Professor Kelly Snook @ ReBalance initiative to support female artists and producers

Professor Kelly Snook has joined ReBalance, a three-year programme from Festival Republic in association with PRS Foundation. The initiative aims to support female-led bands and solo artists by offering studio recording time. Professor Snook will produce an EP for Liverpool-based artist Mary Gregson-Miller.

PRS Foundation, the UK’s leading charitable funder of new music and talent development, launched the initiative for women this year building on its Women Make Music fund, which began in 2011 to support the development of women songwriters and composers of all genres and backgrounds at different stages of their career. More info here.

Wwise Workshop – Fundamental Concepts and Audio Feature Example


We are happy to have DMSA Alumni back for a session on sound design for video games. For his final degree piece, Andrew developped Symbiosis, an open-world music game which places the player in an environment that responds to their interactions with music.

Since his graduation, Andrew has been working with game audio for 4 years, and currently works for The Creative Assembly, one of the UK’s largest games studios, based in Horsham. He has worked on audio implementation and audio testing for the BAFTA-winning audio team behind Alien: Isolation (2014), Total War: Warhammer (2016, 2017) and Halo Wars 2 (2017).

www.andrewhair.co.uk
Twitter: @AndyHairAudio

About the workshop

In this session, Andrew will introduce students to the Wwise sound engine, a common audio design tool used in the games industry. Students will be guided through the process of integrating Wwise into a game project, using Unity. We will then move on to add the sounds of a lake or sea shore as an example audio feature, giving students an understanding of the kind of problems and solutions that arise in game audio development. Through this tutorial, students will be given a grounding in fundamental game audio concepts, such as sound positioning and attenuation, soundobjects, listeners, and game-to-audio parameter sync. Students are encouraged to bring their own recordings of lake/seashore water (approx. 1 minute of recording), though preprepared recordings will also be available.

https://www.audiokinetic.com/discover/wwise-in-games/

Experimental Film Project | Direct Animation onto 16mm Film

Monday 12 February | 5:30-8 | Performance Studio, GP

Digital Music and Sound Arts students are invited to join Design for Digital Media students in a workshop on direct animation onto a 16mm film. This project will offer the students the opportunity to work with the physical elements of direct animation on to the film.
Participants will be provided some film stock to work on to create a few seconds of 16mm film footage that can be looped and played through a 16mm projector, the work will then be video captured and edited on the computer to create a final outcome.

The process of direct animation involves scratching into the surface of the film’s emulsion to make sequential patterns and shapes, or painting images, textures and shapes on to clear leader, negative and positive mark-making, and possibly contact printing in the dark room.

The workshop will also explore the historical contexts and ideas born out of the early years of experimental film production especially focusing on the Cinema of Attractions.

The Brief:
Students will work to the theme of ‘negative and positive’ and expole sequential animation of pattern and form, light and dark, subtle and overt mark making, try to convey different oppositional moods by the colour or texture and emphasis of the marks they make. Or they could attempt to portray an idea that has an oppositional message to the original image (if there is one on the film). Or merely consider two opposing ways of looking at an image as a sequence.

There is an additional optional extra theme of Altitude
If students opt to make work with this theme, the resulting work can be entered for selection as part of a group screening at the Towner Gallery in April more info to come…

The Final Outcome:
A short (30 to 120 seconds) moving image piece that explores the theme of Negative/Positive (or Altitude). This can be either presented as a film loop on the projector or as a digital outcome.

Be experimental . . .

The workshop will be led by Louise Colbourne and Jim Hobbs.

Spaces are limited. Booking necessary.

Projection Mapping Masterclasses with Rafael Vartanian (DMSA Alumni)

We are happy to have DMSA Alumni back to lead two masterclasses on Projection Mapping. Rafael graduated from the course in 2016 and has received the Honourable Mention Award for his final project ANTHROPOCENE.

Rafael will be introducing our L4 students to the art of projection mapping on the 7th of February and our L5/L6 students on the 8th.

The full programme for each day can be dowloaded in the links below

DMSA_L4_7Feb2018_Schedule
DMSA_L5L6_8Feb2018_Schedule

Mini-feature: Sloth Operator Radio

This month we are taking to  Ivan Camps & Boogie Man Aka Álvaro Villar, both Year 3 students and producers of ‘Sloth Operator Radio’, a weekly broadcast of emerging techno music on Resonance Extra.

DMSA: Three Important words that represent you as a creative person.

I.C.: Perseverance, Integrity and exploration.

B.M.: Creative, alchemist and bored.

DMSA: When did you start working with sound and music?

I.C. I started back on 2008 when I formed a band with a friend and started creating music and gigging, meanwhile, also I was doing some DJ’ing in local venues in Brighton.

B.M. I went for five years to a music school playing guitar studying Classical music and Flamenco. I went to the Conservatory in Madrid, so I got a bit depressed because the little kids in my class were far better than I. Then, when I was 15, I discovered techno, left music school and started to produce with my computer and my old friend Luis. Luis had an old mixer from his uncle, who used to be a wedding DJ back in the 70’s, another friend bought a turntable and a stereo Hi-fi with cassette deck, and we started to record our first mix tapes. Those were really inspiring, challenging, and learning times because we played with a cassette and one turntable, so was just possible to mix one way, we looked for tracks with a melodic intro to be able to sync the cassette with the turntable.

DMSA: In What ways has the DMSA course supported or helped you to develop in to who you are today creatively and professionally?

I.C. Has helped me to understand better my creative instincts.

B.M. DMSA opened my mind musically speaking. All my life I saw myself as a Techno DJ “Superstar”. The course showed me that I could be ending composing music and sound design for TV, films and/or video games. The course has also shown me how to create my own sounds on ways previously unimaginable for me, like creating my own devices and sound field recording. Practices that blew my mind were the soundwalks lead by Dr. J. Milo Taylor.

Can you tell us a bit about Sloth Operator Radio?

I.C. The original idea comes from Álvaro, I liked it and joined the project.

B.M. The idea of creating a radio show came from my first year at University of Brighton. It was not successful and end it up just as an idea. A couple of years later I discussed the idea with Ivan and Kevin. We joined forces and developed the idea of the program’s format. Thanks to Maria Papadomanolaki who gave us the contact of Peter Lanceley in Resonance Extra we were able to start the broadcast of the program.

The program pretends to offer an alternative view on Brighton Club scene which lacks of the genres we play in our show.

DMSA:What are your plans for near future? Projects, events, visions…

I.C. Be a better DJ, lunching our own collective, releasing our own productions and running a night, at least once a month. Ideally weekly, about dance music (non-commercial) in Brighton.

B.M. The first thing to accomplish is to finish my final degree project and graduate at University of Brighton. Future plans?? As Yoda said, “Impossible to see, the future is”.

SOR Facebook Group
 
SOR Soundcloud

Recording the field: A workshop with Peter Cusack

Photo by Anna Sherwin

Monday 5th Februady 2018 | 2-5pm | S1

We are happy to have Peter Cusack with us to lead a field recording session with our students around Brighton.

Peter is a field recordist, musician and sound artist with a long interest in the sound environment. He is based in Berlin and London. He has been a lecturer in Sound Arts & Design at the University of the Arts, London from 1998 and is currently a research fellow and member of research group CRiSAP (Creative Research into Sound Arts Practice).

In 1998 he started the Favourite Sounds Project that explores what people find positive about the soundscapes of the places where they live. The project has been carried out world wide including in London, Beijing, Chicago, Prague, Birmingham, Southend on Sea and Berlin and most recently in Hull the UK culture capital for 2017.

His long term project Sounds from Dangerous Places (described as sonic journalism) investigates soundscapes at sites of major environmental damage – the Chernobyl exclusion zone, Caspian oil fields and the Italian city of Taranto (one of western Europe’s worst examples of industrial pollution). Since 2013 the project has researched the Aral Sea, Kazakhstan (where environmental restoration is having some success) and from 2016 the Bialowieza Forest, Poland, which is Europe’s last remaining area of primal forest threatened by increased logging.

During 2011/12 he was DAAD artist-in-residence in During Berlin, where he started ‘Berlin Sonic Places’ a wide-ranging collaborative project on the theme of urban soundscapes and city development. A small book – Berlin Sonic Places: A Brief Guide – was published in November 2017.

Musicially he plays guitar and uses field recordings and photographs in performance. He has played numerous concerts worldwide and collaborated with many international musicians in improvised and other musics.

Links:
http://www.crisap.org/people/peter-cusack/
http://favouritesounds.org
http://sounds-from-dangerous-places.org/
http://sonic-places.dock-berlin.de/?lp_lang_pref=en&page_id=6

Sloth Operator Radio | Inaugural Transmission on Resonance Ettra

Producers and sound designers, and DMSA L6 students, Ivan Camps and Álvaro Villar (aka Boogie) with Kevin Noon, recently launched the first episode of their radiophonic series Sloth Operator Radio, broadcast weekly on Resonance Extra, Thursdays 6-8pm.

Sloth Operator Radio is an electronic dance music show with special
dedication to the latest tendencies on Techno music in the U.K.

The 2 hours show is divided into two Dj sets, one run by guests, with a brief
interview from presenters , and the second half a Dj set run by hosts.
The program gives room to both emergent as well as established Djs who
give us their perspective on Brighton’s as well as U.K’s scene.

Sloth Operator streams real-time via Facebook Live, which also it is available,
at later stage, as podcast on Soundcloud and Mixcloud.

Podcasts contain a detailed track list of each set emitted on the show.
The show takes place at University of Brighton, broadcasting live with an
audience.

soundcloud
facebook/

No Hollows and No Projections – workshop led by Ingrid Plum

MONDAY 11TH DECEMBER 2018 | 6-8pm | PERFORMANCE STUDIO, GRAND PARADE

A workshop led by Ingrid Plum exploring deep listening exercises, sonic meditations, improvisation and extended vocal technique following the teachings of Pauline Oliveros and Meredith Monk as well as a wealth of techniques gathered from teachers and traditions around the world. This workshop is suitable for all levels of experience and is best suited to those with an interest in sounding the voice, sound art, experimental music and sonic meditation, but previous practice in those fields is not necessary. Learn a range of listening exercises to benefit production and performance skills along with breathing and vocal exercises with a focus on deep listening and harmony, involving discussion and working with the natural voice to develop confidence. By the end of the workshop participants will have a ‘tool kit’ of exercises they can work with to expand their own practice and the opportunity to perform at a gallery event in 2018.

About Ingrid
Ingrid Plum is a sound artist and singer who uses her voice with extended technique, improvisation, field recordings and electronics in improvisation and composition.

‘Gorgeously atmospheric vocal techniques woven around field recordings & electronics’ – The Guardian.

Plum uses her voice with extended technique, improvisation, field recordings and electronics, to create layered soundscapes, spoken word and songs. Having performed and exhibited installation sound art and visual art since 2002, she creates work that sits between sound art, improvisation, multi-media installation, neo-classical and contemporary Nordic folk music.

www.ingridplum.com

Mini-feature: Louis Sterling (Y2 Student)

 

In anticipation of Loadbang~, we talk to Louis Sterling, a 2nd Year DMSA student who was in the organising team for the evant and who will be performing under his AUXX alias.

DMSA: Three words that describe you as a creative person?

LS: Observant, Exploratory, Technical.

DMSA: When did you start working with sound and music?

LS: I’ve been practically approaching music and sound from a very early age – around 8/9 years old. I’d been classically trained at the Bath Abbey under Dr. Peter King for a few years before leaving to explore my own musical interests. On early visits to Leeds, around 2010 – my dad and uncle still had copies of music production software from their contemporary electronic group from the early 1990’s, from where I naturally gained a curiosity in digital music and would persistently ask about their creative process. It was through an organic interest and drive for solving problems that I gained the technical knowledge and hands-on experience with composition, sequencing and sound design, with digital music technology now being is the center of my practise. This is through which I have progressively studied and self-taught different production techniques, and eventually settled with Ableton Live, occasionally dabbling amongst the MaxMSP and Gleetchlab environments.

DMSA: In what ways has the DMSA course supported or helped you to develop into who you are today creatively and professionally?

LS:The course here in Brighton has an incredibly strong community within such a thriving city for the arts. Back in my hometown the educational programs would section you into “academic” or “enterprise pathways, which is why I find it quite surreal to now be in touch with professionals such as Dr. Kelly Snook, formerly of NASA – who utilises the sound arts and her experience with digital music as the backbone to creating innovative technology, projects and scientific research. If it weren’t for these encouragements I’d assume the end-goal was to release more records and play gigs (which has been done in the past), as opposed to now planning for installations, composing soundtracks for films, studying projection mapping, programming computers or planning live events to name the very least.

Auxx – Underlying The Beautiful from Louis Sterling on Vimeo.

DMSA: Can you tell us a few words about your AUXX project?

LS: Auxx is an exploratory electronic project I’d began back in 2012. The alias was created to express my conventional approach to music, through which eventually branched out to more technical musical production, sound design and experimental compositional approaches. So far the project has achieved a discography of 5 releases, two of which were released this year; entitled “Spirit Image” (7” vinyl) for record store day 2017, and 23/09 (10” vinyl) signed to URBNET records, North America – and since been supported by BBC music. Sonically speaking, I’m from a background of hip-hop culture, but later came the influences of Warp, Detund and Ninja Tune, which is why the recent work is relatively up-tempo, full of breakbeats/glitches and more recently remixed by artists such as Kidkanevil (Red Bull), Valance Drakes (Detroit Underground) and later distributed onto vinyl for DJ mixes, radio shows, not to mention great followers of (relatively weird) electronic music.

DMSA: What are your plans for the near future? projects, events, visions?

LS: As for my artistic direction, I’ve discovered new musical and sonic approaches, writing and drafting new projects and gathering together an archive of works to be sent out for the new year. Recently I’ve been bridging the influences of my older work with ambient, electroacoustic and industrial soundscapes – not paying as much attention to genre, style or scene – and quite literally going down my own lane. A few weeks ago I’d been talking to The Dedekind Cut (Ninja Tune/Kranky), and through studying his work, it has really encouraged me to showcase my new material and live performance through the unfamiliar, but always maintaining the roots of hip-hop and soul that had brought us up. Whether this is showcased through future cover art, installations/performance or just through aesthetic, I don’t yet know, but it’s an approach that I’m in the process of refining for the new year.

I’ll be playing in Green Door Store and Komedia (Brighton), as well as the Art House and Exchange in Bristol. These will be followed with some new live/radio shows in London for early 2018. I’ve recently been in touch with NTS Radio London and some guys at Radar Radio, but as always, it will be a case of feeling most comfortable to showcase and perform the new works to these new and larger audiences as and when.