All things audio theory and the practice of audio theory related: acoustics, digital audio workstations (DAWs), microphones, electronics, signal flow, audio processing, pre-production, production, post-production, and distribution of cultural productions
(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...
Doctorate of Creative Industries Project 1 (Self Reflection 2016) This blog is a continuation of a series. See here (Page 2017a) for the previous blog. Observations of my developing perspective Based on my observations of practice over the course of this doctoral program, in pure quantitative terms: the number of elements of my Praxis has increased...
This blog is a continuation of a series. See here for the previous blog. (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 &...
This blog is a continuation of a series. See here (Page 2016a) for the previous blog. (Maypole 2018a) Mainstream popular music-making practitioners draw on broader lineage Musical hybridity is prevalent in most approaches to music-making, particularly roots-based approach music. Mainstream music developed out of traditional roots-based forms of music such as blues, country, folk, bluegrass and...
My journey continues…. (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...
This blog is a continuation of a series. See here for the previous blog (2016a). Psychedelic Rock Music At the outset of my research study, I imagined my creative practice was to be a five (5) track EP of original compositions. The song style was to be a roots-based, a style I had been accustomed to...
(Paul, 2016) Development of production techniques in mainstream popular music-making The making of mainstream popular music has developed exponentially over the past five (5) decades, in terms of musical style, site (creative location), technology and workflow (Owsinski 2013, Huber and Runstein 2013; Izhaki 2013; Gilreath, 2010). As a flow on from both globalisation and technological...
My journey continues…. (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...
My journey continues…. (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...
Doctorate of Creative Industries Project 1 This blog is a continuation of a series. See here (Page 2016a) for the previous blog. Year 2016: Beginnings Part 1f “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...