14.3D Audiobook: Experiments, Issues and Binaural.
-The Verge graphic illustrating binaural sound recording (2014)
As mentioned in the previous section, I would have a number of project stages to tackle in the creation of the ‘3D Audio Book’.
1. Test the systems in place to see if multi-channel would indeed create the most immersive experience, or if there was another method that might work more effectively.
2. Once the type of system was locked in, find a script writer and work alongside them to create an appropriate script for the system. See section on script development for more details.
3. Find a voice actor (or actors) that would be willing, able and would fit the part well.
4. Find a suitable location to record the piece
5. Record the piece narrative section
8. Present work in a suitable location
Test 1: Running a project through quad-channel system (Point 1)
In October, 2017 I ran an initial test to attempt to get a logic pro x project working over a quad system.
- Output and Input settings that create the quad system (October 2017)
-The outputs at the back of the K-Mix (October 2017)
-Logic Project Test in Multichannel (October 2017)
Through this simple test I learned that I could set up, and mix a project across four speakers.
After this, I booked in a number of sessions in the room, to do some experimenting and work out what I might do next:
-After booking a number of these sessions however, I found out that the room actually wasn’t available at these times due to health and safety guidelines. At this point, I started to look at other ways that I might achieve my intitial goal of an immersive sound experience.
After the initial session, during a meeting with my tutor, I was switched on to the fact that the best way to actually create a immersive sound experience might actually be with headphones rather than using a open space.
This is when I turned to the idea of Binaural recording as an alternative method of storytelling.
- ‘Sonic Field’s video on Binaural Recording’ (2015)
I came across the above video whilst searching for more information on immersion and sound. It gave me a great insight into how Binaural works and how it can be utilised in a headphone context.
- Andrew Sachs on ‘The Revenge’- his radio drama which utilises binaural
At 1:25 seconds, Sachs begins to talk about Binaural Sound in his radio drama ‘The Revenge’. He talks about how the listener becomes the subject of the piece, and that the sound is “happening all around you... you the listener are right at the centre of the proceedings”
This was exactly the kind of immersive quality I was looking for in my own work, and I decided that I would move forward with the use of Binaural Microphones.
-’Video about 3D Sound Systems designed in Unity for the Oculus Rift’ (2015)
I decided to conduct a test to see if it was viable to use the universities binaural headphones to create a high quality recording.
Conclusions from this test: Although the idea of a multi-channel piece was interesting, I decided to move onto using binaural recording because I felt it gave scope for a more immersive experience.
During a meeting with Milo, my tutor he also asked me to think about managing the immersive experience of a gallery space, and suggested that it would be hard to manage such a space.
UPDATE: 9/1/2017- In an other tutorial with Milo, I was recommended some books and post production software that would help in the creation of the piece.
-Immersive Sound ‘The Art and Science of Binaural and Multi-Channel Audio (2017)
This book built on another I had just read, also relating to the principles of binaural and immersive sound:
Test 2: Script Development for Sound.
-Script title for draft 3D Audio Book script (2017)
Working with my script writer is proving to be an interesting process. Labeja is a screen writer first and foremost and, upon reading his first draft, I gave him some instructions to add more sound ques and other sound elements to flesh out the story. This is to be continued when another draft is written. I also sent him links to a number of binaural recordings to give him a sense of what the recording would sound like upon completion.
-Diversifying Binaural Recording Techniques... (2015)
I also looked into this paper to get a sense of how to record in binaural and what strategies might be used to create immersive sound.
1. I concluded that I would utilise binaural recording instead of a multi-channel sound system because of it’s ability to adapt to a much more controllable space.
2. I also feel that binaural will create a much more immersive experience for the audience. I felt an individual sonic experience would draw them into the world much more than with a group of spectators in a gallery space. See section on Simon McBurney for more details on this theme.
3. The script will need to be very heavy on foley and sound ques, in order to create an experience that will be immersive rather than a monologue. Scroll up on this page for more information on this, and a comparison with Andrew Sach’s ‘The Revenge’
4. Since this is my first time using binaural, I feel it will be an excellent opportunity to make some personally experimental work during my final year. Out of all my projects, I feel this one will be the biggest challenge because of this.
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