Timeline

Sense of Space: Sound Plan

Sense of Space: Equipment

Sense of Space Recording List

Schedule

Rough Edit and Feedback

Following the overall postive feedback we will make the necessary adjustments to our current draft as we feel starting from scratch and reassembly might prove too extrenuous.
Adjustments include that of those to the vocal work, a complete re-furbishment; and fixing the skipping sine-wave in the left signal.

But for now, more influences upon our work, the gorgeuously reversed Cherry

Production Photos

What follows are the production photos of my equipment used for my first draft of the piece.

This is my modified Alesis sr-16 drum machine I used for the heart beat sound effect, it was in-fact a 'Honest Kick' sound that I boosted the bass-signal and added some Equalisation in order to further boost the lower frequencies.

This is the Zoom G21.u Multi-effect pedal I used alongside each seperate instrument for additional reverb as well as some Equalisation, Delay and Wah-Wah. Whilst recording a 'flat' sound is useful if you intend to add effects in post-production, I have find through personal experience that effects such as Wah-Wah can sound particularly 'Zonky' (or 'artificial' to the lay-man).

This is the hand-made Sinewave generator I used to create the tone, I tried to liken it to that of a flat Bpm Heart-rate Monitor in order to connote death in a modern world.

My (also) hand-made low-pass filter, used in connection with each instrument as both a mixer and a filter to add some extra polish and control of the sounds produced. It filters out all the high-end frequencies in order to produce an easily alterable cut-off point for deeper sounds.

Boss RPS-10 Pitch Shifter and delay, when this is used in accordance with my hand-made sine-wave generator, and carefully, produced some really dissonant detuning effect, i.e. the slight wavering of the 'BPM' towards the end of the piece. Whilst these machines might be considered out-of-date or obsolete today I still find they can help create some very unusual sounds at the highed ends of it's modifications to a signal.

This is my New Casio CZ-1000, kept in pristine condition ever since circa 1985. It was the first programmble-Synthesis keyboard I bought and boasts an 8-step envelope attenuation generator (I still don't know what that means), phase-distortion, full-sized keys and expandable memory in the form of cartridges.

I used all of this equipment in connection with a mixer and amplifier and recorded all of my sounds generated with both a Marantz and an external source.

Pre-production notes

For the first chapter of the piece - Wait - we would like 1 minute of a very gradual 'wall-of-sound' build towards the second chapter, this would include a slow sinewave fade in of 10 seconds followed by some highly fragmented and echoed nigh discernable voice.

For the second chapter we wanted a slow increase in volume, followed by the begining of a fade-in for the steady heart beat. This would be accompanied by the voice becoming more discernable, coupled with this is the addition of a low rumbling bass tone pitch-shifted down half a note, this is known as detuning and produces a wholly uneasy feeling upon the listener.

The third climatic part of the piece would be mainly build-up via the noise signal and the heart-beat of the (as yet un-named) character. Accompanying the climax of the piece the character would begin to sob and at the absolute climax of the piece the noise signal would cut-out (following a highly reverbed gun-shot to denote his death) remaining with the character sobbing for about 15 seconds followed by a fade-out to silence.

Initial ideas and influences

The ideas of Limbo and eternity struck Rob and I quite particularly, dividing the project work-load between us; i.e. foley sounds, spoken words, ambience and background sounds, we set to work on recording lists as well as seperating the time-line of what the project will be into three parts, 'Wait' 'Seek' and 'Regret'. We broke the project down in this way in order to help instill an episodic feeling for the piece, as we felt that a narrative would help the structure of the piece and dissociate it from random foley and ambient sounds.





Because Rob has a similar music taste to myself we delved into our musical influences and found coinciding roots in ambient and post-rock genres.