australia/New Zealand Tour.” 

Kudos to Elaine - it was a wonderful opportunity to work at the state of the art Perth Arena and experience what it was like to be a crew member for a gig like this.

After arriving at the venue at 10am, I was given a tour to get orientated.  Of specific interest was the location of the lead front of house engineer as well as the storage and positioning of audio gear. 

After the tour, we received badges labelled with “Staff” that allowed other members of the team to recognise our role in the venue.  Then the heavy lifting began - literally!

We began by moving crates and packages around from the back of the venue to the V.I.P section. Inside each of the crates was official tour merchandise for packaging into special edition souvenir bags for the exclusive guests.  

After the VIP bags had been filled, we were then assigned the task of hanging flags/banners to assist the audience in locating entry areas including the section reserved for the VIP’s.

The final task was to set up two inflatable tents which created a pre-event marquee for the VIP’s before they were seated for the show.

Even though I wasn’t there for the whole time, I learnt some very important soft skills that will help me when I get full time employment.

At that point I headed home to freshen up and then return for the show later that night.  I had purchased my tickets 9 months before hand so I was really looking forward to the show.

On arrival,  we were greeted with the headline of the tour  written on a collage of metal sheets welded together(Shown at beginning of blog). The metal sheets weren’t real as it was only a bunch of screens that projected the image to the audience.  The visual effects were awesome as it appeared that the whole screen was being lifted up by Queen’s robot mascot “Frankie” (image below).

Once the robot “lifted” the screen up (it was actually a series of hydraulic cylinders attached to lifting ropes), the performance began.

For some background information, Queen formed in 1970 in London.  The two remaining band members from the original group namely Brian May and Roger Taylor were still dynamic and enjoying the show despite their age (70 years old)  

As the tour titled stated, Adam Lambert was the lead singer replacing the late Freddie Mercury. The performance was high energy and all of the group gave their heart and soul in their performance.  I later discovered that the gig at Perth Arena was their farewell concert in Australia and New Zealand tour.

From an audio engineering perspective, I was really impressed with the setup of the sound system, especially the speakers to ensure that everyone in the Arena heard the performance to the highest quality.

The Speakers were being elevated above the stage with the collection of speakers looking like a mirrored “J”. This was done to ensure that the people at the highest point of the venue would hear it easily and that those that were right up close to the stage would have clarity too. The speakers were also facing towards areas that had sound reflectors/bouncer setup along the walls or part of the structure, allowing all of the audience to have a similar audio experience. It was really quite ingenious how the front of house and the other audio engineers on hand were able to use the arena space and position each bank of speakers to ensure that they functioned effectively.

From a stage lighting perspective, the strobes and lasers were synchronised with the audio output and it truly added to the audio/visual experience.

So in summary, there are a couple of take ways for me.  Firstly never underestimate the quality of old rockers, they mature with age.  They embraced technology and were able to consolidate classic tunes, with holographic images projected on the video screen (of Freddy Mercury), as well as capture selfie images of the entire audience.

Secondly, I learnt an interesting technique in how to use a limited number of speakers to ensure that the large audience had a consistent, high quality audio experience.

Finally, I really enjoyed the truly immersive audio/visual experience.  This has has really opened my mind to explore potential collaboration opportunities with animation and lighting designers.

[beatboss67]

Post Mortem - Reflection

This post mortem blog will summarise the major projects that I have worked on during the past trimester.  Specifically, there were three key projects that I will be discussing, namely i) Project: Celine - a fairytale animation, ii) Fight animation - 7 second animation and iii) an animated video game titled “A Death on Brown Street”.

The animation project entitled Project:Celine is expressing the story of a fox princess by the name of Celine.  She is being escorted to an arranged diplomatic wedding with a royal prince by a crusader (knight) by the name of Deus. During the journey, she experiences the beauty of nature and all that is free, unlike her time contained in the castle.  It makes her question her life, ie should she remain as she is or seek the freedom that is available for her to enjoy if she left the royal life behind.

The Fight animation explores the conflict and battle that exists between a young monk and his dark negative emotions (the antagonist) .  They fight for control and the balance inside of the young monk. The Antagonist wishes to convert the young monk into itself in which he would submit to the negative emotions and let them take over control. This animation was based around similar fight animation scenes as depicted in Dragonball Z, with the fight animation focused around superhuman melee hits and flight.

The animated video game “A Death on Brown Street” is portrayed through the point of view of a detective as he is called by police to inspect a crime scene where a diner owner was murdered. The video game player must gather clues, interrogate witnesses, and identify the murderer before he gets away with the heinous crime. The Game is based in the 1950’s-60’s and draws inspiration from the Noir feel (dark, gloomy, seedy, jazz and blues) and as such there is a lack of colour and only glimpses of technology inside the diner or the detective’s car.

I was the lead audio recorder/editor for all of these projects.  This included the creation of audio foley for the video game, and synchronising the audio for the animation Project:Celine.

The bulk of the audio was recorded on a Zoom H6 portable recorder, including two microphone attachments and one forward firing microphone.  The recorded audio was then edited using ProTools software.

All of these projects challenged my technical and teamwork skills, as well as the processes that I used to record audio for the animation.  

Key Accomplishments

There were a number of positive outcomes from these projects.

Project:Celine

On reflection, I believe that the created audio enhanced the outcome of the overall project.  An example being the placement of an audio effect which added an extra layer of dramatic impact for the specific scene.  

I was able to record bird ambience with a great degree of clarity. I was able to achieve this by using a forward firing mike near a nest that I had been able to locate near my residence. The recording was real and authentic and I was very happy with sound clarity.

Creating a small piano piece to go along with the animation. While I was unable to do a sophisticated midi track for the project, I was able to come up with a small selection of notes that I had used in some outside work. At first, I didn’t think of using the track as I didn’t believe that it would suit the desired theme. However when I decided to include the track,  I found that it was able to be incorporated seamlessly and did not detract from the mood of the animation.   It should also be noted that I needed to rearrange the musical notes to better reflect the context of the animation.  Overall, I was very happy with how it turned out.

One of the scenes required me to add wind into the bird ambience, thus creating an interesting combination with both. I originally thought that the best way to get the overlay of the two desired sounds was to soften the wind to allow the birds to have brighter moments in the mix. However I then realised that the wind only has a few high points in which it really needs to stand out. So using that knowledge, I edited the wind foley to only be consistent of the particularly loud points of the track and they were later combined with the Bird foley to create a combination that worked well.

Another scene required me to create a recording of high heels walking in long grass to simulate Celine turning. But this was required in only a short section in the middle of a scene.  However, when I viewed the animation, I suggested that a similar audio sample could be placed at the end of the scene to focus attention to the dramatic ending.  Once I had inputted the audio into the original place, I decided to try out the foley at the end. When I did, I was very happy with the results, which were subsequently included in the final copy of the animation.

Fight Animation

Recording the punches and kicks was achieved by using past experience with working on a kontakt audio instrument which is an electric driven midi. I had been able to use past experience within my degree alongside other engineers to create my punch and blocking noises. I had learned that creating good punching sounds can be achieved by either punching a sandbag or a punching mat. By using this knowledge, I was able to create very realistic and high quality sounds for scenes that included physical punches in the animations.

Using effect units to alter one of the punch sounds, I was able to create a very dramatic shockwave. In the later weeks of the project, I had been asked to create a different sample to simulate a type of punch.  This was used to create a shockwave when two punches collided. I knew immediately that to do this, I would need to add reverb to create the space needed to simulate a shockwave. However, once I had achieved the desired reverb, I found that I had not been able to simulate the weight that would be behind the punch. To reproduce that audio, I decided to use a pitch shifter after trying many different software plug ins.

Death on Brown Street

One of the scenes in the video game, required ambient noise including a ceiling fan and a neon light.  I was able to reproduce this audio using a forward firing mic and a stereo mic attachment at an existing antique shop located on the corner of William St and Roe St in Northbridge. I requested permission to record this audio by approaching the owner of the shop.  The acoustics inside the store enabled me to capture a very realistic representation of these sounds. I was very satisfied with the quality of this audio sample.

When I was required to record character dialogue for the video game, the team agreed that we needed to recruit professional voice actors.  Several members of our group recommended a particular actor (Jake) who then was recorded as the voice of the main character (Detective).  I organised a recording studio and using an H-20 microphone with a pop filter, Jake read his rehearsed lines and then performed them in the desired accent (American mafia like).  He was able to complete the task in two takes.  The group were very happy with the quality of the recording.

One positive outcome resulting from completing all of these projects, is that I now have a larger collection of audio samples to use during my career.

Key Problem Areas

There were some issues encountered while working on audio for the animations.  This relating to organisational and/or teamwork and communication.  

One example was a change in direction in the animation sequence for the overall storyboard, which resulted in several of the created audio samples being cut.  In other words, because audio proceeded based on the original concept, any changes to the animation meant that inefficiencies existed.  The animation teams did not communicate these changes to me as they were happening, which meant that I ended up doing more work than required.  

In general, communication on all of the projects was an uphill battle.  My audio colleague (John) and I found it difficult to get access to important information on the shared drives. Often, when questions were asked to one particular group, their answer would not be received for 1-2 days after, which impacted my ability to create the required audio for their project.  On one of the animation projects, it was unclear who the project leader was and as such, I didn’t know who to chase after for the desired project paperwork/schedule.  To overcome this, I ended up including all individual members on the group messages.

Another problem with team communication was getting alignment on group meeting times.  This was difficult because several members of the groups were on different timetables that didn’t sync up with the rest of the group. As a result, I had to re-prioritise my time which included sacrificing internship hours or rescheduling other commitments so that I could meet up with the group.

This was my first experience working on an animation project where I needed to create the complete audio library.  I initially focussed on the sound effects, foley and voice dialogue.  As a result, I didn’t spend sufficient time in the creation of the accompanying audio track. This was an interesting learning for me  as a I soon realised that the audio track required the most amount of time and effort.  If presented with similar problem in the future, I will spend more time planning the tasks and ensure that the audio track development is commenced as early as possible.

There were issues relating to the recording of the desired audio which were due to poor organisation and planning by the audio team.  As an example, I had booked a studio to record sound effects for Project:Celine.  However, during the recording it became obvious that we had not collected all of the props that were needed for the session.  In total we required ~10 props, of which we only brought in 5.  This impacted our recording efficiency, and what should have been completed in one session, ended up taking two.

Key Lessons Learned

There were a variety of lessons learned from the projects that I participated in this trimester.

I need to be more vocal and assertive with the team about priority of tasks, raising issues early and asking for help when required. This would have avoided time wasted chasing people, and more importantly would have allowed more effective communication.

While it was recognised that all of the projects needed to be completed within a certain timeframe, it is important to spend time initially to plan and prioritise tasks for the individual and group.  By getting team alignment early in a project, will ensure that all team members are committed to the project and understand that any changes to the plan, could impact the team and affect the overall project deadline.

I now know that assembling the desired props ahead of the scheduled recording session will give me the best chance to complete my work within the allocated time.  In a working environment, time is often limited so it is important to be as efficient as possible to achieve the set milestone dates.

Address problems within the group as soon as possible - work on a no-surprises policy.   Often problems become worse if not managed properly.  Early intervention can lead to a more innovative/creative solution.

Overall, my projects had their challenges, but I was also able to get positive outcomes as well.

There are still some elements of the projects that I wanted to complete before the due date and elements that I had wanted to be included which ended up being cut from the projects.  

As an audio engineer, I recognise that I need to positively contribute as a team player and accept that I don’t always have the final say in the overall project outcome.  

Communication is part of everything we do, and as such I recognise that I need to continue to look for opportunities to improve how I interact with my co-workers and associates.  Multi discipline projects such as the animations and video game I completed this trimester, have enabled me to get a better understanding of the dynamics that exist between the different disciplines (film, audio, animation, game design).

I enjoyed working on these project as a whole and they have inspired me to do similar projects in the future.

AUS230 was fun, I enjoyed it.  For me the most important lesson is to reflect on what went well (and what did not) and ensure that I put this into practice for future projects.

[beatboss67]

Fringe World: The Tap Pack

It’s been a while since my last blog.  That’s not to say that I haven't been up and about, but there sure have been a lot of distractions.

And that is an interesting segway into the past month.  I love this time of year.  Perth (or more specifically Northbridge) comes alive for the annual Fringe World festival.  It spans over a month from 26th January to the 25th February.

Each year it is always a challenge to sort through the collection of acts that range from comedy, burlesque, theatre, dance, circus and so on. 

So with anxious anticipation, I decided to “go out on the limb” and see a genre that I had not seen before. The description in the glossy was that the show (The Tap Pack) was a high energy tap show infused with swing music and witty banter.

The Tap Pack is a group of four (but on this night it was three due to an illness)  remarkably talented tap dancers that have been performing in Berlin, Edinburgh, Beijing and now Perth with their quick feet, funny humour and overflowing energy as they paid tribute to Frank Sinatra, Sammy Davis Jnr and Dean Martin throughout the performance. They also added in different elements to their show including singing and playing instruments such as the Roland EC-10 EL Cajon (Drum).  

For Mic Setup, they kept it very standard during the performance. They had three mic stands for the performers, each one holding a cordless mic (SM58 Wireless) for the performers to speak and sing through. They also had a kick drum mic inside the Drum and some floor mics located off the stage at floor level to catch the metal plates on their tap shoes hitting the floor.  

As an audio engineer, I noticed a few occasions when the mic’s dropped out while they were talking or the backing track wasn't at the desired level compared to the performers.  These minor issues were quickly corrected but it did reiterate the importance of the front of house engineer, who has to make these decisions spontaneously.

Sadly all good things come to an end and The Tap Pack have already finished performances in Perth, but if you see them around, I guarantee you won’t be disappointed.

References 1. https://www.weekendnotes.com/the-tap-pack-fringe-world/149335/ 2. https://www.thetappack.com 3. https://www.biography.com/people/frank-sinatra-9484810 4. https://www.biography.com/people/sammy-davis-jr-9268223 5. https://www.biography.com/people/dean-martin-9542166 6. https://www.roland.com/global/products/el_cajon_ec-10/ 

[beatboss67]

Tascam DR 22 WL Review

This week, I decided to do some research using the Internet, to get some useful practical tips on what is being used in the audio industry.

Typically, audio engineering is often associated with a purpose built studio for accurate and clean recording of audio production.

However, for my review, I focussed on something more abstract.  

 I decided to do a review of the Tascam DR-22 WL Portable Audio Recorder. (Image Seen Below) 

Figure 1 – View of the TASCAM DR-22WL Portable Recorder

Firstly, to clarify for those that haven’t seen this item, it is a Portable Recording device that is used mainly for live recording (for example concerts, news reporting/interviews etc) and can be used in a variety of different options such as having attachable mics to the top of the DR-22 WL to allow for easier and more casual recording with two main sets (a solo mic with a wind guard or two forward oriented mics for interviews and discussions.)

This portable recording device includes features such as Wi-Fi for transport control and file transfer.  It also features audio streaming to your PC or smartphone. The set of stereo condenser microphones which are configured in an XY pattern reliably captures stereo imaging. Another interesting feature is the “scene selector” dial which enables the user to pre-set the handheld recorder for specific situations or alternatively it can be switched to manual for greater control.

The DR22-WL can also playback the audio that you record, however as discussed in the YouTube review, the playback speaker quality is very poor and is not recommended.

Of particular interest was that the recorder is able to record loud sound sources without distortion (for example rehearsals and concerts). The device is rated to 120dB SPL, which enables the user to record volume levels (to MicroSD cards) without clipping or distortion.  This is impressive when it is compared to a maximum level in a movie cinema which is 10x softer. The review of the device was favourable in that it was seen as a heavy duty, robust looking unit, despite the fact that it was constructed predominantly from plastic.   The WiFi capability means that I can use the device to check my levels for outdoor live events without needing to be beside the recorder.  In addition, the ability to sync it with my phone means that I can drive it remotely which is a cool feature. Overall the portable device looks good and has a distinct, clear sound reproduction capability.  Although it was obvious that some post processing would be required from files captured on this recording device, I believe that the TASCAM DR-22 WL portable recording device could become a standard addition to any audio engineer’s toolkit.  The retail price for this device is valued at an affordable $200 to 300 (depending on the store).

[beatboss67]

Intro

For my major project, I teamed up with two film students and another audio student to create a documentary. We produced a narrated documentary film which had a duration of 11 minutes and 38 seconds. The members of our group were Connor Harris, Riski Putra, Dylan Shelton and myself.

The documentary focussed on the lives of the homeless people that are forced to inhabit Perth streets due to both personal and other issues outside of their control. The aim of this documentary was to raise awareness about the homeless demographic and make it both informative and confronting so that people in Perth don’t ignore this problem.

Positives

There were a few positive aspects that came out of this production. The first positive relates to how well organised the group was initially relating to the set up for the recording of the interviews with both the homeless people and soup kitchen voluntary staff.  The first few sessions were carried out in a professional manner and each team member was respectful of the interviewees.

Another area which I found positive was working in a collaborative manner with Dylan (my fellow audio student).  We were able to communicate effectively and as a result, there was no overlap / duplication of effort relating to audio tasks.  We had a clear understanding on who was doing what, by when and with what equipment.  For example when we were recording the interviews and general sound foley, there was consistent communication and clarity on what our individual responsibilities were.  

Another positive that is not specifically related to audio, was that this project allowed me to increase my understanding of the day to day struggles that affect people who are living on the streets.  It was reassuring to see volunteers give freely of their time to help people in need.

Another positive was that we gained a better appreciation of the difficulties of recording clean audio in an open air, public space.   

Negatives

Throughout this assessment , there were a number of situations which could have been avoided with appropriate time management, teamwork and organisational skills.

Inappropriate time management

The initial plan was to meet regularly to review progress on the project and also discuss future activities.  However for the duration of the project, the film students either weren’t represented at the meetings (due to forgetting or not managing other commitments) or arrived late.  This was very inefficient and resulted in poor productivity and delays in completing assigned checkpoint tasks.

Lack of teamwork

The film students regularly worked independently from the overall team.  When providing feedback on project progress, the information was not forthcoming.  Both Dylan and I tried to express our concerns to re-establish team harmony, however this was ignored.  

Organisational skills

To record the documentary, specific audio and film equipment needed to be booked out from the SAE store.  

For the audio tasks, the following equipment was required:

Boom microphone and stand

Headphones

Audio recording device

XLR cords to connect the boom microphone to the audio hardware

For the film related tasks, the required equipment was as follows:

High resolution digital camera with video recording capability

Tripod for camera

Sample list of questions for the interview

Permission release form to legally obtain consent to use recorded content

For each session, Dylan and I ensured that all audio gear was available for recording purposes.  Unfortunately, the film students weren’t as well organised and often came without one or more of their required items.  This meant that we were forced to postpone the session and then reschedule for a later date.  I personally believe that this lack of planning made our group look very unprofessional.

Another example of poor organisational skills, was when the film students lost the draft cut  footage and also did not save the draft after distributing it to the group.  

The film students also did not let us know when they were editing the final version of the documentary so we were not able to work as a team.  Instead, we were handed their edited copy and then we had to scramble to try to correct the audio that they had recorded by themselves.

Unexpected Events

One example of an unexpected event was when the film students failed to obtain permission to go into the Salvation Army's headquarters in the city.  Due to this fact, we were unable to access the building and could not commence filming.  This was unexpected because we had previously discussed and agreed the plan to gain permission.

Another unexpected event occurred when I was unavailable due to family matters (wedding). While away, I maintained contact with the group through social media (Messenger). After my return, I discovered that the film students had deleted the draft cut including the original audio files that Dylan and I had recorded.  The film students decided to make their own recording of the documentary which contained a poor quality audio which affected the outcome of the overall project.

Unfortunately, we were unable to rectify this, given that we were notified late (2 days before the assessment was due).  As a result the overall audio quality is muffled and has variable sound levels.

 Conclusion

This project was particularly challenging for a variety of reasons.  The challenges that we faced during the project were all due to poor planning, lack of teamwork and not following our agreed schedule.  

These issues could have been avoided if we spent more time in planning the activities at the start of the project - preparation is the key to success.  In addition, appointing a project manager who was responsible for coordinating the group would have been beneficial.  Finally, ensuring that each person performed work relevant to their elected course is important to obtain the best result.   

Despite the challenges, I enjoyed the opportunity to hear the homeless person’s point of view.  I would certainly approach the project differently if I was able to repeat it.

[beatboss67]

Film Score Blog

First Score: “Rio” the movie

For my first film score, I selected the Dreamworks animation entitled “Rio”. The genre of the music is based on traditional Brazilian samba, mixed with funk and bossa nova (especially as contained in the track “Mas Que Nada”).

Main Composer: John Powell and Sergio Mendes

Rhythm:

The Rio soundtrack uses a vibrant and energetic fast paced rhythm that combines samba and bossa nova sounds to produce songs that are high in tempo and energy.  At specific intervals, the tempo slows to a relaxed pace to match the storyline.  But in general the rhythm simulates the heart beat of the characters who are are happy, playful and energetic.  

Melody:

The melody used for the majority of the score was upbeat based on percussion rather than the vocal accompaniment. This was used to produce a Brazilian Samba style of music, where the drums and the percussion instrumental elements are a very key part of the melodies for a lot of songs in that genre. An example being “Os Quindins de yaya” from the 1944 film “The Three Caballeros”  in which it starts to build the percussion element and remains constant for most of the song.

Harmony:

Given that the movie is essentially an animation for family consumption, the film score appeals to a younger audience due to the constant energetic, pulsating harmony which was maintained throughout the film score.  This would assist in maintaining the attention of the audience as well as portraying a positive, uplifting feeling.

The harmony was achieved by the combination of percussion with other instruments such as the bass guitar and keyboards.  In the Rio film score, the rhythm enables the audience to enjoy the overall beat and energy that the movie was representing, namely the “Carnival” theme which is synonymous with Brazil.

Timbre:

The timbre or characteristics of each note in the overall score was refreshingly unique, bright, energetic and vibrant.  This was achieved by a combination of guitars and percussion in a majority of the songs. The unique strums and beats in the pieces “Hot Wings” and “Real in Rio” add for a lot of character and individuality in the piece compared to an electronic MIDI Track.

Form:

The form for the music for the overall score was very layered.  The main focus being building up the overall rhythm of the song and then working on the different accents of the different elements to make the song interesting even with a repeat of the same beat. A good example of this is in the song “Real in Rio”.  In the beginning of the score, the there are bird calls and then it builds to a stable but uniquely altering beat before the lyrics come in.

Musical instruments used

As discussed earlier, the Rio film score used percussion as well as bass/lead guitars, keyboards and whistles (to replicate the carnival atmosphere).  

Second Movie: Star wars: Rogue One (LucasFilms)

Main Composers: Michael Giacchino

Rhythm:

The rhythm for this film score is of that of an orchestral theatrical performance. It has many high and low points in the overall score with the main intentions for each one of the pieces, to create an emotional state of tension for the audience. The rhythm pulsates from slow, quiet pieces to booming elements that have the audience on the edge of their seat.  An example of this is “Hope” in the official Rogue One musical score, The rhythm is very bold and loud (which is audibly provocative and confronting) while conveying fear through the use of the voice element to indicate that something terrible is about to happen.

Melody:

Melody can be defined as a memorable series of pitches. The melody for the Rogue One score is mainly a sombre, soft mellow textural tune that is riveting in its simplicity.  However at other times, the melody is positive and uplifting particularly when the rebel soldiers are embarking on a mission of hope. The score was mainly used to alter a person's emotional state so as a result, the melody for the score was mainly a recurring bar that was simple and catchy. An example of this is the track “Your Father Would Be Proud” in the original music score.

Harmony:

The film score mood is developed by an irregular harmony so that the audience does not get comfortable.  At times the film is dark and surreal, so the orchestra was mainly using percussive instruments with low basal tones at different speeds to accentuate this point.

An example of this is in the audio track labeled “Hope”. The track is loud and dominating when compared to the other tracks in this score. As a result of the loud and dominating nature, it instills the feelings of fear and terror in the audience.  This sense of foreboding is realised when Darth Vader appears.  He is one on the major antagonists in the Star Wars franchise.  At this moment, the combination of rhythm and chords is erratic and loud which provides an irregular harmony.

Timbre:

The timbre in the Rogue One film score could be described as eerie, dark and heavy.  

Thundering timpani drums are used to build suspense and complement the chaos that is occurring in the film.  This is evident in the track “Trust Goes Both Ways” in the original Score.

Form:

The form for the Rogue One score was lacking in comparison to the Rio movie as they were more focused on the harmonies within one or two sections of the score instead of adding more unique instruments and layering the instrument tracks.

A perfect example of this is in the track “Wobani Imperial Labor Camp” from the official score. The track started off slower than the Rio film score tracks, and when it reached the crescendo (highest point) of the score, it had less different instruments and stuck to having more of the harmonies for strings.

Musical instruments used

The Rogue One film score used percussion, guitars, double bass, cellos and synthesizers.  This selection is typical of a standard orchestral score.  

(Word count – 1005)

References

Rio – The Movie

Research:

http://soundtrack-movie.com/rio/ http://blueskystudios.com/films/rio/ http://www.allmusic.com/album/rio-original-score-mw0002125311

Image: https://en.wikipedia.org/wiki/Rio_(2011_film)#/media/File:Rio2011Poster.jpg

Audio exerts:

Os quindins de yaya - https://www.youtube.com/watch?v=kgmumTlh_zE

Rio the Movie Soundtrack - Hot Wings - https://www.youtube.com/watch?v=DS3MLPr2HFE

Rio the Movie Soundtrack - Real in Rio - https://www.youtube.com/watch?v=29UBLzLX_us

Star Wars – Rogue One

Research:

http://www.movie-wave.net/rogue-one-a-star-wars-story/ http://www.georgeshawmusic.com/single-post/2016/12/20/Soundtrack-Review---Rogue-One-A-Star-Wars-Story http://ew.com/article/2016/11/23/rogue-one-composer-michael-giacchino-music-star-wars-standalone/ http://rd2.io/2016/12/music-of-rogue-one/

Image: 

https://commons.wikimedia.org/wiki/File:Star_Wars,_Rogue_One.jpg

Audio exert:

Rouge One - A Star Wars Story Official Soundtrack - Hope https://www.youtube.com/watch?v=RaEzKRngCyY

Rouge One - A Star Wars Story Official Soundtrack - Your Father Would Be Proud - https://www.youtube.com/watch?v=Qemb3iBlp1o

Rouge One - A Star Wars Story Official Soundtrack - Trust Goes Both Ways - 

https://www.youtube.com/watch?v=DaEJU2wqvZQ&list=PLIgzGpr7GDZvuhJ8he5fM5uvqC1XNPqa9&index=2

Rouge One - A Star Wars Story Official Soundtrack - Wobani Imperial Labor Camp - https://www.youtube.com/watch?v=yh9Izdc9GZY

[beatboss67]

Week 12

Hi fellow readers,

Over the past 6 weeks, I have been working on a combination of projects for review and assessment.

I am pleased to report that I have been able to complete both of my Projects and am now spending this week reviewing my work.

Group Project reflection

The Collaborative Group Project required the composition of two EP tracks that had a shared theme, namely an acoustic element with electronic input.

The first EP linked is attached for reference.

http://beatboss67.tumblr.com/post/154142093060/group-collaboration-ep-1-of-2-a-fusion-of-an

There were four members of my group - John, Dylan, Sangah and myself.  John and I took responsibility for organising the overall group activities.  I volunteered to manage the booking of the control and recording rooms for the acoustic recordings.   In addition, I was able to provide input with some creative ideas into the group discussions, some of which were ultimately incorporated into the project.  Also, I assisted in creating the MIDI electronic instrument tracks for the entire project.

A link to the second EP is provided below:

http://beatboss67.tumblr.com/post/154524909305/group-collaboration-ep-2-of-2-a-fusion-of-an

As a team effort, I was satisfied with the final product.   However a critical review of the entire project, did highlight that there were several areas of improvement for future tasks.  

Some of the improvement initiatives included general music writing knowledge, the need for more effective communication within the group and investing more time at the start of the project to plan the individual tasks and ensure that all members were in agreement of their roles, responsibilities and deadlines.

One key lesson learnt related to the fact that we didn't have a cohesive project plan.  Ideally this would have clearly described the deliverables that we all needed to contribute.  It would also have allocated time for each activity which could then be used to assess our actual progress against the plan.  

This would have been useful to control the project since any issues would be easily detected, and as a result the team could make the necessary changes to meet the schedule.  Furthermore, by better management of time, we would have been able to set aside adequate time to review our work to improve the quality of the finished product.

In the end, I believe that we allowed ourselves to be distracted by other activities, which placed the team under constant pressure to meet the aggressive time schedule.  

Solo project reflection

As already mentioned, my solo creative project is a variety of different  sound effects and sound foley that is suitable for use in a medieval themed video based game. 

To explain it differently, I was looking to connect sound foley, that I have been recording from commonly recurring noises (wind, walking, creaking floor etc) with sound effects which are more oriented towards the medieval era (swords clashing, applause, food hall feasts, bell chimes etc).

https://soundcloud.com/user-15742260/door-8-bit

The above link is a sound effect same of a door knob being turned, opened and closed.  I have edited and chip tuned it to make it sound like an 8-bit creation.

https://soundcloud.com/user-15742260/door-recording-raw

This is the raw, un-edited sound effect sample as recorded on the Tascam portable recorder.

https://soundcloud.com/user-15742260/birds-ambience

This foley sample was recorded near an occupied birds nest and then edited and chip tuned to create an 8-bit creation.  I captured the sound for use in the video game when the character is located in the country side.  

The outputs from this project were subsequently placed inside of a Soundbank, which is suitable for use by game designers who require a range of audio for incorporation into their gaming environments.

So what did I get out of the solo project?  

Time management and efficient use of the studio is essential for anyone pursuing a career in audio.  SAE have a wide selection of leading edge equipment for use at the campus.  However given that all audio students needed to complete their assigned work at the same time, it was critical to book session time in advance (of when it is required) and then manage the time within the allocated session to maximise productivity.

This became particularly relevant after some of my initial work was corrupted, requiring me to repeat what I had completed previously.  As an upside, I did notice a significant improvement in terms of my productivity level when I re-created previous work in the studio.  It was very clear that I need to take any opportunity to practice in the studio to hone my audio editing skills.   

Despite the significant technical challenges faced, I truly enjoyed the solo project and am very happy with the final product.

This blog concludes my activities for this trimester.  I look forward to sharing more news and examples of my creative work in 2017.

[beatboss67]

Group Collaboration

EP 2 of 2

A fusion of an acoustic element with electronic midi input.

I would like to once again recognise the contribution of each member of my group

John Hewell, Sangah Park and Dylan Shelton - Great team effort Guys!

[beatboss67]

Examples of my Solo Project

[beatboss67]

Week 11 - Project Update

For my blog this week, I have a few varied tales to tell.

Firstly, my solo project featuring medieval themed sound banks for use in a video game format, has been delayed - more on that a bit later.  

Currently I have several conflicts in work load, and needed to see some progress on the Group project and hence I have placing most of my attention and focus in that area.  

Thankfully this has paid dividends and with the collaborative effort of my team, we have recently completed one track with the second (and final) track starting to come together. 

In general terms, the collaborative group project consists of the composition of two EP tracks that have a shared theme of an acoustic element with electronic input.  Thanks to the members of my team (John, Sangah and Dylan) for providing their consent allowing me to post the first track per the link below: 

http://beatboss67.tumblr.com/post/154142093060/group-collaboration-ep-1-of-2-a-fusion-of-an

With regards to the solo project, I can report progress and some setbacks.

The good news is that since the last project update, I made solid progress to the 8-bit chip tuning of the soundtracks.  Over the past week, I was able to finish chip tuning of 50% (12 out of 24) of the required project recordings.  This was a significant improvement on the 6 that I had achieved the previous week.  That said, with the deadline for completion fast approaching, I will need to continue to dedicate my time and effort to complete this activity.  

And now to the setback....I discovered today that most of the chip tuning files were unable to be opened. It appears that a large quantity of my work has been corrupted. This is a tremendous setback and is obviously very disappointing.  Initially I wasted valuable time trying to determine how the data could have been violated, but rather than dwell on it, I quickly realised that I needed to “suck it up” and move on.  

So what lessons can be learned from this situation?  Always make multiple copies in different file formats and save them in several secure locations.  Also, as an audio engineer, I will always be at risk of viruses given that most of my work will be in electronic/IT media and I will need to always remain vigilant to these kind of problems .  Finally, I am very thankful that I had initially stored my originally finished “raw” sound samples in a secure location, so at least I won't be starting from scratch.

But, the fact remains that the time pressure has gone up a few notches and I must reprioritise my time to redo the editing and Chip tuning for most of my originally finished samples.  

My sole focus now is to be in the sound lab as much as possible leading up to the project due date to get my solo project back on schedule.

Overall I am now well behind schedule for my Solo Project, but I’m remaining positive and confident that I will be able to achieve the required deliverables now that I have a drop dead project end date looming just around the corner. 

More details and hopefully a sample copy of the solo project will be posted on my blog next week.

[beatboss67]

Group Collaboration

EP 1 of 2

A fusion of an acoustic element with electronic midi input.

I would like to recognise the contribution of each member of my group 

John Hewell, Sangah Park and Dylan Shelton - Great team effort!

[beatboss67]

Solo Project Update Week 10 and recent volunteer work at Arcadia

My medieval solo project is well underway given that I recently completed all of my sound recordings.  I have also made a solid start to the 8-bit chip tuning of the soundtracks, but with the deadline for assessment fast approaching, I need to improve my productivity to get this task completed.  To date I am 25% complete on this activity, so this will become my main priority

Overall I am slightly behind schedule due to other priorities, but remain confident that I can accelerate to achieve the required deliverables.

One particular aspect of my work this week is the re-creation of a vocal sound (laugh) to transform it to replicate a maniacal, sinister cackle.  The process involved cutting down and editing the original sound to eliminate bleed in and unwanted foley.  I then added compression and saturation effects to generate an exaggerated tone.  Finally I used an 8-bit plugin to collate the sample into the finished result.

More details and hopefully a sample copy will be posted on my blog next week.

This week, I was a Volunteer at the ARCADIA Festival at Elizabeth Quay on the 24th,25th and the 27th of November.  Many thanks to my colleagues at SAE Qantm for connecting me with Athina who was the Campaign Manager for staff recruitment.  It was a great opportunity to see first hand the effort that goes on behind the scenes to prepare for a complex and innovative immersive performance which featured light, pyrotechnics and music.  It also enabled me to gain some valuable work experience.

Image 1: Arcadia Spider Stage during setup 

Video 1: Individual Footage of Arcadia 2016

Arcadia is an international festival which combines the creative skills of many talented artists.  This includes DJ’s, acrobats and other performers.  The main focus for this amazing show is the spider structure which uses recycled machinery and military equipment to create a life like structure.  Examples include jet turbine engines from decommissioned fighter jets for the DJ booth, mechanical lifting crane arms for the main superstructure, afterburner units from a Nimbus spy plane for the eyes etc. 

Image 2: Arcadia Landing Show segment

Arcadia as a concept is approximately 9 years old having debuted at the Glastonbury festival in 2007.  It has toured the globe this year and featured at  major events such as the Ultra Music Festival in Miami, Seoul Olympic Stadium in Korea and now on our doorstep in Perth.

The first volunteer activity that I completed was the creation and erection of signage and advertisement billboards (including cost information for food and beverages).  While not specifically linked to audio engineering, it was an interesting job and helped me to get a good general understanding of the overall footprint of the festival.  It also confirmed the type of miscellaneous tasks that need to be completed to make a successful music festival event.  

On the second day, I was assigned to “front of gate” activities.  My duties were security related tasks consisting of ticket verification and placement of wristbands (to verify that each patron had the correct ticket and was fitted with a fluoro band).   It was a good customer service opportunity and exposed me to many people of different ethnic backgrounds and ages.  To be honest I was expecting the crowd to be predominantly early 20′s to early 30′s, and was surprise to see a large number of people in the range of 50 to 60 years of age.

Image 3: Wristbands that were distributed on the day.

On the final day of the Festival, I completed a multitude of jobs including staffing assistant (which required me to allocate staff to their assigned roles), and also helping in the cloak room.  I was surprised how much fun the cloak room job was. ��It enabled me to take temporary responsibility for people’s possessions and I received a lot of thanks when their gear was returned correctly.  This was a good learning experience as it showed me that in venues such as these, there are many different behind the scenes tasks that need to be done for the show to go on. 

Image 4: Arcadia at Dusk

This is relevant to general audio creations and other media work that we  produce, as each piece of work requires us to focus on the tiny details (such as for audio; the correct level of sound output, the elements and how they are spaced and how the individual element sounds and what effects are needed in  order to make it sound better).

Overall it was a tremendous opportunity to be involved in such a fantastic event.  Based on feedback from the management coordinating the event, there are likely to be further volunteer roles to similar events.  I will keep you posted on future developments.

[beatboss67]

Week 9

As reported in my previous blogs, I have been working hard to finish editing on my Sound foley and effects recordings for my Major solo project.  To recap, the objective of my project is to make audio soundbanks that can be readily used in medieval indie style video games.

I am happy to report that I have taken some big steps forward in regards to the editing and mixing of the raw samples that I have recorded.  Last week, I was able to cut the recordings that were composed of multiple audio elements into individual samples.  

Ultimately, my plan is to classify each of the individual sound effects and sound foley and place them into different Battery 4 effect patches, that will be used to create intricate soundscapes and audio tracks.  

When the above activities are completed, I will upload a few “preview” samples for aspiring game developers to listen to, in my subsequent blogs.  The end result is that I am hoping to work with the game developers in a collaborative way to use the created audio to assist in creating different tensions and moods within the completed video game.

The link to an edited audio effect sample is below:

https://soundcloud.com/user-15742260/water-effects

One of the things I am particularly happy about in regards to the editing is how well the Sample came through after the editing.  The sounds that captured water movements were more pronounced than when I was playing around with the initial recording.  I found it could be used with multiple effects and it had significant diversity, which allowed me to have a greater range for the sample, and subsequently it created many different ideas for what it can used for in the overall theme.

Review of the R&B Fridays Live

Besides the Production and editing of my live samples for the soundbank, I attended the Live performance of “RnB Friday”, which was held at NIB Stadium, East Perth last Sunday.  The crowd had a very positive vibe and the integration of a live DJ, performers, lighting and video clips made for a very interactive and enjoyable show.

Of particular interest, were the changes that took place between acts where the DJ was used to “fill” the gap prior to the next performer commencing on stage.  The DJ booth was placed at the back of the stage, and when the acts appeared on stage, there was a fadeout from primary audio to a secondary audio to supply backup music for the artists.

Being an RnB performance, there was a lot of bass tones contained within the artist’s compositions.  To ensure that the crowd were able to immerse themselves in the experience, the stage setup included 8 speakers along each side of the stage, 4 along the top and 4 large sub woofers located at the base of the stage.  There were many occasions during the show that my body resonated after being exposed to the deep, prolonged bass tones.

Another interesting setup tool was how the “roadies” were able to interchange the complex instrument and equipment.  This was specifically the case for the well known group called TLC.

As required, items such as the complete drum kit setup could simply be rolled out onto the stage for a particular song, and then rolled off when the track was complete. To enable this, the mobile  platforms had wheels attached to the base of the setup plate.

This was handy as it cut down time that the crew needed to spend on the equipment to put it on stage and it also cuts down the difficulty of having to worry about the different drummers personal setup configuration/arrangement preferences.

However, there was a flaw that became obvious when the show started and could've been avoided in the opening act.

The problem arose from the use of wireless/bluetooth microphones for the first artist. As the artist commenced his first song, the microphone had a technical difficulty and started cutting out on the artist. This could easily have been avoided by having full charge and mic checks before the actual event as it was obvious that the backstage crew were unaware of what to do for the situation.

Another situation that could've been used if the artist was planning on staying stable was to have a corded microphone and have it on a stand. This would eliminate the problem of the mic cutting and out due to limited charge.

[beatboss67]

Week 8 Blog

The past few weeks have been quiet for me on the social front.  As is typical with the upcoming end of year activities, I have been working hard to complete my different projects, as well as identifying some new volunteer opportunities that I can apply for.  This has restricted my ability to provide any significant updates to my blog.

So to ensure that I maintain contact, I will be discussing the major solo project that I have coming up.

My Solo Creative Project will feature a variety of different Video game sound effects and sound foley that will mainly be constructed for use in medieval based games. To explain it differently, I am looking to connect sound foley, that I have been recording from commonly recurring noises (wind, walking, creaking floor etc) with sound effects which are more oriented towards the medieval era (swords clashing, applause, food hall feasts, bell chimes etc).

These individual sound effects and sound foley will be classified and placed into different Battery 4 effect patches, that will be used to create intricate soundscapes and audio tracks.  I will upload a few samples for aspiring game developers to listen to in subsequent blogs.  I am hoping that we can work in a collaborative manner to make enrich the tensions and moods within the completed video game.

To date, I have been able to complete the majority of the live sound recording for the foley (with the exception of wind).  In addition, I have also commenced the recording of the sound effects (however these will mainly be artificially generated).

To capture these sounds, I used a Zoom H6 Handy Recorder in both the XY-Microphone Module setup and a Mid-Side Microphone Module setup.

I was most pleased with the door opening and closing sounds that I recorded for the general foley.  I was able to add in the doorknob twists as well which provided clean transitions between the two environments.  This allows the opening and closing sounds to be readily distinguished in the recording.

Audio Link here

The path forward to complete the project is to spend time in a studio or on a software recording program (preferably Ableton) perfecting and editing the sample down to a desired quality and length.  The different artificial sounds will then be added to fill out the required sound foley and effects that could not be recorded.

It is early days of course, but I feel that this project will be a great development for me and my skill set in the long run. And while the project is going on, I plan on profiling all the different work that I have been doing on the project until its final development and completion.

Finally, on a different note, I am pleased to report that I have managed to secure a ticket to the upcoming RNB Fridays Live event which is being held on the 20th November at the nib Stadium in East Perth.

The live event features some of the biggest RnB artists including Nelly, TLC, Mya, Blu Cantrell and many more.

I will provide a summary of the event in upcoming posts.

[beatboss67]

This is the recording that I am willing to showcase to you that will be used for My individual Project

[beatboss67]

Week 5

This week I have focussed on a couple of interesting tasks in preparation for the upcoming West Australian Music (WAM) festival.   

-WAM Festival Audio rode or a stage assistant Volunteer signup

The WAM Festival is an annual event which has grown in popularity over the past few years.  It features over 150 local contemporary music acts and will be held across over 20+ sites in Perth between the 3-6 November 2016.  

Fortunately SAE are an associate sponsor and recently invited applications for intern opportunities as Stage Manager/Stage Crew.  

From my perspective this is a tremendous opportunity to interact with creative musical talent, directly connect with the local music scene and also gain invaluable experience for my audio career.

I have already submitted an application to be a Stage Crew member on the 5th of November.  Of significance,  is that entry to the event is FREE at all venues.  These include the PICA - Perth Institute of Contemporary Arts Amphitheatre, The Hen House, Jimmy's Den, The Mustang Bar Perth, The Moon - Cafe and the Universal Bar.

There are many artists featured on the Saturday program including Barefoot Sojourns, Bells Rapids, CATZILLA, DIY Rainclouds, Filthy Apes, Hideous Sun Demon, Leafy Suburbs, Odette Mercy & Her Soul Atomics, Psychedelic Porn Crumpets and Thee Loose Hounds.  

While I am not familiar with the work of many of these artists, the creativity of their names has certainly triggered my curiosity.

- Research on a selected Game remix/adaptation artist

To progress in my understanding of electronic music, I researched an  Electro swing artist known as the The Musical Ghost.  This artist has completed  remixes of video game theme music for titles such as Overwatch and Undertale.

In addition, The Musical Ghost has also produced a few songs from the TV show “Steven Universe”.

The Musical Ghost has been active on line for nominally ten months,  but even with the short time that he has been on Soundcloud, he has amassed a solid foundation with in excess of 2,000 followers with one of his songs achieving 1,700 likes.  This artist has produced 38 tracks which are mostly Electro Swing remixes.

Another interesting fact is that this artist has maximised their social media exposure. Their on line “persona” includes a Twitter account, a Soundcloud account, two YouTube accounts, a Facebook account, a Google+ presence, a New-Grounds account and an individual website.

This certainly demonstrates to me that in order to gain maximum exposure, I should consider using the combined power of the various tools that are available.

- Main Youtube Account

- Main WIX Website

The on line evolution of The Musical Ghost is an interesting case in point.  The first YouTube account is where it appears the artist launched from initially given that there is not much content there.  Then on the second YouTube account is where viewers can check out the artists main profile, with links to other sites, and the majority of the artist’s work is placed there. 

After that, the Soundcloud link is able to connect with other artist’s, producers or regular listeners, while the New-Grounds site brings in the game developers, The Twitter account is where the artists engages with the general public including responses to their questions.

The internet site however is the key focal point, where  people that are interested can discover more details about the artist’s personal and professional interests. 

Look for Following Post for an example of The Musical Ghost making an Electro swing remix for the victory Theme in the game “Overwatch”.