AUS220 – Live Sound – Week 6 (andplaythatfunkymusictillya…)

Till ya die. Till ya diiie. Til ya diiiiiiiiiiiiiiiiiieee.

And there was dancing, and singing, and movin’ to the groovin’, and just when, it hit me, somebody turned around and shouted….

So today we spent about 6 hours listening to the same song, over and over, and over, and over, and over again, while students were doing their 20-minute live sound baseline assessment.

Poor Tim. I was done after the first hour. Tim has had to listen to the same song with 4 different groups throughout the week. A conservative estimate would suggest that he’s now heard the song approximately 1,000,000 times.


There wasn’t too much else to report for this lesson, everyone did a pretty solid job of mixing. I was slightly relieved we ran out of time before I could do my assessment as it was the end of the day and my ears were not in the best state to be mixing. Also my brain was done with the dancing and the singing and the movin to the gro…. damnit.

CIU111 Week 6. Social Media and Your Career

This week we had a look at Social Media, content, tools and associated technologies for the creative industry.

We again had a video conference with a group of various creative industry professionals and their experience with connecting with their audience via the internet. They said an effective online presence is essential for success. Most importantly, several people echoed a similar sentiment that it is important to be genuine when publishing content and connecting via social media, as most people can see through thinly veiled attempts at spamming and will quickly lose interest in you and your work.

I personally have engaged in social media for sharing and promoting creative works for over a decade now, having previously done some website development work for artists at a time before social media was prevalent, and you were required to take a much more technical approach to achieve some fairly basic results.

Nowadays, social media is currently the best and most direct way for an artist to actually connect and engage with their audience (for better or worse). Services such as Facebook, Twitter and media specific distribution services such as Soundcloud, Etsy, Redbubble etc are an all but mandatory requirement for success in any given field as these websites and services are essentially the new marketplaces and where people do spend a lot of their time and attention.


AUS220 – Live Sound – Week 5

Check check – check one – check one – tssu – tssuu – check -tsuu – check – ha – ha



For this session, the Live Sound space was in use by film students, so we took the foldback, sidefill and cat-5-icore into the green screen room. We were tasked with setting up a monitoring system for a small band.


We set up the wedges, 1 either side and a coupled pair for the center / singer. The sidefills were setup across the front line, also doubling as our FOH for this exercise. We mic’d up the school drum kit and fed it through the drum fill, DI’d the bass into the sidefill, mic’d up the guitar amp and set up 3 vocal mics for our imaginary singer and his girlfriend/girlfriend’s tambourine.  Everything was up and running well under an hour with the system tuned and cables especially neat.


We managed to get a decent level out of the system, and I only recall feedback happening only once or twice.




This was a fairly straightforward tutorial and everyone handled things with ease. Bonus points for the awesome Metallica jam we had ‘testing’ the system.


CIU111 Week 5. Data, You and your art.

This week we looked at how to utilise data technology for creative media and the tools available to connect and interact with your audience. Having worked with IT for the better part of the last decade, I am already pretty up to date with current technology, websites, hosting, analytics and social media. I have already had some success with taking what I’ve learned so far in CIU111 with wordpress and am currently developing a website/online store for a client and will be incorporating further analytics and marketing technologies from today’s lesson.

I have had in the past fallen into a trap where I have a marketing strategy and online/social media presence for a project or work long before I have any legitimate content. My Facebook artists’ profile was set up almost 5 years ago, and similarly, I have had a domain name registered for over a decade in preparation for one day actually doing some work and using these tools effectively.

AUS220 – Live Sound week 4

And the Lord (or possibly Tim Dalton?) said: ‘Let there be live!’ And then there was sound. And it was good.




This week was our first time in SAE’s all-shiny and brand-new Live Sound space. The room is ‘bloody huge’ and according to Lance Krive, has about 2 (presumably metric) tonnes of sound proofing in the the ceiling. Also, we have a shiny new motorized lighting rig; lovely black curtains and even a green room, which is not actually green.

Avid S3 Surface with AVB-networking

Oh yeah. We also have a brand new Avid S3 control surface to work with and a whole bunch of fantastic amps and FoH speakers, but, most impressively; the ‘giant fuck-off multicore’ has been replaced by a much more sensible (and several orders-of-magnitude cheaper) CAT-5 networking cable.


The blue thing means the sound.

I am really impressed. I did Live Sound -BAP190 with Lance just over a year ago, and we were still using the ‘giant fuck-off multicore’ and having arguments about ‘analogue vs digital’. PS: Digital won.

We spent the day going over the basics of a live sound rig, and also had a look at the features of the S3 surface and interface. The Avid software is incredibly powerful, and has may options of customization, and most importantly, recall for just about every parameter you could think of.  Usually, a live sound rig is accompanied by a massive rack, or racks of outboard hardware: parametric EQ; Compressors; Reverb; Delay; general FX modules; which normally take up a whole bunch of 19″ rack slots. This has all been superseded with software. I am slightly torn about this. Whilst the software is incredibly powerful, I do miss the tactile response and direct control of hardware. However, the software is incredibly  powerful, and oh-so-much cheaper than hardware. Also, you can use the standard array of Pro Tools plugins, plus a plethora of 3rd party plugins. It’s a no-brainer. Digital has won. Software rules.

I shall miss the fun of plugging in a whole bunch of seldom-used outboard gear, and the inevitable signal flow headaches that follow. However, it’s a new age and a new frontier. Now I need to get used to software layers, and almost ‘imaginary’ signal flow that ‘just works.’

We managed to get the basics down fairly quickly, and managed to tune the room with pink noise, dutifully facilitated (and easily recalled) with the click of a mouse with the new S3 rig.


I am looking forward to see how our already excellent group deals with the challenges of our Live Sound projects.


AUS220 – Post Production wk 3.5 – I’ll be back

We finished our sound replacement project for our scene from ‘The Terminator’.

A few things got lost in the mix towards the end, but was overall a success (also, a lot of fun!).

Interestingly, about 2 seconds after I’d finished uploading the video to Youtube, I was served with a copyright infringement notice!

Hi Rick Reeves,

Due to a copyright claim, your YouTube video has been blocked. This means that your video can no longer be played on YouTube, and you may have lost access to some features of YouTube.

Video title: AUS220 G1 Terminator – Sound replacement – AES
Includes: Visual content
Claimed by: mgm, FOX

Why this can happen

  • Your video might contain copyrighted content.
  • Copyright owners can choose to block YouTube videos that contain their content.

– The YouTube Team


I managed to contest it successfully, stating:

This video uses copyrighted material in a manner that does not require approval of the copyright holder. It is a fair use under copyright law.
This clip is an original work of sound replacement using pre-existing footage. This clip is used with respect to the Copyright Act 1968, as outlined in the document ‘Fair Dealing’ by the Australian Copyright Council.
I have a good-faith belief that the claim(s) described above have been made in error and that I have the right(s) necessary to use the contents of my video for the reasons I have stated.

Even though I was able to argue the claim, it was still interesting to get some insight into the Youtube copyright protection algorhythm, and how quickly it operates (shoot first, ask questions later).


My final contribution to the project was:

ADR – Police officer

Foley – Terminator footsteps

SFX – Wilhelm scream was totally my idea! :-p

Score – everything! transcription, synth design, programming and rendering.

So, here it is.



CIU111 Week 4. Critics, Reviewers, and Journalists

“Critics and cynics complain that it’s a fallacy
Claiming rap music has a lack of musicality
But in the end, none of them critics can rap
So they don’t know the facts, but they’re always on the attack..”


This week we look at criticism in the creative media. In the creative field, critique can be either positive or negative, but most importantly, it can a valuable tool to allow you to look at your work objectively. We also looked at how this feeds in to reviewers and journalism, both of which can help feed content creation and drive up you profile with free marketing. That said, there is always a risk of receiving extremely negative reviews and the damage that can cause to one’s reputation, especially in the creative industry where so much relies on networking and word of mouth.

We also had a online video chat with an artist who discussed how he deals with criticism. He said that he has a small group of people who’s opinion he really values and will take seriously any of their advice, but otherwise ignores anyone outside of that circle and any negative opinions they may have.  I think that’s a fairly reasonable solution to preserving your sanity while still trying to be objective when analysing and discussing your creative works.