Prototype_Woolloomooloo

Second prototype - testing layers

"The impacts of a hundred-day confinement were felt by billions around the globe. Thoughts about personal health, job security, relationship stability as well as much more were breathed in and exhaled out daily as they infiltrated the mind and home, denying repose. It was the ironic reality of many, many people to be unable to find rest in the one place it belongs." Through my audio program, I wanted to explore the lingering elements of a global pandemic in a world recovering. I tried to channel particularly absurdism (the idea that life is irrational, illogical and incongruous), which had also risen from the aftermath of a global tragedy almost as a means of coping. This was reflected in key story elements, like the idea of an omnipotent being who chooses to run guided relaxation tours of questionable success through the Sydney Botanical Gardens, and enhanced by manipulating the audio to convey more than just the surrounding atmosphere. For example, the sudden use of heavy reverb on his speech, followed by rapid fading into complete silence bar the noise of your own heartbeat pounding in your ears. There is also an obvious emphasis on mental health, which was contextually influenced by my experience as a student during the pandemic. During that time, I felt strongly that mental health was underrepresented and under emphasised in the Covid-19 response to students. Rather, emphasis was placed mostly on academics and ensuring that work would proceed and be completed as usual. To emphasise it in my own program, reflecting my own experiences, felt empowering and cathartic. In my case, the location of the echoes soundwalk did not need to be a special or particular one; I simply needed to find a park open or wide enough to hold the whole program as well as provide a convincing backdrop for the surrounding activities, like an entire construction site or animal sanctuary. For this, the Sydney Botanical Gardens were sufficient. All recordings were taken either in or around the house, with the exception of those taken from the shared group pool, and most recordings were done through a Rode dynamic mic into a Zoom H-6. This caused a problem when they were taken at a different sample rate to other audio clips, but they were converted through ProTools. Recording in and around the house proved to be an issue for some recordings, however. For example, as the construction site was also recorded near my house, it bled into the background of the dog barking audio clips. Other challenges included my house not always being the most appropriate acoustic recording environment as well as some quieter noises being harder to capture, such as the noise of the drawer skates or rain ambience. I tried remedying these with smarter mic placement, like underneath the drawer for a louder roll and quieter close or underneath the awnings for a louder rain pitter-patter. Next time I would record with a partner to streamline a lot of the process, more easily avoid handling noises as well and to get better recordings in general. All vocal recordings were done into an Audio Technica AT2035 into Audacity via an audio interface in my bedroom. The voice recording varied a lot in volume in different parts in ways that weren't deliberate and had to be compressed once to solve this, then once again to adjust for correct LUFS. Next time, I would try to maintain a consistent distance and axis to the mic to avoid this, as well as employing a pop filter to avoid loud plosives and lip smacking noises. I would also look towards optimising my vocal recording space.

In this assessment I took inspiration from 'sand box' style video games such as: Final Fantasy, Assassin's Creed and Kingdom Hearts, to create a soundscape that mimics those heard in this video-game style and lets the user explore Sydney's CBD as if it were a world in a video game. In these games the avatar moves from one area to the next freely, and the music and dialogue interaction with other NPC avatars change to reflect the in game circumstances related to the specific area. In my Echo I have included three areas that are typical of this style. The first is a free roam adventure sequence in which NPC characters offer you quests or mention generic information relating to the city. The second is a combat sequence in which the player must fight or escape some aggressive NPC characters. The third is a shop sequence where the player may purchase items or gear to help them in the game. In each I have used atmosphere recordings, original music and voice overs to recreate those typically heard in these games. I chose the area in front of Town Hall for my project as I believe that it is in some way iconic of the city of Sydney and is the kind of place that would be included in a video game representation of the cit. It is also a transport hub for the light rail and train line and so it has many possibilities for interaction with people (or rather, NPC characters). It is also located next to the QVB which worked well for my 'shop sequence' as it is a shopping complex. I hope you enjoy exploring the city of Sydney through the eyes (or ears) of a video game avatar.

A night out on Oxford Street PART 1: Enter Oxford Street on a Saturday Night. Tonight ill be taking you through Oxford Street, as we walk past some of Sydney's best clubs that showcase great music and put on some of Australia’s best events. Built by convicts in 1803, it was once used as a passageway for easier navigation and access to a signal station located in South Head (City of Sydney, n.d.). Nowadays, Oxford Street is home to Sydney’s most extensive nightlife. You notice the crickets cry dying blissfully and the air coiling chronically as you leave the serene Hyde Park. Notice how the sound begins to erode and distort to the on-coming sounds of traffic. The mumbles of chatter can be heard in the distance, but it’s not loud enough to subordinate the sounds of your own footsteps. A line hordes at the Burdekin Hotel, white button-ups and inaudible chatter; just locals trying to get into the pub. No music can be heard yet, only the crippling sound of asphalt that quakes the ground around you and the sound of laughs. The night has just begun. PART 2: The Oxford Art Factory, one of Sydney’s best nightclubs located in the heart of Oxford Street, attracts the liking of all people to share their love and connection towards all areas of music. Recently becoming quite popular among younger audiences, it is known for consecutively hosting the event ‘SASH’ every Sunday, as well as hosting other major events with both national and internationally renowned headliners. The venue was inspired by New Yorks Andy Warhol Factory during the 1960s (Oxford Art Factory, 2023). Its large capacity makes this venue an attraction for those who seek new musical and nightlife experiences. What you are listening to right now are the events taking place both inside and outside the venue. Remember, you are still outside and just a humble observer. The chatter constantly grows louder as the queue attracts more people; the shuffling of the feet rakes the path as they move inside one by one. These people came here to dance; they came here for House music. The music feels distant, however, the low-end bass groove makes your heart warm and pulsate as the vibration penetrates through your skin. Using a simple low-end filter, I cut off a large portion of all high and mid frequencies making them completely subordinate and isolating the bass, allowing for the track to sound more distant yet present within the location. PART 3: As we continue to walk further and deeper into oxford street, we stumble upon an interchange. We hear music quite distant, however, we follow the rumble into Flinders Street. The music is different; louder, faster and deeper. You can hear the kicks reverb sing in an echo-like harmony that ricochets the walls of the apartment. Like before, masses wait to enter inside the rumbling cage of the Flinders Hotel, all dressed in black, a strong community of techno lovers, uniting in matrimony to enjoy the euphoric emotions that techno delivers. The Flinders Hotel, opened in 1918 used to serve as a local pub/ restaurant (The Flinders Hotel, 2020). Now it is the epicentre of techno nightlife in the city. The small confined space allows for fuller crowds, closer community and amazing sound quality. The venue is primarily known for hosting hard techno event ‘Black Noir’ every Friday, and constantly brings hundreds of people through the doors as well as multiple famous and internationally known techno headliners. As the walk comes to an end, take a moment of reflection to recall the presence of people, the social interactions and the emotions that are attracted by music. Additionally, think past those aspects and focus on what is really happening outside; the traffic, the cars, the birds, and the footsteps. This program was intended as a way to both educate and experience what Sydney’s nightlife is like and the diversity of music and the presence of social interactions within our society. I hope you have enjoyed your walk. References: Functions. (2016, December 27). Oxford Art Factory. https://oxfordartfactory.com/functions/ Oxford Street: A history from track to high street | City of Sydney - News. (n.d.). News.cityofsydney.nsw.gov.au. Retrieved May 14, 2023, from https://news.cityofsydney.nsw.gov.au/photos/oxford-street-darlinghurst-a-history-from-track-to-high-street#:~:text=In%201803%2C%20convicts%20cleared%20this The Flinders Hotel. (2020). Theflinders.business.site. Retrieved May 14, 2023, from https://theflinders.business.site/?utm_source=gmb&utm_medium=referral#summary

Sydney’s Oxford Street is home to a cluster of nightlife entertainment venues in the heart of the city. Since the 1980s, the Darlinghurst stretch has been the hub of the LGBTQI community as a safe, inclusive space for staff and patrons in the many restaurants, bars and clubs that light up the street. In 2020, the covid-19 pandemic brought with it restrictions that caused these venues to operate at significantly diminished capacity or to shut down completely. Without customers, bars and clubs became casualties to the cost of rent, leaving a minority community with even fewer opportunities for work and entertainment. With the restrictions easing in March 2021, this Echo explores the energy along the strip as people return to the spaces that survived the pandemic, with first-hand accounts from those affected. Produced with recordings directly from the area and voiced by local members of the community, experience a night out by listening to the sounds of the city’s nightlife reinvigorated in the voices of the people, the celebratory music and the palpable excitement in the atmosphere. Although there is much to celebrate, it is impossible to ignore the hardship that has preceded this moment. Without enough support, jobs were lost and vacant signs still occupy many of the shop fronts. I chose this location to capture a unique historical moment in time for the city of Sydney: the effects of the coronavirus pandemic were not only economically devastating but also culturally and for a community that relies on their social and creative exchange, the shut downs were particularly damaging. There is still a sense of unknown regarding the future and despite the relief of revellers returning to their favourite nightlife spots, there is an unmistakable feeling of mourning for the time that was lost. Voice Credits: Jake Cross, Sue She, Kate Bayley.

This journey is very special to me and am very excited to be able to share this with you today. As you embark from Milsons point, all the way over the harbor bridge and to the ending point, i have no doubt your clarity of mind and general thought processes will be clearer. During your journey you experience the contrast between tranquility and energy to provide you the perfect balance of stimulation along your walk. Just like life you must have balance, so whilst you immerse yourself in this walk, bring a book or journal alongside with you to encapsulate your thoughts. There are marvelous sights to be seen which are very much unappreciated by most of society. At any point it is always possible to appreciate the beauty of your surroundings and really be in the present. And i hope alongside this walk you take, you will feel the same.

Sydney harbour bridge a recognizable symbol of Australia , build on the 28th of July 1923, using 1,400 workers . Harbour bridge is an Australian heritage listed steel through arch bridge across Sydney Harbour that carries rail, vehicular, bicycle, and pedestrian traffic between the Sydney central business district (CBD) and the North Shore. The view of the bridge, the harbour, and the nearby Sydney Opera House is widely regarded as an iconic image of Sydney, The location is harbour bridge , the harbour bridge walk .I aimed to represent an echo journey on how it was build . Aspects and facts about the bridge . How it was build . I reflected my vision about that time during the construction ,as you walking and imagining how it was built ,by listeaning to sound walk I am representing to you today. Aspects of representation I approached is I simulated the amount of steel that was used to build the bridge , which was 53,000 tones of steel , and 1400 Labour built the harbour bridge. I added mainly hammering sounds , Labours and construction background. Music was representing some events happened during the construction of the bridge . Sixteen workers died during construction ,two from falling off the bridge. I represented that with low octave chords as it was a sad event . The music I used in the intro was to give a refelection of space while the represented describing the location of the Sydney harbour bridge. As it was surrounded by darling harbour water . I represented in my work a lot of my recorded collection for the project where it included solid sounds of metal and solid objects , foot steps to represent the bridge climb that allowed more than 3 million people to scale the bridge and enjoy an unforgettable experience. It takes 1,332 steps to reach the top of the Summit.

Industrial Currents is an abstract soundscape intended to evoke oceanic imagery with industrial sounds collected from train station recordings and foley from mechanical appliances such as a kettle or fridge. Every sound in the piece has been constructed using these strict parameters of recordings in order to create something truly alienating in its contrast. I utilised Kilohearts Phaseplant for majority of the sound editing, often utilising granular sample engines, manipulated with multiple LFOs for unpredictability and a sense of natural movement. I accidentally closed my project without saving so I will be recalling my processes from memory for the first and last echo, and will not have the exact file names. To create the first echo, titled “Industrialisation”, I took two recordings of a train announcement and general ambience of the station and opal gates, and put them in separate granular sample engines. I then modulated the output gain of both with an LFO that was opposed in value for each meaning creating somewhat of a sidechain pumping effect between the two audio sources. I then mapped a second LFO to affect the rate of the first LFO. I also used another slightly different speed LFO that was also having its rate modified by a more exponential curve to modulate the harmonics creating an intense build up of energy. Finally I added a ring modulator and raised the wet signal and rate gradually towards the end to enforce the effect of warping exhilarating speed. The result is a soundscape resembling the familiarity of a train taking off from a station but twists and accelerates far beyond what is expected, palette cleansing the listener of their normal listening environment and catapulting them into a disorientating new space. The name “industrialisation” alludes to the rate and pace of human advancement, particularly the sonic effects of this advancement raised in subject readings from individuals such as R.M.Schafer. The second echo, “Mechanical Dissonance”, delivers a significantly heavier sense of dread in its sonic makeup. It represents time passing beyond humanity, leaving behind advanced mechanical creations to inhabit the earth as they slowly degrade and malfunction from centuries of neglect and the dissonant, howling winds of a corrupted climate. To create this sonic palette I utilised the file “Haymarket_train coming into station with street noise (mono)_1”, looping it in a sampler and then modulating the output gain with a steep LFO ramped down to create a sharp transient, which I modulated with a complex chain of other LFOs of a variety of shapes and rates to create volatility in the rate of the sound whilst still eluding to some sense of a broken rhythm. I then sent this signal through an effect chain consisting of several dispersers to give the sound a laser-like timbre and some slight EQ adjustments and compression, amongst other minor edits. I then used a combination of “Elizabeth Street_traffic light with traffic noise (mono)_1” and “lighting stovetop (stereo)_1” with the same web of LFOs from the first component, modulating the gain. This was all sent through chorus and a rate modulated dual delay to create a dynamic, textural and wide high end. Finally I used the files recorded by Sophia entitled “doors closing” and “doors opening and vo at central” in granular engines to create the wind sounds, sending this through a chorus and convolution reverb. I also slightly modulated the output gain of this with the LFO used to modulate the gain of the other two signals for a slight ducking effect and added clarity. The third echo, “Returned to water” represents nature's reclamation of the space as the station is slowly consumed by the ocean. Remnants of human existence and impact remain but they are drowned and barely comprehensible, becoming a small, balanced piece in this new sonic landscape. Many techniques from earlier echoes were used in this too but just with significantly more layering and the use of the plugin trackspacer to ensure that different components did not clash in the frequency range and filled up empty pockets of space in real time creating the constant ebbing and flowing. One component in the tapestry is the file, “inside the fridge microphone standing in fridge (stereo)_1”, harmonically modulated in a way that creates a sound reminiscent of a whale, reinforcing the overarching narrative of future machines returning to nature and being consumed by water. The last echo, “Renewal” finishes the existential theme of the piece on a more hopeful note. The use of a sparse, slightly out of tune and still partially submerged musical piece represents the idea of hope for new life and melancholy of the last memories of humanity fading. The original recording of the melody was done with much cleaner synths but after revisiting the conditions of the assessment I realised I would have to find another way to create it through the recorded sound. The solution to this problem was oscillating small pieces of the recordings in granular engines creating complex and rather unpredictable fm synthesis. After a lot of trial I somewhat got each melodic component to a state that was relatively tuned but due to the nature of the method they eb and flow in and out slightly which after further consideration somewhat becomes a strength of the piece in its representation of a last breath of hope for life and a sorrowful goodbye to humanity.