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SOME LINKS DO NOT HAVE BROKEN THUMBNAILS BUT THEY ARE THERE TO BE SEEN SO PLEASE CLICK ON THEM.

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2x Tracks

-STUDIO/DAW

-REMIX

1x Development Diary

1x Reflection

Have Tracks at end of mixing stage by last week and ready for master.

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One aspect of your work last term you could have improved on and how and what you'd develop this term

live track drums - at minimum just single mic rather than midi

ideally non comped recordings/less comping in efforts to streamline the post production process.

technical application of instrumental or vocal parts - mastering

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In the Production Techniques class our Tutor George talked about creative EQ and utilising cassettes or even small toy speakers as a means to generate a valuable creative effect to our audio.

I went out into many charity shops and searched for a cassette recorder, I didn't find even one. I ended up in Cash Converters and found a large stereo setup but it was far to cumbersome for what I needed.

I ventured on to eBay and found a Sanyo portable cassette recorder for about £15 with a few tapes.

Utilising the pause button in playback causes the motors to slow to a stop relatively fast but causing the read head to play back that slow down ramp, the effect can be done very easily in post production however it is a lot easier but also more authentic to the sound of the tape to do it practically.

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10x Development Diary Posts

SMART Targets for the module

PMP100 SWOT Analysis

PMP100 Project Proposal

Areas of Contrast within my work

Personal Practice Routine (Self-initiated practice)

My research - Mixing Techniques & Live Performance Tips

Song charts

Production evidence - DAW annotated screenshots & 3x audio clips

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Reflection on last term's work

- What went well?

Previous term positivity on the progress of my work

The classes are quite hands on and that works best as I am a kinaesthetic + visual learner

Structure in my life is the best it has ever been by far

Opportunities

- Drum Den

- Small Pond Rehearsal Rooms

- Waterbear HQ Studio

Learning Support

- Learning support 1-1s has been extremely beneficial for me, it helps me better structure myself and gives me valuable feedback.

Development week spaces

- Being able to come into WaterBear to work on my project and have assistance and feedback to ensure I am in the best state with my project.

Clubs/Societies

WaterBear Zine

- The Zine is like a magazine but usually directed on a specific theme consisting of a limited amount of pages more like a leaflet. My addition is an interview article which I am currently in the process of creating, I am also doing the photography which I am capturing on film and developing myself too.

Waterbear Drama Society/Club

- I joined the Drama club as I have always wanted to join a club however never had the confidence in myself to feel I would be able to express characters with people as even in the past people I know very well that has been extremely tough although I broke down that barrier and was pleasantly surprised when I was improvising with the rest of the group like it was no issue.

Negatives

My own limits, anxiety, Social Anxiety, stress, burning out

- I would like to participate in much more - socially I have been fairly limited for being quite burned out and most likely due to the social anxiety too i find it isn't so necessary as I fill my week with so much that also involves people.

As for the uni negatives my only negative would be feedback however for the formative case study submission I submitted to the summative submission point and I didn't receive feedback - my music submission formative was extremely beneficial feedback.

Goals for this term:

Participating in an open mic night, in some way being apart of a performance.

Finding even better structure for myself to ensure I don't burn out and eliminate a large amount of my anxiety and boost my self esteem and morale.

Achieving a better standard of work and feeling I definitively involved every aspect of the term.

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Recording via Mono laptop speaker using the internal microphone

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I have been working on the original track by practicing all guitar elements of the song.

Now I think I know where I am headed I am in a much better headspace.

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My tracks show timing issues I am aware of, this is mostly a lack of performance skill which intend to work heavily on over the summer, confidence in my instruments has never been a strong point although I have seen definite progress throughout this past year.

I will reach out to a production tutor and or friend to hone my skill within this area as well as production itself.

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I have decided to cover Dancing With Myself - Billy Idol in the cover style of blink-182.

I also intend on making it a garage band style recording and my desired sound is for it to sound like a demo tape live recording.

all parts I will play tracked individually and performed by myself

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I have recorded my own foley which i will use in addition to royalty free foley samples for use within my remix track.

As seen in this video I use my duvet to produce a fabric ruffle sound using a generic condenser microphone

I have done this so that I can appropriately match the foley sounds from the Saw Trailer which I am pairing the shboom remix with along with isolating the dialogue from the trailer

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REMIX - Decided to record the voice elements myself

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REMIX - Decided to record the voice elements myself

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I re-recorded all dialogue elements from the Saw trailer, I recorded two male voices with slightly different impressions un edited pitch. I recorded the antagonist using a vocal scrambler effect that I edited within audacity, I then took the unedited and layered that on top. I also recorded three female voices which lack quality my impression and that in conjunction with the vocal transform tool, and then another male voice which I pitched down. I wanted to retain all different contrasts with the voices while also doing the sound design myself.

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I ordered a cassette player to use for creative EQ

The beginning starts off all tinny/low quality and expands into the main song potentially in a blend which is did using eq.

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I recorded a few versions of the track

Signal Flow VERSIONS

-Direct input from my interface's headphone output to the cassette's mic input via a female to female 3.5mm cable.

-Cassette player Headphone out to interface line in

-recording from laptop speaker (mono) to internal cassette player microphone and recorded via line input.

I used this method of my many as it also helped degrade the sound some more but also be able to retain the waveform in a sort of compressed fashion rather than recording straight from a speaker than a di where the transients are mostly only coming through:

-Cassette Player speaker to condenser mic (to capture more delicate sounds of the cassette player specficially, buttons being pressed etc. but also the tinny internal speaker)

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I also recorded a door slam using the front door of my apartment building which is very creaky and definitely suited best out of all the doors I experimented with. I also sampled my flat front door and the bathroom door however they didn't posess any unique character.

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Academic:

Specific

To achieve a clear and relatively concise presentation within my presented work.

Measurable

Make entries each week and contribute additions to the submittable work.

Achievable

at least 1 entry (weekly) and media that is relevant to progress on tracks

Relevant

So that I can make my best attempt at my submission work.

Timely

By the submission date

Technical:

Specific

Working with creative effect physical hardware within my tracks

Measurable

document progress when relevant to

Achievable

Remix to include multiple foley effects

Studio/DAW track to include physical creative EQ, e.g. low quality small speaker or recording onto a cassette.

Relevant

To add unique and creative additions to enhance the track

Timely

By the submission date

Performance:

Specific

Progress with my drumming ability.

Measurable

Have a practice session every week and a lesson every other week.

Achievable

Gradually progressing at a steady pace with techniques and rudiments and grooves and practicing elements of the track every week.

Relevant

To perform on my Studio/DAW track.

Timely

By the last week of the submission.

Professional:

Specific

To network myself with performers by performing

Measurable

At least once within this term

Achievable

I would perform at least one song

Relevant

To contribute to my networking and performing ability

Timely

Before the end of term

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I currently haven't decided on what I am going to do for my STUDIO/DAW track but I think I will do a cover as I typically get caught up in the songwriting stage and I don't want that to be a barrier.

I am going to do a score for a movie trailer

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SWOT Analysis

Strengths - Streamlined plan for tracking within limited studio time

layout and highlighting which elements are necessary in a time plan.

Technical troubleshooting within software and system instability (limited system downtime)

Weaknesses - lack of proficiency within music theory

Vocal Proficiency

Compression Confidence

Lack of a network

Opportunities - Musician/Recording Tech

Free Studio/Rehearsal room time

Networking with musicians at uni

Mentoring for vocals at uni

Threats -

Wellbeing/Health/Anxiety/Stress

Confidence

Financial limits

Distracted easily

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Practiced all guitar/bass elements of the cover track I am doing - Dancing With Myself

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(Vogl, 2024)

I am looking into how I will potentially amp my guitar parts

https://youtu.be/ZuVGqmqzvzU

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How to Record and Double Big Crunchy Guitars In Logic Pro Or Any DAW. (14 Tips)

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I automated the panning from left to right of a lifted speed ramp slow down after the first four bars of the creative EQ song and a pause to give it a little boost in energy before it goes into the main high quality version.

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This is my demo of my STUDIO/DAW track

Terrible timing I am aware of but it was mainly to serve as test for the tone.

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I sampled the 50s song Shboom by The Crew Cuts.

It presented that perfect creepy horror vibe that I have bugun chopping up.

The song features lyrics like 'if you do what I want you to, baby you'll be alright.' and 'life could be a dream' it's incredibly satire but almost like the song is in on the antagonist's ill intentions. I figured it was extremely appropriate for the remix.

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(Oldies Zone, 2021)

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The Crew Cuts - Sh-Boom (Life Could Be A Dream)

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Now I am in the process of recording the final version of the track I am making sure I am gain staging optimally as I especially want to upload my tracks with the maximum LUFS maximum to the streaming platforms I intend on releasing to.

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From the S.M.A.R.T. Targets I made at the beginning of the term here is my end of term update:

Academic:

Specific

To achieve a clear and relatively concise presentation within my presented work.

Measurable

Make entries each week and contribute additions to the submittable work.

Achievable

at least 1 entry (weekly) and media that is relevant to progress on tracks

Relevant

So that I can make my best attempt at my submission work.

Timely

By the submission date

I am quite satisfied with my progress and performance during this term, previously I have really struggled to understand the brief and gotten lost in the pressure, I have done similarly this term however I managed to progress through it.

Technical:

Specific

Working with creative effect physical hardware within my tracks

Measurable

document progress when relevant to

Achievable

Remix to include multiple foley effects

Studio/DAW track to include physical creative EQ, e.g. low quality small speaker or recording onto a cassette.

Relevant

To add unique and creative additions to enhance the track

Timely

By the submission date

I bought a portable cassette recorder which I utilised for creative EQ purposes within my STUDIO/DAW track and I am very satisfied with the result. The process was surprisingly simple and enjoyable.

Performance:

Specific

Progress with my drumming ability.

Measurable

Have a practice session every week and a lesson every other week.

Achievable

Gradually progressing at a steady pace with techniques and rudiments and grooves and practicing elements of the track every week.

Relevant

To perform on my Studio/DAW track.

Timely

By the last week of the submission.

Although I didn't perform the entirety of the drum parts I managed to make the punk beat groove work throughout my track. I am going to be working a lot on my progress and I WILL make sure I can perform it fully and without the need of sheet music in front of me as I am about 70% there. i intend on working on this over the summer.

Professional:

Specific

To network myself with performers by performing

Measurable

At least once within this term

Achievable

I would perform at least one song

Relevant

To contribute to my networking and performing ability

Timely

Before the end of term

I either wanted an open mic or a collaboration with a band and I did find two people, Joe Johnson (bassist) and Alex Voros (Drummer) who were up for a session and we are very likely going to be working together over the summer. The experience was interesting as I reached out to them and organised our session so it has been a comforting experience proving to myself that with networking you can get yourself places!

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Weekly progress detailed mainly in practical development diary see for more: https://padlet.com/torbakr/practical-development-original-performing-artist-hb6q82uxx5fel1pi

Practicing Drums for Dancing With Myself cover

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See video for gear rundown

I recorded on a Tascam 40x field recorder, although I had brought my laptop and standard interface I knew that by the time I had gotten it working and packed it up it would have taken about 15 minutes.

The field recorder allows me to connect my microphone and record. So I opted for that.

I used the sound brenner app for a metronome, I had my airpods in to hear the click and did my best to stay in time.

I think I was just about a couple sessions too early to be able to perform it confidently enough at 1/8 99bpm.

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See video for gear rundown

I used the sm57 clone mic as sm57s being dynamic and the world renowned instrument mics they are tried and tested. They also capture snares very well.

I used one mic to gain a typical basic punk sound, blaring and hairy.

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Unfortunately I wasn't able to perform all the parts well enough so I had to use a simpler punk beat I recorded for the demo.

I was rushing most of the time. I am not too confident with drums and this is by far the most challenging drum parts I have ever played. Due to sheer punk nature it is relentless, to be consistent it is tough, especially for a beginner.

I hope to improve my skill to a state where I can perform confidently next term.

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Due to a lack of a mic stand I sandwiched my microphone in my lamp with my headphones clamping it in place, which worked a treat.

I kept the gain relatively loud although especially as it is a creative effect for making the audio sound more unique than audiophile I didn't worry about the quality control.

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Due to a lack off a bass guitar to hand and a relatively basic bass guitar track I decided to emulate bass on my guitar

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This is the raw di from my guitar pre emulation. I typically palm mute to dampen the tone

With songs like this they aren't super bass heavy so with some precence of the bass I do this process

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Utilising the vocal transformer plugin in logic I step down a whole -12 steps (a full octave) so that my guitar is the same pitch as a bass and I alter the formant which helps blend the pitch into a bassier tone.

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I then pass that signal through a bass amp and tweak the settings to my liking, here i positioned the mic slightly off centre so that I would gain a darker tone.

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(Stewart, 2024)

I took some research out to see what maximum loudness would be for each platform before being compressed and here is what i found:

https://www.izotope.com/en/learn/mastering-for-streaming-platforms.html?srsltid=AfmBOoqfbiDPiHaALxQP6dvrFmFPoZbEuokzyt2HoqdaDvWsKiMOUk7h

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How to master for streaming platforms: normalization, LUFS, and loudness

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Whether you’re a mastering pro, or prepping your first release, this article will get you ready to master for Spotify, Apple Music, and more in 2024 and beyond.

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Natural Light

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Tidy cable management, limited eletronics (fyi led bulb maximum 2w, headphones not a firehazard!)

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Water/food on floor out of the way of main area

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(Movieclips Classic Trailers, 2013)

I am making music designed for a horror movie trailer.

I have paired the Saw trailer for my track due to it's limited use of musical elements within the trailer so I can subtract the dialogue and potentially the foley for use within my track.

I will be matching the audio to the visual content and matching to the rise in action climax, fall in action.

https://www.youtube.com/watch?v=S-1QgOMQ-ls

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Saw (2004) Official Trailer #1 - James Wan Movie

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(Drum Beats Online, 2023)

https://www.youtube.com/watch?v=edr0uoCPM00

Research into double kick

I am fairly new to drumming and I really need to get into perfecting my double kick for punk beats and especially the track I am going to cover which will absolutely require dedicated attention to perfecting this as a core.

I will update via my personal practice diary.

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(Sommerlad, 2015)

I looked into the correlation of old songs used in horror trailers, to understand what it is that makes their fit so appropriate to the genre.

https://www.denofgeek.com/movies/the-strange-potency-of-old-songs-in-horror-movies/

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The Strange Potency of Old Songs in Horror Movies

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Bing Crosby in A Nightmare On Elm Street 2? It’s just one example of vintage songs being used to up the chills in horror films…

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I added in many layered elements which provide an almost orchestral feel intended for that signature large trailer sound typical of 5.1 surround mixes to dip and rise with huge fluctuation in dynamic range. I am also mixing and exporting this at industry standard for video media 48khs.

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I attempted the drum parts of my STUDIO/DAW track and they proved too difficult, mainly due to the repetitiveness of the double kick, I decided i would program midi to supplement my performance issues.

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my last session at small pond yielded failure yet again, although I had much better luck I was facing the same issue with the double kick fatigue.with variation of the groove i was able to perform the double kick again.

I am faced with utlising midi drums in addition to my already recorded part i used within my demo

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I used tab and sheet music from ultimate guitar which is very convienient for either exact copies or transcriptions.

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DANCING WITH MYSELF INTERACTIVE TAB (ver 2) by Blink-182 @ Ultimate-Guitar.Comdrums

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[insert info about lyrics here]

i propped up by bed pillows on the top of my freestanding clothes rail for better acoustics when recording and set the lyrics at head height for ease of reading and comfort being able to sing and project through the process.

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I altered the lyrics slightly as it contains quite comic elements towards the end and I removed those and opted for a simpler rendition of the main flow.

I sang both male parts

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I used an sm57 clone mic with a condenser pop filter cover that i held over the top to prevent/lessen plosives.

I used the sm57 clone which is a dynamic mic so that I would have a much better time due to not having a mic stand and hand noise on dynamic mics is typically not noticable.

they are considered very dark mics due to the top end roll off meaning the higher frequencies will not be captured so well making it not so preffarble as a vocal mic however I intend to heavily compress the vocals and make them very gritty sounding.

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MASTERED REMIX AND DAW/STUDIO TRACK

I utilised the Logic mastering tool to keep things relatively controlled while not having a multitude of options and getting lost. I opted for the clean mode and tweaked very slightly, loudness decrease, stereo spread and in my DAW/STUDIO TRACK altered the EQ slightly.

I need to keep an eye on my gain staging and ultimate loudness as there is a lot of variation in the dynamic range. For my remix this is fairly typical however most likely a stereo release vs a theatre release of the trailer would be much more compressed, I designed the theatre release with exception of surround sound mixing.

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Here is my final audio along with the visuals of the Saw trailer

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Description

Foley recording process, I captured some foley which I will use along with some foley from a sound library

Feelings

The experience was fun, I was able to take time out of doing written work or working in depth on the tracks, sunny day too which was a bonus!

Evaluation

I had difficulty with my limitation on budget and time however I recorded a few samples of different things which I would use for my remix track, one being toilet tank lid sound, squeaky front door, duvet ruffle.

Analysis

I was intending on recording my door and duvet however as my flat is adjacent to the building's front door I happened to hear it close and simply had the notion that it was a much more characterful door, with a horrible oil deprived squeak that quivered as the door shivered and slammed shut of it's own accord. I inserted that straight into my mix and it is much better than the sound library sample.

Conclusion

I have learnt that the process of recording foley really is no hassle, i used my tascam field recorder and my desktop audio interface along with my generic condenser microphone, although I am sure I could have gotten away with using my phone microphone since most if not all of my effects will require some reverb due to the nature of where the foley sounds are set in the movie trailer.

Action Plan

I will see if I need to substitute a sound in my daw for a better one or potentially I may need to create a unique one that no sound library could possess.

For now I will go through the post processing stage of treating the audio and correcting it.

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(asoundreaction, 2015)

Garage band style punk

Critical Listening Analysis:

I looked into guitar tones and I picked a punky type song based on similarities to the track that I am covering.

It has clear vocals along with a fair wall of guitar tone, which I intend to bring into my mix for my STUDIO/DAW track.

Beginning with a bounding intro of drums, and the low rumble of guitar, slightly roomy drums and

guitar - overdriven

bass - distorted overdriven

vocals - angsty aggressive

nice stereo mix/balance

tone - punk garage band tone, raw and true

https://soundcloud.com/asoundreaction/pretty-vicious-are-you-ready-for-me

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Pretty Vicious - Are You Ready For Me by asoundreaction

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(CrabLord, 2021)

For my remix I am going to be using the saw trailer to match foley and dialogue to. The antagonist character uses a speech scrambler, the scambled voice is featured in the movie trailer and for my remix I have replicated the effect.

I have previously done this before, as a fan of the movie franchise, to play around with the effect. I followed a tutorial years ago which I was unable to find but it was a tutorial of how to do it within audacity so I intend to bounce the audio out and back into Logic.

here is an example tutorial of how to replicate the effect within Logic:

https://www.youtube.com/watch?v=YKLh0KOfe98

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How to Sound Like JIGSAW - "Saw" Vocal Effect

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Recording the guitar parts.

The process involved overdubbing where required and recording to click rather than my reference track to better stay accurately in time, as the cover is a live recording meaning there are multi intrumentalists in the same room being recorded at once they are very likely not recording to a click and drifting very slightly.

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Working on tracking to the visuals of the saw trailer for the remix

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Working on tracking to the visuals of the saw trailer for the remix

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I had a slight road block when I came across my issue with the length of the trailer, the trailer is 1 minute 57 seconds long and the minimum requirement for submission is 2 minutes so I edited a few of the shots with slow mo speed ramping which especially the stylistic stuttering type of slow mo was fairly typical at the time and already was present within the trailer. I pushed the trailer to 2 minutes and most likely I will have a tail to the audio which will ultimately push the minimum length over the line regardless.

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I used a royalty free sound library - https://pixabay.com/sound-effects/

I took a lot of my foley sounds from here however I intend on recording some of my own foley soon for my remix track.

I side chained my dialogue to my SFX/foley so that I would not have any issues with clarity and the dialogue getting lost in the mix. The compression I used also helped bring down the dynamics of the foley.

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most of my stems contain some parallel processing/parallel compression which allows me more control over the sound and creative influence which really brings it's presence up in the mix

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I used some intense compression on my drums with a FET compressor which is known for its fast response, I dialled in the ratio to 30:1 and kept the attack quite low and the release slightly longer to create a very bouncy compression which allowed my drums to gain more presence within the mix.

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for my remix I need a lot of large vast instrumental sounds orchestral like to really add depth and I will be using the built in logic string instruments and layering them

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I used space designer within logic as it offers a large variety of brilliant reverb effects. I tweaked a few typically the wet small room effect as the characters in the trailer are mostly situated within a large bathroom.

I often opted for increasing the wet level over the dry and the size of the effect to really let it ring out.

Some vocals also have it for a creepy effect typical to the horror genre.

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Reference list

asoundreaction (2015). Pretty Vicious - Are You Ready For Me. [online] SoundCloud. Available at: https://soundcloud.com/asoundreaction/pretty-vicious-are-you-ready-for-me [Accessed 30 Apr. 2025].

BiteSize Learning (n.d.-c). The Gibbs Reflective Cycle, Explained. [online] BiteSize Learning. Available at: https://www.bitesizelearning.co.uk/resources/gibbs-reflective-cycle-explained-diagram-examples [Accessed 30 Apr. 2025].

Bitesize Learning (n.d.-b). How to Do a SWOT Analysis [with Examples & templates]. [online] BiteSize Learning. Available at: https://www.bitesizelearning.co.uk/resources/swot-analysis-explained-examples-templates.

Bitesize Learning (n.d.-a). SMART goals: the meaning of this goal-setting framework, with examples. [online] BiteSize Learning. Available at: https://www.bitesizelearning.co.uk/resources/smart-goals-meaning-examples.

CrabLord (2021). How to Sound Like JIGSAW - ‘Saw’ Vocal Effect. [online] YouTube. Available at: https://www.youtube.com/watch?v=YKLh0KOfe98 [Accessed 30 Apr. 2025].

Drum Beats Online (2023). The Secret To INSANE Double Kick Speed. [online] YouTube. Available at: https://www.youtube.com/watch?v=edr0uoCPM00 [Accessed 30 Apr. 2025].

Mathias, K. (n.d.). Gain Staging Secrets Every Great Audio Engineer Understands – Audio University. [online] audiouniversityonline.com. Available at: https://audiouniversityonline.com/gain-staging/ [Accessed 30 Apr. 2025].

Movieclips Classic Trailers (2013). Saw (2004) Official Trailer #1 - James Wan Movie. YouTube. Available at: https://www.youtube.com/watch?v=S-1QgOMQ-ls.

Oldies Zone (2021). The Crew Cuts - Sh-Boom (Life Could Be A Dream). [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=pjl7xtoFp0U [Accessed 30 Apr. 2025].

Sommerlad, J. (2015). The Strange Potency of Old Songs in Horror Movies. [online] Den of Geek. Available at: https://www.denofgeek.com/movies/the-strange-potency-of-old-songs-in-horror-movies/ [Accessed 30 Apr. 2025].

Stewart, I. (2024). How to master for streaming platforms: normalization, LUFS, and loudness. [online] Izotope.com. Available at: https://www.izotope.com/en/learn/mastering-for-streaming-platforms.html?srsltid=AfmBOoqfbiDPiHaALxQP6dvrFmFPoZbEuokzyt2HoqdaDvWsKiMOUk7h [Accessed 30 Apr. 2025].

Vogl, P. (2024). How to Record and Double Big Crunchy Guitars In Logic Pro Or Any DAW. (14 Tips). [online] Youtu.be. Available at: https://youtu.be/ZuVGqmqzvzU [Accessed 30 Apr. 2025].