View bexkite’s Linktree. Listen to their music on YouTube, Spotify here.
Show & Tell
I'd rather be in outer space 🛸
hello vonnie
Sweet Seals For You, Always

⁂

pixel skylines
Cosmic Funnies
i don't do bad sauce passes

#extradirty
RMH
Alisa U Zemlji Chuda

JVL
almost home

blake kathryn
ojovivo
cherry valley forever
noise dept.
$LAYYYTER
"I'm Dorothy Gale from Kansas"
TVSTRANGERTHINGS

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@rebeccakeytemsc
View bexkite’s Linktree. Listen to their music on YouTube, Spotify here.
Video Examples
https://connectglosac-my.sharepoint.com/personal/s2116139_glos_ac_uk/_layouts/15/onedrive.aspx?e=5%3A1783b6e55e9b4f5c8f030d5a2216e5f2&sharingv2=true&fromShare=true&at=9&CT=1733595894811&OR=OWA%2DNT%2DMail&CID=6fc4f299%2D4ad9%2Dabc0%2D30d8%2Dc447882d805b&id=%2Fpersonal%2Fs2116139%5Fglos%5Fac%5Fuk%2FDocuments%2FMD7212%2FExample%20documentation&FolderCTID=0x0120004C5360DF9B3F6248B40A3AEADB8FBA22&view=0
specialise in a vibe, not a genre
"it's not how good it sounds, it's how it makes you feel."
"when you play it back, all you hear is a good song."
-18 rule
"the song will tell you what it needs, don't force ideas."
refinment over time - mix whole song as quick as possible before zooming in and perfecting details
take short breaks often. [to avoid ear fatigue]
Feedback loops with guitar
idea:
using guitar loop pedal as tape machine, use extra pedals to play with the feedback, play through logic
Concept Feedback
[from Ben]
"Thankyou for the presentation this morning, it was very clear and well considered.
The focus on a band-based studio recording is good and will enable a range of processes and techniques to be explored. Research into established practice and the relationship with aesthetic considerations will be interesting and help frame the project. Sound on Sound and Tape Op often have good articles about recording specific albums or producers but there may also be some useful content on youtube?
Exploring ideas around nostalgia and hauntology can offer some interesting approaches to the recorded material and some research into this concept would be useful.
The album On Vanishing Lands https://www.youtube.com/watch?v=jTOys9ixQWw is quite good for this.
Boards of Canada – Tomorrows Harvest also has a nice slightly degraded sound at times which could be interesting? https://www.youtube.com/watch?v=2jTg-q6Drt0 "
Unsettling Soundscapes
Making noise and noise devices to make noise with.
Production Assessment
Due: Sunday, 19 January 2025, 3:00 PM
Using the tools and skills explored throughout this module, produce a suite of highly developed audio outcomes that demonstrate an understanding of context and production aesthetics. The combined length of the audio outcomes should be approximately 8 minutes or equivalent as agreed with your tutor.
The project focus and submission will be discussed and agreed with the module tutor on week 5
Produce an 8-minute audio/visual report which evaluates the technical and creative merits of your project. This should include information about the R+D, the production process, considerations and references to established practice. You should include a bibliography as a still image at the end of the video.
Submission checklist:
Audio files (approx 8mins) - The exact format may depend on your project but you must ensure it is of a relevant professional standard.
Audio/Visual Report (8mins)
The submissions should be uploaded to a suitable cloud service (onedrive, drive etc) and a PDF with links should be uploaded to Moodle by
Marking:
Technical: Demonstrate technical production prowess through a range of relevant and considered approaches. Apply appropriate use of audio recording, editing, manipulation and control. (30%)
Aesthetic: Demonstrate an awareness of contextual production aesthetics and stylistic approaches to a final recorded outcome. Ensure impeccable sonic outcomes, with appropriate dynamic range, spectral balance, fidelity, creative choices, and edits for the given material. (30%)
Project Management: Each student will be marked on individual professionalism as demonstrated throughout the preproduction, production, and postproduction process, as evidenced by regular attendance and participation in class sessions and meeting module checkpoints. (20%)
Research and Development: Project development should be well documented through relevant technical language, reference to context and independent research. Decisions and conclusions should be justified with reference to industry standards and artistic practice. (20%)
A student passing this module should be able to:
1. Create a portfolio of original and highly developed recordings.
2. Demonstrate advanced levels of sound design and production aesthetics.
3. Evidence specialisation and high levels of competence in the operation and management of complex studio environments.
4. Exemplify professionalism and best practice while following industry workflows and standards.
Recording Assessment
Due: Friday, 12 January 2024, 3:00 PM
Taking into account the content and focus of the module:
Submit audio/project files that exhibit your finished audio outcomes (totalling ~8 minutes)
And
Submit a video file with rigorous reflections upon the technical and creative aspects of your portfolio (~ 8-10 minutes).
The Audio Outcome
Your audio outcomes should comprise 2 fully recorded, edited, processed, mixed, audio projects.
Audio Outcome 1:
A performance that should have taken place and been recorded in an interior non-studio environment, The potential outcomes here are deliberately broad, and we encourage you to check with the module tutor if in doubt about a project you have in mind.
You may decide to take a neutral documentary approach – focussing on mixing and editing – an approach with what we might term an intent to pursue a high degree of fidelity or truth. At the other end of the spectrum, you may decide to augment the recordings with processed material or additional musical elements. Whatever you choose, the original recording of the performance should remain the focus of the final audio outcome, and any additional elements should act in service of the original performance.
Submit lossless audio files at 48kHz 24-bit stereo interleaved or Dolby Atmos ADM BWF.
Audio Outcome 2:
A non-linear soundscape composition project in Fmod (~4 minute linear flow)
OR
A linear soundscape composition project submitted in .wav/.aif/.adm (~4-6 minutes) @ 24-bit 48kHz or 44.1kHz.
There is a high degree of flexibility in how you approach this project, and the content that can be included - speak to Philip Reeder if in any doubt about the suitability of your project.
However, a substantive part of the audio should derive from recordings you have made of exterior soundscapes. You may decide to take an approach that focusses on fidelity – with meticulous recording, mixing and editing.
At the other end of the spectrum (and just as meticulous) you may decide to augment the recordings with original processed material or additional original musical elements, with a focus on e.g. game, live soundscape music, or multimedia applications.
If you choose to use fmod, the fmod project should have a 3-4 minute linear flow of non-repeating material, but possess interactive or adaptive elements.
Submit an fmod project with all associated assets for stereo, binaural, or a surround sound format agreed with the module tutor.
It is recommended to also submit an FMod walkthrough video, that demonstrates your project as if it were a performance of the project.
Research and Development Video
Each student will be marked on individual professionalism as demonstrated throughout the preproduction, production, and postproduction process, as evidenced by regular attendance and participation in class sessions and meeting module checkpoints. Your R&D should spend ~1 minute detailing this aspect.
Your video should give an account of the research and development undertaken in producing the audio outcomes. To illustrate your narration, you may find it helpful to document recording sessions through salient photographs/video and/or diagrams where appropriate, and give justifications for chosen microphones and techniques that refer to independent research and material learnt on the module of both a technical and artistic nature. Decisions made in post should be articulated and justified with reference to industry standards and artistic practice. Your R&D should spend ~7 minutes detailing these aspects. A bibliography should also be included at the end as a static image embedded in the video.
Project checkpoints must be met in person in weeks:
5 - Multi microphone technique evaluation (check week 1 slides page 4)
TBC - Field recording project discussion (discussion slide)
TBC - Presentation of progress and peer discussion (audio)
Submission checklist:
Audio:
1 x audio files
1 x fmod project with assets OR 1 x soundscape audio file
Documentation:
1 x video file (~8-10 minutes)
How your assessment will be marked
Audio Outcome: Your audio outcome should employ appropriate production aesthetics, technical, and stylistic approaches. Ensure impeccable sonic outcomes, with appropriate dynamic range, spectral balance, fidelity, creative choices, and edits for the given material. (70%)
Project Management: Each student will be marked on individual professionalism as demonstrated throughout the preproduction, production, and postproduction process, as evidenced by regular attendance and participation in class sessions and meeting module checkpoints. You should detail briefly how you met the Project Management criteria in your R&D. (15%)
Research and Development: The R&D should give justifications for chosen microphones and techniques that refer to independent research and material learnt on the module, with relevant and useful photos/video. Decisions made in post should be articulated and justified with reference to industry standards and artistic practice. A bibliography should also be included at the end. This R&D aspect should be detailed in your reflection. (15%)
A student passing this module should be able to:
1. Evidence ability to formulate analytical responses to the capture of sound.
2. Demonstrate an advanced level of ability in the capture of sound.
3. Sophisticated understanding of sound – microphone interactions under a variety of conditions.
4. Exemplify professionalism and best practice while following industry workflows and standards.
Week 4 - Editing and Mixing
[catchup]
Recording Drums
research 'Hauntological' , - project concept?
Language Grid
Simon Emmerson (1986)
Semiotics. - signs and meaning making.
Exploring relationship between language and materials.
'Continuums' to describe sonic content.
Discourse: types of materials
Syntax: organisation of materials.
Discourse Continuum:
Aural: made for the ear - no 'directly evoked image'
Mimetic: imitating/mimic -a relationship to something else
Syntax Continuum:
Abstract: Composer evident and in charge - Organised
Abstracted: Organisation from sonic content - sound focused
Emmerson's Language Grid:
Hauntological - [Burial, venturing] Reminiscent echoes
Mark Fisher - books and album 'on vanishing land'
Structure
Narrative - can be usuful but also restricting, sometimes you want the audience to build their own narrative
Structure levels:
Micro level: sounds and internal structure
Meso: phrase or loop, 4 bar loop
Macro: arrangment
Sound field - Emmerson
Compositional Trajectories:
Direction.
Real <> Unreal
Organic <> Synthetic
Not one way.
can be simple or more complex