Almanac
Answer to Yourself
Presenting Exploration Into The Ocean of Motion.
An associative flux of visual & audible expression.
In bringing together these animated visual elements in accompaniment with the musical tracks, polymorphous & symbolic interpretations may be made across it’s circular composition - inspired by and dedicated to the artist’s whose works constitute the ephemera, namely Suzan Pitt (1979), Keiichi Tanaami (1975), Alex Toth (1972), the following pages are also committed.
The Ocean of Motion - Creative Artefact
Continuing on from the PDS Portfolio Component - Revisiting The Ocean of Motion LP Post-Production - which saw through the audio post-production & event showcasing of this LP soundtrack. Development has moved into more of a creatively considered artefact piece over the usual professionally oriented production approach. This counter-stance, providing a contextual alternative into the discourse between associated recommendations & considerations - has provided insight into how these two frames of references may be conjuncted.
LP Post-Production Rework for Release Project
A personal production project which has been recently initiated consists of back catalogue material originally intended as two separate releases - an EP and an LP - being reworked into one conceptually continuous LP delivered for surround sound playback intended for event showcasing.
Basement Tapes Audio & Video Recording Production Project
As a part of The Campus Label’s output, the Jacaranda’s basement tapes is a recurring production undertaken by a team of audio / film personnel from SAE Liverpool’s student base. Being an AV production, there were numerous roles to fill across production crews including detailed above. More specifically, the audio crew consisted of stage hands assisting in setup followed by recording operator roles during filming.
Where do professional standards fall in the creative process, with music production being in the pursuit of art?
The context of this research project is so far composed of inquiry into the areas of professional standards of practice in audio production in-tandem with the background of a developing record label environment. However, in the aim of taking practical meaning further into the realm of artistry I feel it is important to include in this investigation the additional aim given in the title question here presented.
Sociodelic Live Lounge Sessions Plan & Reflection
After undertaking a session with local artist Euan for a live lounge filmed / recorded set I’ve had the idea to go forward with a number of these sessions featuring local artists, as promotional material for themselves and our production team and creative collective Sociodelic. These sessions will follow the format of a live recording session performance from the artist, utilising the Neve studio and live room equipped with film gear.
Sociodelic Live Lounge Post-Production
Following our live lounge recording session with project artist Euan, accompanied in session by Nzanzu also doing an acoustic live lounge set, there is a process of post-production needing to be undertaken to reach the final result.
With the live-lounge recording session going to plan smoothly with the help of business liaison Tioma and film team Dan & Darris, we finished with 3 tracks (1 by Euan , 2 by Nzanzu) worth of audio and video stems.
Live Lounge Session Plan
Our production team has arranged an acoustic live lounge recording session with local folk artist Euan, taking place in the Neve studio on saturday we will be recording a live set of his track Brilliant Mistake Machine as promotional material for Euan to market his new release, as well as for ourselves to promote the start of our Sociodelic Live Lounge Sessions
Live Sound - Jacaranda Sessions
During our live sound area of the module we have been working in the local music venue The Jacaranda with bands and in collaboration with the SAE film students to produce a live lounge set recordings on some of their tracks.
TMF Film Project Critical Evaluation and Reflection
For this project I aimed to create a polished and complete version of the given scratch audio which accompanied this segment of film. In undertaking this project I captured audio in multiple workflows depending on the situation, mostly foley recording sessions for the auditory FX and atmosphere, as well as ADR recording sessions for the dialogue, and finally mixing sessions to complete the piece.
Animation Project Critical Evaluation and Reflection
For my animation audio project I have produced a soundscape accompaniment for the visual piece Endless Rust. For this I aimed to create a complex ambience backing which would be an immersive and full mix, this was then layered with music tracks as well as foley spot recordings and fx.