Wednesday, 10 December 2014

Critical Introduction: Interview


A speech package “informs listeners about a subject in which the radio station considers they will find interesting”. (Rubbin and Ibbotson, 2002) George Whale’s ‘wrap’ interview intends to educate his listeners on the field of electronic cigarettes, by interviewing Fred Cassman, owner and operator of Mist-E-Liquids, based in Brighton. Like the electronic cigarette, the interview has no age specific target audience, nor does it make any preceded expectations of it's listeners. The industry of electronic cigarettes is expanding, in the last two years, users of the electronic cigarette have tripled to over two million in the UK and have caused a lot of controversy in the media since their release on the mass market due to its health concerns, price and advertising. By choosing a zeitgeist subject matter, Whale’s piece should both engage and educates its listeners. 
Through the aid of Jim Beaman’s Interviewing for Radio, Whale learnt key interviewing tactics and preparation skills from the section Advice from the Experts. In order to create a memorable interview, there must be a immediate relationship created between the interviewer and interviewee and their audience. Luckily for Whale, Cassman and himself were already acquainted which makes the wrap flow fluidly like a conversation. Recorded in a vocal studio booth, Whale's piece aims to make its listeners wary of electronic cigarettes as well as being biographical towards Fred. 

Blog Address

http://creativeproductionsoundterm1.blogspot.co.uk/

Bibliography

1. Richard Rudin, Trevor Ibbotson (2002) An Introduction to Journalism: Essential Techniques and Background Knowledge, : Taylor & Francis.

2. Jim Beaman (2000) Interviewing for Radio, : Routledge.

Tuesday, 9 December 2014

Sound Library

Here is my sound library. These are recordings I have made throughout the course which a handful have been used for my soundscape project. Unfortunately, this blog site doesn't let you upload mp3/wav files so I've put my recordings onto my soundcloud account and supplied the links to each recording below:



1. Campus Soundscape 
https://soundcloud.com/gwhale25/woodland-soundwalk

2. Beach Soundscape
https://soundcloud.com/gwhale25/brighton-beach-soundwalk

3. Electronic Water Hose
https://soundcloud.com/gwhale25/water-hose-wav

4. Traffic Lights
https://soundcloud.com/gwhale25/traffic-lights-wav

5. Shopping Centre
https://soundcloud.com/gwhale25/shopping-centre-wav

6. Roadside 
https://soundcloud.com/gwhale25/roadside-set-piece-wav

7. Iron Gate
https://soundcloud.com/gwhale25/iron-gate-wav

8. Helicopter
https://soundcloud.com/gwhale25/chopa-wav

9. Cash Machine in Town
https://soundcloud.com/gwhale25/cash-machine-wav

10. Waitrose
https://soundcloud.com/gwhale25/waitrose-wav

11. Train Station
https://soundcloud.com/gwhale25/train-station

12. Footsteps
https://soundcloud.com/gwhale25/footstepswav

13. Squeaks
https://soundcloud.com/gwhale25/squeakswav

14. On the Bus
https://soundcloud.com/gwhale25/on-the-buswav

15. Microwave
https://soundcloud.com/gwhale25/microwavewav

16. Guttering
https://soundcloud.com/gwhale25/gutteringwav

17. Children
https://soundcloud.com/gwhale25/childrenwav

Wednesday, 26 November 2014

Critical Introduction: Soundscape

In his natural sound design "Metropolis", George Whale intends to send his listeners into the industrial world of business and transportation. No longer looking for the ordinary, the listeners can still relate to the design through its incorporation of natural sounds in an unnatural world in what George Whale hopes will be a therapeutic experience. This projects initially endeavours to connect our acoustic relationship with a city and an almost dystopian future over run by machines and technology. The uses of natural sounds being manipulated for an unnatural setting is similar to the work done by Ben Burtt for his sound design of the Star Wars saga, he believed this would technique would create a subliminal bond between the spectator and setting through the uses of familiar sounds. His methods of practice along with David Sonnenschein’s theories on sound design inspired Whale into sourcing ground sounds and subtle sound to create the foundations of his low-fi soundscape. By using a minimal amount of sound elements, the piece becomes more emphatic. According to Sonnenschein’s theory of sound design, stating “sometimes you can get the most impact with the least number of elements, allowing the audience to be more participatory by letting them fill in the gaps with their minds, as opposed to handing them a full plate” (Sonnenschein 2001)

Blog Address


http://creativeproductionsoundterm1.blogspot.co.uk/

Bibliography



David Sonnenschein (2001) Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema, : Michael Wiese Productions

Tuesday, 25 November 2014

The 2 Main Types of Microphones

The 2 Main Types of Mics


Condenser Microphones


These types of microphones have a much greater transient and frequency response, which is the ability to reproduce the pace of the sound. They're most commonly found in music studios and tend to have a louder output, but are much more sensitive to loud sounds. Their sensitivity to low sounds means that they're more fragile than their counterpart - the dynamic microphone. 

Condenser microphones need 'phantom power' which in usually supplied by a mixing board in a studio which tends to have a switch with '48V' on in, which refers the the 48 volts of power being supplied to the microphones.

Condenser are generally much more expensive than dynamic microphones but cheap ones can be bought to, although they may not be of high quality. There tend to be two main types of condenser mics which are labelled on the size of their diaphragm.

Large Diaphragm Microphones (LDMs)

- Used mainly for studio vocals and instrument recording.

Small Diaphragm Microphones (SDMs)

- Used for sounds that are solid and have a wide frequency
- Very sensitive to transient noises like 'P' and SH' sounds that cause distortion.



Dynamic Microphones



These microphones are more rugged in comparison to condenser mics. They're resilient to moisture and abuse which makes them good for onstage performances. Unlike the condenser microphones, dynamic mics do not require their own external power supply however, their sound quality is never as accurate. This could be due to their limited frequency response. Although, this gives these microphones the ability to withstand high sound pressure levels. 


Directional Microphones

Different types of microphones pick up sound is various way because of the audio patterns formed by the way the sound travels. Understanding these patterns gives you a better understanding of what microphone you'll need in your given situation. These patterns are:

Omni-Directional

A good all purpose microphone which gathers a wide range of sound from all directions. It is great for picking up all voices in debates or group discussions. For a good quality sound, this microphone must be held close to the source. These types of microphones are found in camcorders.

Omni-Directional Audio Pattern

Cardioid 

This pattern is in someway, heart-shaped (hence the name). It is typically used to pick up sounds that are sourced from the sides of the microphone and also behind it. Handheld microphones used in news interviews usually use microphones that pick up this audio pattern

Cardioid Audio Pattern


Uni-Directional

Used mainly in shotgun microphones, this audio pattern has a great focus on a specific sound to block out an ambient noise. This is a great microphone when you're trying to pick up one sound amongst many such as picking up one persons voice in a discussion.

Uni-Directional Audio Pattern



What is the 'Proximity effect'

The Proximity Effect

When a sound source gets close to a cardioid microphone, the bass frequencies in the sound can be boosted/exaggerated making a more 'boomier' bass. What are the effects of this?

Effects

Singers often used the proximity effect without realising! Just by bringing the microphone closer to their lips, it gives the sound a more intimate tone. However, depending on how much the sound is being projected, the bass boosting of the proximity effect can be bad as it can make words harder to understand on the ear and if the microphone is continuously moved from the sound source, it can give the sound and unnatural feel.

To avoid proximity effects, stay between 6-12 inches away from the microphone. This prevents the diaphragm of the microphone being overloaded, therefore giving the sound and unarticulated feel.

Uses

This effect would come in use for my interview part of my project as I shall be using a similar microphone to this when I record my interview in the studio booth. I shall be wary not to get to close to the microphone to give my voice as well as my interviewee more clarity in what they're saying. Also, I will try not keep myself in the same position throughout the interview so the sound of my voice does increase in volume or bass from moving closer in towards the microphone or vice versa



EQ and its effects

Equalisation

Equalisation or EQ for short is the process of altering the frequency response of a sound. The most familiar type of EQ is the treble/bass control.

TREBLE - Adjusts high frequencies
BASS - Adjusts low frequencies

It is used to correct sounds which sound unnatural, eliminate unwanted sounds and make certain sounds more prominent and reduce feedback. There are a few types of equalisation, such as:

BELL EQ - This boosts the range of frequencies focused around a certain point. This point gets effected the most by the EQ whereas the frequencies further from this point are less effected.

PARAMETRIC EQ - This uses bell EQ but have a significant advantage of being able to select which frequency is being adjusted. These equalisers can be found on guitar and PA amps.

SHELVING EQ - This type of equalisation boosts the frequencies within the sound recorded to a certain frequency causing a 'shelf' in the frequency spectrum

GRAPHIC EQ - Depending on the number of sliders you have dictates how much control you'll have over the frequency spectrum of the sound. This way you can manipulate a certain area of the spectrum


Terminology

CUTOFF FREQUENCY The frequency at which a high or low frequency EQ section starts to take effect. Also referred to as turnover frequency.

SLOPE The rate at which a high or low frequency EQ section reduces the level above or below the cutoff frequency. Usually 6, 12, 18 or 24dB/octave.

PASS BAND The frequency range that is allowed through.

STOP BAND The frequency range that is attenuated.


FILTER An EQ section of the following types:

HIGH PASS FILTER A filter section that reduces low frequencies.
LOW PASS FILTER A filter section that reduces high frequencies.
BAND PASS FILTER A filter section that reduces both high and low frequencies.
NOTCH FILTER A filter that cuts out a very narrow range of frequencies.

GAIN The amount of boost or cut applied by the equaliser.

Q How broad or narrow the range of frequencies that is affected.

SWEEP MID A middle frequency EQ section with controls for frequency and gain.

PARAMETRIC EQ An EQ section with controls for frequency, gain and Q.

GRAPHIC EQ An equaliser with a number of slider controls set on octave or third octave frequency centres.

BELL An EQ with a peak in its response.

SHELF A high or low frequency EQ where the response extends from the set or selected frequency to the highest or lowest frequency in the audio range.

Reverb and its effects

Reverb

Reverb is short for reverberation is when a sound is reflected, causing a large number of reflections to build up and then decay as the sound is absorbed by the surfaces of objects in the space - this could be furniture and people, and air.

Lloyd, Llewelyn Southworth (1970). Music and Sound. Ayer Publishing. p. 169.

From my A-level studies of physics, I understand that sound waves are longitudinal waves that the vibrations of sound particles travel parallel to the direction of wave motion. Sound waves can bounce backwards and forwards in many directions, even when you're speaking to someone directly, others can still hear you but hear a more 'died out' sound.

An example of reverb is when you speak to someone, you project sound waves at the listener as well as other directions. The waves that aren't directed at the listener reflect of the surroundings such as walls, furniture etc. and when the waves do reflect, two things happen:

1. The waves lose energy, causing the sound to dissipate.
2. The waves take longer to travel the listener's ears.

These reflections can be referred to a series of 'fast echoes' which differ depending on the environment the sound is within. For instance, in a empty church hall, reverb is at its most pronounced - However, the more people inside the church hall, the more the reverb is reduced as the people absorb the sound.



Effects of Reverb


There are 3 possible reasons why you would put the 'reverb' effect on a sound:

1. To create special effects for certain sequences such as dreams or flashbacks

2. To restore the natural sound as the listener would expect to hear it. What this means is that if your recorded sound is in a low reverb environment such as a studio booth, you may want to add reverb on it to make the unnatural sound of the studio seems more natural.

3. To enhance the sound - especially dialogue. Reverbs fills out the voice of someone and can help smoothen minor vocal fluctuations so they aren't as obvious to the listener.


Here is a good example online of the effects of reverb on drums.

http://www.mediacollege.com/audio/reverb/examples.html


Uses of Reverb for Project


Reverb can be incorporated in both my soundscape and my interview. I think it will definitely needed to be used for interview as the interview shall be taking place in a studio booth so by adding reverb it will give a more natural sound to my interview. As for my soundscape, some on the sound clips I have recorded could have the reverb effect put on it as my sounds vary in terms of what environment the sound was recorded in. For instance, some of the sounds I have recorded take place outside such as on the beach or in Brighton town. Others have been recorded inside or in more of a closed environment. I believe it is important to understand what reverb is and how it effects sound as making a sound that gives a more natural feel to the listener can only heighten and improve the sounds you have recorded...if used correctly.