#Audio Visual Instruments Melbourne

[dattelectronics]

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[mettamemories]

Setting the Stage: Planning a Photography Setup for Melbourne Corporate Events

Corporate events in Melbourne are vibrant occasions that bring together professionals, industry leaders, and stakeholders to network, share insights, and celebrate achievements. Capturing the essence of these events through photography requires careful planning, strategic setup, and technical expertise. In this article, we delve into the essential aspects of planning a photography setup for event videographer melbourne, highlighting the role of event videographers, event videography, and event photography in creating compelling visual narratives.

Understanding the Event's Objectives and Theme

Before diving into the photography setup, it's crucial to understand the objectives and theme of the corporate event. Whether it's a conference, gala dinner, product launch, or networking session, each event has unique goals and atmospheres that influence the photography approach. Event organizers, videographers, and photographers collaborate to grasp the event's narrative, key moments, and desired outcomes, laying the foundation for a successful photography setup.

Selecting the Right Equipment and Gear

Event videographers and photographers in Melbourne rely on a range of equipment and gear to capture high-quality visuals during corporate events. This includes professional cameras, lenses, tripods, lighting equipment, and audio recording devices. The choice of equipment depends on factors such as venue size, lighting conditions, event schedule, and desired shot composition. Skilled professionals ensure that their gear is well-maintained, calibrated, and ready to capture the event's highlights effectively.

Scouting and Assessing the Event Venue

A crucial aspect of planning the photography setup is scouting and assessing the event venue in advance. Event videographers and photographers visit the venue to familiarize themselves with the layout, lighting conditions, acoustics, and logistical considerations. They identify key areas for capturing speeches, panel discussions, networking moments, and branding elements, ensuring comprehensive coverage of the event's activities.

Collaborating with Event Organizers and Stakeholders

Effective communication and collaboration between event organizers, videographers, photographers, and stakeholders are essential for a successful photography setup. Clear expectations, timelines, shot lists, and creative briefs are discussed and finalized before the event, ensuring that all parties are aligned on the photography approach and deliverables. Regular updates, rehearsals, and walkthroughs further streamline the photography setup process.

Creating a Shot List and Schedule

A detailed shot list and schedule are instrumental in organizing the photography setup for Melbourne corporate events. Event videographers and photographers work together to identify key moments, sequences, and angles that align with the event's narrative and objectives. They plan for candid shots, posed portraits, group interactions, branding shots, and venue details, ensuring a diverse and comprehensive visual coverage of the event.

Managing Lighting and Audio Considerations

Lighting and audio play crucial roles in event photography and videography. Melbourne's diverse event venues, from indoor conference centers to outdoor spaces, present varying lighting conditions that require careful management. Event videographers use professional lighting setups, diffusers, reflectors, and color correction techniques to achieve optimal lighting for video recording. Similarly, audio recording equipment and microphones are strategically placed to capture clear and high-quality audio during speeches and presentations.

Adapting to Event Dynamics and Changes

Corporate events are dynamic, with schedules, activities, and guest interactions evolving throughout the day. Event videographers and photographers in Melbourne are adept at adapting to event dynamics, capturing spontaneous moments, and adjusting their photography setup as needed. They remain flexible, responsive, and proactive in capturing the event's unfolding story while maintaining technical excellence and creativity.

Post-Production and Delivery of Visual Content

After the event, event videographers and photographers focus on post-production tasks such as video editing, photo retouching, color grading, and audio enhancement. They curate and refine visual content to align with the event's tone, branding guidelines, and client preferences. The final deliverables, including event highlight reels, photo galleries, and promotional videos, are then delivered to clients for review, distribution, and marketing purposes.

In conclusion, 

planning a photography setup for Melbourne corporate events requires meticulous preparation, collaboration, and technical expertise from event videographers, event videography professionals, and event photographers. By understanding the event's objectives, selecting the right equipment, scouting the venue, collaborating effectively, creating a short list, managing lighting and audio considerations, adapting to event dynamics, and delivering high-quality visual content, professionals ensure that  Event Videography melbournes are captured with professionalism, creativity, and storytelling flair. The resulting visuals serve as valuable assets for promoting brands, documenting milestones, and engaging audiences long after the event concludes.

[johnwilliamm]

Pastry Epping, Wraps - Melbourne

Pastry Epping is a well-known bakery in Melbourne that boasts of a diverse clientele from the Eastside. Their rumaisa pastry menu is one welcome surprise for anyone looking to add a unique twist to their desserts. And with Aldi's festive range, it's not Christmas without surprises from Pastry Epping. They serve Eppings, developing the area one delicious pastry at a time.

Pastry Epping makes a large bakery and offers a wide range of baked goods to choose from. The hand-crafted pies are a specialty, and the cuisine Nathan provides is simply amazing. Pastry Chef Laura Clay has been instrumental in creating a customized menu that fits Eppings' needs perfectly. Their individually piped faces on the pastries make them stand out from other businesses in the area, and their Eastside selections are always a hit with customers. Coles 735 Main is equipped with state-of-the-art audio-visual systems, which fits the bill for any event or gathering. Pick up some weekend pastries or plan your next event at Coles 735 Main! They have rooms that can accommodate small or large groups of people, making it perfect for any occasion. With their delicious baked goods and experienced staff, Pastry Epping is definitely worth checking out this week!

Pastry Epping is not only known for their delicious baked goods but also for their attention to detail when it comes to serving wine. Whether you're at a fine dining or casual dining setting, they use stemmed wine glasses so you can fully experience your favourite wines. They believe that investing in a good bottle of wine should be enjoyed in one single glass.

Pastry Epping, Wraps - Melbourne sources their fruit from the Melbourne markets and ensures that only the best produce is selected. They are known for their famous cake which is sourced from Sydney and weighs three tonnes. The pastry team produces 12 slabs of this cake, each containing 66 portions, every week.

[astonishinglegends]

Ep 201: The Disappearance of Frederick Valentich Part 3

“I am prepared to swear on oath or submit myself to any lie detector test to substantiate this, my statement.”

– Don Cox, who observed a triangle-shaped UFO for 45 minutes from his yard in Adelaide, 385 miles northwest of Valentich’s last known location, just 28 minutes after his radio fell silent.

Description:

As we wrap up our coverage of the Frederick Valentich story in Part 3 of our series, we'll continue our conversation with Melbourne resident Chris Tyler about his research into the case and other possibly related UFO incidents around the same time and area. We'll also examine the Australian Department of Transport accident report's remaining findings and discuss its conclusions. As you begin to reach your own conclusions, it's essential to keep several factors in mind which make the usual mundane explanations seem inadequate. The high number of independent sightings of aerial phenomena occurring in proximity to the disappearance suggests Valentich wasn't alone in witnessing it. The distance a Cessna cowling was found from a potential crash site and the lack of definitive markings makes its discovery inconclusive. Even if the cowling did come from Valentich's plane, it still doesn't account for what caused him to ditch, let alone other missing debris and Valentich himself. Perhaps the most surprising revelation comes from the summary of the report itself. Rather than dismissing the possibility of a UFO entanglement, an official government statement lists it as one of four likeliest scenarios. Remember that Valentich himself never suggested he interacted with a UFO in his last transmission, despite being painted as obsessed with them by his skeptics. When these factors and more are taken together, it's no wonder this incident is one of the most baffling and tragic in the phenomenon's history and leaves us all to wonder, what happened to Frederick Valentich and where did he go?

Location:

Moorabbin Airport, where Frederick Valentich took off from on October 21, 1978, headed for King Island across Bass Strait.

Reference Links:

“UFO suspicions still cloud disappearance of Frederick Valentich” from Melbourne’s Herald Sun

The strange noises heard on Valentich’s last transmission, posted on Facebook by A.U.F.O.A. – Australian UFO Action

“How the 40-year-old mystery of a UFO in New Zealand lives on” from news.com.au, about Quentin Fogarty’s UFO experience

The UFO Documents Index on NSA.gov

Cape Otway Lightstation

“What is the Aurora Australis?” on Universe Today

The Green Flash

“The Disappearance of Flight N3808H, Puerto Rico, 1980” blog post by “karl 12” on AboveTopSecret.com

“Disappearance of flight N3808H 28th of June, 1980” with pilot’s radio transmission on YouTube

“UFOs, USOs and the Island of Puerto Rico.” by “karl 12” on AboveTopSecret.com

“Jet Fighters disappear as they approach UFO in Puerto Rico” section of a documentary on YouTube

“Two F-14s kidnapped by UFO near Puerto Rico” forum thread on unexplained-mysteries.com

“The Valentich Disappearance: Another UFO Cold Case Solved” by James McGaha and Joe Nickell on Skeptical Inquirer

“Spooky Space ‘Sounds’” from nasa.gov

“What Is This Flying Object??? Occurred at Cape Hatteras Lighthouse - 1/7/2021” on YouTube by Wes Snyder Photography

The “PPRuNe” forum or “Professional Pilots Rumour Network” discussing Valentich's radio transmission

The Melbourne Marvels podcast and their episode on “The Unresolved Disappearance of Frederick Valentich”

“10 Truly Bizarre Incidents From The Bass Strait Triangle” from Listverse

The Unsolved Mysteries Wiki on Fandom.com for the Frederick Valentich episode

“Lost yacht mystery continues 30 years on” from abc.net.au

Sydney to Hobart Yacht Race on Wikipedia

“Race Tragedy Tale / Oracle CEO tells all to St. Francis Yacht Club” from SFGate.com

“'Holy grail' or epic hoax? Australian Kelly Cahill's UFO abduction story still stirs passions” from ABC South West Victoria news

“Capturing the Light” – The true story of Dorothy Izatt on Amazon Prime

Close Encounters of the Third Kind feature release date information on IMDb

The Frederick Valentich case on the original Unsolved Mysteries, Season 5, Episode 2 on Amazon Prime

“Last Light: the Valentich Mystery” from The History Listen with Kirsti Melville on ABC.net.au

“Disappearance of Frederick Valentich” on Wikipedia

“What Happened to Frederick Valentich? Possibly the scariest UFO case ever” by OzWeatherman on AboveTopSecret.com

“Valentich Case Files Finally Released” by Kandinsky on AboveTopSecret.com

“The Valentich Abduction/Disappearance: 40th Anniversary” by MirageMan on AboveTopSecret.com

“The Abduction of Fred Valentich” from The Unexplained Files on Discovery UK – YouTube clip of Melbourne Flight Advisor Officer Steve Robey describing his radio communication with Valentich

Complete episode on the Valentich disappearance from The Unexplained Files on the Discovery Channel

Cessna 182 “Skylane”

Valentich’s missing aircraft report online, from the National Archives of Australia

Download of Valentich’s missing aircraft report as a PDF

Bass Strait

Moorabbin Airport

“'Truth' was out there after all –An accidental discovery sheds new light on the mysterious disappearance of a pilot in 1978, writes Miles Kemp” from The Advertiser

Australian UFO researcher, Keith Basterfield

Melbourne, Australia

Tasmania

King Island, Tasmania

Visit King Island at kingisland.org.au

“Biography of Bette Nesmith Graham, Inventor of Liquid Paper” on ThoughtCo.com

Bette Nesmith Graham on Wikipedia

Australian crayfish

The TCAS or Traffic collision avoidance system

“What C.S. Lewis and Martin Luther Would Say About Our Coronavirus Panic”

Black Death

Second plague pandemic

“Plague was one of history’s deadliest diseases—then we found a cure” on NationalGeographic.com

Suggested Listening:

Melbourne Marvels podcast – “a podcast about true stories from Melbourne” CLICK HERE to listen to their episode on “The Unresolved Disappearance of Frederick Valentich”

Check out our good friend Gledders’ paranormal podcast, ANOMALY, where he, his co-host Steve Freestone, and Forrest discuss some of the more weird and wild events of 2020 and more in his latest 2-part series. Click here to subscribe and listen on Apple Podcasts, Google Podcasts, the website at anomaly.co.uk, or anywhere excellent podcasts are found.

And then after that, check out Gledders’ “80’s Mix Tape” for the best in 1980s music, Saturdays, 6:00 to 8:00 p.m. in the UK, or stream anytime at Huntingdon Community Radio HCR 104 FM!

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Credits:

Episode 201: The Disappearance of Frederick Valentich Part 3. Produced by Scott Philbrook & Forrest Burgess; Audio Editing by Sarah Vorhees Wendel. Sound Design by Ryan McCullough; Tess Pfeifle, Producer, and Lead Researcher; Research Support from the astonishing League of Astonishing Researchers, a.k.a. The Astonishing Research Corps, or "A.R.C." for short. Copyright 2021 Astonishing Legends Productions, LLC. All Rights Reserved.

[anothersievefistedfind]

Courtesy Neil Thomason

Fugazi, Collingwood Town Hall, Melbourne, 11/14/93 (FLS #0609)

This recording documents the second of out two consecutive nights Fugazi performed in the city of Melbourne in 1993.

Footage of the entire show, albeit with very poor audio and visuals, used to be available through YouTube (here), but the account is no longer available.

Fortunately, the audio recording presented here sounds great as it is. Brendan’s snare drum comes out a bit off in the beginning, but the audio levels balance out soon after and overall provide for a most pleasurable and engaging listen.

It is 20 songs total, taken off of In on the Kill Taker (8), Steady Diet of Nothing (3), Repeater (5), 3 Songs seven-inch (1) and 7 Songs debut (3).

Note that the set list features the only live rendering of the incredible song Burning on this Japan / Australia / New Zealand leg of the 1993 tour, as well as one out of just two live performances of Glueman on this leg of the tour (the other one having been performed and recorded in Sydney on November 20, see below, FLS #0613) and it is a memorable one since it not only beautifully and ominously contrasts the preceding instrumental Sweet and Low but also, and exceptionally, offers not one but two breakdowns as everything comes crashing down, spending it all. Add to this a rare live performance of 23 Beats Off which gels flawlessly into Exit Only and the overall result most definitely qualifies as a highlight gig and recording of this tour in my opinion.

It has been mentioned that “the band [were] tired and fucked off at this show”, but I am not sure about this, at least it does not appear from this recording. Granted, the band does seem less garrulous, with banter few and far between, but the performance still comes out on top.

Note that Guy introduces Latin Roots, “for a long time I owned the bed I was conceived on and this song is about fucking on your parents’ bed” and that Ian has praise for the venue, and apparently rightfully so. According to the Yarra City Council,

“First opened in 1887, the Collingwood Town Hall boasts impressive 19th century gold rush style classical design. The foyer entry and interior of the ballroom were refurbished in Art Deco style in 1938.

The centrepiece of this grand building is its ballroom which is ideal for theatre performances, musical productions, and warehouse sales.”

The set list:

1. Intro 2. Smallpox Champion 3. Reclamation 4. Interlude 1 5. Latin Roots 6. Facet Squared 7. Public Witness Program 8. Styrofoam 9. Interlude 2 10. Rend It 11. Interlude 3 12. 23 Beats Off 13. Exit Only 14. Song #1 15. Burning 16. Waiting Room 17. Interlude 4 18. Two Beats Off 19. Interlude 5 20. Great Cop 21. Interlude 6 22. Cassavetes 23. Shut the Door 24. Encore 25. Brendan #1 26. Repeater 27. Sweet and Low 28. Glueman 29. Outro

[tvinstallationmelbourne]

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  Source

[rmapracticeresearchgroup]

RMA Conference catch-up

This year’s RMA conference had some great practice research papers/workshops that you can still watch online until sep 18th here - 

https://www.goldsmithsrma2020.org/programme

Hopefully I’ve mentioned all of them, title/author/abstracts below, I haven’t seen all of these myself yet.

Mira Benjamin and Pete Furniss (Goldsmiths, University of London): Embodied Research Methodology as a Creative Framework for Performance Pedagogy in Higher Education

Recent discourses in Practice Research have addressed the epistemic capacities of embodied knowledge. In illustrating how knowledge can arise both as thinking and as doing (Varela et al. 1991, Knorr-Cetina 2001; Borgdorff, 2012; Schwab 2015), such conversations have seeded a community of embodied researchers, including a growing number of practice-based research projects in Music Performance. Following Ben Spatz’s argument that “knowledge inheres in practice” (Spatz, 2015: 25), we may understand the development of a musician’s technique as representing knowledge, which may be applied in many potential ‘instances of practice’. We propose that embodied research methodologies afford both constructive and creative frameworks in individual learning and teaching when applied in performance pedagogy in Higher Education. This approach offers an alternative to outcome-oriented pedagogies that may prioritise certain achievements at the expense of motivation and investment, and to the potential impairment of the health and well-being of students. Instead, an emphasis on learning as a discovery-led process of research (Bell & Stoneham 2016) – one in which the development of technique is seen as a growing of embodied knowledge – can carry a profound impact on student experience and engagement. Our argument is illustrated and discussed using recent case studies involving undergraduate and postgraduate Music Performance students, which evidence the creative potentials of critical self-reflection, questioning, and a focused attention to process.

Roundtable: The Location of Musical Knowledge Chair: Alex de Lacey (Goldsmiths, University of London) Panellists: Les Back, Alya Al-Sultani, Lemzi and Corey Mwamba.

Goldsmiths is located in New Cross, part of the London Borough of Lewisham. This area is vibrant and diverse, with bustling musical communities of many different kinds that underpin the everyday functionality of its home borough. This roundtable will bring together practitioners and scholars from across the institutional divide to ask what we can learn from community-led practice (in schools, in worship, in informal non-institutional settings [bars, clubs, halls]), and question how different forms of musical and artistic expression (jazz, spoken word, grime, South Asian diasporic practice, sound system traditions, hip-hop) function inside and outside the academy. It will seek to determine how musicians do what they do, how creativity is spoken about, and appraise the variegated ways of knowing that aren't typically located in an academic setting, yet are vital for a fuller, more nuanced, understanding of musical practice.

[unfortunately only the concert is video-archived, not the workshop process] Composition Workshop Chaired by Roger Redgate (Goldsmiths, University of London)

Composers: Paul Archbold, Yuko Ohara, David Gorton, Alastair Zaldua, Angela Slater, Panos Ghikas. Compositional research at Goldsmiths comes under the auspices of the Contemporary Music Research Unit (CMRU), which was founded by Professor Roger Redgate in 2011. This composition workshop is lead by violinist Peter Sheppard Skærved and oboist Christopher Redgate, two leading exponents of new music and practice based research, both of whom have a long standing association with Goldsmiths as musicians in residence. Peter Sheppard Skærved is currently an associated research fellow with the CMRU. A further feature of the workshop is the Howarth-Redgate oboe, an extended instrument designed by Christopher Redgate with a view to facilitating a wide range of contemporary techniques. The workshop will take place at Goldsmiths from 11.00–17.00 on Wednesday 9 September. Performers Christopher Redgate and Peter Sheppard-Skæverd will workshop a selection of pieces submitted to our CfP.

‘What Listening Knows’ David Chesworth (RMIT University, Melbourne)

This paper discusses the large-scale video and sound installation What Listening Knows and how it interrogates the act of listening, particularly the concept of ‘the microphone’s gaze’, which shifts the idea of the ocular gaze into an acoustic dimension. During a recent research residency in Wiltshire, the artist duo Sonia Leber and David Chesworth filmed performers acting as field recordists in the landscape, trailing through cornfields, unfathomable 72 henges, earthworks, anthills and ancient forests. The highly-detailed soundscape is composed from environmental sounds, spoken texts, performances, military aircraft above the forest canopy, surveillance technologies, and special compositions performed by Salisbury Cathedral choristers. The video reveals the temporal manipulations of two electronic musicians as they cut-up and splice the original recordings, subjecting them to changes of tape speed and direction. This references the methodology of musique concrète, originated by Pierre Schaeffer and others, where acousmatic music was created by manipulating recorded sounds to reveal new and affecting aspects of those sounds, obscuring the sound’s original identity and meaning. What Listening Knows explores compositional themes of musique concrète composers (male and female): ear perspective versus microphone perspective; intuition; non-human listening (by plants, animals, and electronic technologies); animism and sound; and transitional and marginal listening to different presences, absences and spaces of the mind. Key in this, is how different kinds of listening can lead us to experience new worlds beyond visual perception. What Listening Knows has been created for exhibition over three large-scale video projections and 16 audio channels across the cavernous main space at Messums Wiltshire from 11 September to 25 October, 2020.

Calibrating Spatial Typologies with Musical Ideas in Composition and Performance Emma Kate Matthews (Bartlett School of Architecture, University College London) 

This practice-based research presents a range of real and virtual scenarios in which acoustic characteristics of physical and virtual space, and conceptual spatial ideas are embodied in sonic works, with a particular focus on architecturally-aware and spatially-organised musical compositions. This paper acknowledges the spatially-precise works of composer Henry Brant in parallel to an exploration of the limitations and opportunities of ambisonic simulation technology and spatial audio as a tool for prediction and performance by architects, composers and musicians, and as employed in recent spatial music projects by the author. Throughout this paper, I use the self-coined term “spatiosonic” to refer to work which deliberately discovers productive reciprocities between music as constructed sound and architecture as constructed space. Constant developments in spatial audio technology is changing the way that we understand and experience relationships between architecture and music. An increasing freedom from a physical site-specificity is accompanied by a desire to access and replicate the acoustic character of ‘other’ spaces; both virtual and real. In order to maintain a critical and productive dialogue between the practices of constructing sound and constructing space, we must establish rigorous and precise methods for the calibration of these two worlds. This paper presents an initial identification and categorisation of spatial typologies in relation to sonic media as a means of establishing methodologies by which characteristics of both physical and virtual space can be more precisely calibrated with musical ideas in spatiosonic practice, using examples from recent spatial composition projects by the author.

Composition workshop: Scott McLaughlin: Composing for the Indeterminacy of the Clarinet, with Heather Roche.

The possibilities of woodwind multiphonics has been well-mapped in recent decades, to the point of the technique being ubiquitous in contemporary music. Resources by Bartolozzi (1967), Rehfeldt (1976), Farmer (1982), Weiss & Netti (2010), Watts (2015) and others have tended towards the goal of documenting only the most reliable and predictable fingerings. This strategy is entirely sensible for certain modes of composition/performance, but occurs at the expense of exploring the specific ways in which multiphonics can be indeterminate, and the rich compositional possibilities these indeterminacies offer that go beyond the production of arbitrary sounds and ‘effects’. This online workshop with Scott McLaughlin and clarinettists Heather Roche works through the key insights of the AHRC-funded project ‘The Garden of Forking Paths’ (2019–21) which develops compositional strategies for working with the indeterminacies of clarinets. The project flips the standard model of multiphonics by taking indeterminacies as opportunities to be followed; assigning a material-agency (Pickering 1995) to the clarinet wherein the instrument reveals new sounds through recursively exploring limited configurations of fingering/throat-embouchure-techniques. We develop compositional strategies for performatively generating and following the paths laid down by the instrument: see Tim Ingold’s concept of ‘wayfaring’ (2013). The workshop will explore different dimensions of this, demonstrating compositional strategies appropriate for several classes of indeterminacies.

‘The Pianist as Film Critic: Interpreting the Intermedial Dialogues of Nicole Lizée’s Criterion Collection’ Zubin Kanga (Royal Holloway, University of London) 

This paper explores the new approaches to interactions between a live performer and film, and the corresponding interpretative challenges, of the Criterion Collection works of Canadian composer, Nicole Lizée. These works take clips from iconic films by a major filmmaker, looping and manipulating them and using the resulting distorted film score, dialogue and foley as musical materials, with each scene transformed into a short study. Each set of studies thus becomes a musical portrait of a particular film auteur. In their integration of media, theatre and performance, these works exemplify the recently emerged compositional school identified as ‘The New Discipline’ (Walshe) or ‘Music in the Expanded Field’ (Ciciliani, Shlomowitz), while also being a unique outlier of this new intermedial genre. Focusing on her Scorsese Etudes (2018) (commissioned by the author) as well as the Hitchcock Etudes (2010) and David Lynch Etudes (2015), the paper will analyse the categories of relationships between live performer and film, the myriad musical materials resulting from different film manipulations, the different musical results from focusing on different filmmakers, and the interpretative challenges of negotiating all these possible combinations of source, style and transformation. Using correspondence with the composer, the author’s performance scores, and videos of the author’s performances, a new type of performer role will be demonstrated, one that is both a virtuoso and a film critic, interrogating auteur theory from the keyboard.

How to Become Ethereal: A Compositional Approach to Mass as a Timbral Dimension Ivonne Michele Abondano Florez (University of Leeds) 

As Asteris Zacharakis, Konstantinos Pastiadis and Joshua D. Reiss argue, the perceptual experience of timbre is strongly influenced, if not determined, by the use of words that describe its characteristics and behaviour, often in terms of luminance, mass, and texture. Spectral analysis of timbre allows for the formulation of more specific descriptors of timbral possibilities, contributing to a richer understanding of timbre in a multidimensional and dynamic perspective. Here, I focus on outlining the compositional approach for ‘A Weightlessness Process (... or how to become ethereal)’, a solo cello piece based on the timbral perception of mass, specifically from the experience of weight. In the field of physics, mass refers to the resistance that a body of matter offers to a change upon the application of a force. Timbre, as a process of interaction between the parameters of sound, implies continuous transformation. Thus, the perception of mass in timbre can be associated with its resistance to change, and ‘matter’ to the internal behaviour of timbre itself. From this perspective, weight is approached as the force exerted to determine the resistance given in timbre, as the perception of its internal interaction as well as the experience of the physical approach to the source of sound. Consequently, the spectral analysis of the cello techniques developed for this composition brings about a recognition that the perception of weight in timbre is influenced by parameters like loudness and spectral content. This information makes possible a classification of these techniques according to descriptors for the ‘measurement’ of weight that function as structural points in the weightlessness process, from a technical and conceptual perspective.

[cathousemelbourne-blog]

Joshua Harry Hall interview

Short interview with audio visual artist and producer Joshua Harry Hall as a preview for Berlin Calling LIVE techno this 23rd of March at The Sub Club Melbourne.

Who are you and what do you do?

My name is Joshua Harry Hall. I guess I would categorise myself as an Audio-Visual artist. Biggest interest is in music, but even when I am just focussing on audio there is always a visual aspect whether it’s like film clip stuff or visuals for live. So, that’s what I like to do.

Tell us a bit about your music career and what influences you:

I actually grew up on metal and hardcore, I came from an area that was pretty dominant. Actually, I used to yell at people [laughing], I used to front a progressive hardcore band. I play guitar, so came from writing music, but for some reason ended up yelling at people.

How did you end up making your way to electronic music?

Outside of performance, I was always interested in sound design, how music comes out. I think alternative/heavier music has a lot more freedom for it to be much more experimental, because you don’t have mainstream society directing the outcome of the music. I think metal is a really good gateway to hearing songs that have a lot of content in the highs, mids and lows - really rich, and that’s found in electronic music as well.

I love almost everything. If it interests me, I don’t care what the genre is. Like psytrance, drum'n'bass, techno.. they all have their ways to present a platter of music, even if it’s minimal or there’s a lot going on, there’s more focus in sound design, so that's always attracted me. That’s what I was always interested in recording; how to make something sound good. When you’re used to metal where there’s a lot of tracks, you’re trying to fuse it all and make it sit well, from like really heavy vocals, complicated drum patterns, how you get the bass and these crazy kicks to come through multiple guitars.. trying to get a perfect mix, to me, that inspired me listening to electronic music cause it’s like people sitting in their rooms being fanatic about sound. Also, I just like heavy stuff.. there’s a lot of heavy electronic music!

What's your motivation behind playing live and not as a DJ?

I really respect DJ's, they're artists in terms of curating a whole set and taste making, taking an audience on; but for me, probably because of a background with tangible instruments, I never got interested in DJing.

I went through a time with electronic production everything was in the box. I guess financially, especially when you’re younger or whatever, just pirating stuff and having all those palettes to play with was interesting, but then I never felt connected or wanting to perform that music, even though I loved getting on stage and interacting with other artists in a band context, and delivering that to an audience. For me, creating something [...] in a studio, I can get really into creating songs - now I just want to play the songs. Seems a bit weird but I have no interest in grabbing all the other songs that I did and mixing them together. Not because I don’t like the format, I think I just respect it - people already do that. I’ve poured enough hours into other aspects of music to then go DJ.

That said, I like using the format of a DJ mixer even with live machines. I’ve got effect pedals in my chain, I’ll actually put them into another channel, [...] you can create loops and extended reverb and treat them like a different channel in the mix. But the more I got into sound, I bounced to asking 'what is the hardware?' or 'where are these sounds coming from?' I just got obsessed with synthesis.. as obsessed as finances allow!

Which has been your best live gig, where and why?

Aside from this kind of music, it was actually to like 40 people somewhere in W.A. just with a guitar [...] at a time the band I was in was going pretty well; but that set for some reason, even though it was super tiny, it was just a really humbling moment & realisation that I'd rather the emotional response of just one or two people, just destroying their world, or making their day or whatever, as opposed to pleasing a lot of people.

I’d already done that with the band as a way to not get shy if the crowd was very big; just sort of pick one person or a couple of people that were engaged, even before playing to just be like 'cool..it’s for that person' ..try to develop like a one on one relationship [...] then the rest of the crowd would feel it. But this gig.. there was this middle-aged lady and she was in tears when I was half way through a song, and by the end of it I realised most of the rooms energy had shifted like crazy. I literally walked away from that and within a week had plane tickets booked and had flight cases with all my gear ready. I was like: actually, there’s nothing holding me here anymore, this band is going really well but I wanna re-evaluate what Im doing with music, is it affecting people? And realised that particular project wasn’t able to get people the way I wanted.

That’s where I'm at now, unfolding and sort of presenting what I've been going through musically and trying to share that with people, just starting at the bottom again. If I can’t affect one or two people in an intimate setting then I don’t have much desire to make some crazy song in my studio and give it to a DJ to go play everywhere. I wanna effect people on the spot. I think that ties in to why live is important; engage in your present and you can have an idea of a song and go into it but maybe the way it comes out is totally different. If you’re actually engaged with the people there, or if you’ve got that one or two people that are really present then you’re having an intimate experience. It can shape the way that song comes out, then you get this really beautiful thing you don’t get in a studio. That song is the best! The opportunities in live are greater, and scarier.

What is your opinion about the techno scene in Melbourne and how do you see it in the future?

Techno in Melbourne is interesting. I think it’s thriving as much as it’s not. It’s confused a little bit. There’s definitely like a scene that isn’t confused, and is sort of pile driving a certain movement. But on a whole, I think there's a greater lot of people that hear the word 'techno' then have completely different ideas of what’s going on. [...] I think a lot of clubs and events in the south are really shallow and not in the pocket for the right reasons - not saying they’re not good and there aren’t people having the times of their life every single week again and again and again - but [...] it unfortunately doesn’t help the more intentional events because you have others that might actually like some forms of techno that just hear the word and think of ‘typical Revs' or something; or what techno offered 5 years ago or something. They recoil like “nah, that’s shit” or they might not connect to a certain stage or festival that they think signifies techno.

I don’t know, I know that’s going off on a tangent, but I think there's some really beautiful shit going on and unfortunately some people will never go to those gigs because they have another idea of what techno can be. Then on the other side, there is this whole facade of people that think they are going to these epic techno events that're actually detrimental and not good for the culture and the scene at all.

I can’t really talk too much about where I’m at with techno because there’s a million more people that are out in the front of the field [locally], like people I work with on a weekly basis for Sub Club and I wouldn’t say "I'm a techno artist" but [...] there's a lot of subsets of music that I do like to make, and get lost in - like ambient and drone - that's more accepted in the techno community.

For the future: I'm really interested to see what happens this year, cause a lot of venues have closed down for one reason or another. Really iconic places, or places that haven’t existed for that long but have created amazing atmosphere and communities around them. There’s actually a whole bunch of more challenges for any new places to pop up too. Like, insurance [for nightclubs] just went up by about 4 times this year. Not to mention the music licensing changes with One Music Australia that will impose astronomical costs for places that are venues for live music, from band rooms to clubs. So, on one side you got all these iconic places shutting down, on the other you’ve got this tidal-wave of reasons that it’s gonna be impossible to start anything low-key or left-field. If it was like that 5 years ago for Sub-Club, it wouldn’t exist. [...] I think, unfortunately it’s gonna be really hard for an authentic, small-scale, genuine club to open, but it’ll happen and I’m excited to see where the pieces lay.

Otherwise, it could be that downfall where all these amazing artists and gigs are pushed to clubs that generally play pretty shit stuff, but at least they can pay the bills every other night of the week and then therefore have these great intimate, awesome gigs happen there as well. But then, that’s weird because then you’re in an environment that usually has harassment and all the other stuff..

What do you think of this only-live techno concept and what would be your set-up for Berlin Calling Live night?

I think there should be more live electronic music in general in Melbourne. I think there’s heaps of artists out there that don’t see that as a viable thing because they don’t see it enough at gigs, or something. Like, people might have equipment but they’re more focused on “I'll finish this up as a track and play it in a DJ set” ..if more [live artists] are included lineus then [...] there's more people comprehending actually playing live, then it becomes normalised.

I think having set a whole night built around it being live is also awesome, especially at the moment if there’s smaller amount of people in your genre-umbrella then it means it’s not gonna be confined to just one sound [...] you have 6 artist who’re gonna be slightly off because of the gear they use, because of their own taste and stuff, I think it's a really good idea. I definitely wanna see it more in different venues around the city cause it opens the door for more collaborations.

Logistically it’s hard to balance if you don’t have the right people behind it, and the right idea of how it’s going to work. [...] It’s easier to have a whole lineup of DJ's and maybe one live set to start and one thrown in somewhere else. But hopefully there’s more full-live set ups. Personally, I really wanna see live setups with different artists all collaborating and playing a set together and that won’t happen until [we] start being normalised to gear [...] whether that’s someone through their laptop, there’s still that live interaction, doesn’t have to be all analog gear. That said, I love seeing modular, it’s beautiful - someone interacting with this whole beast, but I wanna see everyone come together, play together and go off with each other and take that time, the whole night [...] and taking the whole audience through. Hopefully a night like what you’re doing is gonna help pave and get us closer to maybe more people who want to do that.

I’ll be using a balance of digital and analog gear. I'm not gonna be taking too much. I think a Moog and a Deepmind, an Octatrack is gonna be the main basis of it and an iPad for looping stuff and my mixer. I actually use a mixer as an instrument a lot more, and a Strymon delay pedal [...] I like having like an aux send on the mixer that goes through the pedals, so with any instrument I can choose what gets affected and that comes back through a seperate channel, so if I turn that channel down, nothing is wet. I can bounce an idea or a certain sound to the effect pedals and have it turned down and be able to create that soundscape and move on, but know that the pedals are still stuck in that world and I can pull back to it. I really like looking at a mixer likes it’s an instrument as well, as opposed to something that controls volume.

Whereas the synth house project that I’ve done for festivals is like a whole cabin with everything that’s in [my studio], and guitars and other instruments I have; all in one big thing. I won’t be able to do that in the club. That setup takes a 22 channel mixer.

Berlin Caling LIVE techno:https://www.facebook.com/events/385381668931138/

Video editing:

Melissa Rodriguez

https://www.instagram.com/melipeggi28/

https://vimeo.com/user40165237

#techno #melbournetechno #berlincalling #cathousemelbourne #technofamily  #deeptechno

[dattelectronics]

TV Repair Services Cranbourne North

When your television experiences issues, turn to TV repair services in Cranbourne North provided by Datt Electronics. Our skilled technicians are dedicated to restoring your TV to its optimal performance, ensuring you can enjoy your favorite shows without interruption. We specialize in Cranbourne North TV repair services that address a wide range of problems, from screen issues to audio…

[israelcarter10]

Week 4

This week I spent my time finalizing the project proposal and the projects I will be working on for my upcoming assignment. I looked into the physiological effect in regard to my adjective as well as the emotional response it has.

It was interesting to research my adjective and the physiological side of things to see that amazing can be experienced in a positive and negative valence and our response to something that is amazing is related to our expectation of an event that is unfolding and when we experience something we weren’t anticipating.

With my adjective being amazing I will be working on three projects where I will be doing three sound compositions. One will be a multichannel audio composition in the black box which will be a collaboration with another student who will be creating visuals. The next project will be a composition for the Melbourne Town Hall where I will be using the organ and lastly will be a soundtrack for one of Richard Grant’s videos.

With one of my projects being a collaboration I worked on creating an initial rough draft to give my collaborator a sense of my composition and time to think about possible ideas.

I also started on ideas for my Melbourne Town Hall composition which I had to approach differently because I will be incorporating an organ so I had to think about how the tone and structure and how I will be using different sounds from the organ.

I was inspired by this music composition by Hans Zimmer which was in the movie Interstellar. I was interested in the way he was able to build tension throughout his composition and the choice of instrument layers to create an unexpected composition narrative which I though created an amazing and very emotional listening experience.

The interesting thing a amazing is it can be caused by a negative or positive valence.

[weownthenitenyc]

MONOM BERLIN: Lost Few presents 'Between The Silence' in 4DSOUND, June 5th - Berlin

On June 5th MONOM will open its doors for the public to experience the album re-imagined in 4DSOUND. #Berlin #LostFew #Funkhaus #MONOMBerlin

LOST FEW is the audio-visual project of David Thomson, an experimental artist based in Melbourne, Australia.

Fusing his relationship with the physical form, which includes found sounds from the Buchan Caves in Victoria and the Tasmanian wilderness, his debut artist album ‘Between the Silence‘ showcases ambient techno, disturbed electronics, processed instrumentation, and sub-bass experiments,…

[ellathompsonmusic]

Unpacking Ella Thompson’s latest collaborative performance work 'Like Running Water

'

Interviewed by Brandon Le Gallez

Making its premiere performance at Melbourne Festival this October, GL and Dorsal Fins singer Ella Thompson gave Melbourne Recital Centre the inside view to the creative and collaborative conception of her latest performance piece, Like Running Water, made especially for the surrounds of Elisabeth Murdoch Hall.

Melbourne Recital Centre [Melb Recital]: How did the concept of Like Running Water (LRW) come about? What are some of its influences, inspirations etc.?

Ella Thompson [Ella]: I used to work casually at Melbourne Recital Centre behind the bar, one day I was taking out the bins or something in my apron and Kerstin (Melbourne Recital Centre’s Contemporary Program Manager) gave me her business card, said she'd like to talk about putting on a show at the venue. I was quite shocked, thought she had the wrong person. I had performed at the Centre previously with The Bamboos and Tim Rogers and knew just how amazing the room sounded.

It was an opportunity that really felt too good to be true. I wanted to make a performance work that showcased the breadth of talent we have in Melbourne and Australia, the artists involved in Like Running Water are a constant source of inspiration for me, each pushing the boundaries in their respective fields. The focus was being able to collaborate, bringing together each artist's diverse skills into a single work. Recently I’d seen performances by Laura Mvula and Sarah Blasko in Elisabeth Murdoch Hall and was in complete awe. It has been such a great privilege to have the opportunity to make a performance with the space in mind from the very beginning; it’s played a huge part in the instrumentation and visual representation. I wanted to keep it quite minimal and let the sound of the space be heard. Singing and playing into the reverbs of the room. The concept of the work is the theme of water; it runs throughout the performance through ideas of mythology and soft power.

[Melb Recital] When we stopped by your last rehearsal we noticed quite a bit of gear and different types of instruments in the room. How did you go about combining the worlds of electronic music with performers and sounds belonging to chamber and classical genres?  

[Ella] Combining traditional instruments in a contemporary context has always been something that interests me, the manipulation of sound and being able to explore different types of form. Most of my previous recorded work has fit in to a pop song structure, I wanted to try and deconstruct that form and look at new ways of writing. Working with strings and woodwind in this way has always been something I've wanted to do and I feel so lucky to have the opportunity to explore this with LRW. It is all an experiment.

I am interested in the sonic relationship between voices, piano, strings, woodwind and synthesisers. I wanted to hear each part sing in the arrangement, single line instruments building harmony together and the piano creating its own orchestra. I grew up listening to soul music (Chess Records, Etta James, Minnie Riperton); the strings were always so dreamy and swept me away. Björk is forever inspiring me, the way she uses unique arrangements with her inimitable vocal style. I listen to impressionist composers like Debussy for the way they create mood - calm and chaos. For this work, we have also used some voice sampling inspired by Art Of Noise.

[Melb Recital] So the structure of LRW, what can we expect to hear?

[Ella] I want to portray the chaos and calm of water through the progression of the performance. There are movements where each artist has a feature starting from the organic and moving toward more electronic instrumentation. Exploring macro and micro forms within the music.

[Melb Recital] What’s the writing process been like for LRW? How has it compared to your other projects, like your solo album Janus or the recordings you’ve worked on as part of GL and Dorsal Fins?

[Ella] The process has been a great growing experience. Pushing myself to look at what I do in new ways. There are no strict limitations so it has been interesting to respond to each other's ideas very openly. I have written some of the music by myself and composed some of the pieces with Clio Renner and Sui Zhen. I have been working towards recording my second solo album and this performance has been a great way to compose with that in mind. I am very excited for the next stage of my work. For a long time I wasn't sure what I wanted to say and how to say it, so with my solo work I thought it might be best to say nothing instead of filling the space before I was ready.

[Melb Recital] And what about this collab? How did you go about pairing up with Sui Zhen, Clio Renner, Honey Long and Prue Stent?

[Ella] Clio and I studied music together at the Victorian College of Arts (VCA) and we've been friends forever but never made music together until now, Sui Zhen I met through playing similar types of shows, we just hit it off!

I had been admiring Prue Stent and Honey Long's work from a far and thought I would reach out to collaborate one day on the right project. Their [Prue and Honey] work explores the female form in new ways. So we’ve chosen imagery of bodies in a pool, representing our vulnerability in public spaces. Exploring those ideas of what is private, what part of our physical existence is performance and the judgments that are put on our bodies. Thinking about that idea of how the gravity of water can allow you to feel weightless, floating in your own orb. Lyrically there are stories about sirens such as Undine and fighting like water in a world full of fire. It's really quite an exhilarating mix of people involved for this project!

[Melb Recital] What’s it been like working with visual artists on a performance piece like this? How does the collaboration process differ between audio and visual mediums?

[Ella] Melbourne Recital Centre is so visual in itself which makes it interesting to see how that will also interact with what we are making. Whether musically or visually, it's always fascinating to see how different people interpret one concept and think of things I would not have. Most of this work has been done independently and then stitched together to fit the greater whole.

[Melb Recital] Lastly, if you had to describe LRW in a word or phrase, what would you say?

[Ella] What is strong, is soft and fluid.

You can catch Like Running Water at Melbourne Recital Centre on Friday 20 October performed live by Ella Thompson, Sui Zhen and Clio Renner accompanied by local classical musicians on strings and woodwinds and live visuals made by Honey Long and Prue Stent.

For more information and tickets head to melbournerecital.com.au

[georgiehewsonjournalist-blog]

The Future of Radio Journalism

 The largest change in media culture today compared with 5 or 10 years ago is that internet is now a prevalent news source. With the ‘big three’ in media being print, television and radio, society is seeing a massive shift toward new mediums and the internet is now seen as a journalistic tool. Print has already seen a dramatic change with the digitisation of newspapers and culling of many jobs in the industry and  the relevenace and future of news radio is being pondered as internet and podcast platforms take over. Broadcast journalism is changing and in order to stay relevant it must evolve. As technology becomes a fundamental part of our everyday lives, citizens become more visual and impatient favouring television, social media and electronic newspapers. What was once at the height of its prestige and influence in World War II and the early 20th century, radio news is now secondary to television and recently the internet.(1]

With iTunes and podcast sharing sites, audiences are choosing to listen later to investigative audio pieces by independent journalists rather than live. Whilst this does mean that journalists are enabled to explore more news content because of podcasts, it also reduces live listeners.  With  podcasts of popular radio shows being easily accessible, audiences will be able to catchup on their favourite shows, minus the already brief news bulletin. To gain employment in the future, journalists who are eager to learn new skills and keep up with the fast pace of technology will have a better chance as employers will prefer those who can create a story and have the technical skills to cut it together. The future of radio journalism is changing but will not die so long as journalists adapt and evolve with it.[2]

 In order for a tradition to be continued, it must be carried on by the younger generations. The internet is more convenient and even though radio may be more credible at times, the reality is as the car being one of the only places where radio is ritually listened to, millennials look to the internet and television to receive their news. According to the American Press Institute’s millennials study, 39% of millennials actively seek out their news and 69% receive news daily.

[3]

In regards to the future of radio journalism it is important to look to millennials radio use to gain insight into what it might look like. To investigate the matter further, a voxpop was conducted at the QUT Kelvin Grove campus to determine how large a part news radio plays in students and young adults news consumption.

Audio Component – Voxpop QUT Kelvin Grove

Commercial Radio Staying Current

 Commercial stations such as hit105.fm are working to attract the younger market by adding social media and online components to the way the station delivers news. Social media is powerful if it is used as part of the station’s content marketing strategy to gain audiences through links and sharing content.[4]The data below shows the percentage share movement by demographic. The data is retrieved from Brisbane radio survey 2, in 2017.[5] This graph displays the most popular radio stations among demographics, giving insight into how each station might deliver their news to cater to its audience.

As you can see, more popular commercial stations among younger viewers aged 18-24, are Hit 105, NOVA and Triple M. Hit105’s utilisation of social media and online content is seen to be successful in the graph as it is highly rated among the three youngest age brackets. Whereas, news, talk back and classic hit stations stations such as 4KQ and 4BC are popular among people aged 55- 64+ .

 Amy Drew, the morning newsreader for Hit105.fm in Brisbane was interviewed to gain further perspective on the future of commercial radio journalism. At Hit105fm, the younger generation is the key demographic meaning that in order to stay relevant news must be delivered in a way that is effective in catering to its listeners. Convergence plays a key role in doing so particularly at Hit105fm as the relationship between radio, the internet and social media are all combined to deliver the news everyday. If listeners are constantly on their phones, stations must adapt to how technology is changing the industry by contributing to it. Many stations have Facebook pages to upload their written stories and share video content to attract audiences. This is also a useful tool to expand on the story from what is mentioned in bulletins. The relationship between the content on air and online is instrumental in adapting to the current state of the radio journalism industry. “The way that news is changing it has to be more than telling the person what happened. Its all about engagement. Its different on every brand and I’m on Hit105 meaning that it is a very younger demographic so I have to write it in a way that I can appeal to the mums in the car but also so kids can understand it and really engage the entire audience”.[6]

 “But competition now means that journalists in both sectors are operating in an increasingly market-focused culture, having to adapt to new definitions of what interests the public and what the public needs to know, and it appears that the consensus on news values may be breaking down”.[7]

 Community Radio, a Fresh Perspective

Jack McDonnell writes the headlines for 4zzz’s news

With a non- profit motivation, community radio’s principles behind its journalism is different to that of commercial. With a more diverse and marginalised demographic in mind and no quotas needing to be met, its selection for news coverage contrasts to that of commercial radio that relies on advertising. Brisbane community radio station 4zzz’s news room operates on a volunteer basis with only seven people in paid positions at the whole station.[8] The station prides itself on providing a quality independent news service for the Brisbane community. The newsroom states on its website that “We provide a forum for many important local and international issues which are ignored or distorted by mainstream media”. Jack McDonnell, a news coordinator and coordinator for the Brisbane Line show was interviewed to gain perspective on the future of community radio. 

“Basically our ideology is that we will help give a voice to the marginalised communities. So we put forward their issues whilst still covering different types of news”.[8]

In terms of relevance, community radio will always be necessary as it plays a part in advocating for a localised perspective on news, what is happening in audience’s respective areas and how that will affect them.  What 4zzfm and Hit 105 do have in common with each other is that they are both examples of how all categories of radio stations have recognised the need to adapt with the industry’s changes.

“Using social media is an important part of engaging the community so they feel like they’re in touch with us and we feel like we’re in touch with them. You need to make things engaging like making grabs quick and small. We also spread our posts out to half go out in the morning and half in the morning and half in the afternoon. As at these scheduled times we will get the most traffic”.(8)

What the Future Holds

With downloadable podcasts that dissect news topics such as Triple J’s ‘Hack’ and radio newsrooms publishing articles online to complement their on air bulletins, its no secret that the future of radio journalism will see the process of adapting to the 21st century’s digitisation of news content.[10] This means that in the job market employers are looking for journalists who are willing and able to cut their content together and be flexible across multi – platforms to save money. “Television, radio stations and newspapers are hiring people who can do everything themselves and tell a story visually”.(2)  The reality is that the internet is a predominant news source but the radio is just as immediate and convenient with regular news bulletins, your news is there with the turn of your key in the ignition or the push of a button in a matter of minutes. Radio journalisms’ classic on – air news delivery will always stay relevant as it is arguably necessary to the society in which we live in. “People do underestimate the power of broadcast journalism. One of the biggest points to make is that we are still the first point of call for emergencies and we are always on call for breaking news. Radio is one of the easiest ways to get to your audience because its immediate”.(5) Radio journalism is not dying, rather it is evolving and adapting to a future where one platform is not enough. Rather than seeing the multimedia world as a threat, journalists must ensure that they are becoming part of that, and are integrating radio across the multimedia world. [10] 

References

  1.     Marc, D., 2000. Broadcasting, Radio and Television. [Online]

Available at: http://autocww.colorado.edu/~toldy3/E64ContentFiles/CinemaAndBroadcasting/Broadcasting,RadioAndTV.html 

2.     Times, T. B., 2013. Changing but Not Dying. [Online]

Available at: https://thebisontimes.wordpress.com/2013/02/06/changing-but-not-dying-the-future-of-broadcast-journalism/ 

3.     WAN IFRA, 2017. Key Takeaways from teh American Press Institute's Millenials Study. [Online]

Available at: https://blog.wan-ifra.org/2015/03/16/key-takeaways-from-the-american-press-institutes-millennials-study 

4.     Challenor, J., 2017. Survey Results: Smooth fm is #1 in Sydney and Melbourne. [Online]

Available at: http://www.radiotoday.com.au/survey-2-results-2017/ 

5.     Drew, A., 2017. Newsreader at Hit105 [Interview] (22nd May 2017). 

6.     Purdey, H., 2000. Radio Journalism Training and the Future of Radio News. [Online]

Available at: http://journals.sagepub.com/doi/abs/10.1177/146488490000100304 

7.     4zzz, 2015. News Dept Info. [Online]

Available at: http://www.4zzzfm.org.au/news/department-information 

8.     McDonnell, J., 2017. News Coordinator [Interview]  (31st May 2017). 

9.     Stephen and Brady Inc, 2014. Adapting Traditional  Media for Success in the Digital World. [Online]

 Available at: https://www.stephanbrady.com/blog/traditional-media-in-a-digital-world/ 

10.   Resler, S.,  2016. Here's What Radio Stations Should Be Sharing on Social Media. [Online]  

 Available at: http://jacobsmedia.com/heres-what-your-radio-station-should-be-sharing-on-social-media/    

More References   

Sillesen, L. B., 2014. Is This the Golden Age of Podcasts?. [Online]  

 Available at: http://archives.cjr.org/behind_the_news/is_this_the_golden_age_of_podc_1.php  

Symonds, K., 2014. Major Shifts as first results post - radius  ructions. [Online]

Raw Data

.     Challenor, J., 2017. Survey Results: Smooth fm is #1 in Sydney and Melbourne. [Online]

[gmmgenome-blog]

Richie Cyngler is an experimental electronic artist fascinated by collaborative play, experimental process, learning and the creative potential of new technologies. He works predominantly with open source software, hardware, circuitry and sensors to make audio-visual interactive performance and installations which engage viewers/ participants in aesthetic play with the works and each other. Richie is also an educator and community leader in art, design and technology. He is a co-director at Media Lab Melbourne (MLM) a community and collective of new media artists and designers, and the curator of the OpenLAB lecture series since early 2013. Richie is currently engaged in a Masters of Fine Art by research at Victoria College of the Arts, with an intention to convert to PhD mid 2016. His practice based research examines group electroencephalographic (EEG) data and open source software as methodologies for creating collaborative audio-visual performance.

Nat Grant is a multi-instrumentalist, sound artist, composer and teacher from Melbourne, Australia. She works predominantly as a freelance artist and has been employed as a composer and performer in the fields of puppetry, theatre, film, animation, and dance. Nat’s work explores intersections between improvisation, chance and intention in the development of sound as a sculptural medium. Through the integration of electronic processing and sampling with acoustic instruments and sound recordings, she creates cumulative sound works that link consciousness and memory, allowing interaction between human and natural environments, and between audiences and performers.

Lilian Steiner is a Melbourne-based dancer and choreographer. Her practice utilises the inherent intelligence of the active body as the primary tool for creating wholly encompassing visual, sonic and kinesthetic experiences. Her work embraces the power of ephemerality within energetic exchange through emphasising the presence of weight and density within the sculptural nature of sound, the body’s form and light as colour.

[hammondcast]

Jon Hammond Show Broadcast For 03 04

#WATCHMOVIE HERE: Jon Hammond Show Broadcast For 03 04 Jon's archive https://archive.org/details/JonHammondShowBroadcastFor0304 Jon Hammond Show Broadcast for 03 04 on MNN TV Channel 1 - always at 01:30 AM late Fri. night / early Sat. morning same time slot for 34 years Manhattan Neighborhood Network - First segment: St. Charles IL -- Sound Check Film Jon Hammond Band Arcada Theatre Gig for Gregg Gregory Gronowski St. Charles IL -- Big Honor to play for Gregg Gregory Gronowski's family last night with these great musicians - Samuel Jewell drums, Joe Berger, Steve Eisen tenor saxophone - yours truly Jon Hammond at the XK-5 Hammond organ - great to see everybody last night! - Jon Hammond First part of concert last night in honor of Gregg Gregory Gronowski in St. Charles IL at the very fine Arcada Theatre Sending it up to Gregg Gronowski - Jon Hammond Last Night - Dedicated to The Gronowski Family - Lori Kypry Gronowski, Greg Gronowski, Jamie Gronowski Swichtenberg, Theresa Gronowski Hammond Organ USA, Scott May, Steve Simmons, Suzuki Musical Instruments http://jonhammondband.com/blog.html/sound_check_jon_hammond_band_arcada_theatre_gig_for_gregg_gregory_gronowski_st_charles_il/ Big Thanks Ron Onesti Onesti Entertainment Corp. ©JON HAMMOND International American Society of Composers, Authors & Publishers - 2nd Segment: St. Charles, Illinois -- Cookin' at The Arcada TheatreJon Hammond Band Playing Benefit for Gregg Gregory Gronowski Family on Sound Soul Summit Hammond Extravaganza Gig for Gregg Gronowski - Remarks about Gregg from Jon Hammond and "Cookin' at The Arcada Theatre" - tenor saxophonist Steve Eisen, Samuel Jewell drums, Joe Berger guitar, Jon Hammond at the Hammond XK-5 Hammond Organ - dedicated to the Gronowski Family - Thanks Ron OnestiOnesti Entertainment for this beautiful venue and Team - we mourn the passing of Gregg Gronowski on Friday, August 19th 2016 and celebrate his life in music! Jon Hammond Hammond Party Nashville In Memory of 'Gregg' Gregory Gronowski Jon Hammond Portion of Program: original compositions POCKET FUNK + LATE RENT - special event Nashville Tennessee Summer NAMM Show Hammond Organ USA Suzuki Musical Instruments Jon Hammond Band Musicians: Joe Berger guitar, Kayleigh Moyer drums, Chuggy Carter percussion, Jon Hammond XK-5 Hammond Organ with high power model 3300 Leslie Speaker. This is the USA Debut of the model XK5 Hammond organ NAMM Show ©JON HAMMOND Intl. http://www.HammondCast.com *Note: Remembering 'Gregg' Gregory Gronowski - planning to play with Joe Berger Wed. Feb. 22nd at the Gregory Gronowski Memorial Celebration concert in St. Charles IL Arcada Theatre - it's going to be a great night of music and memories...family & friends folks! See you in the Land O' Lincoln (suburb of Chicago where I was born actually) - Jon Hammond *it will be a Hammond Organ / Organist extravaganza! Hammond Organ USA @GreggGronowski #GreggGronowski Jon Hammond Band Jon Hammond Organ Group Scott May Suzuki Musical Instruments Info: XK-5 ORGAN: The New Original Producer Jon Hammond Audio/Visual sound, color Language English Hammond Extravaganza, Public Access TV, Jazz, Blues, Gregg Gronowski, Arcada Theatre, St. Charles, Nashville, Jon Hammond, Hammond Organs Producer Jon Hammond Audio/Visual sound, color Language English Part 4 of 4 Conversations with main man Harold Channer - starts out telling the story about Teddy Venus in the Combat Zone - enjoy! Jon Hammond Jon's archive https://archive.org/details/JonHammondConversationsWithHaroldChannerPt4JonHammondInterview Harold Hudson Channer and Jon Hammond in conversation Conversations With Harold Channer Pt 4 Jon Hammond Interview Music News Brought To You By Jon Hammond on CONVERSATIONS WITH HAROLD HUDSON CHANNER on MNNTV Intelligent Relevant Television Talk Harold Channer is a talk-show host on public access television network Manhattan Neighborhood Network, or MNN. He is the longest-running producer for the network, having done over 2,200 interviews over 40 years. Speaking here with Jon Hammond of KYOU Radio, Music News Brought To you by Jon Hammond on Conversations, Pt 4 of one hour program *WATCH VIDEO: Conversations With Harold Channer Part 4 Jon Hammond Interview http://www.archive.org/details/JonHammondConversationsWithHaroldChannerPt4JonHammondInterview Hear Jon Hammond telling Harold Hudson Channer about his days playing Hammond organ nightly in the strip tease clubs in Boston Combat Zone in the mafia clubs as house organist at World Famous 2 O'Clock Club run by mobsters like Teddy Venus and Louie Venus the Venus Brothers. Just back from performing and presenting a Key Note Presentation in Melbourne Australia Ringwood Victoria at Bernies Music Land. Jon brought back a classic Akubra Australian Hat and recorded an album with drummer Michael Jordan LIVE AT BERNIES http://www.amazon.com/Live-At-Bernies-Jon-Hammond/dp/B003K7TMWM and a segment of Jon Hammond Band live in Jazzkeller Frankfurt with introduction by club owner Eugen Hahn featuring Jon's lineup of Joe Berger guitar, Kevin James Mauder tenor saxophone, Heinz Lichius drums and Jon Hammond at the organ Jon Hammond with Akubra Hat from Australia Eugen Hahn introducing Jon Hammond Band at Jazzkeller Frankfurt Harold Hudson Channer and Jon Hammond in conversation Jon Hammond new touring rig with Hammond Sk1 organ, EXP-50 Expression Pedal, Italian keyboard stand by Bespeco, Flight Case by Gator cases, Kart-A-Bag Super 600 wheels Jon and Harold looking at the in-studio monitor in studios of MNN TV on W. 59th St. in New York City Conversations Pt 4 Harold Channer and Jon Hammond Jon Hammond Band onstage at Jazzkeller Frankfurt with Kevin James Mauder tenor sax, Heinz Lichius drums, Joe Berger guitar, Jon Hammond at XB-2 Hammond organ Looking good on the TV Neil Portnow! #ASCAPPOP Great to see NARAS Grammy Award main man Neil Portnow at the reception this evening for ASCAP Pop Music Awards - we spoke about George Greif and Joe Cocker at the 1982 I attended, looking good Neil! Grammy Awards 2017 Live Online - Jon Hammond London, United Kingdom & Stansted Mountfitchet, Essex, United Kingdom - from the Bus Big Ben...thanks to the fine folks at Highland Express Airways for their hospitality aboard Highland 747-123 and accommodations at The Old Bell - which dates back to 1485! - Jon Hammond traveling with Joe Berger in United Kingdom Thanks to the fine folks at Highland Express Airways for their hospitality aboard Highland 747-123 and accommodations at The Old Bell - which dates back to 1485! - Jon Hammond — at London Stansted Airport. Glasgow Prestwick Airport / PIK - Thanks to the fine folks at Highland Express Airways for their hospitality aboard Highland 747-123 and accommodations at The Old Bell - which dates back to 1485! - / Tracie Diamond in the lounge! - Jon Hammond — at London Stansted Airport. Special Delivery! - Pine Hill Stansted Mountfitchet, Essex, United Kingdom The Old Bell landing pad - Thanks to the fine folks at Highland Express Airways for their hospitality aboard Highland 747-123 and accommodations at The Old Bell - which dates back to 1485! - Jon Hammond — at London Stansted Airport. Public Access TV, Broadcast 03 04, MNNTV, Blues, Jazz, #NAMMShow #ArcadaTheatre #Jon Hammond #HammondOrgan

[dattelectronics]

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