Who I am……

David L Page logo.20141231.v2_resize4

(Page 2017a)

Me, myself, I – the multi-facetted/multi-dimensional practitioner

As described in my blog Research Practitioner Part 16 (Page 2017b), I am a multi-facetted/multi-dimensional practitioner – a practitioner across multiple practices of education & learning, research study commitments, creative practice, professional consulting practice and family responsibilities. I concluded that:
“All of my practice informs my self; and my self informs my practice – irrespective of the industry, the field, the discipline, or the site”(Page 2017c).

~DLP Pro Image Fun 5b small.20141020

(Page 2017g)

A broad definition of me, myself, I – the creative practitioner

You will note that in terms of creative practice, I refer to my self as a creative practitioner. I consciously choose to use this broad term, not specific to any particular discipline – as I see  my self as a creative being who likes to engage in a broad range – a very broad range – of creative practice. Whilst I love to engage in what I would classify as the primary focus of my creative practice – music and sound; listening, creating and performing –  music and sound alone does not define me. Being passionate about music and sound does not mean that I am not also passionate about other forms of creative practice. I am a multi-facetted person, with many diverse dimensions to who I am as a being, and in what I love to engage in. I engage in visual arts, in design, in film and animation.

Engagement with particular creative media platforms for particular purposes

I also engage in web, but I see this as not so much as a creative process where I am creating,  I see my engagement with web as a creative process in terms of function; curation for gathering resources to use as a practitioner; curation of resources to source inspiration; resources of others practice and/or viewpoints that assist me in the reflection process; to create a sense of identity – for my self, and for others; and, to market and distribute my creative practice.
As I indicated in my blog Media Identity & Curation Part 2 (Page 2014), I apply a diverse media strategy to include my media sites of:  about.me, gravatar.com, wordpress.com, tumblr.com, twitter.com, linked-in.com, myspace.com, facebook.com, pinterest.com, you-tube.com, soundcloud.com, instagram.com, lastfm.com, slideshare.com, googlescholar.com, academia.com and google.com. I use these media sites for quite specific purposes.
  • For example, David L Page wordpress.com (Page 2017d) allows me to communicate detail of my professional practice – as a creative practitioner/subject, as a education & learner practitioner, as a reflective practitioner, as a management practitioner, and as a a researcher/observer in any or all of these areas.

    wordpress-site-20160129

    (Page 2017d)
  • I use David L Page Pinterest.com (Page 2017e) to provide a curated static visual view of my multi-facetted self. I am a professional practitioner who loves diversity. I love culture, having been blessed to live across three diverse cultures to date – European Australian, Japanese, Indian. I have experienced many more cultures in my global travels. I love all things music and sound – audio, in terms of production (tracking), post-production, live and theory. I believe in the access of education for everyone (referred to as community education). I love performance. I love fast fun things. I love the environment. .. I love… I love…. I love… I love…..
    Pinterest Board Categories.20160306.P1b
(Page 2017e)
  • I use David L Page you-tube.com (Page 2017f) to provide a curated audio-visual view of my multi-facetted self. As indicated above, I am a professional practitioner who loves diversity, culture, all things music and sound, education for everyone, performance, comedy, or fast fun things.. I love diversity…. 
David L Page You-tube channel.201706011
(Page 2017f)

Engagement with particular creative media mediums dictates what cultural productions I engage in

How I engage in media depends upon what cultural production – what cultural artifact – I will engage in at any particular time. Depending upon the medium I choose to listen to music or soundtracks will depend upon what I choose to listen to. Am I going to use the internet to stream; an iPod; a CD player – in a house, or a CD player in a car; a car radio; a portable tape player; a cheap record player; a high-end stereo system; or a high end 5.1 surround sound hi-fi system?
It is the same situation for visual arts and design. Depending upon the medium I choose to view visual arts and design will depend upon what I choose to view. on a small screen device such as an iPhone; via a static image platform such as Pinterest.com; via an audio-visual dynamic image platform such as you-tube.com; in a small art gallery with physical visual art or graphic displays; in a large National art gallery with physical visual art or graphic displays?
It is the same situation for film. Depending upon the medium I choose to watch film will depend upon what I choose to watch: on a portable small screen device such as an iPhone; a portable smallish screen device such as a laptop; on a small screen TV; on a large screen TV with a hi-fi 5.1 surround system; in a local suburban cinema; in a surround sound movie theatre equipped with dolby; or an outdoor drive in movie theatre with a window mono speaker system?
As a creative practitioner, I have listed examples below of media across four (4) disciplines and how I view them. Providing examples of four (4) different creative media disciplines I believe enables me to make my point of how engagement with particular creative media mediums very much dictates what cultural productions I actually engage in at any point in time.

~Music_staff Blue

(AE 2015a)
1. 4 different listening behaviours I exhibit:
  • eg 1: Pink Floyd’s “Dark Side of the Moon” for me, is best listened in the medium of an album, played on a HiFi record player system, in one sitting, in a comfortable chair, with ambient/subdued lighting (lava lamps etc), at the end of a day. Strict rule – no talking during each side… Flipping the album from side 1 to side 2 is the opportunity to have a break if one needs;

Dark Side of the Moon_Pink Floyd.1973

(Pink Floyd 1973)
  • eg 2: Tim Buckley’s “Greetings from LA” must be played as a full album, in sequence , in one go. I do not mind what medium I listen to it on (album on stereo, cassette tape, on itunes in car system, studio system, or on laptop/desktop/ipod/iphone via studio quality headphones) BUT MUST be listened to in sequence, at one time! (not negotiable);

Greetings From LA_Tim_Buckley.1972

(Buckley 1972)
  • eg 3: Where I did not buy the artist’s songs as an album, or I did, but I have never or have infrequently listened to it as a continuous complete album, I am happy to play the songs randomly in a multi-artist, multi-genre playlist via any medium (generally on itunes in car system, studio system, or on laptop/desktop/ipod/iphone via studio quality headphones);
  • eg 4: ambient music, or dance music for me is about a soundtrack to my life at that moment in time, supporting my emotional or physical state at that time, or my desired emotional or physical state at that time. I am happy to play the songs randomly in a multi-artist, signle-genre playlist via any medium (generally on itunes in car system, studio system, or on laptop/desktop/ipod/iphone via studio quality headphones).
    John Olsen_Sydney Sun [or King Sun] 1965, National Gallery of Australia © John Olsen.jpg(Olsen 2017)
2. 4 different visual arts and design viewing behaviours I exhibit:
  • eg 1: traditional art – physical paintings, etc – I do like to see in an art gallery, particularly a curated art gallery with a theme, or an artist’s works.. I like taking time to wander around in a relaxed stated;
  • eg 2: In saying that, I usually also like to have copies of my favourite works electronically (desktop pictures, pinterest, etc) to see and remind myself of that experience in the art gallery;
  • eg 3: I do view traditional art – physical paintings, etc – in coffee table books, but generally to see and remind myself of that experience in the art gallery…. eg 4: virtual design is ok on most modern mediums (laptop, desktop, etc). However in saying this, I tend not to view on smaller virtual devices such as iphones, as images gets lost/loses visual impact for me being so small, etc;
  • eg 4: Functional design, such as promotional or marketing brochures for me are best in a physical tactile state. i like to pour over them, digest them, turn the page, revisit the previous page, perhaps circle or add notes around the borders of the text that I may be attracted to, and have further questions about. I tend to want to engage physically with these mediums;
  • eg 5: virtual creative, artistic design is ok on most modern mediums (laptop, desktop, etc). However in saying this, I tend not to view on smaller virtual devices such as iphones, as images gets lost/loses visual impact for me being so small, etc.
3.4 different film viewing behaviours I exhibit:
  • eg 1: I most like watching feature movies on a movie theatre wide screen and sound system. However, I mostly watch them on my 65″ home TV with sound system – for convenience. For me, watching movies is a shared experience, watching with someone. I do not like watching animation movies on laptops or small screen for both the limited visual and audio experience, but mainly for the lack of watching in a relaxed shared experience environment. An example of a movie that i have seen in these conditions would be “Shawshank Redemption”;

Shawshank Redemption_CastleRockEntertainment.1994.jpg

(Entertainment, Castle Rock. 1994)
  • eg 2: Certain movies eg (original) “Point Break”, “Star Wars” are a cinematic experience, and lose a great detail of impact for me when not watched in cinema, but on my home TV system;
  • eg 3: Where I want to view a trailer to see if I am interested in watching it in full, I am happy to watch them on alternate mediums such as a laptop or desktop
  • eg 4: Certain movies eg “Blair Witch Project” I believe benefit from being watched on alternate mediums such as a laptop or desktop as this smaller – more intimate? individual? secretive? -medium lends itself more to the intent of the narrative in my opinion.
4. 3 different animation viewing behaviours I exhibit:
  • eg 1: I most like watching feature animation movies on a movie theatre wide screen and sound system. However, I mostly watch them from the second or third time via a DVD on my 65″ home TV with sound system – for convenience. “Lion King” is a good example of this. For me – now – “Lion King” is best listened to (note, not necessairly watched) in one go. It can be in background playing as i am working. In one particular period when i was working home over a three (3) month period, I recall “Lion King” was playing in the background on repeat, all day, every day for those three (3) months;

    The Lion King_Walt Disney Pictures.1994

    (Disney 1994)
  • eg 2: I most like watching animation movies (eg Disney or Pixar) on a movie theatre wide screen and sound system. However, I mostly watch them on my 65″ home TV with sound system – for convenience. I do not like watching animation movies on laptops or small screen for both the limited visual and audio experience;
  • eg 3: Where there are short animations (3 minute Pixar), I am happy to watch them on alternate mediums such as a laptop or desktop, just to entertain myself for a short moment to lift my mood, distract me, etc.
5. x different games viewing behaviours I exhibit:
  • eg 1: No contribution possible. mes not a gameboy!!!

Conclusion

What creative media medium I engage with will dictate to a degree what cultural production – what cultural artifact – I will engage in at any particular time.  As a creative practitioner, I have provided examples across four (4) disciplines of how I may engage in particular creative media mediums, dictating what cultural productions – what cultural artifacts – I engage in at any point in time.
I love many, varied forms of creative media,  In my personal situation  have access to many, varied creative media mediums:  the internet; an iPod; a CD player – in a house, or a CD player in a car; a car radio; a portable tape player; a cheap record player; a high-end stereo system; or a high end 5.1 surround sound hi-fi system; a small screen device such as an iPhone; a laptop; a desktop; static image platform such as Pinterest.com; via an audio-visual dynamic image platform such as you-tube.com; a small art gallery with physical visual art or graphic displays; a large National art gallery with physical visual art or graphic displays; a small screen TV; a large screen TV with a hi-fi 5.1 surround system; a local suburban cinema; in a surround sound movie theatre equipped with dolby; or an outdoor drive in movie theatre with a window mono speaker system. Most of us in western countries have many, varied options and access in this era.
The mediums one chooses to access media through, could therefore dictate what media you actually engage in.
  • How do you access creative media?
  • How does this inform what cultural production – what cultural artifact – you choose to engage in at any point in time?
References
AE 2015a Music note montage in the universe image courtesy of: Angelic Exorcism (AE) Studio Projects  Accessed 11th March 2015
Buckley, Tim. 1972. Greetings from LA. Straight Records. Vinyl LP.
Disney, Walt. 1994. The lion king. Walt Disney Feature Animation. DVD.
DLP 2017a image courtesy of David L Page  Accessed 11th June, 2017
DLP 2017g image courtesy of David L Page Accessed 11th June, 2017
Entertainment, Castle Rock. 1994. The shawshank redemption. Colombia Pictures. DVD.
Olsen 2017 image courtesy of Sydney Sun [or King Sun] 1965, National Gallery of Australia © John Olsen  Accessed 11th June, 2017
Page, David L. 2017b Research Practitioner Part 16 Accessed 11th June, 2017
Page, David L. 2017c Research Practitioner Part 18 Accessed 11th June, 2017
Page, David L. 2017d  David L Page wordpress.com  Accessed 11th June, 2017
Page, David L. 2017e  David L Page Pinterest.com  Accessed 11th June, 2017
Page, David L. 2017f David L Page you-tube.com  Accessed 11th June, 2017
Page, David L. 2014 Media Identity & Curation Part 2  Accessed 11th June, 2017
Floyd, Pink. 1973. Dark side of the moon. Harvest. Vinyl LP.
– ©David L Page 11/06/2017
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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Microphones Part 13 – Other

This blog is a continuation of a series. See here for the previous blog.

medium-diaphragm-condenser-microphones

(AE Project Studio 2015)

Current stock

My current studio and live microphone stocks a modest range of dynamic microphones, dynamic ribbons, condensers, tubes and contact microphones. The range of microphones include: Shure 57s, 58s, Beta52As & SM7Bs; Electro Voice RE20s; Sennheiser e935s, e945s, e906s & MD441Us; MXL 550s & 551s; Rode NT-USBs, NT1s, NT3s, NT5s, NTRs, NT4s & NTKs; Audio Technica AT2020; AKG C414XLIIs, P420s & CGN523Es; Mojave MA101FETs, MA1000; Neumann TLM193, OPR87C, OPR87I & OPR84s; Royer 121s; RCA77s; DPA 4099s;  IK reference mic; a Zoom H6 XY and MS mic; Sony lapel mics; and a range of contact mics. This stock allows for versatility in most recording scenarios that have been presented to me; of course coupled with great instruments, amplifiers,outboard processing hardware, interfaces, consoles, and of course artists. But sometimes, in certain scenarios, even these are not enough.

Current Research Study Project

In my current doctoral research study project, I have designed a composition requiring me to source sonic samples of significant aspects of my life. Water is one of the most significant and influential elements in my life and my life partner’s lifestyle [see blog or Media Use Part 1], I felt a need to be able to record water samples across a range of contexts which I have experienced. The ocean, rain, waterfalls, swimming pools, and domestic water use. However, this needed to occur without causing damage to my current range of microphones. Ready and portable – armed with my Zoom H6 -my research project would not be complete without the range of real water samples – out in the environment. However, I also felt a need to record sonic samples of water from a submersed perspective. Of my current stock of microphones, there were none that allowed me to record in a submersed scenario, without needing a further layer between the microphone and the element of water, such as by using plastic bags or tubs, duct tape and silicon. I therefore felt an alternative solution was needed.

zoom-h6-01

Hydrophone H2a-XLR

I researched my options, exploring what other audio engineers have used to gather some water-based samples. I finally decided to purchase a fully submersible microphone, and  I now received what will be the latest microphone to add to my stock of studio and live microphones: an Aquarian Audio Products Hydrophone H2a-XLR microphone.
A hydrophone microphone is designed to be immersed in water – natural or salt water – multiple times without degrading from excessive water damage or corrosion.
H2aXLR_9m.P3.jpg
The Aquarian Audio hydrophone microphone is quite compact, measuring just 25mm wide, but 46 mm long. It weighs just 105 grams.
h2axlr_9m-p2
It is a condenser microphone, requiring 48v power in order to charge the electro-static transduction process. As such it is extremely sensitive, with minimal extraneous noise. “The hydrophone sensor is cable of picking up sounds from below 20Hz to above 100KHz” (Aquarian Audio Products 2016). Designed for deep water where maximum microphone bandwidth can be achieved,  the Aquarian Audio Hydrophone apparently boasts an operating depth of up to 80 metres. However, the model I purchased came with a 9 metre cable, a length I thought was more than adequate for the sample events I am looking for.
H2aXLR_9m.P1.jpg

Using a Hydrophone – Context

Having just received the microphone, I am still yet to venture out into a deep water environment where I can test the microphone to its full capacity. However, I was keen to immediately test the microphone to get an idea of how sensitive it was going to be, how accurate it was going to potentially be in capturing the original sound source, and how much noise it may or may not inherently have. Using my Zoom H6 with this hydrophone to gather a number of preliminary samples, I considered the options I had immediately around me. I chose the 60,000 litre salt water fibreglass swimming pool found in our front garden as my first test environment. A place where my partner and I have spent considerable hours over the past two decades, it is surely a significant part of our lives, and therefore somewhere I am going to need to gather sample events for my composition. In saying that, embarking on this test I acknowledged there would be some limitations of using this test environment to trial the functionality of this condenser microphone. Namely, the structure of the pool – the pool is 4 metres wide, 9.5 metres long  and 1.9 metre deep (reducing to about 1.4 metres in the shallow end) and made of a fibreglass shell with the sides and bottom curved into one continuous surface. Due to this particular environment, the hydrophone microphone would likely display a narrower bandwidth than what it would optimally have in deeper waters; and the captured sound source was likely to include the original sound source and a number of reflections off the hard surfaces of this domestic swimming pool.  Irrespective, as I was going to need samples of this environment eventually, I considered it a useful initial test environment.

Using a Hydrophone – Part 1

The first 5 sample events I believe demonstrate the sensitivity this condenser microphone has in underwater situations. I was surprised how sensitive the microphone was, despite the large amount of water residing between/separating the subject and the microphone capsule during these recordings. As indicated above regarding the reflections, the captured sample events demonstrates a cacophony of sonic textures resulting from a fusion of both the intended sound source and its’ multiple reflections.
Note also the frequency range of each sample event relative to the micopphones’ depth and proximity to either the surface, the bottom, or the sides of the swimming pool. I have been reminded that in a shallower water environment: there is likely to be less fully developed low frequencies due to the shorter distance between any surfaces. Additionally, in calm water conditions the sound waves under the surface are likely to rebound back off a flat water surface, phase cancelling the original signal below it. This phenomena of a varying frequency range is particularly noticeable in Using a Hydrophone – Part 2 sample events 7 and 8 when the condenser microphone capsule is being bounced up and down at variable depths under the surface, and then breaches the surface of the water. Listen and compare the frequency range and the sonic texture of each sample event as the condenser capsule moves through the water.

Sample Event 1  (click to access audio)

In the first sample, the hydrophone was submerged in the swimming pool to a depth of about 1.5 metres. The Zoom H6 track 3 gain level was set to 6 (of 10). My friend (the subject) was in the pool and approximately 2 metres away from the hydrophone, facing it and blowing bubbles under water in the direction of the microphone. The reverberations off the nearby pool surfaces are quite noticeable from about 1/3 third into the sample event, providing a minor delay of the original signal until the end of the sample event.

Sample Event 2 (click to access audio)

In the second sample, the hydrophone was maintained in the swimming pool at a depth of about 1.5 metres. The Zoom H6 track 3 gain level was set to 7 (of 10). The subject was in the pool and approximately 3 metres away from the hydrophone, facing it and blowing bubbles. The overall levels are softer in this second sample event while she was mimicking what she had done previously – with the exception of when the hydrophone capsule got knocked by something (tall volume spike midway) – despite the gain level being increased marginally. See image i below. The reverberations off the nearby pool surfaces are quite noticeable from about one third into the sample event, providing a minor delay of the original signal until the end of the sample event for the second third, but then decays and releases back to mainly the original signal in the final third of the sample event.  As a result of the decaying signal, the amplitude reduces. With the return to the original signal in the final third, there is greater clarity of the signal.
pts-sample-event-1-2-comparison-20161117Image I – Pro Tools 12 Sample event 1 (top) and Sample Event 2 (bottom)

Sample Event 3  (click to access audio)

In the third sample event, the hydrophone was submerged in the swimming pool to a depth of about 1.5 metres. The Zoom H6 track 3 gain level was maintained at 7 (of 10). The subject was in the pool and approximately 3 metres away from the hydrophone, facing it and trying to talk underwater.  I note that despite her being farther away from the hydrophone capsule than she was in the first sample event, as she was trying to talk loudly under water toward the microphone capsule, the audio is louder than both sample events 1 and 2. As you can see in image ii below, the overall mass of the wav file is exponentially greater in this third event than both the previous two sample events, with the subject’s speaking voice producing far greater mass and density than she did when blowing bubbles underwater. This mass and density represents increases in sound pressure levels, and reverberant signals, resulting in a cacophony of sonic textures.  Had I included a longer sample, you would observe, as per the sample event 2, at a certain point the signal decays and releases back to mainly the original signal, with reduce amplitude, but greater clarity.
PTs Sample Event 1 2 3 Comparison.20161117.png
Image II – Pro Tools 12 Sample event 1 (top), Sample Event 2 (middle, Sample Event 3 (bottom)

Sample Event 4  (click to access audio)

In the fourth sample event, the hydrophone was submerged in the swimming pool to a depth of about 1.5 metres. The Zoom H6 track 3 gain level was maintained at 5 (of 10). The subject is in the pool and approximately 0.5 metres away from the hydrophone, facing it and blowing bubbles. Sonically, this fourth sample event demonstrates a cacophony of sonic textures, resulting from excessive sound pressure levels due to the close proximity of the transducer relative to the sound source, and the accompanying  reverberant signals from the multiple surfaces of the pool.  The inherent distortion results from excessive sound pressure levels, with an over-gained signal. For non-audiophiles: note the clean flat line along the top of the wav form indicating a form of dynamic limiting. Given that no dynamic processing was used to achieve this limiting of the audio signal, the limiting effect indicates acceptable gain levels for the equipment were exceeded, resulting in what is referred to as digital (signal) clipping. See image iii below (top wav form).

PTs Sample Event 4 + 5 Comparison.20161117.png

Image III – Pro Tools 12 Sample event 4 (top) and Sample Event 5 (bottom)

Sample Event 5  (click to access audio)

In the fifth sample event, the hydrophone was maintained at a depth of about 1.5 metres. The Zoom H6 track 3 gain level is reduced to 5 (of 10). The subject was in the pool and approximately 0.5 metres away from the hydrophone, facing it and trying to talk underwater. As you can see in image iii above (bottom wav form), the overall mass of the wav file is exponentially greater in this fifth event than the previous sample events, with the subject’s speaking voice producing far greater sound pressure levels than she did when blowing bubbles underwater. Sonically, this fifth sample event is heavily distorted due to the excessive sound pressure levels due to the close proximity of the transducer relative to the sound source. The digital recording is therefore clipped given the amplitude far exceeded the specified gain levels of the equipment. For non-audiophiles: in this example the cleaner flatter line along the top of the wav form – relative to the previous example – indicating extreme limiting of the audio signal. Again, as no dynamic processing was used – it similarly indicates excessive sound pressure levels at unacceptable gain levels for the equipment, resulting in severe digital (signal) clipping across almost the entire length of the audio wav file.  It is also worth noting the very thin sound of this sample event as a result of the absence of low frequencies in the shallow depths; and yet as per sample event 4, there is a cacophony of sonic textures given the multiple reverberant signals arriving from the numerous surfaces of the pool.

Using a Hydrophone Part 2

In the following examples, I gathered a number of sample events using the hydrophone closer to the surface of the water line.  I hope the sample events further show how sensitive the hydrophone microphone is, effectively capturing sonic qualities of very subtle movements.

Sample Event 6  (click to access audio)

In the sixth sample event, the Zoom H6 track 3 gain level was set at 6 (of 10). The hydrophone was being dragged along the surface of the swimming pool at a relatively slow walking pace. The sound of rushing of water is the wake of water that the small condenser capsule (25mm wide, but 46 mm long, weighing 105 grams.) is creating and capturing as it breaches the surface of the water. I think you will agree that this confirms both the sensitivity and low noise levels of this particular microphone. The deeper frequency you hear (boomy quality) in the audio file is when the transduction surface of the microphone capsule is re-submersed  under the surface of the water.

Sample Event 6wp (click to access audio)

Sample event 6wp indicates that it is the same sample as sample event 6, but with post-production audio processing added. In the studio – following recording the sample – I chose to add two (2) reverb processing devices – a Eventide and a Lexicon reverb – to the initial audio file. While doing this, and listening to the altered sonic textures of the audio, I am imagining the many applications that I could use such an effect in my sonic compositions and sound design.

Sample Event 7 (click to access audio)

The seventh sample event is a similar execution as sample event 6, with the hydrophone being dragged along the swimming pool at a relatively slow walking pace, but being bounced in and out of the water in an approximately 30 centimetre arc.  The popping and gurgling sounds are occurring as the capsule breaches the surface of the water (popping), then followed by the re-submersion (gurgling). It is a similar but more exaggerated version of sample event 6, with the sample event’s frequency varying dependent on where the condenser microphone capsule is relative to the water: being just under the surface, at depth (only about 30 cms in this example), breaching the surface, or above the surface of the water.

Sample Event 8 (click to access audio)

The eighth sample event is a similar execution as sample event 7, with the Zoom H6 track 3 gain level remaining at 6 (of 10). The hydrophone was being dragged along the surface of the swimming pool at a relatively slow walking pace, but being bounced in and out of the water over a much larger arc – approximately 1.5 metres.   This is a more exaggerated version of sample event 7, with the popping and gurgling sounds associated with the breaching and re-submersion are relatively deeper in tone due to the greater depth, speed and height the capsule was dropped from, back into and under the water.  Sonically, you may hear what sounds like wind noise in this audio sample event. I noted at the time that this was due in combination to both the faster movement of the capsule above the surface of the water after breaching; but also partially due to the wind in our local area picking up nearing the end of the test. You will also note that near the end of the sample event you can hear a voice – talking, describing my actions. This voice was captured by the microphone capsule after it had breached the surface of the water, with the speaker’s mouth about 2 metres away.

Sample Event 9 (click to access audio)

The ninth and last sample event had the hydrophone submerged in the swimming pool to a depth of about 1.5 metres held stationary. The Zoom H6 track 3 gain level remained at 6 (of 10). The subject was approximately 2 metres away from the hydrophone drop point, swimming up and down the pool in freestyle form. The low frequency plop occurred every time the subject kicked her feet, with training flippers on.  The bass frequency was pronounced, reverberating off the surfaces of the  pool, producing a sound somewhat similar to a deep tom sonic boom after the skin had been struck. And yet, the hydrophone microphone still clearly captured what sounds to be running water – the sound of the subject’s hand and arms entering and breaching the surface of the water with each and every stroke. Again, I am imagining the many applications that I could apply some processing to this sample event, and use such an effect in my sonic compositions and sound design.

Summary

The Aquarian Audio Products Hydrophone H2a-XLR microphone is an extremely sensitive fully submersible condenser microphone, with minimal extraneous noise. It is well designed and constructed to be impact resistant, using sturdy materials. Whilst it is designed to be submersed in a far greater depth than I have tested to date, I believe I have made a good purchase with this hydrophone, something that will complement my current stock of studio and live microphones. I believe this microphone will allow me even greater versatility in a range of recording scenarios that I can foresee me being presented. I daresay I will probably now go searching further afield, exploring less predictable outdoor terrain, and feeling the need to be less mindful than I usually would taking my more expensive studio microphones. I am looking forward to progressing my sonic compositions and sound designs using water samples across the range of contexts which I have experienced in my life – the ocean – including boating, body surfing, snorkelling and scuba diving – rivers,  waterfalls, natural pools, and domestic water use – in order to capture specific sample events that represent significant events and memories. I look forward to this next chapter in my creative practice.
It is intended for this series of microphone-related blogs to continue.
References
AE Project Studio Microphone Case image courtesy of: DLP Pinterest site  Accessed 28th August, 2015
Aquarian Audio Products. 2016a.  H2a-XLR Hyrophone Users Guide http://www.aquarianaudio.com   Accessed 17th November 2016
Aquarian Audio Products. 2016b. http://www.aquarianaudio.com  Accessed 15th November 2016
Hydrophone images courtesy of: Aquarian Audio Products  Accessed 16th November 2016
Page, David. L 2016. Soundcloud.  DLP Soundcloud  Accessed 17th November 2016
Pro Tools 12 Sample Event Images courtesy of: David L Page  Accessed 16th November 2016
Zoom H6 image courtesy of: Sound on Sound  Accessed 16th November 2016
– ©David L Page 17/11/2016
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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Doctoral Pilot Study – Part 2c

My journey continues….

~DLP Pro Image Fun 5b small.20141020

(Page 2014)
This blog is a continuation of a series. See here (Page 2016a) for the previous blog.

Year 2016: 5th Observation Part c

Whilst I was making headway with the development of my music praxis – significant headway in my opinion – , my actual production plan still did not have the degree of clarity I had hoped for after four (4) weeks. I therefore decided to go through each step of my Praxis v5a in terms of my production process, deliberately and systematically.
DLP DCI Praxis v5a.20160131.P2
Figure I – Praxis v5a (Page 2016b)
In following this process I made my 5th Observation.
5th Observation.P5e.renamed.png
Figure II – 5th Observation (Page 2017)

Practice….20171230.P2b

Practice

Of the five (5) stages of practice, I was in the first stage of creative practice: the creative stage.
  1. Creative Stage
  2. Pre-production Stage
  3. Production Stage
  4. Post-Production Stage
  5. Distribution Stage
 In the creative stage, I brainstormed a number of Project 1 creative ideas based on my project brief. The five (5) track EP was to be representative of some aspect of my life: past, present or future envisioning.
Site
The next element listed in my Praxis 5a was site.
“Listening to the making of ‘Dark Side of the Moon’ (with Alan Parsons as engineer), I ponder…. Unlike so many US bands of the time whose core attraction was the live performance, Pink Floyd and other British bands I was predominantly listening to and influenced by, effectively used the studio as their stage” (Page 2016c; Gallagher 2012; Price 2015; Ryan & Kehew 2006)
For me, I had always been a performer. In the tradition of US bands, my core expression was on stage in a live performance. I had recorded specific music styles that I knew could translate easily to the live sound context – the stage in a venue. However, the musical style I was focussing on here – psychedelic rock – clearly had demands for different types of technology required.
Psychadelic Rock image_Ultimate Guitar.com
The music style I was pursuing was inspired by British-based psychedelic rock artists of the late 1960’s and early 1970’s. The site of these performances were in the studio, and therefore each of these creations were done with the aid of studio-based technologies.
Technologies
In order for me as an artist/performer to be able replicate and reproduce the range of studio-created music and sonic tones, I was going to need access to these devices. I pondered: how was this to be done in the production process effectively and efficiently?
I had at this time access to an elaborate range of virtual technologies third (3rd) party plug-in instruments and processors. These included replications of many analogue devices of the particular production era I was focussed on – late 1960’s and early 1970’s – , including instruments such as synthesisers; and audio processors in the three categories of spectral, dynamic and time-domain.
DP PT compatible Plug-ins by Manufacturer.20160215.P1.png
Figure III – 3rd Party Plug-Ins by Manufacturer (Page 2016d)
Whilst I had access to some of the more notable manufacturers such as Eventide, Lexicon and SSL; along with access to a broad range of more recent notable manufacturers such as AIR Music Technology, Antares Audio Technologies, Avid, East West, IK Multimedia, Massey Plugins Inc, Native Instruments, PSP Audioware, Sonixvox, Sonnox, SoundToys, XILS-Labs and iZotope; I wondered  whether the virtual technology replications were going to allow me the dense layering of the textures required for the psychedelic music style. Analogue processing devices were well regarded for their warmth of tone and range of sonics, with music recorded with such equipment often characterised with aesthetically pleasing device-induced distortion, hum and other noise associated with imperfect analogue devices [1].
Technology – Stage versus Studio
Of the technology I could readily access – contemporary equipment of analogue, digital or digital virtual devices – either within my studio, at either the SAE Institute studios (as a full-time Senior Lecturer), or at the QUT studios (as a post-graduate research student) what was going to assist me in this process? My mind wandered considering many options.
My performance live rig was quite elaborate for its function to reproduce typical guitar-based rock music. With other floor-based – analogue and digital – devices, and a broad range of analogue guitar amplifiers, my live rig setup was flexible. With a range of – mostly digital – dynamic, spectral and time-based processors, I could reproduce and sculpt just about any music and sonic tone to reproduce just about any contemporary organic rock-type sound in a performance situation, on stage. In addition, I also have a range of guitar emulators – such as the Fractal Axe-FXII – that allowed me to bypass the use of any guitar amplifiers, and go directly into a venue’s PA system, exponentially expanding the music and sonic palette I could access.

Live rig_20160131.jpg

Figure IV – Live rig (Page 2016e)
However, psychedelic rock music was more complex, with multiple textures and layers that occurred often simultaneously. Was my rig in its current form going to be sufficient? Whats more, if I did create psychedelic-based music in my studio – with multiple textures and layers – using my wide range of digital virtual devices complex, how could I effectively and efficiently reproduce these in a live performance context? Perhaps I needed to develop my current studio technology, expanding my current quite limited studio rig of outboard processors.

Studio rig_20160131.jpg

Figure V – Studio rig (Page 2016f)
I needed to research and consider pieces of equipment that will complement what I currently have, and what I need to fuse my performance and recording of my craft, avoiding a valley or void between the two very important aspects of my music-making practice…..  two aspects that have not met before: stage and studio equipment. I decided that what I didn’t want to do was, was create a studio album that I could not then easily replicate in a live performance. I had always been a performer, and to be able to perform congruently to my recording was a major motivator for me as an artist.
I was clearly invested in this pre-production stage of the music-making process. I needed to consider how I was going to approach the production and what equipment I would use for best effect. It was obvious to me how necessary it was for me to continue to immerse my self in two ways: the sourcing of more textural artifacts discussing the recording techniques in that era (books – The Beatles, Pink Floyd, articles on Molly Meldrum, etc); and also researching a range of equipment that I acquire, that would supplement the equipment I already had, that could more effectively replicate the sounds of psychedelic rock, that I could add to my performance rig. Yes, I desired a rig that I could effectively roll from my studio, onto a stage; and once that performance was complete, to then roll the same rig from the stage, back into the studio. It was my goal to be able to replicate all aspects of my musical and sonic creations in any of my performance locations – on stage, or in a studio.
onion-layers
Footnotes
[1] There are countless testimonies heralding the desired qualities and characteristics of analogue devices across decades of music and sound equipment, and cultural production reviews. However, three more recent acclaimed cultural productions detailing the historical significance of such devices and production workflows are: Ryan & Kehew’s 2006 book “Recording the Beatles: the studio equipment and techniques used to create their classic albums”; Guggenheim’s 2009 “It Might Get Loud” starring Led Zeppelin’s Jimmy Page, U2’s The Edge and The White Stripes’ Jack White; and Grohl, Monroe and Young’s 2013 documentary “Sound City” about a Los Angeles studio during the 1970’s and 1980’s where a number of East Coast artists had hits with records recorded and produced at the facility. These artists included Buckingham and Nicks, Rick Springfield, Fleetwood Mac, and Tom Petty and the Heartbreakers.
onion-layers
This blog series is planned to continue next month with Doctoral Pilot Study Part 3a (Page 2016g). It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.
References
Gallagher, Mitch. 2012. “Studio legends: Alan Parsons on “Dark Side of the Moon”. Accessed 4th February, 2016. http://www.premierguitar.com/articles/Studio_Legends_Alan_Parsons_on_Dark_Side_of_the_Moon.
Grohl, Dave, Mark Monroe and Neil Young. 2013. Sound city. Sony Music Entertainment. DVD.
Guggenheim, Davis. 2009. It might get loud. Sony Pictures Classics. DVD.
Onion image courtesy of: Onion Layers Accessed 15th December, 2014
Page, David L. 2017. Figure II – 5th Observation image courtesy of David L Page Created 10th June, 2017
Page, David L. 2016g. Doctoral Pilot Study – Part 3a Accessed 5th March, 2016
Page, David L. 2016e. Figure V – Studio rig image courtesy of David L Page. Accessed 29th February, 2016
Page, David L. 2016e. Figure IV – Live rig image courtesy of David L Page. Accessed 29th February, 2016
Page, David L. 2016d. Figure III – 3rd Party Plug-Ins by Manufacturer image courtesy of David L Page. Created 29th February, 2016
Page, David L. 2016c. Doctoral Pilot Study iNotes Accessed 29th February, 2016
Page, David L. 2016b. Figure I – Praxis v5a image courtesy of David L Page. Created 31st January, 2016
Page, David L. 2016a. Doctoral Pilot Study – Part 2b Accessed 17th February, 2016
Page, David L. 2014 image courtesy of David L Page Created 15th December, 2014
Practice image courtesy of David L Page Accessed 4th February, 2016
Price, Andy. 2015. “The Making of Pink Floyd’s Dark Side of the Moon.” Article. Accessed Feb 4 2016. http://www.musictech.net/2015/06/landmark-productions-pink-floyd-the-dark-side-of-the-moon.
Psychedelic Rock image courtesy of Ultimate Guitar.com  Accessed 5th February 2016
Ryan, Kevin and Brian Kehew. 2006. Recording the Beatles: the studio equipment and techniques used to create their classic albums. London: Curvebender.
– @David L Page 29/02/2016
– updated @David L Page 05/03/2016
– updated @David L Page 10/06/2017
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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Doctoral Pilot Study – Part 2b

My journey continues….

~DLP Pro Image Fun 5b small.20141020

(Page 2014)
This blog is a continuation of a series. See here (Page 2016a) for the previous blog.

Year 2016: 5th Observation Part b

Whilst I was making headway with the development of my music praxis – significant headway in my opinion – , my actual production plan still did not have the degree of clarity I had hoped for after four (4) weeks. I therefore decided to go through each step of my Praxis v5a in terms of my production process, deliberately and systematically.
DLP DCI Praxis v5a.20160131.P2
Figure I – Praxis v5a (Page 2016b)
In following this process I made my 5th Observation.
5th Observation.P5e.renamed
Figure II – 5th Observation (Page 2017)
 Practice….20171230.P2b

Practice

Of the five (5) stages of practice, I was in the first stage of creative practice: the creative stage.
  1. Creative Stage
  2. Pre-production Stage
  3. Production Stage
  4. Post-Production Stage
  5. Distribution Stage
 In the creative stage, I brainstormed a number of Project 1 creative ideas based on my project brief. The five (5) track EP was to be representative of some aspect of my life: past, present or future envisioning.
Musical style
The next element listed in my Praxis 5a was musical style. I reflected on what styles of music I had and hadn’t engaged in over the course of my life. I referred to my music influences chart (as introduced in a previous blog) to reflect on these. One musical style of passion that I had never attempted, was psychedelic rock. I decided I needed to explore this style more than I had done previously.
Psychadelic Rock image_Ultimate Guitar.com.png
Psychedelic Rock
Bands such as the Beatles, The Beach Boys, The Who, Pink Floyd, King Crimson and Jimi Hendrix – to name a few very successful artists – experimented with recording and production techniques during the late 1960’s and early 1970’s (Moore 2012). Technology was developing exponentially (large format consoles and analogue hardware devices); there was a US-citizen generated global social movement (aka the peace movement) protesting the allied forces involvement in the Vietnam war; and it became quite common practice amongst the youth, and their icons – artists and musicians – to engage in recreational drug taking (typically, marijuana and hallucinogenics such as LSD) (Théberge 2012; Théberge 1997; Lewisohn 2010). I knew from my years of listening – firstly, holistically as a fan, and then more from an analytical and critical listening[1] point of view as my interest in both music and audio developed (Moylan 2007, pp73-81; Vella and Arthurs 2003, 30; Everest 2007; Corey 2010), psychedelic rock used musical forms and audio processing in distinctly different ways to folk and pop songs.
“Monotonic songs were becoming increasingly popular in those early, heady days of psychedelia; I suppose they were meant to be listened to while you were stoned, or tripping. To my mind, that was really the only way they could be appreciated” (Emerick & Massey 2007, 8).
Psychedelic rock was innovative in the era. In addition to the simple musical form, psychedelic rock relied on analogue processing devices and experimental techniques, using new pieces of equipment, and existing equipment in ways they weren’t necessarily originally designed by the manufacturers to be used (Ryan & Kehew 2006; Moore 2012, 143). Such experiments were often the result of pure creativity as was the case with many artists of the era. For example, Peter Townsend in the creation of “Baba O’Riley” (The Who 1971) [2]. Townsend used a new technological device – a sequencer – to develop a hypnotic rhythmic pattern that was stylistically congruent with the genre of psychedelic music. However, more inventive creative practice included use of pre-recorded tape, spliced together in altered ways for interesting effect, slowed down to half speed, or sped up to sometimes double speed, reversed; or with multiple tape players connected in series, or multiple heads placed on the one tape player, in order to create experimental and ambient sonic and musical characteristics (The Who 2007; Lewisohn & McCartney 2005, Ryan & Kehew 2006).
My musical influences
Having developed my musical influences as noted in an earlier blog, I scoured over the chart, and highlighted three particular artist names who ventured into what I considered to be psychedelic rock:
  • The Beatles
  • Pink Floyd, and a lesser known artist around a similar era in Australia,
  • Russell Morris[3]
Early Beatle influences were the three albums, 1966’s “Revolver” (The Beatles 1966) [4], 1967’s “Sargent Pepper’s Lonely Hearts Club Band” (The Beatles 1967) [5], and 1968’s “White Album” (The Beatles 1968) [6].
The first of the these albums “Revolver” had one song on it which has become known as a significant turning point for the Beatles:
“Tomorrow Never Knows” [7] was a total departure from anything the Beatles had attempted before. The song consists of three main elements: the hypnotic, riveting ostinato of Ringo Starr’s drums, coupled with the bass, unchanging throughout the entire song; a well-selected assortment of tape loops fed to the faders of a mixing console; and John Lennon’s vocal” (Moorefield 2005, 30).
Having almost exhausted themselves with the hectic touring schedule they had maintained over a number of years, the Beatles were in the process of making a conscious decision to do more in the studio. The band and its management believed they were now positioned to maintain their global popularity through album sales alone, without the necessity to tour and perform (Lewisohn 2010; Everett 1999, Ryan & Kehew 2006, 410). The artists therefore were to have more time in the studios, became more involved in the productions, and “experimented with abandon” (Moorefield 2005, 29). In the case of the Beatles, often the inventive creative practice occurred as a result of a directive by the artist of the producer to achieve a sound they could hear in their heads, but unsure of how they could achieve it with the available technology:
“But my musical tastes didn’t matter here: my job was to give the artist and producer the kinds of sounds they wanted. So my ears perked up when I heard John’s final direction to George “….and I want my voice to sound like the Dalai Lama chanting from a mountaintop, miles away” (Emerick & Massey 2007, 8)[8]
Another major influence on my self was Pink Floyd. My brother was older, and as such had been quite strongly influenced by the social movements. He bought a number of their albums over the previous decade, at an age when I was still developing my musical ear. Pink Floyd produced many albums that I have since listened to – either directly in my household, or via friend’s. However, the most significant album for me remains 1973’s “Dark Side of the Moon”[9].
Dark Side of the Moon_Pink Floyd.1973
“I recall many nights, laying on my beanbag in my downstairs bedroom, door shut, overhead room lights off. Some small desk lamps in the corners – complete with coloured cellophane.
My gramophone player was on, and I embarked on a journey….
I gave in to the moment, closed my eyes, and allowed my self to be transported to the unknown….
I was wandering, no idea of what time or space I was heading to… I was being transported around the galaxy on a musical and sonic tour.
I floated on the music and sonic textures, as it carried me to another time, to another space..
There was so much to focus in on… at any time, within any space…
Clocks ticking, voices chanting, sonic soars to the left, sonic soars to the right….
The musical and sonic soundscape lifted me, and propelled me to far away stratospheres and universes.
I was travelling, by my self, in a time and to places no one else knew existed.
I was travelling in a time and to a place, where no one else existed…. I was travelling in a time and a place, where no one else could reach me….
This was my time – every when time, and a place – every where place.
I was alone, but not lonely….
There was no one else here to tell me what I should be doing….
In that moment in time – listening, exploring, time travelling – I was independent, I was in charge of my own destiny…
In that moment in time and space, I was me…
In that moment in time and space, I was capable of doing anything.….” (Page 2016c).
More exploration required
I decided the need to explore “Dark Side of the Moon” further in terms of equipment and production process as this juncture, in order to get some more insight as to how I might go about producing a psychedelic styled EP. In addition to listening to the album, I investigated literature such as Reising (2005) [10]. He spoke more of the intended aesthetics, and whilst this was useful for me to gain a better understanding of what – in the opinion of the authors – made this album psychedelic, it was not the specifics I was in search of. I therefore turned to more industry-based textual readings for insight of what I may not have yet realised or discovered about this particular album. In articles by Harris (2005) [11], Massey (2000) [12], Parsons (1975) [13], Price (2015) [14] and Gallagher (2012) [15] – generally from interviews of the engineer of this album, Alan Parsons – they listed significant pieces of equipment used and detailed various aspects of the production process.
I had a long history of Alan Parson’s personal works through albums that I and a friend had, namely:
  • Tales of mystery and imagination[16];
  • I Robot[17];
  • Pyramid[18];
  • Eve[19];
  • On The turn of a friendly card[20] ;
  • Eye in the sky[21].
I was therefore quite familiar with Parson’s multi-layered arrangements and arrangement style. The pieces of equipment mentioned in these articles were of specific microphones, synthesisers, instruments and amplifiers used. However, most importantly, the articles discussed a number of production techniques that I was familiar with, that had become standards practice in contemporary music-making. However, standard practice that did not necessarily rely on acoustic instruments or typical live-guitar performance devices[22]. I knew how many of these musical and sonic tones could be achieved, but through the virtual world of instruments and samples. I could not see at this stage, how I could recreate any of these psychedelic-style musical and sonic tones through the external hardware device options I currently had in my live rig, or had access to.
onion-layers
Footnotes
[1] For HE Bachelor of Audio Trimester 3 level introduction to critical listening analysis, please see: https://davidlintonpage.com/2015/04/10/critical-listening-part-3 (Page 2015a)
[2] The Who’s “Baba O’Riley” on the album “The Kids Are Alright” (Who, 1971) was produced by the Who, with the assistance of well known engineer and Glyn Johns as the associate producer.
[3] For a HE Creative Media degree Trimester 1 introductory blog about the influence Russell Morris had on me as a young person, please see my 2014 blog: https://davidlintonpage.com/2014/10/05/music-practitioner-pt-2-what-brought-me-here (Page 2014; Wikipedia. 2014; The Real Thing 2014a,2014b).
For HE Bachelor of Audio Trimester 2 level critical listening analysis of the same Russell Morris song, please see my 2015 blog: https://davidlintonpage.com/2015/03/12/critical-listening-part-2b (Page 2015b)
[4] Beatles, The. 1966. Revolver. Parlophone. Vinyl LP.
[5] Beatles, The. 1967. Sgt. Peppers Lonely Hearts Club Band. Parlophone. Vinyl LP.
[6] Beatles, The. 1968. White Album. Apple Records. Vinyl LP.
[7] “Tomorrow Never Knows” was a song on the Beatle’s album “Revolver” (Beatles 1966). In addition to numerous other sources, Mastropolo reported on this in his article “THE DAY THE BEATLES KICKED OFF THE ‘REVOLVER’ SESSIONS WITH ‘TOMORROW NEVER KNOWS’  Accessed 6th April, 2016.
[8] John Lennon’s challenge of Sir George Martin in the Beatle’s “Tomorrow Never Knows” song, on the album “Revolver” (Beatles 1966)
[9] Floyd, Pink. 1973. Dark side of the moon. Harvest. Vinyl LP.
[10] Reising, Russell. 2005. Speak to me: the legacy of Pink Floyds The dark side of the moon, Ashgate popular and folk music series. Hampshire: Ashgate Publishing Company.
[11]Harris, John. 2005. The dark side of the moon: the making of the pink floyd masterpiece. Cambridge, USA: Da Capo Press.
[12] Massey, Howard. 2000. Behind the glass I: top record producers tell how they craft the hits. Vol. 1. Berkeley: Hal Leonard Corporation.
[13] Parsons, Alan. 1975. “Four sides of the moon”. In Studio Sound. Croydon: Link House Publications.
[14] Price, Andy. 2015. “The Making of Pink Floyd’s Dark Side of the Moon.” Article. Accessed Feb 4 2016. http://www.musictech.net/2015/06/landmark-productions-pink-floyd-the-dark-side-of-the-moon.
[15] Gallagher, Mitch. 2012. “Studio legends: Alan Parsons on “Dark Side of the Moon”. Accessed Feb 4 2016. http://www.premierguitar.com/articles/Studio_Legends_Alan_Parsons_on_Dark_Side_of_the_Moon.
[16] Parsons, Alan. 1976. “Alan Parson’s Project.” On Tales of mystery and imagination, Alan Parsons. Mercury. Vinyl LP.
[17] Parsons, Alan. 1977. “Alan Parson’s Project.” On I Robot, Alan Parsons. Arista. Vinyl LP.
[18] Parsons, Alan. 1978. “Alan Parson’s Project.” On Pyramid, Alan Parsons. Arista. Vinyl LP.
[19] Parsons, Alan. 1979. “Alan Parson’s Project.” On Eve, Alan Parsons. Arista. Vinyl LP.
[20] Parsons, Alan. 1980. “Alan Parson’s Project.” On The turn of a friendly card, Alan Parsons. Arista. Vinyl LP.
[21] Parsons, Alan. 1982. “Alan Parson’s Project.” On Eye in the sky, Alan Parsons. Arista. Vinyl LP.
[22] There is generally a distinction made between guitar-based effects and processing devices used in typical live performance scenarios, and studio effects and processing devices used within studio environments and tracking/recording scenarios.
onion-layers
This blog series is planned to continue next month with Doctoral Pilot Study Part 2c (Page 2016d). It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.
References
Beatles, The. 1968. White Album. Apple Records. Vinyl LP.
Beatles, The. 1967. Sgt. Peppers Lonely Hearts Club Band. Parlophone. Vinyl LP.
Beatles, The. 1966. Revolver. Parlophone. Vinyl LP.
Beatles, The. 1966. “Tomorrow Never Knows”, off The Beatle’s album “Revolver”. Parlophone.  Vinyl LP.
Corey, Jason. 2010. Audio production and critical listening: technical ear training. Oxford: Focal Press.
Emerick, Geoff and Howard Massey. 2007. Here, there and everywhere: my life recording the music of the beatles. New York, NY: Gotham Books.
Everest, F Alton. 2007. Critical listening skills for audio professionals. Boston: Thomson Course Technology.
Everett, Walter. 1999. The Beatles as musicians: Revolver through the Anthology: Oxford University Press, USA.
Floyd, Pink. 1973. Dark side of the moon. Harvest. Vinyl LP.
Gallagher, Mitch. 2012. “Studio legends: Alan Parsons on “Dark Side of the Moon”. Accessed Feb 4 2016. http://www.premierguitar.com/articles/Studio_Legends_Alan_Parsons_on_Dark_Side_of_the_Moon.
Gilreath, Paul. 2010. The guide to midi orchestration. 4th ed. Oxford: Focal.
Harris, John. 2005. The dark side of the moon: the making of the pink floyd masterpiece. Cambridge, USA: Da Capo Press.
Kemp, Anthony E. 1996. The musical temperament. New York: Oxford University Press.
Lewisohn, Mark. 2010. The complete Beatles chronicle: the definitive day-by-day guide to the Beatles’ entire career. Chicago: Chicago Review Press.
Lewisohn, Mark and Paul McCartney. 2005. The complete Beatles recording sessions: the official story of the abbey road years 1962-1970. New York: Bounty books.
Massey, Howard. 2000. Behind the glass I: top record producers tell how they craft the hits. Vol. 1. Berkeley: Hal Leonard Corporation.
Mastropolo, Frank. 2016. “The Day The Beatles Kicked Off The ‘Revolver’ Sessions With ‘Tomorrow Never Knows’  Accessed 6th April, 2016.
Moore, Allan F. 2012. Song means: analysing and Interpreting recorded popular song, Ashgate Popular and Folk Music Series. Surrey: Ashgate Publishing Ltd.
Moorefield, Virgil. 2005. The producer as composer: shaping the sounds of popular music. London: MIT Press.
Moylan, William. 2007. The art of recording: the creative resources of music production and audio. 2nd ed. Boston: Focal Press.
Onion image courtesy of: Onion Layers Accessed 15th December, 2014
Page, David L. 2017. Figure II – 5th Observation image courtesy of David L Page Created 10th June, 2017
Page, David L. 2016d. Doctoral Pilot Study – Part 2c Accessed 29th February, 2016
Page, David L. 2016c. Doctoral Pilot Study iNotes Accessed 17th February, 2016
Page, David L. 2016b. Figure I – Praxis v5a image courtesy of David L Page. Created 31st January, 2016
Page, David L. 2016a. Doctoral Pilot Study – Part 1f Accessed 17th February, 2016
Page, David L. 2015b Critical Listening Part 3 Accessed 17th February, 2016
Page, David L. 2015a Critical Listening Part 2b  Accessed 17th February, 2016
Page, David L. 2014b Music Practitioner Part 2 – What brought me here Accessed 17th February 2016
Page, David L. 2014a image courtesy of David L Page Created 15th December, 2014
Parsons, Alan. 1982. “Alan Parson’s Project.” On Eye in the sky, Alan Parsons. Arista. Vinyl LP.
Parsons, Alan. 1980. “Alan Parson’s Project.” On The turn of a friendly card, Alan Parsons. Arista. Vinyl LP.
Parsons, Alan. 1979. “Alan Parson’s Project.” On Eve, Alan Parsons. Arista. Vinyl LP.
Parsons, Alan. 1978. “Alan Parson’s Project.” On Pyramid, Alan Parsons. Arista. Vinyl LP.
Parsons, Alan. 1977. “Alan Parson’s Project.” On I Robot, Alan Parsons. Arista. Vinyl LP.
Parsons, Alan. 1976. “Alan Parson’s Project.” On Tales of mystery and imagination, Alan Parsons. Mercury. Vinyl LP.
Parsons, Alan. 1975. “Four sides of the moon”. In Studio Sound. Croydon: Link House Publications.
Practice image courtesy of David L Page Accessed 4th February, 2016
Price, Andy. 2015. “The Making of Pink Floyd’s Dark Side of the Moon.” Article. Accessed Feb 4 2016. http://www.musictech.net/2015/06/landmark-productions-pink-floyd-the-dark-side-of-the-moon.
Psychedelic Rock image courtesy of Ultimate Guitar.com  Accessed 5th February 2016
Reising, Russell. 2005. Speak to me: the legacy of Pink Floyds The dark side of the moon, Ashgate popular and folk music series. Hampshire: Ashgate Publishing Company.
Ryan, Kevin and Brian Kehew. 2006. Recording the Beatles: the studio equipment and techniques used to create their classic albums. London: Curvebender.
Self image courtesy of David L Page Accessed 4th February, 2016
Théberge, Paul. 2012. “The end of the world as we know It: the changing role of the studio in the age of the internet.” In The art of record production: an introductory reader for a new academic field, edited by Simon Frith and Simon Zagorski-Thomas, 77-90. Farnham, Surrey: Ashgate.
Théberge, Paul. 1997. Any sound you can make: making music/consuming technology. Hanover: University Press of New England.
Wikipedia. 2014. The real thing (Russell Morris)   https://en.wikipedia.org/wiki/The_Real_Thing_(Russell_Morris_song)  Accessed 4th October, 2014.
The Real Thing 2014b. article courtesy of: The Real Thing Accessed 4th October, 2014.
The Real Thing 2014a. video clip courtesy of: The Real Thing  Accessed 4th October, 2014.
Vella, Richard and Andy Arthurs. 2003. Sounds in space, sounds in time: projects in listening, improvising and composing. Vol. 2. London: Boosey & Hawkes.
Who, The. 2007. Amazing journey: the story of the who. Universal Pictures. DVD.
Who, The. 1971. “Baba O’Riley” off the album The Who’s “The Kids Are Alright”
– @David L Page 17/02/2016
– updated @David L Page 29/02/2016
– updated @David L Page 10/06/2017
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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Doctoral Pilot Study – Part 2a

My journey continues….

~DLP Pro Image Fun 5b small.20141020

(Page 2014)
This blog is a continuation of a series. See here (Page 2016a) for the previous blog.

Year 2016: 5th Observation Part a

Whilst I was making headway with the development of my music praxis – significant headway in my opinion – , my actual production plan still did not have the degree of clarity I had hoped for after four (4) weeks. I therefore decided to go through each step of my Praxis v5a in terms of my production process, deliberately and systematically.
DLP DCI Praxis v5a.20160131.P2
Figure I – Praxis v5a (Page 2016b)
In following this process I made my 5th Observation.
5th Observation.P5e.renamed
Figure II – 5th Observation (Page 2017)
Of the five (5) stages of practice, I was in the first stage of creative practice: the creative stage.
  1. Creative Stage
  2. Pre-production Stage
  3. Production Stage
  4. Post-Production Stage
  5. Distribution Stage
 In the creative stage, I brainstormed a number of Project 1 creative ideas based on my project brief. The five (5) track EP was to be representative of some aspect of my life: past, present or future envisioning.

SELF….20171230.P1.png

Self

The 1st element of praxis that was accounted for was, self: a representative aspect of my life. I therefore needed to focus on my self motive for practice: why I was wanting to do what I did in music-making.
Motive/s for practice
In terms of the second (2nd) element of praxis, my motives for practice within this Doctporal Pilot Study was that of (but not restricted only to):
  1. Discovery: accepting music-making practice as a medium to explore – attempting to understand something which I hadn’t understood previously; deriving pleasure from discovering something new (Csikszentmihalyi 1996, 109);
a second motive was:
  1. Technical: accepting music-making practice as a medium to practice my craft, and to develop my craft skills technically;
a third motive was:
  1. Affective: accepting music-making practice as a technology for emotional construction within both the artist/performer and the listener (Denora 2001, 168). I also understood emotions would guide my decisions in music-making and therefore I needed to acknowledge this third motive was potentially both a conscious and an unconscious motivator (Appelhans & Luecken 2006, 229).
a fourth motive was:
  1. Aesthetic: accepting music-making practice as a technology to generate an aesthetic experience for the artist/performer and the listener (Denora 2001, 168; Csikszentmihalyi & Robinson 1990, 7).
a fifth motive was:
  1. Creative: accepting music-making practice as a technology to engage in creative flow, following a creative process of preparation, incubation, insight, evaluation and elaboration (Csikszentmihalyi 1996, pp 79-80).
and a sixth motive was:
  1. Social: accepting music-making practice as a social – interactive – process between the artist/performer and the listener (Small 1998, 10; Denora 2001, 168). Additional to a motive for practice, I understood my need to also have a motive for the creative piece – the song. Since my re-connecting with music at university, I had found I was less inclined to engage in the practice of song-writing just for the sake of creating. I found I had to have a purpose to create, something to say: a message. I have for many years referred to this alignment of my motive to practice, and the output of the practice – the cultural production – as being congruent, or not. Taylor & Littleton (2012, 121) refer to this “fit or congruence between” the practitioner and the practice as “personalisation”.
I did not consider the remaining motives to be so relevant at this point in time for me. I wasn’t however discounting that they may become motives within this pilot study at any point in the future, as often was the case:
  1. Educational: to demonstrate specific music-making practice to my students, live or in preparation;
  2. Physical: to use music-making practice as a medium for physical expression, for exercise;
  3. Commercial: to use music-making practice as a medium for income generation purposes.
target
Focussed message for the creative production
It was now time to create, and therefore a question in my mind was:
  • what specifically was this to mean in terms of this specific composition?
  • what was my over-arching message for this Project 1 Pilot Study cultural production going to be? I knew from past experience that I had to decide on a Project 1 theme as early as I could, in order to move on in the process of creating. My intervention into my creative process seemed to abstract: it seemed too global. What was a more grounded motive, a more grounded message to be?
  • thirdly – attached to the element of motive – is that of song mood. What the likely song mood to be? Happy? sad? focussed and directed? melancholic? dancy? jovial? (Kemp 1996, 2). I guessed it was likely going to be somewhat melancholic given the underlying theme of intervention as a result of years of frustration at being unable to realise my creative goals. But as I had not decided upon a creative practice message at this time, it was all a bit up in the air.
As per usual past practice when I was in this type of creative quandary, I turned to media for inspiration. An i-Note reflective journal entry at this time:
“Over the past few days, I have watched by a number of videos, each of which I bought many years ago… And yet now – at this place and time – I am no longer inspired by these. ……” (Page 2016c)
Shortly after, another entry developed this idea:
Humans hoard things for tomorrow. Humans instinctively hoard things, originally food items, in readiness for tomorrow, preparing for a cold, hard winter when there was primitive housing and arduous weather conditions. My hoarding of music and movie DVDs was not perhaps for the yesterdays when I bought them, but for tomorrow, when I NEED them…..” (Page 2016c)
I was not connecting to an idea, so I scoured my book shelves, and even poured back through my many filing cabinet drawers of ideas. Still not one particular idea that stood out to me. I accepted that it was part of the creative preparation process , but was not without frustration. In order to progress the creative process without deciding on a message that I connected to, I felt I had other choice but to just move on, and take the next step in my Praxis 5a.
onion-layers
This blog series is planned to continue next month with Doctoral Pilot Study Part 2b (Page 2016d). It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.
References
Appelhans, Bradley M and Linda J Luecken. 2006. “Heart rate variability as an index of regulated emotional responding.” Review of general psychology 10 (3): 229.
Csikszentmihalyi, Mihaly. 1996. Creativity: flow and the psychology of discovery and invention. New York: Harper Perennial.
Csikszentmihalyi, Mihaly and Rick Emery Robinson. 1990. The art of seeing: an interpretation of the aesthetic encounter. Santa Monica: Getty Publications.
Denora, Tia. 2001. “Aesthetic agency and musical practice: new directions in the sociology of music and emotion.” In Music and emotion: theory and research, edited by Patrik N Juslin and John A Sloboda, 161-180. Oxford: 2001.
Kemp, Anthony E. 1996. The musical temperament. New York: Oxford University Press.
Onion image courtesy of: Onion Layers Accessed 15th December, 2014
Page, David L. 2017. Figure II – 5th Observation image courtesy of David L Page Created 10th June, 2017
Page, David L. 2016d. Doctoral Pilot Study – Part 2b Accessed 17th February, 2016
Page, David L. 2016c. Doctoral Pilot Study iNotes Accessed 5th February, 2016
Page, David L. 2016b. Figure I – Praxis v5a image courtesy of David L Page. Created 31st January, 2016
Page, David L. 2016a. Doctoral Pilot Study – Part 1f Accessed 5th February, 2016
Page, David L. 2014 image courtesy of David L Page Created 15th December, 2014
Practice image courtesy of David L Page  Accessed 4th February, 2016
Practice image courtesy of David L Page  Accessed 4th February, 2016
Small, Christopher. 1998. Musicking: the meanings of performing and listening. Hanover: University Press of New England.
Target image courtesy of: Target Accessed 14th October 2010
Taylor, Stephanie and Karen Littleton. 2012. Contemporary identities of creativity and creative work. Surrey: Ashgate Publishing Limited.
– @David L Page 5/02/2016
– updated @David L Page 17/02/2016
– updated @David L Page 10/06/2017
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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Doctoral Pilot Study – Part 1f

Doctorate of Creative Industries Project 1

research

This blog is a continuation of a series. See here (Page 2016a) for the previous blog.

Year 2016: Beginnings Part 1f

cooltext170962165748837

“I don’t know where I’m going from here, but I promise it won’t be boring” [Bowie 2016].

Creative practice and identity

DIY Culture
Hartley refers to these inhabitants of the DIY cultural domain as DIY citizens:
“DIY citizenship harvests the same fields as DIY culture, but is not confined to spectacular subcultures or youth activism. It’s just as likely to occur among – for instance – suburban woman who have leisure to stay at home and browse the internet and who, it transpires are busy inventing senses of themselves..” (Hartley 2005, pp111-112).
Kuznetsov & Paulos and Prior refer to these inhabitants of the DIY cultural domain as the new amateurs. The new amateur seeks a wide range of interests with engaged commitment (Kuznetsov and Paulos 2010; Prior 2010). Interests are as wide and as varied as one can imagine. Of the more popular trends televised on commercial networks are: real estate-based activities such as renovation and landscaping; sport-based activities including team and solo rock-climbing, abseiling, mountain-biking, parachuting, to name but a few; leisure activities such as camping, trekking, travelling; and creative activities. Popular examples of creative activities include art and craft-based activities such as drawing, sculpture, pottery and glass blowing; fashion-based activities such as clothes and jewellery design and making; food-based activities such as cooking and cake decorating; IT games-based activities such as playing – solo, team and competing – and design; drama-based activities such as script-writing, acting, prop design and construction, and musical theatre; and music-based such as instrument-making, song-writing, production techniques and music-making. Having interviewed hundreds of people over a number of years regarding their creative activities, Csikszentmihalyi & Robinson found people engaged in such creative activities as listed above “because they enjoy what they are doing to the extent that experiencing the activity becomes its own reward” (1990, 7). However, the activities I have referred to here are somewhat traditional types of creative activities. Cultural consumption and production has continued to change significantly in the new millennium. Creative activities – creative practice – are no longer restricted to these types of activities (Taylor and Littleton 2012, 4). “An expanded and extreme set of creative practices is subverting well-understood categories of the arts and culture, collapsing the borders between traditional and the innovative, …… the everyday and the celebrity, the professional and the amateur” (Haseman 2005, 158). In analysing a range of contemporary creative practice, Haseman found the following five (5) characteristics worthy of a millennia definition:
  1. Creative practices involve interactivity;
  2. Creative practices are intrinsically hybrid;
  3. Creative practices embrace new sites and forms of cultural production;
  4. Creative practices are orientated towards multi-platform, cross-promotional means of distribution; and
  5. Creative practices are not approached as if they are commercially irrelevant[1] (Haseman 2005, pp167-169) 
Creative practice as an expression of self
McRobbie (1998, 103) believes that millennia practitioners engage in creative activities for intrinsic motives as Czikszentmihalyi & Robinson found. However, McRobbie progresses the conversation, finding creative practitioners in her study using their “creative work as an expressive extension of self”. More specifically, as Taylor & Littleton report: “creative work is a means of self-actualisation” – a medium for the creative practitioners to discover themselves, on the path to realising their full potential (McRobbie in Taylor & Littleton 2012, 31).
In terms of the range of creative practice, music-making is acknowledged in research as being significant in terms of the development of self. Hargreaves et al (2002) discuss how music facilitates self-expression and development, allowing the self to transform, and construct new identities. Frith (1996,124) argues that “Music constructs our sense of identity through the direct experiences it offers of the body, time and sociability, experiences which enable us to place ourselves in imaginative cultural narratives.” Bennett (2000, ii) concludes that “music is produced and consumed by young people in ways that both inform their sense of self and also serve to construct the social world in which their identities operate”.
The self and creative practice
Ryan develops the relationship between creative practitioners and self: Ryan considers creative practice to be not limited to an expressive extension of the self, but essential practice for creative arts practitioner to look deeper into the self:
“Self-awareness and identity are significant both in the study of the arts and in becoming an artist, as aesthetic inquiry and performance are constituted by subjective self-expression in relation to objective conditions” (Ryan 2014,77).
Velosa and Carvalho’s (2013) “Music Composition as a way of learning: emotions and the situated ‘self’ “ and Taylor’s (2008) “Pink Noise: Queer Identity and Musical Performance in a local context” both stress the importance of situating the self within the context of the creative practice interest, in order to study it. As do Taylor’s (2012) and Peraino’s (2006) studies of gender. Webber (2009) clearly reinforces these perspectives in “In music and in life: confronting the self through auto-ethnography” with his claim that it is necessary to situate the self within practice – in order to be very familiar with that practice – in order to properly understand and analyse that practice:
…. “without that familiarity, there is no validity at all. One cannot “situate” without intimate self-knowledge. One cannot analyse ethnographic material, auto or not, if the “subject” is unfamiliar or unconnected with their own experience. Ethnography of any name is about situating the individual experience within culture” (Webber 2009, 268).
Contemporary music-making praxis
Aside from the examples provided above, contemporary music-making practice is more often described and explained in contemporary music production textbooks in terms of technology, creative location, music style or suggested workflow; often as independent elements of music-making practice (Owsinski 2005; Owsinski 2013; Owsinski 2014; Owsinski 2010; Huber and Runstein 2014; Izhaki 2013; Gilreath, 2010). In just the short time I have engaged in this pilot study of my music-making practice, I have observed an interdependency of these elements. However, inclusive of the elements are both motive and self. I have observed questions of self arise during moments of reflection in my music-making practice, both on site and away from site. Further, I found that such reflections were actually beneficial to my practice, better preparing me for practice, refining my focus on the theme I was in need of, and as such was guiding my practice. By the end of the first month into my pilot study, I realised my Praxis was in need of a fundamental review. In Praxis version 4 (figure I below), I had laid out my practice on the left (blue section). Acknowledging my observation and reflection immediately following any questioning of my motive, I would spend some time away from my practice, within my self. As this process was always after practice, away from my practice site, I chose to place this pink section, to the right of my practice.
dlp-music-praxis-v4-large-with-lines-20151203-p1
Figure I – Praxis v4 (Page 2015)

Year 2016: 4th Observation

However, in after just four (4) weeks of engaging in this pilot study, I had now observed quite an alternative view. I had observed that the self was in fact driving my practice – preceding my practice, at the forefront of my practice. As such, I decided it would be more accurate to represent the self relative to the practice.
Figure II – 4th Observation (Page 2017)
In Praxis v5a (see figure III below) – within the first month of my doctoral pilot study – I now recognised the self was actually the lead element in practice, in effect driving my practice. I inverted the Praxis chart v5a to have the self represented in pink on the left, with motive in green, at the bottom, and with my music-making practice, represented in blue following on the right. Yes, I was now acknowledging that it was my self that was underpinning my practice. Not the other way around that I had assumed just four (4) weeks prior. This was a significant shift in how I had viewed my practice previously, where (for example in Praxis v4) my self was an element, but not necessarily driving my practice.
 DLP DCI Praxis v5a.20160131.P2.png
Figure III – Praxis v5a (Page 2016b)
The ten (10) elements of praxis v5a were now seen to be:
  1. Self
  2. Motive
  3. Song Mood
  4. Musical Style
  5. Reference Track
  6. Global Song Composition Style (process vs product)
  7. Likely specific song composition style workflow
  8. Technology
  9. Location
  10. Workflow

onion-layers

Footnotes
[1]I understand Haseman’s comment to be: creative practitioner’s approach in a commercially-minded way – focussed and committed as Rogers (2013) was quoted as finding in an earlier blog. I do not interpret Haseman’s point 5 to be that creative practice in the new millennia must be commercially self-sufficient.

onion-layers

This blog series is planned to continue next month with Doctoral Pilot Study – Part 2a (Page 2016c). It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.

 

References
Bennett, Andy. 2000. Popular music and youth culture: music, identity and place. New York: Palgrave.
Bowie, David. 2016. David Bowie quote  Accessed 3rd January, 2016.
Csikszentmihalyi, Mihaly and Rick Emery Robinson. 1990. The art of seeing: an interpretation of the aesthetic encounter. Santa Monica: Getty Publications.
Frith, Simon. 1996. “Music and identity.” Questions of cultural identity: 108-27.
Gilreath, Paul. 2010. The guide to midi orchestration. 4th ed. Oxford: Focal.
Hargreaves, DJ, D Miell and RAR MacDonald. 2002. “What are musical identities, and why are they important?” In Musical Identities, edited by RAR MacDonald, DJ Hargreaves and D Miell, 1-20. Oxford Oxford University Press.
Hartley, John. 2005. “Creative Identities.” In Creative Industries, edited by John Hartley, pp106-116. Carlton: Blackwell Publishing.
Haseman, Brad. 2005. “Creative Practice.” In Creative Industries, edited by John Hartley, 158-176. Carlton: Blackwell Publishing.
Huber, David Miles and Robert E Runstein. 2014. Modern recording techniques. 8th ed. Burlington: Focal Press.
Izhaki, Roey. 2013. Mixing audio: concepts, practices and tools. 3rd ed. Oxford: Focal.
Kuznetsov, Stacey and Eric Paulos. 2010. “Rise of the Expert Amateur: DIY Projects, Communities, and Cultures.” In Proceedings of the 6th Nordic Conference on Human-Computer Interaction: Extending Boundaries, Reykjavik, Iceland, October 16-20, 2010, edited, 295-304. http://dl.acm.org/citation.cfm?id=1868914&picked=prox: ACM.
McRobbie, Angela. 1998. British fashion design: Rag trade or image industry? New York: Routledge.
Onion image courtesy of: Onion Layers Accessed 15th December, 2014
Owsinski, Bobby. 2014. The mastering engineer’s handbook. 3rd ed. Boston: Cengage Learning.
Owsinski, Bobby. 2013. The mixing engineer’s handbook. Boston: Cengage learning.
Owsinski, Bobby. 2010. The music producer’s handbook. New York: Hal Leonard Corporation.
Owsinski, Bobby. 2005. The recording engineer’s handbook. New York: Hal Leonard Corporation.
Page, David L. 2017d. Figure II – 4th Observation image courtesy of David L Page. Created 17th May, 2017
Page, David L. 2016c. Doctoral Pilot Study – Part 2a Accessed 5th February, 2016.
Page, David L. 2016b. Figure III – Praxis v5a image courtesy of David L Page. Created 31st January, 2016
Page, David L. 2016a. Doctoral Research Study – Part 1e Accessed 31st January, 2016.
Page, David L. 2015. Figure I – Praxis 4 image courtesy of David L Page. Created 1st December, 2015
Peraino, Judith Ann. 2006. Listening to the sirens: musical technologies of queer identity from Homer to Hedwig. Berkeley: University of California Press.
Prior, Nick. 2010. “The rise of the new amateurs: Popular music, digital technology and the fate of cultural production.” Handbook of cultural sociology. London: Routledge: 398-407.
Question mark image courtesy of: Cool Text Accessed 27th January, 2016.
Research image courtesy of: Research Accessed 28th January, 2016.
Rogers, I. 2013. “The hobbyist majority and the mainstream fringe: the pathways of independent music-making in Brisbane, Australia.” In Redefining mainstream popular music, edited by Sarah Baker, Andy Bennett and Jodie Taylor, 162-173. New York: Routledge.
Ryan, Mary Elizabeth. 2014. Reflective practice in the arts. In Literacy in the Arts, edited by G Barton, 77-90. London: Springer.
Taylor, Jodie. 2012. Playing it queer: popular music, identity and queer world-making. Bern: Peter Lang.
Taylor, Jodie. 2008. “Pink noise: queer identity and musical performance in a local context.” Paper presented at the Music on the Edge: selected refereed papers from the 2007 IASPM-ANZ Conference, Dunedin, New Zealand. jaspm.org..au.
Taylor, Stephanie and Karen Littleton. 2012. Contemporary identities of creativity and creative work. Surrey: Ashgate Publishing Limited.
Veloso, Ana Luísa and Sara Carvalho. 2013. “Music composition as a way of learning: emotions and the situated self.” Musical Creativity: Insights from Music Education Research: Insights from Music Education Research: 73.
Webber, Colin. 2009. “In music and in life: confronting the self through auto-ethnography.” In Music ethnographies: making auto-ethnography sing – making music personal, edited by Brydie-Leigh Bartlett and Carolyn Ellis, 261-273. Bowen Hills: Australian Academic Press.
– ©David L Page 31/01/2016
–updated ©David L Page 5/02/2016
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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Doctoral Pilot Study – Part 1e

Doctorate of Creative Industries Project 1

research

This blog is a continuation of a series. See here (Page 2016a) for the previous blog.

Year 2016: Beginnings Part 1e

cooltext170962165748837

“I don’t know where I’m going from here, but I promise it won’t be boring” [Bowie 2016].

The self emerges as a focus of mine

For many decades I have asked questions of my self, though in isolation of my music-making practice. The earliest recollection of me considering my self commenced in my mid to late teens. Certain events occurred: first, the death of a close friend; followed a couple of years later with the passing of my adored grandfather. Spurred by a number of other circumstances, I made sudden and sweeping change to the trajectory my life was on. The change was mostly unconscious: impulsive would be an accurate description of my sudden change.
Studying business at higher education level
The following year I commenced University studies, being accepted into a business undergraduate course, with management and communication as my streams. Why a Business Degree[1]? Emotionally, it was as far removed from a trade and the people I had recent experience with, as I could go. Secondly, I looked to the business owners around where I was doing a trade, looked at the cars they were driving, the clothes they were wearing, and the houses they were living in. I compared the glimpse of their life, to mine. I wore trade clothes, crawled under grease and oil dripping cars all day, and then went home with grease and oil reminders in my hair, under my fingernails, and engrained in my skin. Often, I had the skin from my knuckles removed, and burns on my forearms from undoing rust frozen bolts around hot exhaust pipes. Thirdly, perhaps most significantly, I had received a lot of feedback that I had developed sense for certain aspects of business. I recall receiving regular feedback from peers and customers in my trade workplace regarding my skills in customer relations – reliable, trustworthy and competent. Additionally, I realised that I had an advanced sense for systems within engineering contexts, and the workplace[2]. Of course, in commencing a business degree I was also following the footsteps of my father who worked for a large US corporation at the time. My dad was a sales executive and our family entertained his peers regularly in our house in the evening, or on weekends. My dinner table and social conversation was discussing all aspects of business – macro and micro. 
Studying sociology
With central modules of sociology embedded into the curriculum every semester, I immersed myself in learning the “nature and development of society and human behaviour” (Hornby 2005, 1,453). Embracing the HE undergraduate experience, I sought answers to life. I recall taking full advantage of any research essay in exploring topics of my interest. These included what could be considered quite typical works within a Business undergraduate program such as that of Elton Mayo, Abraham Maslow, Douglas McGregor and William Ouchi (Robbins et al 2009, 51; Griffin 1996, 54); but also included the works of George Wilhelm Friedrich Hegel (Singer 2001), and popular cultural works such as that of Eric Fromm (1997), Colin Wilson (1980), John Lennon (Wenner et al 1971) and George Harrison (Harrison & Taylor 2017). I also took advantage of the opportunity to explore other cultural values and beliefs systems such as Indian and Japanese philosophical approaches. I recall I was enquiring as to how cultures around the globe approached structuring society, and how the values and beliefs of the people within those cultures enabled them to function within the society. The more I read, the more I considered my own situation:
  • who am I?, and
  • what do I value and believe?
Abraham Maslow
Particularly influential for me at this time was the work of Maslow. Maslow proposed that all humans work through in their life, a hierarchy of five (5) needs. These were:
“physiological, safety, social, esteem and self-actualisation. In terms of motivation, Maslow argued that each step of the hierarchy must be satisfied before the next can be activated, and that once a need was satisfied it no longer motivated behaviour. Moreover, Maslow believed that self –actualisation – that is, achieving one’s full potential – was the summit of human being’s existence” (Robbins et al 2009, 51).
At that time in my life, in need of something to anchor my self, I recall making a conscious decision that the pursuit of achieving one’s full potential, was a worthy life pursuit. The more I explored the idea of self-actualisation, the more I read and considered motives across cultures, fields and disciplines, the more the idea of achieving one’s full potential resonated with me[3].

Focus on the self gains momentum as a social phenomenon

As outlined in blogs Doctoral Research Study – Parts 2a through 2e (Page 2015a), along with the rapid and broad technological changes of the past four (4) – five (5) decades, society has also significantly changed. Mechanisms such as social structure used to inform people as to their identities – who they were, and how they should view their self. As social structures in certain societies have changed, the need has arisen for members to review who they are, how they see themselves, and what they want out of their life:
“The ethic is individual self-fulfilment and achievement is the most powerful current in modern society. The choosing, deciding shaping human being who aspires to be the author if his or her own life, the creator of individual identity, is the central character of our time” (Beck in Taylor and Littleton 2012, 31).
The pursuit of improving lifestyle and image are now a focus of the inhabitants of the DIY cultural domain:
“Each person is engaged in shaping ‘who I am’, including through the construction of life narrative and the conscious presentation and manipulation of the external self. The later is presented through behaviours, bodily appearance and the many aspects of contemporary life which constitutes ‘lifestyle’ ” (Taylor and Littleton 2012, 31).

onion-layers

Footnotes
[1] A business base has provided me a very good base in understanding the business machinations of society. I have been involved in several businesses and organisational roles where my business qualification has greatly assisted my roles. In saying that, there were no Creative Media tertiary courses at the time. The closest type course was a Bachelor of Arts, or creative media-based trade courses. There were of course music programs, but they required entrance examinations along the lines of the formal AMEB music examination, of which I hadn’t ever studied/been trained in. The tertiary institution I attended was breaking new ground for tertiary institutions in Australia: one of the 1st examples of problem-based learning in Australia, with sociology and communication integrated within the curriculum. Understanding both sociology and communications has assisted me in just about every aspect of my life and practice since that time. Practice in the tertiary course’s group work allowed me to develop my soft skills, which has supported my growth and development in all aspects of practice.
[2]I had just spent four (4) years in an engineering trade, serving an apprenticeship. My experience was unusual, as I spent a considerable time running the service centre. This opportunity arose due to the high staff turnover within that organisation. As I was indentured for four (4) years, I could not leave without jeopardising my trade qualification. Additionally, as a motorcycle club member with the organisation that ran the Castrol 6 Hour Motorcycle Production race in Sydney, I was involved in developing systems for the scrutineering of the motorcycles to ensure compliance with the entry rules and regulatory requirements of that race.
[3]Self-actualisation is perhaps one of the few ideas that has remained with me over the past three (3) decades, irrespective of my location or practice.

onion-layers

This blog series is planned to continue next month with Doctoral Pilot Study – Part 1f (Page 2016c). It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.

 

References
Bowie, David. 2016. David Bowie quote  Accessed 3rd January, 2016.
Fromm, Erich. 1997. To have or to be? New York: Continuum.
Griffin, RW. 1996. Management. 5th ed. Boston: Houghton Mifflin Company.
Harrison, George and Derek Taylor. 2017. I Me Mine: The Extended Edition. 2nd ed. Guildford: Genesis Publications.
Hornby, Albert Sydney. 2005. Oxford advanced learner’s dictionary. 7 ed. New York: Oxford University Press.
Onion image courtesy of: Onion Layers Accessed 15th December, 2014
Page, David L. 2016c. Doctoral Pilot Study – Part 1f Accessed 31st January, 2016.
Page, David L. 2016b. Figure II – Praxis v5a image courtesy of David L Page. Created 31st January, 2016
Page, David L. 2016a. Doctoral Research Study – Part 1d Accessed 25th January, 2016.
Page, David L. 2015b. Figure I – Praxis 4 image courtesy of David L Page. Created 1st December, 2015
Page, David L. 2015a. Doctoral Research Study – Part 2a Accessed 28th January, 2016.
Question mark image courtesy of: Cool Text Accessed 27th January, 2016.
Research image courtesy of: Research Accessed 28th January, 2016.
Robbins, Stephen, Rolf Bergman, ID Stagg and Mary Coulter. 2009. Management 5. Sydney: Pearson Education Australia.
Singer, Peter. 2001. Hegel: A very short introduction. Oxford: Oxford University Press.
Taylor, Stephanie and Karen Littleton. 2012. Contemporary identities of creativity and creative work. Surrey: Ashgate Publishing Limited.
Wenner, J, John Lennon and Yoko Ono. 1971. Lennon remembers: the Rolling Stone’ interviews [with John Lennon and Yoko Ono]. New York: Penguin.
Wilson, Colin. 1980. The new existentialism. Middlesex: Wildwood House.
– ©David L Page 28/01/2016
–updated ©David L Page 31/02/2016
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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