DLP outlines a variety of considerations in ones’ approach to education and learning practice within the session in this series of blogs.
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 &...
Reflecting on 16T2 – the findings of this reflection, and what actions I have done as a result Note: an abbreviated version of this blog is available as a powerpoint presentation. It is currently the week following SAE Institute’s Trimester two (16T2) grading fortnight. I am clearing my desk and organising my electronic folders of the last fifteen weeks of...
Standards of effective practice have played an important part in the audio industry, even though these may be challenged by DIY culture and practices. Historically, the music and audio industry’s standards have addressed commercial and technical criteria. In commercial terms a “successful record producer is, by definition, someone who has had multiple hits” (Burgess 1997,...
On track to develop mastery of one self, what is your approach to education and learning? (contd) Layer 9: My approach in the learning experience Continuing on from my previous blogs in this series: it is my desired goal to develop a collaborative, collegial, safe learning environment. Trust and respect are core to this process. As mentioned in the...
On track to develop mastery of one self, what is your approach to education and learning? Layer 8: My approach in preparing for a learning practice session Continuing on from my previous blogs in this series: as I have indicated in my first blog, I have laid this section out in the following nine (9) parts. Layer 8a: My approach...
In addition to formal industry training, imitation and scaffolded experience, a third essential aspect of training and developing ones’ creative practice, is reflection (Burgess 2013, 35; Schön 1983, 3; McKee 2003; Roth 1989). Lawrence-Wilkes & Chapman (2015) encourage practitioners irrespective of their level within an industry or field: “Reflective practice provides an opportunity to enhance professional...
On track to develop mastery of one self, what is your approach to education and learning? Layer 7: My approach to educational practice Continuing on from my previous blogs in this series: as I have indicated in prior blogs “I have been fortunate in my educational practice career to have taught across different eras, across a diverse number of fields...
Know one self, develop mastery of one self Vision Blueprint (2015) Continuing on from my previous blogs in this series; I am a practitioner across multiple disciplines. My formal post-compulsory education qualifications include engineering, business, governance, teaching, education and sound production. I have held coal face type positions, project management and consultancy positions, numerous senior and executive management positions...
This blog continues a series of blogs on Mixing (Page 2014). (MIDAS 2014) As a mix engineer I guess you will receive a tracking session at some point in which you will appraise the instrumental elements of the session as being in need of some work: perhaps some subtle work, or perhaps some extensive work. Options are available to do this by the...
The practical knowledge base and skillset required of Creative Artists entering a professional industry today is very broad. A budding Creative Artist needs to develop a very broad practical knowledge base and skillset across their chosen discipline or industry, including a number of creative processes, a working knowledge of a range of technical equipment (hardware...