Final Week for The Encounter on Broadway

January 03, 2017

This week we're going into the final week of performances of The Encounter on Broadway! It's been almost 16 weeks of shows and I've been in New York operating with the team for almost 6 of those weeks. The Audience have been widley varied and it's amazing to know that the show has reached a much wider audience than it has anywhere else, hopefully opening their imagination in a different way.

It's a pleasure to be part of the broadway experience and have my first experience of the US, I've met some lovely people over here so far and next week I move onto St Ann's Warehouse in Brooklyn for The Donmar's The Tempest which we recently opened in the UK as part of The Donmar's Shakespeare Trilogy.

The show will preview from the 13th January with opening night on Wednesday 18th Jan, running until the 19th Feb.

http://stannswarehouse.org/show/the-tempest/

Oh, and Happy New Year all round!

Evening Standard Award - Best Design - The Encounter

December 10, 2016 in Theatre

A few weeks ago Gareth Fry and I were awarded the Best Design award in the Evening Standard awards for our work on Complicité’s The Encounter. Conceived, Directed and Performed by Simon McBurney, the piece allowed us so much freedom to experiment and give an audience auditory cues to key into their imagination, it was a real pleasure to put together with such an wonderful team of collaborators.

Gareth does an amazing job of listing those we wanted to thank and so linking to that would be easier than trying to do so again:

http://www.garethfry.co.uk/new-blog-avenue/2016/11/14/best-design-award-for-the-encounter

The team of Sound Engineers/Designers/Operators we’ve worked with are second to none. The show is always alive and changing all the time, they keep the world of The Encounter afloat and work like musicians with Simon to react to these new ideas and changes. We’re very lucky to have them!

It’s also key to mention the gratitude we have for being awarded the Best Design award and how, Sound Design has been recognised and considered for a design award not only that, but amongst other design disciplines too. I only hope that it can help spread this school of thought elsewhere.

London Marathon 2016 Recording

May 04, 2016 in Sound Effects Recordings

Last weekend was the London Marathon 2016. My girlfriend's brother ran and managed a time of 3:25:13. Awesome achievement.

In the moments when we weren't wandering around London trying to catch him, I managed to get a few short recordings.

I took the oppurtunity to take out my little portable stealth kit to see how well it performed. It consists of a Sound Devices 702 in a camera bag with two DPA4061's with mini rycote windshields strapped to either side of the bag.

Drums fuel of the atmosphere around Canary Wharf, I spent some time underneath a bridge where 2 taiko players were living.

After clambering up a railing I got a recording from slightly above the action, people with plastic hand clappers, horns in the distance, and the ever present drummers.

I think the setup performerd pretty well all told, there are some big pros and cons of it for sure.

Pro: It doesn't attract attention. Which leads to a more natural performance and causes less interruptions from interested passers by.

Con: positioning, It's difficult to be consistent with the mic positions, as there is a bag in the 30cm gap between the two mics, it's also not very natural sounding stereo image.

Next time around I might test out a different method of strapping the mics to the bag with a bit more precision and maybe some sort of stereo spacing bar involved in the bag to help.

Portable Recording Setup

September 18, 2015 in Sound Effects Recordings

A few weeks ago I was lucky enough to be in Lausanne for part of Complicité's 'The Encounter' tour. I took the opportunity to test out my portable recording rig thats slowly been pieced together the past few months.

Earlier in the year I went on tour to Asia and took my Rycote Blimp and found so many places where it was just unrealistic to whip it out and start recording, the inevitable "whats that" would be all over the recordings. So in comes the portable solution, I have a bunch of portable all-in-one recorders which are much less attention grabbing. But having put money into a Sound Devices recorder I bought a set of DPA 4061's to try out with it. I've had some reasonable success with sticking these things in my ears to get binaural recordings, but wanted to mount them onto a bag that also contains the 702 so it was super inconspisuous and can just sit there when I want to put it down. A camera bag seemed like the most logical solution, there may be better ways, but I went and bought a messenger bag from a nearby camera shop.

A customisable camera bag with multiple sized velcro panels was able to fit everything and any excess cable to sit below the 702, plus having a weird sized battery is was also fine! Heres a short recording of Lake Geneva, I stood maybe a 1.5 metres away from the shoreline and let the bag dangle in front of me...

I'm looking at other solutions to how I can attach the mics to the bag to allow for less movement noise and perhaps better stereo imaging, there seems to be a little dead spot in the centre on some recordings... Either way, the fact that no one asked "what is that" made it all worth it!!

Free Ghanaian Gyil Kontakt instrument - PMvst001

May 23, 2015 in PMvst

Since the last post about recording Stephen Hiscock's Gyil (Yes I was spelling it incorrectly! O dear) I took some time to edit and put the resulting hits into Kontakt. Here is a link to the Current Ghanaian Gyil V1.0,

--- --- ---

Specifications:
309 samples
5/6 velocity layers for each note
2x Round Robin for each note
3x patches
            - Original pitch
            - Tuned scale (CDFGBb)
            - Chromatic scale pitched

2x Beater options- Rubber (Rubber malletts made from Tires)
- Sticks (The wooden side of the malletts)

Requirements:
210MB Hard Drive space
Full version of Native instruments Kontakt 5

--- --- ---

Feel free to download and play with it if you're looking for something authenically african and I'd love to hear any feedback.

I don't want to dive too deep into a 'How to create a velocity sensitive instrument in Kontakt' post, but there's few thoughts from the process I thought it'd be interesting to note.

My main DAW's are Ableton Live and Logic, but I decided to try using Ableton for this process. The first step was to record the Gyil into Ableton through my SD 702 and soundcard. I only had two Preamps available at the time, so used an XY setup about a metre away from the top of the Gyil. The first note, having a few different mic positions would probably help with integrating the sound of the Gyil with other libraries, but starting with a fairly dry, close recording is great starting point.

The Gyil has 14 notes and I wanted to try 2 round robins of each and have 5/6 velocity layers for each note played with both ends of the beaters. So that's 336 individual samples to edit.

Manually this takes a while and is fairly tedious. Both Logic and Ableton have a feature which slices a piece of audio from its transient markers and creates a new MIDI instrument. However, neither of these cut the audio up usefully for Kontakt. Logic does have a 'Split Silence' feature that does a better job at slicing the regions, with a bit of tweaking, by transient. Either way there is an amount of time spent finessing this, as the hits need to be very closely trimmed to the start of the transient.

Once each hit was edited and ready to slot into Kontakt, I set up a new instrument and using the mapping editor placed the 6 velocity layers for the first note on it. Spreading them across the 127 potential velocities.

Again this could take a while, but you can quite easily copy and paste one set of 6 velocity samples onto another key on the mapping editor, then re-locate each of the copied samples to the next note in the sequence to save time (I didn't find this out until I'd spent a good few hours on a fairly bumpy flight trying to be precise with my trackpad... Bad idea!)

A similar process applies to the second takes (Round Robin takes) this was fairly simple. The mapping editor works in groups, for each round robin you create a new group and set that group to be a certain either the first or second set of round robins. Again copying the already mapped first takes and pasting that into a new group meant I could re-locate the samples within this second group with the second takes.

I did the same thing with the hard wooden end of the beaters and placed those into two new groups. Had a play with photoshop and added the Attack and Release knobs through looking into the inner workings of other Kontakt instruments scripts.

A little messing with key switches and it was prett much there.

So please do have a play with the Gyil and enjoy

African Gil - Recording session

January 09, 2015 in Sound Effects Recordings

For the past couple of months I've been working on a show called Lionboy with Complicité and we're coming to the end of our run at the Tricycle Theatre. The show had a live percussionist on stage, so this week I've decided to record Steve's (our percussionists) Gil.

The Gil is an African 'tuned' percussion instrument that steve plays in the show for a few of our 'African' scenes. It's not the most common instrument I've ever come across!

The notes are pentatonic and so, as Steve usually suggests, you can play almost any notes and they will likely fit together! Steves instrument was made by his teacher in Africa and has gaudes underneath that amplify the sound. It has a bit of a weird unique buzzing sound on some of the notes and watching people play them on YouTube it's really meant to be part of the overall sound of the Gil. To create the buzzing sound there is a spider egg membrane covering holes in the gaudes which vibrate, strange but true!

So having decided to record the Gil properly Ive also thought it would be interesting to learn how to make a kontakt instrument using those recordings, so have taken a bunch of different takes at differing dynamics and will have a go soon. I managed to find a few hours without anyone else in the theatre and got recording. Wanted to get some use out of my sound devices 702 and a pretty neat pair of DPA 4011's which we use in the show.

Here's a dry clip of me messing around on the Gil, i'm no percusionist so forgive me!

Now on to editing the single hits and trying to make a virtual instrument from it!

Music world of October

October 28, 2014 in Bits

Each month I setup a new playlist on spotify full of bits of music I've never listened to before, I thought i'd share a few that stood out over the month and some more recent finds. I'm really interested in some of the Orchestral/Electronica crossovers going on and becoming more aware of it, so these are aimed in that direction.

Koan Sound & Asa - Mix of Small orchestral arrangments with electronic beat taking focus.

Phoria - Chilled out acoustic version of this track - original version here

New album from A Winged Victory for the Sullen

Clint mansell came to The Barbican earlier this month and I'd never heard this before and loved it

Enjoy!

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War Correspondents 2014

July 16, 2014 in Theatre

During April of this year, I worked with Helen Chadwick and Steven Hoggett on a project Helen has composed called 'War Correspondents'. A sung theatre piece about the lives and experiences of War Correspondents over recent years. The lyrics of the sung music were taken from interviews with War Correspondents talking about situations of conflict they had covered and their thoughts on 'War Journalism'. From a sound perspective there is a lot of interesting material to play with from the original interviews as well as finding the best way to integrate the voices of the interviews into the music and between songs. We also worked with Sound effects with specific pitches hidden as an extra layer so the singers could catch a pitch to work with for the next song they are heading into.

Movement is such a big part of the show alongside the music that I decided to bring a Leap Motion device into rehearsals to play with. Using the LEAP with a piece of software called GECO, it allows the user to manipulate effects and trigger cues using the movement of your hands, In our case pushing downwards towards the device triggers a filter effect which is dialed up and down depending on the height of the singers hand, when it is lower it allows a recorded musical Drone through, but when its higher we hear a helicopter and no drone, the singer has direct control over this mix during the scene and uses it as an instrument to accompany his song.

The show initially toured around the UK in spring this year, but will also now be playing in London in October with a few dates around the UK after that.

War Correspondents @ Birmingham Rep 2014

2014 Jan - July

July 16, 2014 in Theatre

So I realised its already July and most of the year has gone by without any updates here. So will be posting a bit more frequently now. To start off just a quick backlog of the year so far, starting in January! I began by Shadowing the lovely Carolyn Downing during a few of her tech processes, which was a great insight into her working process and general views on Sound Design, a lot to learn from an intelligent designer doing some very interesting Sound work.

I then went on to design a, slightly alternative, theatre piece located inside St Leonards Church in Shoreditch called SUN produced by National Art Service, It was a really friendly company to be part of. Talking technically one of the most enjoyable experiences was being able to locate sounds around this huge expanse of space whilst also (if needed) dislocating the sounds from specific places and abstracting the sounds of the exterior central London evening. Shoreditch is a very active part of the City and it doesn't let up for anything, Its not something I'll go into lightly again but it opened up a different world of using the spacial relationship with an audience.

Then worked as Associate on the Almeida verison of 1984 for the very talented Mr Tom Gibbons after having worked with him on Lionboy last year. This then went onto transfer into the Playhouse in London.

Following this designed and operated a double bill of new work funded by Aldeburgh Music, Royal Opera House and Opera North called The Commision/Café Kafka, through which I worked with Elspeth Brooks to integrate an element of Sound Design and live sound into her composition.

Then went on to Sound Design a project called War Correspondents Directed by Helen Chadwick and Stephen Hoggett which then went on to tour the UK. It will be back for some London dates in October followed by some more touring and I'll talk more about in a separate post.

Brothers Stag doo...

Brothers Wedding!

I then worked with Mr Gareth Fry once more on a design for 59 Production's projection map of the Sydney Opera House.

For June I've been in Aix en Provence with The Magic Flute once again as Gareth Fry's Associate, helping to fit the design into their fairly unique venue and transferring all the changes we had made back into a German version of the show after re-making it in English at the Colloseum for the ENO last year.

July so far, I've been in Salzburg (Hallein to be exact) Sound Engineering and Operating a new production for the Salzburg Festival. A Katie Mitchell/ Leo Warner piece Sound designed by Gareth Fry and Melanie Wilson called The Forbidden Zone.

The Noise - Digital Playscript Phase 1

January 27, 2014 in Theatre

The Noise (Unlimited Theatre), a show I co-sound designed last year has been turned into a digital playscript. We took a few days to go through the Sound Design for the show and added cues into the text - which hopefully represent what would have been heard in the theatre to a certain degree - alongside a whole array of awesome features that make the script a much better representation of the show than a paper version. Making a more engaging and easy to follow script to take away from the show! Pop some headphones in and check it out here! http://uneditions.com/

SFX Amsterdam - Santa's Boats!

December 20, 2013 in Sound Effects Recordings

Having recently took the exciting plunge into some new mics to start building my SFX Library with, I decided I'd start going through some randomly gathered un-edited Zoom content and edit them up to share! Been as its almost Christmas, as a starting point a quick recording from last year In Amsterdam, as Santa Claus arrived... 'Sinterklaas Arrives– The Dutch version of Santa Claus (or St Nicholas) makes his annual arrival in Amsterdam on Sunday 18th November. His boat will sail along the Amstel river before arriving at the Maritime museum at midday. He then jumps on his white horse surrounded by his helpers the Zwarte Pieten ("Black Petes") and heads to Dam Square and Leidseplein.'

This annual occasion, brings out the masses into the streets of Amsterdam to witness the parades coursing through the the City.

This mass of boats came past the window of my apartment, so took the chance to grab some quick Zoom H4 recordings of the general happenings below and luckily picked up some big foghorn sounds. Some pretty high pitched harsh horns to start with and some deeper breathy horns after.

More coming soon!

Autumn/Winter 2013

December 20, 2013 in Theatre

Since the last post about the Magic Flute in London, it has opened and closed its doors to the public. It seems about time for an Autumn/Winter update having neglected blogging for a while. First was a brief trip back to Newcastle and the Theatre Royal for a re-mount of the RSC's, David Farr, version of Hamlet, Working with the amazing Claire and Jon from Stratford. Moving the sound for the show from a Thrust design to an end on design was a good challenge, but great to have a good set of proscenium speaker positions to replicate some of the design and luckily the majority of onstage speakers were able to stay in similar positions, so we could still bring sounds down to be part of the onstage action, but bring some of the music to the front to push some energy into the audience.

This was followed by The Magic Flute at the ENO which was great to bring a show back with a totally different crew and venue to last year and also interesting to see what a UK audience made of it. The space was quite different, but one of the more successful features of the design ended up being the blending of the re-enforced dialogue with the acoustic sung pieces.

The Noise also returned for a brief visit to Leeds' West Yorkshire playhouse and to the Warwick Arts Centre. Had a great in house rig in Warwick's studio space and a much better position for a set of Vocal Speakers, used (as the name suggests) for radio mics on the cast, brilliant to hear the show in a more intimate space and layout, it really helped us to mix the sound/music content with the dialogue.

(Yes I'm now addicted to Panoramic iPhone shots, even in the studios!)

Foley booth - ENO Magic Flute

October 16, 2013 in Theatre

The Magic Flute is now rehearsing ready for the autumn showing at the English National Opera's Colliseum in London. This (Mcburney's) version of the opera first played in Amsterdam last year and is currently transferring to the uk whilst also being translated into English.

This time around we have a slightly smaller foley booth with the extremely talented Ruth Sullivan as our lead Foley Artist, who is also stepping into her acting shoes too.

This is our new foley booth (below) which is still being finnesed, eventually to be equipped with 4 shelves, a small table and various hooks for all sorts of foley items, along with its own light. A mic for the table and a second for footsteps. It's exciting to hear the foley begining to be put into place again, and it will be great to get into the collesium and get the sound design sitting inside the piece.

The Noise @ Northern Stage

October 06, 2013 in Theatre

This week I've been teching Unlimited Theatre's The Noise in Newcastle's Northern Stage (Stage 2). The story is a "sci-conspiracy thriller", and on the island of Whitley the most notable feature is the constant 'Noise' being emitted by the island. Working as Co-Sound Designer with Gareth Fry, we've been playing with different types of Noise and how much of it we can push the scenes by using different styles of 'Noise'. There is real anger in the characters of Whitley caused by these relentless and ever changing sounds they can't get away from and it's been really interesting in finding how to achieve this whilst still allowing the clarity of the story to come from the actors. There is also composition by David Edwards (AKA Minotaur Shock) which has been a pleasure to work into the show and if you get a chance check him out!

The Noise opened here in Newcastle on Friday 4th Oct and runs until 12th October. It then tours to Warwick Arts Centre and West Yorkshire Playhouse in November.

I thought I'd share a few interesting bits of research I came across, whilst looking into science related sound inventions, firstly the ishin-den-shin http://www.ivanpoupyrev.com/projects/ishindenshin.php

Secondly the Hypersonic sound speaker invented by Woody Norris . hard to show the workings of online, but pretty cool nonetheless! http://www.ted.com/talks/woody_norris_invents_amazing_things.html

[youtube=http://www.youtube.com/watch?v=HF9G9M0cR0E&w=560&h=315]

Farragut North

September 16, 2013 in Theatre

This week Farragut North at the Southwark Playhouse starts it's 3 week run. I've been working alongside a very talented Composer, JudeObermuller and we've been putting his score into the Southwark's, new, Large Space. Although in a fairly difficult 'thrust' setup we had some fun playing with layers of his music and locating it in different spots around the room, hoping to add another dimension to it.

Farragut North will be playing at the Southwark Playhouse's Large Space until 5th October

Space Junk: Lyric Young Company

August 26, 2013 in Theatre

This week I've been at the Lyric hammersmith, working with the young company to devise a new play entitled Space Junk. Reading A book by Andrew Smith Called Moondust and getting into the stories of the moonlanders and astronauts that were involved in the Apollo missions. The book takes the viewpoint of the author/journalist meeting the remaining men that traveled with the Apollo missions. It's pretty remarkable some of the stories that these men can tell, their intellect and technical knowledge mixed in with there lives after the landings is extraordinary.

The devising process has been a really well structured and creative one, working within key rules and focusing on certain influences. It's been a really open and exciting room to be in!

Space Junk will be playing from Thursday 29th - sat 31st in the Lyric Hammersmith Studio

Lionboy logo

Lionboy: London Unicorn

August 10, 2013 in Theatre

A few weeks ago it was Lionboy's final week playing at the Unicorn Theatre in London. After 8 weeks on tour it all ended with a great last week of performances in London and it was nice to be back in the city! Being on tour has been an amazing experience with a lovely team and cast it was a great place to get the experience of attempting to produce same show in very different venues. Listening to different house systems and how they were set up for each venue was really interesting. The unicorn perhaps one of the more fiddly setups with it's curved auditorium and not a lot of space for front of house positions. Luckily this was one of the venues on the list with a centre cluster in it's FOH setup which helped a lot in separating voice-overs and music for intelligibility purposes.

The hardest thing to judge from venue to venue was the mix between our live Percussionist (Stephen Hiscock) and the playback music, along with the Voice-overs on top of all that. Making sure the narrative was clear whilst keeping the drums and music at a level that drove the scene on was always a difficult one to achieve, each venue reacted differently to the drum kit particularly, Wales for instance had a stage about 4 times higher and wider than the Unicorn, pretty cave-like in its acoustics, but again was an interesting challenge.

Lionboy Tour: Bristol

June 02, 2013 in Theatre

Complicité have just began the tour of Lionboy a new show for kids based on the trilogy of books (with the same name) by Zizou Corder , which tells the story of Charlie Ashanti, a boy who can speak to cats, and his journey to free his parents from the "corporacy" which also leads him through a circus where he meets a pack of lions and sets out to liberate them...

I've been working as Associate Sound with Tom Gibbons as Sound Designer, and i'll be operating the show for the rest of the tour. The show, so far, has been well received and we had a lot of fun finally getting it onto the stage in-front of an great audience.

From a sound perspective the the story is illustrated using sound effects and music that reacts to the particular form of storytelling that has been conceived for this show. One of the interesting parts for me is having a live percussionist (Stephen Hiscock) on stage, jumping from a full drum kit to traditional Ghanaian instruments, to provide underscore and musical accompaniment to the action on stage.

Lionboy will be touring around the UK, and the next stop is the Liverpool Playhouse for a week (week commencing 3rd June), followed by Oxford Playhouse, Warwick Arts Centre, West Yorkshire Playhouse, Wales Millenium Centre and ending with a 2 week run at the Unicorn Theatre in London.

Catch up on 2013

March 31, 2013 in Theatre

As i've been pretty bad at updating lately I thought i'd pop an overview of the year so far for a bit of a reference and sharing, and will hopefully be a bit more detailed about each soon! :)Complicité Open Sound Workshop

To start the year off I was part of a Complicité open sound workshop with participants from all over the world taking part. We took a week to work with sound as a rehearsal tool, led by, Complicité associate, Catherine Alexander. It was a really interesting chance to see how sound can effect the way a rehearsal process can evolve, how it can be used to analyse characters and scenes and map out sections of stories, to reveal new stories. Some really interesting sound experiments with both recorded and live sound/music.

Inspector Sands, Rock Pool Working as Associate Sound Designer to Elena Pena, on a show for 3 - 5 year olds, the show was created by the company and Directed by Lucinka Eisler. The age range for the show created a bit of an extra challenge for us, but an interesting one! The show is set in a tiny rock pool, where a crab and prawn have been washed up and find themselves stuck! We used a mixture of Sound effects and Music (composed by Tom Mills) to create the audio world of the rock pool and the outside human world too, using props on stage to help make the music come from the stage and turn into playback music.

RSC HamletPhoto by Keith Pattison

At the start of the week Hamlet began its run at the Royal Shakespeare Theatre in Stratford Upon-Avon, Directed by David Farr the production will run until September 2013 in rep alongside As You Like it and Alls Well That Ends Well. It was great to work with the team at the RSC, some lovely people and just a nice a place to be. It was a learning experience I really enjoyed. The theatre itself is in a thrust configuration since its renovation a few years ago, which was an interesting space to work in.

Amsterdam – The Magic Flute (Die zauberflöte)

December 11, 2012 in Theatre

The Magic flute is now up and running at the Muziktheater in Amsterdam and will be performing around 8 more times from now until 30th November.

http://www.het-muziektheater.nl/en/program/2012-2013/die-zauberflote/

Here's a little web trailer the created by the DNO with a little about the sound of the show...