Feedback Destroyer, Effects + Soundcheck (Unit 23)

To incorporate the feedback destroyer into a live sound environment to control feedback in the monitors was different from when we were testing it. 

• We used 2 1/4 jacks to connect Aux sends 1 & 2 too two inputs on the feedback destroyer.
• We used 2 1/4 jack to male XLR converters to connect two 1/4 outputs of the destroyer to the A & B returns of the multicore.

This allowed us send the monitor mixes through the feedback destroyer on their way to the monitors and use the technique we learn previously to control the feedback.

During a performance there may be time you want to add effects such as reverb and delay to a instrument or group of instruments. 

We did this using an effects rack with a reverb and delay unit.

• We used a 1/4 jack to connect Aux send 3 from the desk to the input of the effect unit.
• Using a 1/4 jack we connected the output of the unit to Aux return on the desk.

This allows us to send signal from instrument channels to Aux send 3 where it is sent the the effect rack. The processed signal is then sent back to Aux ret 1 where it can be added to the main FOH mix.

When sound checking we were making sure the gain and level structure of all the instruments were appropriate and making EQ adjustments. 

• We started with the drums getting the musician to play each component constantly until we were happy with it. Then we asked for the whole kit and made any minor adjustments to make the kit more cohesive.
• We then did this with the rest of the instruments onstage.
• Then we got the band to play together to check everything sounds good and incorporate the effects into the mix.
• At this point musicians asked for more or less of different things in their monitor mixes

It is usually during the sound check that most problems in the set up come to light. Eg faulty cables and broken mics/DI boxes. We found working from the source of the sound helps when finding faults. 

• Connecting the mic to a different cable will usually tell you if it is the cable or the mic that is broken.

Handling feedback in the monitors (Unit 23)

Feedback is one of the main problems live sound engineers face. "Feedback occurs when the sound from the speakers makes it back into the microphone and is re-amplified and sent through the speakers again"(1). It can be caused by many things such as poor monitor placement, using inappropriate mics, having bad gain structure and musicians pointing mics directly into monitors. EQing the microphone signal to remove feedback is a technique that some live sound engineers use.

Setting up a mixer, microphone and different types of stage monitors how we would for a vocal mic we tested this technique. Slowly increasing the gain of the input until we heard feedback we would then identify the frequency of the feedback. It is usually naturally obvious which range of frequency the feedback is in.

"Hoots and howls: Likely in the 250 to 500 Hz range.

Singing: The range is in-line with 1kHz.

Whistles and screeches: Most likely above 2 kHz."(2)

Once we roughly knew the feedback frequency we used the desk eq to cut it. The mixer we used has 4 bands of eq. (quasi parametric eq for the low mids and the high mids and fixed frequency eq for the lows & highs).  By sweeping across the frequency range we found the feedback and cut it by an appropriate amount. We then increased the gain and until it began to feedback again and repeated the process. 

How effective is controlling feedback this way?

We we're able to get a good level through the monitor and the input gain was at about '2 o'clock' before we couldn't turn it up anymore without feedback that we couldn't control.

What are the problems controlling feedback in this way?

The main problem we faced was that the desk only had 2 band of eq that allowed you to adjust the cut frequency. This meant we could only cut two frequencies using them. It also meant we would have no eq when creating a FOH mix.

Using a few different monitor speakers we noticed they all feedback at different frequencies and the mic took more or less gain to get feedback from them. This wasn't a problem because we were only using one or two monitors at a time. But during a performance where there could be a higher number of monitors it could be problematic.

How could it be made more effective?

1 - https://electronics.howstuffworks.com/gadgets/audio-music/question263.htm

2 - http://www.behindthemixer.com/how-remove-audio-feedback-through-equalization/

Setting up for live sound (Unit 23)

Setting up small PA system we identified the key elements of the process. This post gives a short explanation of each element and how we set it up.  

Power

As the mixing desk, FOH speakers, monitors and amps all need power knowing how much power you need and how you'll get it to the stage is important. Putting everything in place and ensuring everything had power first meant we could build around them and not have to move things about to much later on.

• Using extension reels we set up 4 power points on the stage, one in each corner.

Mixing Desk/multicore

Having the mulitcore positioned stage left and its single cable running to the desk made setting up the stage much easier later when we started miking instruments. All the in/output to the multicore are XLR and the desk has XLR & 1/4" jack outputs so we have XLR to1/4" converters where appropriate. 

• We connected the XLR outputs of the core to the corresponding XLR inputs of the desk up to 16 (the max inputs on the desk).
• Getting sound from the desk to FOH we used 2 of the 4 returns of the core (A for L & B for R) to take the L & R signal from the main outputs of the desk to the multicore.
• In preparation for the monitors we set up 4 aux returns from the desk to the multicore through the C & D return cables and two of the inputs by using XLR gender changers to turn them into returns.

We learnt that working in a logic method helps later when engineering. Eg having the extra aux returns descending from the highest cable on the multicore instead of any free cable. This helps the sound engineer work efficiently and removes any confusion as to where sound is being sent and received from.

FOH Speakers

These are the speakers that the audience hear sound through. Having a FOH system that can amplify sound at a level appropriate for the space easily is important. The FOH speakers we used had a sub speaker + a mid and treble speaker. This system allows you to input the signal to the sub and create a crossover. allowing you to output the full range of the signal or the signal with a high pass filter on.

• Using XLRs we connected the A & B outputs of the multicore to the left sub and the right sub.
• Then with XLRs we connected the highpass output of the subs the input of the mid/treb speakers.
• As FOH speakers have volume controls on them we had to set the left and right to the same level.

Monitors

These are onstage speakers that the musicians can hear themselves through to help stay in time. If a production is big enough there will usually be a separate mixer & engineer at the side of the stage to control them. We intended to have 4 monitors all with individual mixes allowing us to give a each musician or groups of musicals individual monitor mixes. 

• We plugged the 4 monitors into the multicore outputs that we had set up for aux sends earlier.
• We set them up in the appropriate place so that the musicians would be able to hear them and taking into account the position musicians naturally get into when playing. 
• We also had to set them up in a way to prevent feedback to nearby mics by finding weak spots in their polar pattern and placing them there.

As with setting up the desk & multicore doing things in a logical order helps later on. Eg having the monitor closest to the front and stage left linked to the first aux channel and ascending around the stage anti clockwise. We also learnt to check the monitors are receiving sound and the auxes are working before sound checking for the FOH mix. This way when musicians ask for more/less of something in they're mix we can adjust it knowing it working without hearing it. 

Miking

We mic the instruments/vocals on stage so that we can amplify their sound through the FOH speakers. As you do this its important to keep it as tidy/presentable as possible. Clip on mics and kick drum mic stands can aid you with this. We had a drum kit, bass, guitar and vocal on stage.

• We miked & DIed instruments and amps.
• We plugged the mic cables into the appropriate inputs on the multicore to send sound to the desk.
• We ran cables around the stage rather than across it to avoid trip hazards.
• Tape down any that have to across the stage.

We learnt that if you find mic cables are broken when you sound check its more time efficient to just unplug the broken one, leave it in place and run the new cable over the top.

New DJ Mix

On my Soundcloud is a new chill mix I recently recorded. Start your day with this mix or play it at night when you're suffering from insomnia. 

ANT_BHX 

The structure of the music for film industry (Unit 10)

The music for film industry is vast and composing for films requires additional skills on top of the skills already associated with music production. Throughout this post I will explain these skills and how they are essential to a composer in this industry. 

The first notable thing about the film & television business is the amount of money thats invested in it. With films such as Avatar & Pirates of the caribbean on stranger tides both having production budgets over $400 million. This makes deadlines for print masters or meetings with directors all the more important. Composers need to be able to manage they're time effectively so that they meet deadlines. If they can't master this skill and build a workflow they can get in tune with it is unlikely that they will be successful in this fast paced industry.

Continuing the topic of money composers need to be able to budget so they have enough money to complete the soundtrack. Eg paying for a large orchestra to be recorded playing the main theme of the film would be amazing until the director & producers of the film found that it meant the rest of the film had no music because the budget was gone.

An important thing for composers to understand is that they are film makers as well. To function in the industry a knowledge of the way film works and understanding its aspects such as types of camera angles, colouration of shots, panning, lighting, pace and how the roles are being played by actors. Analysing these gives a place to start from and aids composers to create pieces that accompany the story of the film. Also composers have to report back and collaborate with producers, directors, screenwriters and so on, understanding these aspects will also help when communicating with coworkers. 

Many film composers have a select few genres of film that they exel in, but because of the openness that movies have. Eg in the way that a sad scene could become a happy & joyful scene in a matter of seconds they must have a true understanding of how things such as genre, speed and different scales effect what they are creating. It also means they have to be seen as versatile by directors and other members of the production team as the film industry is a very unforgiving place and if you don't bring what they want to the table there is always a replacement for you.

To thrive in this industry you have to be able to handle being outside your comfort zone when working on a movie all while sticking to deadlines and composing music/sound that fits with the directors vision for the film. Being able to step back from your work at look at it from the consumers or the directors point of view is a valuable skill to have and along with the skills mentioned throughout the piece would help a composer function in the industry. 

https://www.recordingconnection.com/reference-library/recording-entrepreneurs/music-for-film-and-television/
https://www.forbes.com/sites/jordanpassman/2017/04/12/inside-the-competitive-business-of-music-for-film-trailers/#75db06d81fd4
https://study.com/articles/music_jobs_in_the_film_industry.html

Orchestral Articulation, Music and Drama & Portfolio Evaluation (Unit 10)

To Create the accompanying music & sounds for these videos I had to use a range of techniques. Including some that I discovered when researching different film composers. I gauged the mood & vibe of each video by looking at what was happening in different scenes, the camera angles, how fast scenes changed and the coloration of videos. This gave me a place to start when creating the sound tracks.

Orchestral techniques

One of the main techniques I used was orchestration. As orchestral instruments are a staple in the film industry. These orchestral instruments can be played in many ways know as articulations. The four that I had access to were Legato, Pizzicato, Staccato and Tremolo. Legato gives a of a calm feeling due to the smooth flow with no pauses between notes. Pizzicato is when a string instrument is plucked rather than bowed, this is great for fast paced sections(3). Staccato is a bowed style of playing but "notes have space, or silence, between them"(2) this is great for Rhythm sections and building up suspense ". Tremolo is when a note(s) is played very quickly, it is great for holding suspense and introducing new sections.(4) 

Another thing that I discovered when researching orchestration is that all the instruments are grouped. Orchestras will have Violin, Bass, Cello, Viola & other sections depending on size. Musicians within these sections generally play the same notes with some small variations. So to give my midi orchestration an authentic feel I will use this technique. The 'strong attention-grabbing effect'(1) is when all the section plays the exact same notes. This adds power and force to the notes and really grabs the listeners attention. It is great for introducing new sections in the film & grabbing the viewers attention at a important point in the film.

The relationship between music and drama

The first thing I realised is that the drama is making viewers feel emotion and is the primary reason that people are watching the film/show. The music is there to aid and develop the intended emotions that the film is portraying. Eg. A scene where a couple breaking up in the rain wouldn't have the feel intended by the director if the music accompanying it was an aggressive rap instrumental. https://www.youtube.com/watch?v=rn9V0cN4NWs. This film clip with different types of accompanying music shows how the choices we make when scoring for film.

Surround sound mixing

This is a great technique for adding to the realness of films/programs. With sound panning back to front, left to right and diagonally composers are able to pull the viewer into the position of the characters. This makes scenes more effective. It also adds a sense of movement around the viewers. This helps hold audience attention better due to human nature that sounds coming from behind us or areas we cant see make us alert. However not all cinemas and home systems have surround sound built in so a separate dub in stereo would have to be created. As I don't have access to surround sound facilities I will be using left and right stereo spreading/panning, this is a similar technique but with less effect. (5)

BBC One Rave Indent

As the clip was quite simple I kept the accompanying music simple only using percussion.

To give the effect of a large space I ran everything but the kick through a reverb unit with just wet signal as the output. I didn't put the kick through the reverb because it sounded to distant as well as the fact that it gives the simple beat more of an impact. Also as the camera zooms out I automated a high pass filter to increase in cut off frequency as the shot widens.

EQ filter automation

Mixer

Reverb

The beat I created matches the scene and the highpass filter indicated change as the camera panned out. However to give the pan out more impacting I could of added musical elements using techniques similar to those of the spaghetti western composers when they emphasised scenes opening up vastly.  


BBC One Dance Duo

Recording acoustic guitar I tried to compliment the videos calm vibe. I achieved this by having the musician pluck a riff softly and layer it with chords. Because the shot had a panoramic view I used a airy woodwind type synth to give the impression of a breeze.

As there were two dancers in the clip I added a shaker to give the music a percussive element. By having spaced out slow hits I used the shaker to further add to the calm vibe.

When composing for this video I found it hard to find a suitable tempo, by further developing my ability with the tempo calculation tool I might of been able to find the a more suitable BPM. When we recorded the guitar it seems that the gain wasn't set high enough. Although the low level adds openness to the scene recording the guitar parts with a proper gain structure would of given me more control when mixing it with the other components.
BBC One Basketball Dancers

This clip had a lot of energy that built up quickly. To reflect this I used percussion sounds and built up the beat quickly having a new sound appear every bar. I used percussion sounds because they allow you to add rhythm to the clip without drawing the viewers attention to the music as much as drum kits do.

Because the indent was of hip hop dancers I wanted to keep the music very rhythmic. I created a simple melody that followed the pattern of the bongo. I did this because it complimented the rhythm of the beat.

Melody following the rhythmic pattern of the bongo

Beat build up

I think that the piece I created matched the scene well but is very basic. I had manage my time working on the videos better I could of created something that flowed better and developed the mix of the track more.  

The Commuter Trailer

I split the commuter into three sections when I composed it. 
So that my score would be synced to the trailer I used this film music tempo calculation tool and hit points. I found that the trailer matched 129.5BPM.  
I used chords in the B minor scale for the first section because they sounded joyful but slightly dark as well. I Played them with Staccato violins in a relaxing rhythmic style because this section had people smiling, joking and looking relaxed.
For the second section I used Staccato and Legato Violins with Staccato Basses all playing parts of a Db Major chord that slowly increased in volume to build up tension. 
In the third section I continued the use of the Db Major chord using electronic elements and added percussive elements. Because there was a lot more action in this section switching to electronic elements allowed me to give the chord even more of an impact than in the last section. 

The trailer sounded empty without any foley so using https://freesound.org/ and the apple loops I gathered sounds that fitted with the video and added them locking their smpte position so that if I changed the BPM for any reason they would be locked to that time in the clip. I found that although the sounds where synced to the video the way the came in and came out sounded mechanical. Using volume automation I was able to blend the loops in and make them fit the video better. 

2nd section orchestral build up

1st section chords

3rd section electronic elements 

Adding hit points to the video

Loop and foley volume automation

SMPTE Locking loop and foley

Overall I feel that I used orchestral elements and the classical scoring technique effectively in my commuter trailer to build up tension and suspense. However if I had of added other musical/sound elements on certain scene cuts and hit points I could of given the trailer more of and impact. Also there is a lot of dialogue missing, this was because I didn't have access to a female voice actor. In my planning stage of sourcing sounds I should of took into account that I would need female and male voice overs. This would of given me time to find a female voice actor.

Index:

1 - https://www.quora.com/Classical-Music-Does-everyone-play-the-same-notes-in-the-orchestra-while-playing-a-symphony-or-do-composers-write-different-notes-for-each-instrument-in-the-orchestra-while-creating-their-music
2 - https://www.studybass.com/lessons/bass-technique/legato-and-staccato/
3 -https://www.youtube.com/watch?v=dcrJEGRrU-c&index=9&t=177s&list=PLTkwuKZgcX_c_rl8k6fvigcsMZjZ_FYCv
4 - https://www.youtube.com/watch?v=4E8rMLHIpag
5 - information on surround sound mixing gathered from - https://www.youtube.com/watch?v=FTSbEDNP2MM&t=309s