The Royal School of Arts in Gent, Belgium, is holding six full days of listening technique and research this February and March. Elias Vervecken (sound recordist and foley artist) and Els Viaene (sound artist and field recordist) will each lead a three day workshop on listening, focusing on different relationships to the environment.
Starting from the point of silence, Elias Vervecken will investigate how noise can be made tangible and question how this relates to creating sound for image. Using the natural landscape as her starting point, Els Viaene will guide participants through investigation of the microphone as a subjective expression (rather than neutral observer) of the environment, and question how evocative aural pictures might then be combined with visuals.
The workshops will take place on 20-22 February and 20-22 March, respectively, from 10.00-18.00. The cost is EUR150.00 each or EUR250.00 if you attend both.
The language of the workshop is English or Dutch and the venue is Herculeslab – the conservatory’s audiovisual lab. Click on the link for more information and details on how to register.
Might want to be careful if you’re going to try recording this critter!
We use animal sounds all the time in sound design. Whether it be the twenty some-odd creatures that went into the sound of the Velociraptor in Jurassic Park, or the Elephant bray used in the destruction of the Titanic, they seem to find their way into every situation…sooner or later. This month, we’ve decided to take a look at the recording and design of animal…and creature…sounds.
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Rhythmic Processing is a technique that allows the creation of multiple rhythmic elements, in real-time, from a single instrumental part. The dynamic accents of the instrumental part (in this case an acoustic guitar) are routed into several plugin chains, each one creating a separate rhythmic element.
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