I haven’t put a date on this one, because it combines two separate decisions. However, they’re both linked, so I thought it would be easier to put them in the same blog, as well as only change the aims objects once more.
Stereo Recording
After receiving word back from one of the galleries stating that they were full until after the New Year, I have changed the way in which this piece will be presented. Currently, it is being mixed for headphones. In the past, I have really liked the way that headphones encapsulate the listener, and surround them in sound. They are able to lose themselves within the piece, and it cuts out background noise and distractions. This way of presenting the work echoes my original idea to have directional speakers in front of each photo, so the piece could only be heard from a certain area.
This also means that the piece can be adapted for use on the sound wall or sound spiral, which would allow the piece to have movement along the speakers. Having the sound physically move would work well for the hydrophone recordings. It could also give a better idea of a progression in a piece, and I would be able to have recordings from difference mics at the same time, from different speakers. David McSherry’s piece for the Joseph Banks exhibition at The Collection used the whole wall, creating a complex soundscape, with sounds coming from all over the wall, and creating much more realistic ‘picture’.
Second change of idea
Following problems with putting all of the different types of recordings together, I decided to change my idea again, and have the final piece more like the original idea – to have three separate track for the same piece. It would be similar to an art triptych, but for audio.
This means I don’t have to worry about trying to blend a clip recorded underwater with some electronic static. This made the idea much easier to work with, as I was having a lot of trouble putting all the clips together, while making it a listenable piece. Previous to the change, it had sounded very ‘thrown-together’ and haphazard.
With those two ideas in mind, I decided it could be more of an art piece upon using the sound spiral, and as such I would reintroduce the visual element, following a discussion with a drama student about my piece, and how to present it. Knowing how important a visual queue can be, I would have three simple objects or ‘set ups’ to accompany the pieces. A sheet of metal for the contact track, a tank or bowl of water for the hydrophone piece, and an old block television showing static for the coil pick up.
In addition to this, I have decided to call the project as a whole ‘Hidden:’, the contact ‘Within’, the hydrophone ‘Underneath’ and the coil pick up ‘Above’.
Alterations to the aims and objectives:
– Overall aim: To create soundscape using contact microphones, hydrophones and coil pick up microphones, for a headphone installation.
Aims:
– Learn how to put ‘unheard’ sounds together effectively to create a soundscape experience
– Learn how to mix a soundscape for headphones, using the new microphones
– Learn the process and equipment needed to record using contact mics, coil pickup mics and hydrophones
– Gain a better understanding of what makes a good recording using the three microphones
Objectives:
– Use contact microphones, hydrophones and coil pickup mics to create a soundscape experience.
– Create three soundscape pieces for headphones
– Plan visual cues to work with the piece during the exhibition
– To research equipment used in other sound exhibitions and to use information gained to apply to my own project