Guest Lecture – Jez Riley French

I was really pleased to welcome back Jez Riley French for this month’s guest lecture.

Jez is a field-recordist, sound artist and sonic experimenter and I invited him to talk to our L3 project students about his varied and interesting work. Jez specialises in recording hidden sonic worlds such as building structures, underwater environments and the micro perspective of the insect world.

We had great fun discussing and testing Jez’s (often self-made) kit such as hyrophones, geophones, contact and parabolic microphones.

Jez has two exciting projects coming up; a field-recording trip to Iceland with Chris Watson and a Tate Modern commission: audible silence: a headphone piece exploring the hidden sounds of the Tate modern building (february 2013). We’re also trying to arrange a field-recording trip around Lincoln for AP students – watch this space!

November 15, 2012 field recordings, Guest lecture, Recording, Sonic Art No Comments on Guest Lecture – Jez Riley French

Out of Silence

Curiously, the word silent is an anagram of the word listen! In this edition of Something Understood the poet Seán Street reflects upon what can be heard in silence and the difference in its nature from stillness – the difference, perhaps, between doing and being.

Using poetry, prose and music, as well as some extracts of innovative international radio, Seán explores the positive and negative aspects of the subject, the ‘magic silence of possibility’, the peace and calm it brings in a noisy world, the silence of loneliness, alienation – and when keeping silent is sometimes tantamount to complicity. ‘The words “Silent” and “Listen” are anagrams of one another,’ says Seán. ‘That is perhaps very significant. I want to explore as far as I can the poetry that lies in silence, the point where sound and silence come together, as in the tolling of a bell, the place matter and spirit merge.’

With reference to the words of Rupert Brooke, John Berger and Rachel Muers and music by John Cage, Bob Chilcott, Jonathan Harvey, Erberhard Weber, Pink Floyd and Miles Davis.

Listen to the programme here
Produced by Alan Hall
A Falling Tree Production for BBC Radio 4

September 11, 2012 field recordings, location sound, Noise, Radio 4, Silence, Soundscape No Comments on Out of Silence

Metropolis

Cultural commentator Paul Morley explores a history of popular music through some of the iconic recording studios in which classic albums were created.

Without them music as we know it would simply not exist. At its most basic, there’d be no technology to capture the sounds envisaged by the musicians and created and enhanced by the engineers and producers… and there’d be no music for the record companies to market and distribute. But more than that, the studios actually played a crucial part in the structure and fabric of the music recorded there – the sounds enhanced by the studio space itself… the potential and shortcomings of the equipment and technology housed in the cubicles… and the ability and ‘vision’ of the engineers and producers operating it all to find the new sound that makes the recordings sound different and fresh.

In the final programme of the series Paul Morley ventures to West London and one of the last major studio complexes to be built in the heyday of the music industry. But without an exalted musical history to fall back on and decades of experience to help run it, how do you go about creating a world-class facility frequented by the likes of Amy Winehouse, Mick Jagger and Rihanna… and how do you keep it going when all around you are closing their doors?

Producer: Paul Kobrak.

Listen to the programme here

August 7, 2012 Radio 4, Recording, sound history, Studios No Comments on Metropolis

Abbey Road Studios

Cultural commentator Paul Morley explores a history of popular music through some of the iconic recording studios in which classic albums were created.

Without them music as we know it would simply not exist. There’d be no technology to capture the sounds envisaged by the musicians and created and enhanced by the engineers and producers… and there’d be no music for the record companies to market and distribute. But more than that, the studios actually played a crucial part in the structure and fabric of the music recorded there – the sounds enhanced by the studio space itself… the potential and shortcomings of the equipment and technology housed in the cubicles… and the ability and ‘vision’ of the engineers and producers operating it all to find the new sound that makes the recordings sound different and fresh.

Today he visits the world’s first purpose built recording studio, and possibly the most famous: the one at No 3, Abbey Road, a stone’s throw from a much photographed zebra crossing in London’s St John’s Wood. Opened by Sir Edward Elgar conducting the London Symphony Orchestra in a recording of “Land Of Hope And Glory”, the studios went on to record everyone from Adam Ant, The Bolshoi and Nick Cave… to XTC, Diana Yakawa and the Zombies – to say nothing of Pink Floyd and the Beatles.

But that’s not what’s drawn Paul Morley to these historic recording rooms – it’s the continuing work in capturing the sound of orchestras that is put under the spotlight in this programme. With the help of engineers and producers, composers and those that keep the studios running on a day to day basis, Paul explores how the relationship classical music has with the recording studio differs from the one that pop music enjoys.

Producer: Paul Kobrak.

Listen to the BBC Radio 4 programme here

July 31, 2012 Acoustics, orchestral recording, Radio 4, Recording, Studios 2 Comments on Abbey Road Studios

First Career Steps – Matt North

Blog Post by Audio Production alumnus Matt North:

Having finished my degree in Audio Production, I am currently working for Ideal Shopping Direct as a Technical Operator. The company broadcasts over four channels and its main channel, Ideal World, is live 17 hours a day. My main responsibilities within my role are varied and alongside operating audio for the shows, I am learning new skills in different roles such as Floor Technician, Video Controller and Camera Operation. The Floor Technician role is especially interesting as I am learning new skills in lighting television sets, testing audio and visual feeds and dealing first-hand with presenters and guests alike.

The audio role within the company is very enjoyable, consisting of running the desk and ensuring all audio is to a suitable level for broadcast, as well as playing out sound effects and VT.

Whilst I am very much enjoying my work, I intend to gain as many skills and as much experience as possible within this role and then potentially move to a full-time Audio Operator role. Although I am doing some audio operation as a Technical Operator, I feel it would be beneficial for my CV and career to possess the official title of Audio Operator for future endeavours.

Ultimately, I intend to pursue my passion for film & TV sound that I developed whilst studying Audio Production. Since finishing my degree, I was fortunate enough to have the opportunity to work as a Sound Recordist, as well as complete audio post-production on a short film with a former graduate from Lincoln, Michael Beddoes. I spoke to him after his guest lecture for R&D and he invited me to assist him on his project entitled ‘Breaking’, which has been entered into the Virgin Media Shorts competition and has received great attention. It was an invaluable experience, teaching me more about the location recording process and I am extremely proud of the finished product.

Through working on ‘Breaking’, I was asked by the film’s producer (Adam Spinks) to be in charge of sound on his upcoming feature film ‘Survivors’, which is being shot over 11 days in September in Surrey. The film has been crowd-funded and is being produced on a budget of around £4000. This was a fantastic opportunity that I could not turn down and since accepting the role, Adam has also asked me to complete post-production work on another short film he has done – and this was my first official paid freelance role. Although it was only a small amount, it is definitely a milestone in my career.

I am currently using my wages from working at Ideal World to buy my first personal location recording kit for the ‘Survivors’ shoot. I have upgraded to Pro Tools 10 and I am also currently enhancing the knowledge I gained from my degree in audio production for film through reading and testing the equipment I have purchased.

After the ‘Survivors’ shoot, I intend to apply for more freelance roles within the industry to enhance my audio portfolio, whilst continuing to gain experience in live TV sound at Ideal World. Afterwards, I hope to move to Manchester or London and apply for work in Audio Post-Production facilities whilst continuing with freelance audio work.

Links here: Breaking, Survivors

July 29, 2012 Alumni, careers, featured posts, location sound, Students 1 Comment on First Career Steps – Matt North

Rockfield Studios

“The era of the great recording studio being central to the production of great albums hit its peak around the time the Stone Roses released their debut album. By the end of the 1990s a combination of increasingly sophisticated home recording and the Internet era assault on traditional record companies with their big recording budgets was threatening the very future of the studio. Studios started to close taking their history and artistic and scientific knowledge with them and even though there was a greater mainstream appetite for pop music, the astonishing complicated machines responsible for the history of pop were becoming as antiquated as steam trains, as irrelevant and obsolescent as stately homes.” Morley, 2012.

Cultural commentator Paul Morley explores a history of popular music through some of the iconic recording studios in which classic albums were created. In future programmes he revisits some of the classical masterpieces recorded in the 80 year old Abbey Road Studios and cutting edge pop in Metropolis, the studio complex built when the music industry was at its most bloated peak. But he begins in the rural heart of Monmouthshire – at a studio that grew out of a farm and gave birth to some of rock music’s finest recordings – everything from Queen’s “Bohemian Rhapsody” to the Stone Roses’ eponymous debut album, from Dr. Feelgood’s “Down By The Jetty” to Oasis’ “(What’s The Story) Morning Glory”, even from the Waterboys’ “Fisherman’s Blues” to Adam Ant’s “Kings Of THe Wild Frontier”. Those trying to explain what part the studio played in creating such musical magic include performers (the veteran Dave Edmunds and the newcomers Iko), technicians (John Leckie and Sean Genockey) and the people who (in some cases, quite literally) built the studio and the business (father and daughter, Kingley and Lisa Ward, and Terry Matthews). As the money flowing through the music industry continues to dry up – Paul also asks what future there may be or the historic recording studios that helped build the industry in the first place?

Listen to the BBC Radio 4 programme here

Producer: Paul Kobrak.

July 24, 2012 Radio 4, Recording, sound history, Studios No Comments on Rockfield Studios

Robert Babicz on Mastering


Robert Babicz  is a Polish music producer, mastering engineer and live performer living in Cologne, Germany. With a career spanning nearly two decades covering genres from techno to acid house to minimal, Babicz has also been known under the pseudonyms Rob Acid, Acid Warrior, Department of Dance and Sontec amongst many others. He has released a number of very well respected record labels such as Kompakt, Treibstoff, Bedrock , Intec Digital and  Audiomatique, as well his own labels, Junkfood and Babiczstyle. He is well known as a live performer, never a DJ, as he uses synths and live equipment and improvises in every set he plays. Watch the video here

In this short interview, he discusses mastering, what he thinks of mastering software,how you should prepare your track for mastering and gives an insight into the kit he uses.

July 17, 2012 electronic music, House Music, Recording, Sonic Art, sound design 1 Comment on Robert Babicz on Mastering

Work Experience At British Grove

Blog post by level 1 Audio Production student Alistair Pritchard (3rd from left).

I was invited to spend a day at British Grove Studios in London by Dave Harries when our course gained JAMES accreditation. I helped set up the new tweeters in both studios and was introduced to the various employees of the studio and was then invited to spend a whole week at the studio later on in the year.

The building has a lovely, warm and homely atmosphere with real character, made more so by the staff that work there. Owned by Mark Knopfler and managed by David Stewart, British Grove is one of the very few studios left in London who cater for orchestral recordings as well as bands. Its amazing acoustics and flexibility of live rooms and booths allow it to adapt to each client’s needs.

During my first day I worked as Assistant Engineer with Joe (Engineer) and Steve McLaughlin who’s produced various compositions for films such as Die Hard and X-Men. This involved setting up for recording piano and classical guitar (see picture below) to add to a previous orchestral recording done at Abbey Road Studios. This was to be used for an art exhibition and possibly for a film in the future. Microphone positioning/choice was a key factor during this session to get the best sound but also to piece the music together as it was a complicated composition.

On my second day, after getting to grips with my role as an Assistant Engineer and familiar with the new environment, I was to work with Rich and Jason – setting up to record an album. Later that day I was introduced to Guy Fletcher (keyboard player in Mark’s band). The recording would take place for the rest of the week in studio 1 and, during this time, Glyn Johns was mixing an album for a client with Martin (British Grove Engineer) in Studio 2. I was fortunate enough to be introduced to him and Don Was, which was really nice. I then found myself discussing work with them and made coffee throughout the week which lead to having lunch followed by some sound advice from Glyn himself.

For the recording session in studio 1 we had to use all of the booths and the live room. This consisted of many instruments being recorded all at the same time. To name a few:

Fiddle and Whistle/Flute – Neumann 67 (valve).
Drums – AKG C12s were used as overheads (also valve and very rare these days).
Vocals – A modern copy of a Telefunken 251.

Danny Cummings (percussionist) then turned up with all of his gear and by God, did he bring some drums?! We set them up and got levels with various microphones to find out which ones gave the best sound, in particular for the bass drum. The project was for a Spanish flamenco artist (cannot be named for private reasons) and was to be produced by Guy Fletcher. The musicians were part of Mark Knopfler’s folk band and friends, who I have to thank for making me very welcome and are such nice people. In total we had nine songs to record in full and straight away from hearing the first song you could see why the client had come to British Grove Studios, he was absolutely incredible as a composer of music and guitarist.

Throughout the week I learnt a lot about the hierarchy within a studio and how each level communicates with each other. Specifically to production techniques I learnt about microphone placement and some useful tips on Pro Tools. As the week came to an end working at British Grove started to feel like a norm, and I thoroughly enjoyed it and was always eager to learn but I felt like part of the team – in all honesty I was sad to go.

However, my week was still yet to be completed as David gave me an offer I couldn’t refuse and I stayed for the weekend too. I was then fortunate enough to meet Paul Crockford who is Mark’s manager and has a wealth of experience in the role. The following morning we were set to finish the previous day’s song which would determine whether or not we would finish on time. Later that day I was pleasantly surprised to meet Mark Knopfler himself and that was a great end to the week with the final pieces being tracked and edited.

Overall I had a brilliant time and couldn’t have asked for a better week. Thank you to all involved.

July 7, 2012 British Grove, Students, Work Experience 1 Comment on Work Experience At British Grove
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