Palliser Bay field recording

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Beautiful day today, so went for a drive over to Palliser Bay – along the way stopped to get a few shots as Lake Ferry was so incredibly still!

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After setting up the mics and started recording, I went & launched my drone and flew over near the mics so I could verbally ID the moment when I set the drone recording video… then flew far enough away to be out of ear shot, and continued recording video for five minutes… Will sync them up & post a vid later on…

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Stopped on the way back as dusk fell & got some great shots – more to follow….

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▶ usually when people message me their music on Soundcloud I get about 20 seconds into it & abandon ship (not their fault, its my particular taste… but I do sometimes wonder..) but this work by Leandro Taibbi is beautiful!

 


▶ Kaitlyn Aurelia Smith – “First Flight” live

 


▶ Modul 3 by Arovane

 


▶ Taken from the 130701 compilation, ‘Eleven Into Fifteen’, due out on July 15th – info here

 

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▶ get it? made me laugh….

 


▶ wow – I always wanted to see inside such incredibly fine physical tech as a lens such as this Canon EF200-400L & great stop motion!

 

▶ Every top 5 song, from 1958 – 2016, infographically animated (is that even a word?)

 

▶ “Only in the nest of accumulated individual imaginations will our universal egg hatch” – guess the composer?

 

▶ if I actually had to commute anywhere: this

 


▶ love this!! via this is colossal

 

▶ surreal gifs animating archival photos

 

 

▶ super cute macro photos: the adventures of a tiny car

 

▶ an auto bicycle bell for mountain bikers?

 

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▶ I would so love to have a play with this: Tom Richards, a researcher at University of London, has made a fully working version of the mini-Oramics Machine!! More info here and here (thanks Duncan!)

 

▶ Also in UK, this event sounds amazing: White Cane: “Immerse yourself in a sound world created by two blind performers exploring and navigating public space”

 


▶ liquid filled vinyl? Love the Friday 13th reissue

 

 

Score recording session 5

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This is my religion!

An ecstatic hour spent improvising on Buchla Music Easel & a select 6U of my Eurorack Modular into the divine space of this hundred year old church…. Followed by an hour of worldizing single elements of the score into the same space

Today was a great day

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Reverse shot, for wide rooms mics….

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Completed our first recording session for the score for Tusi Tamasese new film ONE THOUSAND ROPES, with the fantastic The Tudor Consort choir. Sounded truly amazing in this beautiful acoustic space, and for the recording we used four digital mics up front (Neumann KM184D and D1s, a stereo pair mid field and an omni pair wide) so have a lot of options to focus or defocus the choir…

Huge thanks to The Tudor Consort choir, Anna Edgington, Ewan Clark (orchestrator and conductor) John Neill (Park Road Post, score recordist & mixer) and Recordist & Music Editor Chris Winter

Looking forward to session 2 with the choir tomorrow night

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B&W Trilogy

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First shot in Karamea, second near Naseby, third near Denniston

(& yes, still dreaming of a Hasselblad 500!)

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▶ So nice to see Max Richters studio

 

▶ Great interview HERE on the 20th anniversary of Raster Noton, with Frank Bretschneider, Olaf Bender and Carsten Nicolai – really appreciate their ideas about development of the label, retaining control & refusing aspirations of infinite growth/mass populism that plague so much of the music industry: “We’ve discussed endlessly the idea of growing. We decided at some point as well, Let’s not grow. Let’s keep this way, it’s healthy.”

(thats a 360 video btw – Safari wouldn’t play it as 360 but Chrome did)

 

▶ 85 percent of Facebook video is watched without sound

 

▶ the award for best business card goes to…

 


▶ someone mentioned this BBC show on MW Forum, creating instruments from junk – all six episodes are on Youtube

 

▶ wow love this project PUT YOUR HEAD INTO THE GALLERY by Tezi Gabunia! The vid below shows how it was done ( at 1’35” you can see an example result) but check the resulting photos here

 

Why I Don’t Critique Other People’s Work

At last! Someone else expresses something I’ve had to explain a few times: the inevitable emails/Linked-in messages of ‘can you please check out my XYZ and provide a critique?‘ So as with any number of rants posted here, this one is created so I can forward the link to the next person who asks me…
I have a few other reasons to add to the list, but first, please read this post:

Why I Don’t Critique Other People’s Work by Cole Thompson

Its ok, I’ll wait while you read it…

But here is my take on it: if I actually watched your project to critique it, I won’t watch it once – I’ll more likely watch it half a dozen times. First time for instinct, second time to verify instincts. Third, fourth, fifth times to verify details that either bug me, or that I like…. And the sixth time to curse ever being asked to watch it in the first place. So your simple request just consumed hour/s of my time. But its not just about wasting my time, the request is misguided.

As an example, someone on Linked-in asked me to critique their work, and as I was already distracted I tried. Turns out their work to date, was mostly ads. Now if you don’t know me at all (then WTF are you asking me?) then you will know I HATE ads. or I should say more positively I do my best to completely ignore ads. And I NEVER listen to them, thats what the mute button was invented for. And thats why I never work on ads – if I dont want to listen to them, why would I want to work on them ie something I already don’t want to listen to? So asking me to critique your ad soundtracks is a bit like cutting me, then emailing me asking if I’d like lemon juice and some salt with my cuts? No and NO! Thanks/sorry/keep searching..

But ads are an easy exit, what about re ‘designed’ trailers? The main answer to why I cannot critique these is the exact same as the reason why I cannot critique your short film or your feature film. And that reason:
I am not the director.

If you only read one part, this is the crux: As a sound designer (or sound editor or re-recording mixer, or composer or any part of the team associated with the project) your/my primary relationship is with the director. It is their ‘vision’ we are contributing to, sonically.

So when someone asks me to critique their work they are either asking me to be the director (no thanks – those people are seriously committed geniuses, and have spent years developing the back story to every moment in their project) or the sound designer/supervising sound editor. I suspect it might be the latter role they are mistakenly asking me to fulfill. As Coles post mentioned, the request may also just be ‘looking for validation’

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But the main issue is that the scenario has removed the director from the equation. I might watch the project and think WTF? Where is the sound for the XYZ?? But the omission or muting of that sound might have taken weeks of collaboration between you & the director. Or been a concept in the mix, or it may have been a deliberate decision or request in the spot session. But how could I know that without being party to those discussions? I am not the director and I am not the supervising sound editor, so what role/point of view are you asking me to fulfill?

If you think I might be some kind of Supervising Sound Editor after the fact, then forget it. You are asking me to reverse engineer something that I have had no part in. And if you feel this is doable, please feel free to leave your email address in the comments & I will direct all future such requests to you.

I appreciate there are tutors & lecturers who DO have to fulfil this role with their students & they must make their own peace with it. But that is a different scenario – they are assuming the role of if not director, then at least advisor. Sorry but I am not.