Halloween Ritual Listening

If you have power, turn out the lights, light a candle in your jack-o-lantern, and listen to this:

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Post Class: NJCU Closed

NJCU has officially announced it is closed Weds, 10/31.
Hope all is well with you.
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This is how it looks:

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Sound Production Work I

Sound Production 210
Prof. Vincent Tese

Work One: Music /Vox Edit

                

            Please review your notes regarding dubbing from source CD to half track. In this instance, you will dub in stereo, left and right, from CD, with handles, and at 15 IPS (high speed). Remember to mirror the left patch to the right side, the dub is stereo now! Obtain an appropriate L-R channel balance of the program material carefully when setting levels. Continue using the 45 degree angle on the splicing block while editing. Remember to fully insert your headphone plug to final click to correctly hear both channels.

The two CD sources run approximately 74 minutes each. Disc one is primarily music (scratchy vinyl junk,) and disc two is detritus as well, primarily vox (voice). To decide what material you’ll use, first listen to and log from the Jam CDs you’ve created.

Consider the logging process integral to the editing process. Note and therefore dub only material that is interesting to you and can be useful in forging juxtapositions to other elements you dub. You will then endeavor to make those edits real by using an Otari editor. To decide what material you will dub, first listen to and log the Jam CDs you’ve burned. Please be aware that certain items on the CDs must be used in your piece. For details on this requirement, see the addenda sheet. Something to consider: One seven inch reel of tape at 1.5 mil and 15 ips = fifteen minutes of roll time; not a lot when your source totals about 150 minutes.

When thinking about making interesting sonic juxtapositions, there are two approaches. One way is to make literal connections between the sounds you are editing together. For example, I might have a saxophone wailing and cut to a person speaking, from an interview segment, who is talking about saxophones. One sound addresses the other literally. The second approach is to make acoustical connections. Taking the same wailing sax, if I cut to the sound of a homeless man drunkenly yelling, the sound of both elements work together, though there is no literal connection, a sonic connection is clear. This requires that the sounds match from an auditory standpoint.

Technical Specs:

15 ips stereo, half track. Tails. Presented in a box and properly labeled. Six-eight feet of leader (white) and six-eight feet of trailer (red). Box label includes all of the above info plus name, assignment title and section. Works presented in any other fashion receive no grade. No source material other than what is available on the source CDs may be used. All production work must be accomplished through the Sound Facility at the Media Arts Department via open reel editing as prescribed. I may check the facility log, so make sure all your sessions are properly booked. You must have 50 edits, minimally. See the addenda for details regarding required inclusions. Your work must time out between one and three minutes. You are presenting Work One leadered, with no extra tape whatsoever. (No blank, unrecorded magnetic tape allowed. Leader/trailer can only be used at the head and tail.) Note:  No editing allowed on the dub station Otari.

Addenda will be posted at a later time in the comments section of this post. Please feel free to ask questions here.

For your convenience you may download a PDF of the assignment here.

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SSL Pulls Up to Fries

The SSL Mobile: L-R: Arnold Scher (SSL), Joey Mosca,
Chris Calandro (SSL), Ruthie Arroyo
and Steve Zaretsky (SSL)

 
Thanks to Media Arts alumnus Arnold Scher for bringing the SSL (Solid State Logic) Broadcast Equipment Demonstration Vehicle to NJCU.

The sound truck is outfitted with SSL’s C10 broadcast console, designed for live broadcast sound mixing. It’s a digital console and controller, which can integrate Pro Tools, and has very flexible routing. It’s mission is to efficiently accommodate complex, busy broadcast schedules.

Fun demo!

MARS is looking at the SSL AWS for the main position in CRC.    : )
Thanks to the entire SSL team.

Steve Zaretsky presents the C10

Arnold Scher shows me what's up

Tweaking EQ

Yours truly in the group mug-shot

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Media Students Record Heartfelt Memorial

Check out Adria Firestone's recent Huffington Post Arts and Culture feature about the late Annette LeSiege:

When All That's Left of Me Is Love, Give Me Away

This includes a link to the sound memorial, voiced by Ms. Firestone. That recording was made by a team of Media Arts students, and the music composed and performed by Music Dance & Theater student, René Martinez, himself a former student of Prof. LeSiege.

Edit:
A note from Adria Firestone and a forward from the VP:

Hi Vin, 

You and the MARS gang are invited to join us on Oct 28. They will play our beautiful work. 

 See below. 

It was a joy to collaborate. 

Adria

From: Joanne Bruno

Subject: Re: October 28th

Friends and faculty, I know that Annette will be very pleased to be remembered so grandly by her colleagues, friends and students. The program is being printed thanks to the collective efforts of three offices - academic affairs, MDT, and the dean's office.   

This will be truly a celebration of Annette's life in music and word. The program will begin at. 3 in Ingalls and conclude with a reception with colleagues, family and friends.

Thank you from my heart and soul.   

Best,  

Jo Bruno

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KEXP FREE CMJ Shows

Here is the schedule for this week's set of free shows and KEXP's live radio broadcasts from Union Ballroom, Union Square:

KEXP at CMJ

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C24 Installation

Please view video below:

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Joey QUADS the Tape Loop From Hell!

Joey guest starred at last week’s Phil Spector day, rocking the Tape Loop From Hell with an extra Otari. Quad loop mania!

Apologies in advance for my crappy cell phone capture and caffeinated camera-work.

 Here’s last semester’s 3 Machine Burrito of Mayhem.

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Structures Change Sound

Once you start building walls creating interior spaces, sound behaves in ways demanding attention. Most architects and “civilians” don’t consider this crucial aspect of interior design.

Referring to the video above, obviously, I am not criticizing Eero Saarinen; I love that building. But I’m not setting up monitors in front of the TWA Terminal, nor would I want to stay there very long.

How do structures affect the sound engineer? In many ways. To get started, read some material by Wayne Parham regarding wavefront launch when using loudspeakers in a room:

Speaker Placement and Wavefront Launch

Bass hogs: Parham is one of the leading designers of subs and here is his method of arraying them to solve the “room problem:”

Room Modes, Multisubs and Flanking Subs

General info and background reading for above:

High Fidelity Uniform Directivity Loudspeakers

Vid was shot under that curved structure, main entry.

Lovely little lounge has parabolic ceiling
which focuses voices back into the center of your skull.

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Remote Recording Workshop Survey

Who is interested in doing a remote music recording using the SSLBroadcast Equipment Demonstration Vehicle?

I’m not saying it’s happening, but if there is interest I would attempt coordination with MDT on campus, SSL and a good crew of Media sound students to record a musical performance from the truck. No promises. Would be an excellent experience if we can pull it off. 

I would need at least 5 dedicated, no excuses sound people, music recording experience from the core group required, but there should be room for others in different roles. If there is interest, I will try to work out the logistics. But I need to know quickly.

Please respond in comments below.

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