Immersive Sound Journey - The Start
DYCP - GO!
[Snowy April sunrise]
This is the start of a chunk of time that I haven't had for many years, creative time that I have set aside to test and experiment with sound and story; working on ideas, trying new methods, exploring new geographical (and creative) spaces, collaborating with and learning from new people. This is the start of my Arts Council funded DYCP project!
But why now? Well, 2020 brought a load of new challenges for all, myself included (speaking as a freelance sound engineer who suddenly had very little work). So instead of wallowing and waiting for new things to come about and for the live sound industry to get going again, I started planning what I would like to be doing and what new things I would like to focus on learning looking forward. I have been working professionally as a live sound engineer, location sound recordist and mix engineer for 15+ years, during which time I also set up a record label and supported youth music projects that engage hard to reach young people. In amongst this mix of sound related work and projects there have been a few key threads; the first being nature and the second being storytelling. On reflection, I began to realise that the most fulfilling work was associated with helping other people tell their stories in some shape or form with sound, and that this was gradually pulling me away from the machine of the city.
What do i want to achieve? Having moved from the city to be closer to nature, fresh air and a more natural soundscape on my doorstep, I began to realise the importance of these simple things in my life. To find interest, beauty and enjoyment in the heritage and craft all around us is what has informed this project. And to challenge myself to bring my skills in sound recording and production to these capture these things is in part what this journey is about.
I say partly, because it isn't just about my simple life ideal, it is very much about my career and my investment in my creative and technical skill development. The world of professional sound is immense; recording alone has a thousand strings to its bow, so there is always new technology to master, new physical settings to work within and new ways to apply knowledge and skill to a different project or creative practice. With this in mind I have been clear with myself and have decided to focus on a relatively narrow line of technical exploration - Immersive audio storytelling - Including an exploration of Binaural sound recording and production. I understand that Binaural recording is an area that warrants much research for its use in broadcast such as that of BBC Research and Development department and also for live theatre with productions like Simon McBurney's 'Encounter', and i also appreciate there is a ever growing world of 'immersive audio' using technologies other than binaural recording/production, which I would love to explore at some point further down the line. To be able to get creative with a technology can be a difficult thing, it requires understanding and the ability to work in ways that are fluid, so no barriers and ideally no complex kit or systems that can not be incorporated into a natural workflow. I aim to get to grips with binaural recording learning as I go, using my new 'dummy' recording head as a 'tool' which I can experiment with to discover new ways and directions in audio capture, content and space...
[Moorland sign & microphone]
Equipment and production techniques. I plan to explore a range of recording and production methods in order to learn more about the 'immersive' element of immersive audio. Some of this will be utilising kit i have available, some will be discovering and developing new kit and experimenting with software that is focussed on mixing 'spatial' audio. Much of my approach will be concerned with the space that sound lives in, exploring the concept of soundscapes, both natural and man made, and then experimenting with recording of soundscapes to set scene in different ways. Positioning of sound sources, combining creating and designing sonic elements by different means and testing out how they interact will be an important part of the process: a voice, a maker at work, curated sound design, digital, analog, space, story, the location, the mix.
Story and the bigger sonic picture With people come stories of all shapes and forms, some clever and crafted, some raw and simple. One of the most interesting things I like about people is that everyone has a set of stories that tie together their life, especially the how and the what of this journey. When talking to creative people there is the possibility to get under the skin of their passions and interests which I find fascinating. Combining these stories and words with sound in the form of creative collaborations will form a part of my creative development journey. Of course I will need to find the right people, and uncover many sounds and learn about sound from many new angles in order for this creative pairing to work. So bring it on.
I hope to develop a set of new audio skills that will open doors into new future projects, creative areas and as of yet unknown productions.
