LO.17 Deliver product within a specified budget and time frame

For this LO I researched some text on project budgeting and forecasting. According to Kerzner (p645. 2009) “The project budget, which is the final result of the planning cycle of the MCCS (Management Control and Cost system), must be reasonable, attainable, and based on contractually negotiated costs and the statement of work. The basis for the budget is either historical cost, best estimate, or industrial engineering standards. the budget must identify planned manpower requirements, contract allocated funds and management reserve. All budget must-be traceable through the budget ‘log’, which includes

  • Distributed budget
  • Management reserve
  • Undistributed budget
  • Contract changes

I applied calculation to the google drive ‘production budget and expenses template’ of the cost and budget used in the production of the Blue Lotus Sound Installation, I did not include the cost of the construction of the installation as the largest portion of that cost of production was mu labour hours and some minimal material costs



LO.20 Demonstrate awareness of contracts and agreements for sound production works

For this LO, I decided to delve my mind  and understanding into some research on copyright and contract management. Kerzner (2009. p839. Project Management) denotes that “In general, companies provide services or products based on the requirements set forth in invitations for competitive bids issued by client or the result of direct contract negotiations with the client. One of the most important factors in preparing a proposal and estimating the cost and profit of a project is the type of contract expected. The confidence b which a bid is prepared is usually dependant on how much of a risk the contractor will incur through the contract. Certain types of contracts provide relief for the contractor since onerous risks exist. The cost must therefore consider how well the contract type covers certain high and low risk areas.”  In the audio industry , these rules consistently apply to a large degree and  usually with a high regard to client briefs and expectations. In today’s contemporary society it would be absurd to enter into an exchange of goods and services without some type of agreement or contract in place before any work  production begins to take place.

In addition, Howkins (2013. p 45) explains that managing ideas exists within an economy of ideas and this environment adheres to many distinct relationships. He writes that “there are people on both sides of the creative /business coin who believe creativity and business are incompatible and may even be mutually destructive, the manager’s task is to manage this tension and to develop and enhance ideas rather than stifle them, whether as individuals trying to organise their relationship to an idea or as executives who want to optimize a company’s negotiating power over an asset. It is important to know what these assets are or could be. they’re a  mixed bunch, a floating population, of ideas and meanings. Some are public and up-for-grabs while others are private and controlled b people who come and go with their own personal views and expectations and resist being tied down, although occasionally their ideas can be caught in the net of a contract and sold on with confidence. Managing creativity starts with understanding the make-up of the various assets you already have or need from others. The point of trademarks, copyright and patents is to restrict this kind of coping or free-riding either absolutely of for a price. In order for some people to benefit, others must go without. There is fierce debate about the social utility of this exchange. Some say these monopolies are necessary to reward innovation and that intellectual property rights are a good way to allocate resources.

Like most laws, it is important to acquaint one’s own interests and benefits from those laws and become aware of the legislation according to individual benefits and needs. With the internet highway available to view most things of the intellectual property nature, it is important to seek that awareness.



LO.1 Mix sound assets in surround sound

Mixing in Surround –

Runstein and Huber explain (2010, p559) that “any device having a number of multiple bus consoles (typically having eight or more buses) can be used to create a surround-sound mix, but the important question of the day is this: How easily can signals be routed, panned and affected in a surround environment to create a 5.1 mix without going nuts with frustration? Whether we’re working in an analog hardware, digital hardware or DAW “in the box” mixing environment, the ability to pan mono or stereo sources into a surround soundscape, place effects in the 5.1 scape and monitor multiple output formats without difficulty can make the difference between a difficult, compromised mix and one that lifts your spirits.” (p.559, Modern Recording techniques)

For this LO, I opened a copy of the Blue Lotus into a 5.1 surround sound design session and then I created some 5.1 buses and set the outputs in the I/O setup as 5.1 speaker outputs.

I then followed through to begin the manipulation and adjustments of the surround panners in pro tools to acquire the  surround preferences and placement of the instruments through panning and balancing the surround mix.  I then proceeded to bounce a copy after panning and balancing  the mix in surround sound to my taste. Then finally, i proceeded to add a surround sound reverb to widen the sound spectrum/image and create a further depth to the overall mix. By doing this i think it smoothed out the transients that made the mix sound rough and dull. I also EQ’d a little bit of the mid/ high mids which smoothed it a bit  with Protools channel strip and the added a slight compression on it through the BF-76 which added to smoothing out the surround reverb.


5.1 Processing

5.1 Processing


5.1 Panning instrument arrangement

5.1 Panning
instrument arrangement


5.1 PRINT track recording

5.1 PRINT track recording

see  5.1 surround mix in student google drive for listening. 


LO.8 Deliver audio compling with industr loudness metering standards

For this LO I needed to do some research to get my head and ears around what the industry standards are for loudness metering.  Runstein and Huber describe this area of audio production quite well and state that ” Like most things in life that get out of hand from time to time, the level of a signal can vary  widely from one moment to another. For example, if a vocalist gets caught up up in the moment and lets out an impassioned scream following a soft whisper passage, you can almost guarantee that the mic’s signal will jump from its optimum recording level into severe distortion…ouch! Conversely, if you set an instrument’s mic to accommodate the loudest level, its signal might be buried in the mix during the rest of the song. For these and other reasons, it becomes obvious that it’s sometimes necessary to exert some form of control over a signal’s dynamic range by using various techniques and dynamic controlling devices. In short, the dynamics of an audio program’s signal resides somewhere in a continuously varying realm between three level states;

  • Saturation
  • Average signal level
  • System/ambient noise

Amplifiers, magnetic tape and even digital media are limited in the range of signals that the can pass without distortion. As a result, audio engineers need a basic standard to help determine whether the signals they’re working with will be stored or transmitted without distortion. The most convenient way to do this is to use a visual level display, such as a meter. Two types of metering ballistics (active response times) are encountered in recording sound to either analog or digital media:

  • Average (rms)
  • Peak

For this LO, I mastered a stereo version of the Blue Lotus recording in the C24 studio. For the same mastered version of Blue Lotus, I then took the session and applied a WAVES WLM loudness plugin to apply and ensure that the correct Industry Loudness units relative to Full Scale (LUFS) could be managed and applied.

(see screen shot) 

To expand on this area, I did some further research on the Loudness metering and found this article from The Audio Producers Guide.com ver insightful and helpful and think it should be shared.

“The most common way to represent audio is to display electrical level. That usually means a waveform, a VU meter, or a peak meter — those bouncing bar graph meters ubiquitous in digital audio. The problem? These tools don’t correspond to how the audio actually sounds to our ears. It’s possible for the audio to look one way on these meters but sound quite different. Phone tape is a frustrating example of this phenomenon: on a peak meter it often looks hotter than it sounds. Modern recorded music often displays the opposite effect; it will sound louder than it looks on a peak meter, especially when matched up against voice.

Loudness meters measure audio similarly to the way humans perceive sound. The meters analyze audio taking into account duration as well as frequency — the human ear is sensitive to some frequencies (the wail of a baby, the rustle of leaves), not so sensitive to others (the rumble of a bus, the low notes of a bass guitar). That measurement is much more consistent with the way we hear. Sounds that we hear as “loud” display higher on the meter and vice versa.

The unit of measurement, the Loudness Unit [LU], actually represents an audible difference. A change of one LU is a difference you can noticeably hear — you certainly can’t say that for one dB, the unit used on most other meters.

Loudness meters also remove an issue that other meters are prone to perpetuate: interpretation

The audio producers guide to loudness



In addition to this, i think this youtube post on the industry & legal loudness standards is a very good video on explaining the LUFS values.



LO.09 Implement performance correction techniques in music productions with specialised tools.

For this learning outcome i selected a sample of the lager phone from my recording in the Audient and placed it in on a new editing track, labelled it LO.9. I then proceeded to open the STEVEN SLATE triggering plug in. B selecting the different drum/snare sample triggers, I mixed elements of the various triggers to create a new audio asset which resembled a mix of the dr sample & the inclusion of the drum triggers to create  & correct the original sound. Through the use of the “mix” function in the plug in and panning the wet signal, I produced a new corrective sound asset through the STEVEN SLATE  specialised tool. The audio outcome was a mix between a snare and a tambourine instrument. The sound resonated well and I was comfortable with the frequency response and the tonal qualities of the new sound asset.

I then proceeded from there and i duplicated the new tambourine/snare sound to a new track and then changed the slate trigger into a mix of  kick drum and the lagerphone.  I then cut the samples to be manipulated individually and created a drum beat. From this, I then created two new sounds b correcting the original sample, my aim was to correct a recorded groove through the use of a drum triggering tool through the use of the plug in

snare trigger and lager phone

snare trigger and lager phone

kick trigger and lager phone

kick trigger and lager phone

From here, i continued to experiment with this performance corrective technique on a cajon beat to improve on the audio asset. Here i duplicated the new tambourine/snare sound to a new track and then changed the slate trigger into a mix of  kick drum and the lager-phone.  I then cut the samples to be manipulated individually and created a drum beat. From this, I then created two new sounds by correcting the original sample, my aim was to correct a recorded groove through the use of a drum triggering tool plug in.

the created trigger drum beat

the created trigger drum beat

LO. 11. Adapt recorded music performances into new audio assets.

For this LO, i decided to create a new audio asset from a previously recorded session of the recycled instruments I had made for the Project #9 – Sound Installation.

In the protools session I took a sample of the lager phone and placed it in a new track. I then proceeded to open it and label it as the new audio asset.

Screen Shot 2015-05-14 at 2.37.27 pm

It was my intention to reverse the sonic quality of the sampled track and then add a reverb effect to it, so that a completely new sound spectrum signal would be created

LO11. Audiosuite Dverb

LO11. Audiosuite Dverb

By choosing Audiosuite from the command list in Protools and selecting DVERB, i proceeded to apply the DVERB onto the selected audio samples. After critically listening to the sound quality and the audio through selecting the ‘reverse’ application and then ‘rendering’ the sample, I was then comfortable with the outcome of adapting recorded music performance into a new audio asset

Screen Shot 2015-05-14 at 2.33.57 pm

LO.12. Repair Audio signals to improve sound quality

For this learning outcome, i took two samples out of the recordings that I made in the Audient studio through an AKG C414 ribbon microphone and Shure SM57 dynamic microphone. I recorded an arrangement of xylophone, lager-phone, cajon, and panpipes.

I took a portion of the recordings as sampled assets to tidie  and improve the quality of the recording (i.e reduce background hum) samples through putting them into a track labeled ‘repair track’ at the bottom of the protools session and then i used the plugin – Izotope RX Denoiser to filter out the unwanted background hum in the mix.

Setup Denoise

Setup Denoise

Through this process, i managed to clean up and improve on some lager-phone beats taken from the recordings

iZotope Denoiser

iZotope Denoiser

My aim was to rectify the sample performance by improving on the clarity of the sound image by using the RX Denoiser. The use of the denoiser allowed me to observe and critically listen to some unwanted background hum in between the beat

noisy lager phone with no processing on it –

cleaned up/ processed lager phone signal –

LO.14 Judge aesthetic outcomes of own production.

For this Learning objective I reflect that the purpose of finding the right aesthetics of a product is to be able to develop the right relationships between the creator and the creative cycle. On reflection of my production process and development, i had to internally ask myself questions both consciously and subconsciously towards the awareness of aesthetic qualities that I wanted to achieve both physically and sonically.

John Howskins, (p38. 2013) describes that ” Questions of aesthetics are manifestly the touch stone of arts, culture and design. They will be present in the creator’s imagination and in the mind of everyone else who works in the sector, if less passionately. Galleries need to be as articulate (possibly more so) as their  artists, fashion companies employ a hundred managers and media people to every designer, and digital managers need to understand what their programmers have done, if not how. The sensual elements of creativity are always present, even if the creative act itself has no obvious aesthetic and no obvious relationship with its final form.

On reflection, this project was in noway an easy feat nor a simple linear productive outcome. The physical and auditory nature of an sound installation meant that I had to discover and work in many different areas of aesthetics to qualify the final product as an aesthetically pleasing product.

The time staking and often exhausting work put into both physical and auditory elements really took a lot of work and discipline.

The references I used were Andean musical performance and instruments.

I attempted to record some musical compositions played myself , my son and a friend. I was limited by time constraints, however I still managed to create a basic composition and focused on comparing, contrasting and evaluating the aesthetic qualities of the studio recordings.  We used the pan pipes, cajon, metal xylophone, Lager-phone, Eukelaeli and harmonica. As we are not advanced musicians and have had very little training in that field we still attempted to play and record a sample of the hand made instruments.


014 015

The learning outcome denotes that the student should identify the commercial viabilities of the product against what would be competing products. On reflection the sound installation along with the instruments from recycled materials, did have an aesthetically pleasing quality to them, the novelty and the creative innovation of the product allows for the audience to view the concept of sound and recycling as an interlinking phenomenon.

On further reflection, I can describe that the if my management of time and studio production scheduling had been more organised and concise, then a better and more competitive product could have been produced. The overall success of the product to me was well worth the effort and work put into the production from physical installation, creative aesthetic development, to the recording of the instruments was definitely a steep learning curb for me.


Cutting the stainless steel tubes for the Xylophone

Cutting the stainless steel tubes for the Xylophone














LO.13/ Revise production process with a framework of continuous reflection of the aesthetic outcomes. Project #9- Sound Installation

Salvador Dali said it like this images (7) . With that said, Well i think i better start further exploration of the design of my sound installation product.

“When designing and creating a product it is important to consider the aesthetic outcomes of the work ou are creating. With a specific goal in mind, it is alwas important to keep reviewing and reflecting on whether th eprocess used is achieving the desired outcome”. ( Course AUS230- module guide)

After a long days of work and and what seems like endless hours of focusing on the outcome of choices, I’m here ready to deliberate further on my project #9- Sound Installation.  Through some research, reading and exploring possibilities of what I could create that would really be called an immersive sound installation, i first had to discover what an installation is, the definition I found was that it is a medium that communicates with the space in which it is in. The wikipedia definition is a provided as follows


So i thought that, ok, i am about to embark on a serious journey of audio acoustics and art décor creativity because of the bold geometric shapes that i was contemplating on.  On reflection, I seem to have passed through a number of directive design posts and had continually arrived back at the  beginning of the creation process or rather the creation cycle as John Howkins describes it.  The creation circle he describes is “a five-fold mix of dreams and analysis, intuitive jumps and cold blooded calculations spelled out in a list which he calls ‘RIDER’.

  • Review
  • Incubation
  • Dreams
  • Excitement
  • Reality checks

Review is taking stock of things, noticing what is curious, making connections, asking “What is that? and “Why?’ It is the conscious evaluation of raw materials, which economists call factors of production, including the attributes of our unconscious mind, which economists tend to ignore. It encompasses both ideas and things.

Incubation is letting our ideas sort themselves out. It is a time of rest and can last a few minuets or several months. The creative person recognizes when incubation is necessary and has sufficient resources of time, money or whatever is needed to provide it.. One of the delights of the Christian and Jewish creation myths is that their authors believed that even God became tired and had to rest on the seventh day.

Dreams are unconscious wanderings and explorations of myth, symbols and stories, in night dreams and day dreams, when we are free of constraints. Artist Francis Bacon called it ‘drifting’, in whihc he allowed his mind to be open to outside influences and unknown energies. Somerset Maughham said: “Reverie is the groundwork of the creative imagination.’ The philosopher and mathematician A.N Whitehead said: ‘Modern science has imposed upon humanity the necessity for wandering.’ And in The Lord Of the Rings J.R.R. Tolkien said: ‘Not all those who wander are lost.’

Excitement is the adrenalin that empowers intuitive jumps and half calculated sideways movements, letting the mind loose to ask ‘What if….? without wondering whether the answer is sensible or crazy. It is close to jung’s moments of ‘high emotional tention’. The trick is not to look before you leap.

We need Reality checks to ensure our dreams and intuitions have not taken us too far away. We need to analyse and measure where we are, checking back to the problem and investigating the answers on offer.The rigour and timing of these checks, and how harsh we should be, need careful management. We may need to experiment, again and again.

Howskin further explains that “There are several points about this list. The most obvious is that some steps are the direct opposite of others. Dreaming and checking are diametrically opposed and require different mind sets. Creativity is a give-and-take, push and pull process of opening and closing, tightening and letting go. Trevore Nunn, the former Director of London’s National Theatre and the director of the musicals Cats and Les Miserables, describes it as accelerating and slowing down. It involves taking risks nd being opportunistic, using all ones qualities, both confidence and fear, both hard facts  (data, the ‘real world’) and soft senses (dreams, intuition, gut feeling).

There is no magical order, Actually, there is no order at all. I have listed these elements in what might appear to be a rational order solely to make them memorable, but there is no rank, no hierarchy, no better beginning or worse end and we can start anywhere. Sometimes we need to start by dreaming and other times by analysing. Every time is different. The important thing is to start. Someone who wants a ready-made process, who waits for the whistle, who waits to be told. will create nothing”. (p.26. J.Howkins. The Creativity economy. How people make money from ideas. 2013)

On further reflection of my journey of creativity, I continued to utilise google and youtube as a source of some innovative sound installations for some inspiration and came across these.

After watching these inspirational videos, i needed to think about aesthetic outcomes and in which direction i was going to take the installation in. So i decided to make some drawings/ sketches of shapes and allow myself to explore ideas and desired outcomes. I put down some ideas into a mind map in order to help make some sense of the objectives

012 011 008 026 015

After some initial drawings and sketches of what i had envisioned I began to look at what resources I had around my house and shed and saw that I had enough raw materials to start something, I had originally been inspired by the circle but then reviewed and compared the time i had available and the complexities of creating a sphere from raw rigid materials was highly unlikely, so i moved forward and thought of some high school geometry lessons and remembered the hexagon.  So i took it from there, i had to do some review on the angle measurements of a hexagon and yes it was still as it has always been 120 degree angles for every point . On reflection i began to group ideas and theories, and art techniques especially when I cam across this great site  designingsound.org and this article by David onnenschein


but it was when i came across the following internet search and discovered a new style of audio speaker that kind of gave me a further understanding of speaker positioning and how I could develop my initial idea of creating a sound sphere or as i put it in my previous post a hexagonal sphere but it looks more like a rocket nozzle shape..001036



So having some minimal understanding of sound art installations and speaker performance i took that leap of faith once again into the unknown and began my creative cycle.


LO.22 Interpret a brief and deliver a product to a clients specification

AUS230 – Audio Studio 3 – Recycled Music

The concept of recycling and remixing, I believe go hand in hand.  I believe the concept of recycling is an important idea and learning tool for contemporary society. The scope of my project delivery is an interactive sound design for an installation that is entirely made from recycled materials. The aim is to display the installation as an interactive installation that promotes and transforms the audience’s appreciation of sound and recycling. What technologies can be implemented to create an intuitive interface?  The aim is to display the installation as an interactive installation that promotes and transforms the audience’s appreciation of sound and recycling through an electronic user interface and sound.

Regardless of what country one lives in, recycling as a concept can work in many different ways and forms. The objective of this art sound installation is to engage the audience with the intent to portray the valuable concept and diversity of recycling materials with the senses. The influence for choosing this project stems from coming upon an interesting and uplifting article titled “Recycled Orchestra turns trash into music and despair into hope in Paraguayan slums” http://www.treehugger.com/gadgets/landfill-harmonic-turns-trash-music-their-recycled-orchestra.html and also watching the teaser to “Landfill Harmonics” – 

On reflecting upon the given brief  and contemplating what it all means, “This project aims to appeal to students who have a bit of background or have an affinity towards producing interactive installations with a focus on sound.”  Well not that i have an affinity for sound installations, i do have an interest and technical skills that align with the ‘incorporation of interactive technologies to create an immersive listening environment.  The skills I have relate to this project in many senses, which is why i decided to take that leap of faith and attempt to deliver it all in a limited amount of time. So what does all this mean to you? well probably not much at the moment, so allow me to explain further. From the inspiration and impulse to create something like an installation that shows technical and creative excellence, I have decided to build an immersive environment from recycled materials and position and calibrate speakers into it to create an immersive listening environment (i.e A hexagonal sphere).  I will be converting old recyclable materials (i.e industrial pallets, electrical conduits, stainless steel pipes, hard wood off cuts, beer bottle tops, curtain rods, trampoline frame and american pennies) to create some harmonic instruments to be recorded in a studio and then mastered into a musical composition and then connected to a hexagonal pod interface.   From there, I have decided, and after considerable research, pondering and consideration of the brief where technologies (like the makey makey) can be implemented to create an intuitive interface? So I proceeded to look into interface technologies and came across the makey makey..thanks to some powwow with my facilitator. 

Hmmmmm!  So What is an intuitive interface? “What objective qualities make a user interface intuitive? How is intuitive defined in terms of UI? Are there any studies about what objective and measurable qualities make a user interface intuitive? What design principles, patterns, or approaches are most likely to produce a UI that is considered intuitive?

Good question. Wikipedia lists intuition as “thoughts and preferences that come to mind quickly and without much reflection” – so basically, saying a UI is intuitive is like saying it exhibits several positive attributes: it’s memorable, discoverable, easy to learn, familiar, matches expectation, and so forth. But let’s not take my word for it. Let’s refer to the experts!

  • Jef Raskin wrote the definitive article about intuitive interfaces in 1994. In it, he inspects several quotes discussing intuitive interfaces or intuition, and remarks on what they implied. “When the tools had been learned, […] they became intuitive. This is a strong clue as to the meaning of ‘intuitive’,” he says about the author of a review he read (and then proceeds to reference Star Trek IV). Later, he concludes that “‘intuitive’ in [a certain] context is an almost exact synonym of ‘familiar'”. And finally, he arrives at a definition: “Intuitive = uses readily transferred, existing skills.”
  • Jared Spool also wrote about intuitive interfaces in an article in 2005 called “What makes a design seem ‘intuitive’?“. One interesting thing he points out is that “interfaces can’t be intuitive, since they are the behavior side of programs and programs can’t Intuit anything. When someone is asking for an intuitive interface, what they are really asking for is an interface that they, themselves, can intuit easily.” Afterwards, he introduces the concept of the Knowledge Gap, which is the difference between what the user knows and what the user needs to know in order to understand how to use the software:The Knowledge Gap
  • An intuitive interface, he argues, will bridge that gap. He identifies two separate conditions for intuitive interfaces. In the first case, the knowledge gap doesn’t exist because the user already possesses all the knowledge required to use the interface. In the second case, the user doesn’t notice the knowledge gap since the software is training them to use it.Finally, he suggests what is needed to design an intuitive interface: “What do users already know and what do they need to know? To build intuitive interfaces, answering these two questions is critical.” For the first, he recommends field studies and for the second, he recommends usability testing.
  • In psychology, the Exposure effect “is a phenomenon by which people tend to develop a preference for things merely because they are familiar with them”. This phenomenon was first researched in 1876 by Gustav Fechner and likely has a large impact on how people perceive interfaces from a familiarity standpoint, which affects how they Intuit them.

Now moving on to describe my design and construction of the installation and instruments made from recycled materials. On reflection of the stages , I  put the stages of my design process in point form and later put some photos of the creative manual arts process in the tool shed.

  • Choice of instruments:
    •   Pan Pipes
    •   lager phone
    •   Cajon Drum
    •   Xylophone (one wooden and one stainless steel)


Monkey stick-shaker-thingy also  known as a lagerphone



In the man-shed preparing some tools for the task ahead.

In the man-shed preparing some tools for the task ahead.


Joining timber together with sash clamps and glue. Preparing xylophone

Joining timber together with sash clamps and glue. Preparing xylophone


Cutting the stainless tube for the Xylophone


Removing and filing the sharp edge of the tubes


Preparing and cutting the timber frame for the steel tube rack.


Measuring and aligning the steel tube for the base and rack


Cutting the stainless steel tubes for the Xylophone

Testing the xylophone and adding a small feature (aluminium back plate) for greater sound reverberation when played

Preparing the electrical conduit and the pennies to create the tube for the panpipes instrument.

Preparing the electrical conduit and the pennies to create the tube for the panpipes instrument.


Plaining some timber ready for instruments.

Plaining some timber ready for instruments.

Preparing the electrical conduit and the pennies to create the tube for the panpipes instrument.

Preparing the electrical conduit and the pennies to create the tube for the panpipes instrument.


Glueing the panpipes together

Glueing the panpipes together

Putting the pan pipes together

Putting the pan pipes together

Glueing the panpipes together

Glueing the panpipes together

securing the panpipes with wool and strips of timber.

securing the panpipes with wool and strips of timber.


Preparing the bottle tops for the lagerphone

Preparing the bottle tops for the lager-phone

Nailing bottle tops onto the old curtain rod for Monkey-stick-thing!

Nailing bottle tops onto the old curtain rod for Monkey-stick-thing!

Stages of design and implementation of project:

  •  Contact an experienced composer (Sam Mclean) and player of an instrument made from recycled instruments (i.e Milo tin Banjo)
  • Research and design the specifications of the traditional instruments chosen, that can be made easily at home in the tool shed.
  • Draw up plans  to follow and keep to dimensions
  • Begin collecting and sourcing materials for construction of instruments and for hexagonal sphere/ listening pod installation.
  • Begin initial measuring and construction of instruments.
  • Research design methods of Hexagon construction
  • Draw plans and measurements for the pod installation structure
  • Begin cutting, welding and construction of pod installation structure.
  • Install and wire the speakers ( 2. 6″x9″ speaker and 1. 12″subwoofer)
  • Install cushioned seat into installation
  • Install speakers (2. 6″X9″ speakers and 1. 12″Subwoofer into pod
  • Install interactive interface technologies (i.e. makeymakey) into the pod structure

Driving questions How do you use non-linear audio and interactivity to encourage continuous response from the audience? Firstly, what is linear and non-linear audio

Linear and Non-Linear Editing Systems

Working on a nonlinear editing system is like working with a sophisticated word processor. Using a computer screen and a mouse you can randomly cut and past segments and move them around until you are satisfied with the result.

Working on a linear editing system is a bit like using a typewriter to type a term paper; you need to assemble everything in the proper sequence as you go along. After it’s all on paper (or in this case recorded), adding, deleting or rearranging things can be a major problem.

With nonlinear editing the video and audio segments are not permanently recorded as you go along as they are in linear editing. The edit decisions exist in computer memory as a series of internal digital markers that tell the computer where to look for segments on the hard disk.

This means that at any point you can instantly check your work and make adjustments. It also means that you can easily (and seemingly endlessly!) experiment with audio and video possibilities. (taken from  http://www.cybercollege.com/tvp056.htm on 24/4/2015) 

How can you position and calibrate speakers to create an immersive listening environment? With the help of paying attention to lectures on surround sound I grasped a further understanding of speaker positioning and calibration in 5.1 surround.  I researched further and applied the knowledge to the sound installation, but that it is a storu in another blog related to the installation itself.

How do you use sound design in an installation environment to connect with the audience?  The aim of this brief was to make the installation as interactive with the audience as possible,  the seat, the laptop, the Ui- MakeiMakei, and the recycled instruments are all to be interlinked to the overall installation for a strong connection and interactivity with the audience.

An interactive sound design for an installation that is entirely made from recycled materials. The aim is to display the installation as an interactive installation that promotes and transforms the audience’s appreciation of sound and recycling.

What technologies can be implemented to create an intuitive interface?   Apart from the technologu and skills used to construct the installation, also the technologu used to record, mix down and master the audio recording of the instruments, there was to be an User Interface attached to the entire concept, this was the  MakeyMakey018


I am intending to record samples of the instrument notes and frequencies and develop a sample/ audio assets library that can be used in conjunction with the entire Recycled Sound Installation, and allow the audience to interact with concept of recycled instruments and sound.


Cutting the stainless steel tubes for the Xylophone

Cutting the stainless steel tubes for the Xylophone

After much thought and scheduling and work put in, i managed to book a studio session and with the help of some novice musicians like myself , my son and Ernie, we recorded the reccled instruments and made a fun experience of it all. 015
With a strong determined work ethic, positive attitude, problem solving skills, self confidence, and working under pressure, I feel that I had delivered my interpretation of the brief to the best of creative ability , which in reflection, I believe,  was an enormous feat for someone who had been struck by the flu twice, had to work outside of college hours and raise and maintain a son and household all at the same time.