Postmodernism

The first time I went through the online lesson it was quite interesting to be exposed to what postmodernism is. I guess I have not really paid attention to this subject before and how it affected the media space and the world at large. However, after carefully reading through the online lectures and the prescribed reading, I was even more confused than when I started because Andrew Edgar and Peter Sedgwick’s writing style in Cultural Theory is quite advanced. I found it difficult to consume and digest.

However, some portions of the extract that I found slightly understandable were two definitions of postmodernism. First is that postmodernism is “A form of apology for capitalism” (Edgar & Sedgwick, 2007, p. 257). Second, “Postmodernism is an avant-garde aesthetic discourse, which seeks to overcome the limitations of traditional conventions by searching for new strategies for the project of describing and interpreting experience.” (p. 258).  My understanding of postmodernism from these two definitions is that postmodernism disagrees with the idea that the way we see life or interpret our experiences should be defined by what a few have passed on from generation past. Rather it argues that there should be freedom to choose how our experiences are being interpreted regardless of how diverse it will make us be. It celebrates the diversity effect it brings instead of mourning its disunity effect.

Watching some of the videos on the online lessons also helped me understand a little bit better.  Sadly a couple of the video could not play thereby robbing me of the opportunity to better understand the subject.

I reckon that I am more of an audio-visual learner than reading and writing learner. So I think I would have a better grasp of the subject if I get to watch more videos online which I did. Additionally, the in-class discussion gave me more perspective on the topic of postmodernism. The view of some of my classmates on this subject was that postmodernity is the new way of giving meaning to theories and this has allowed for young people especially the millennials and the Gen Z to go against known and generally accepted conventions and practices to express themselves.

Understanding that this is the reality of this age and time helps me as a creative student to better come up with tailor-made content that will appeal to the millennials and Gen Z or X if I am set out to create content for them. The same thing applies if my content is to older people whose philosophy tilt more towards the modernist point of view.

For subsequent classes and topics in this Unit, I look forward to engaging more in class in order to enhance my understanding of the topic and to search out more audio-visual resources as well as keep reading the recommended text of the week.

The image below also gave me more perspective as it showed a contrast between modernism versus postmodernism. 

(North, 2018).

REFERENCES

Edgar, A., & Sedgwick, P. (2007). ‘Postmodernism and Poststructuralism’. In Cultural Theory: The Key Concepts (pp.256-266). London: Routledge.

North. A. (2018). [Screenshots]. Retrieved from https://owlcation.com/humanities/Postmodernism-Explained

Daw Fest, Maiden Edition

Does it not feel good to be part of the maiden edition of any initiative? Well, in my opinion, it does feel good to be part of something that gives back to its community. I believe this was one of the reasons DJCorner put together such a fantastic event and I really hope that this won’t be the last.

It felt good to be reminded that there is an array of DAWs at the disposal of any intending audio engineer or producer out there. Especially if you are just thinking of taking your production more seriously. I have to point out here that your choice of DAW (Digital Audio Workstation) is totally up to you, but it is good practice to kind of sample a couple to get a good feel of it before going ahead to purchase the one that best suits your needs and seats well with you. However, note that the most important thing is to understand the technicalities behind audio engineering or production. Once that is settled, you can always adapt to any DAW of your choice.

At this DAW Fest, there were 5 DAW brands that came to showcase what their DAWs can do and they all looked interesting.

Pro Tools – Pro Tools is considered the industry standard. And it is now up to its 12th version. Some of my take away from the Avid session by Sreejesh Nair includes; i). When mixing, spend less time on the rough mix and more time on the actual mix. ii). When using a filter set to the highest dB, it might result in a phasing issue, so be careful. iii). Sends should be set at zero and control over the level of effect that goes into the mix should be from the fader on the Aux track. iv). When using plugins with graphics, e.g. EQ, don’t be overly concerned about the graph. In other words use your ears, rather than your eyes.

(Avid, 2015).

Studio One

I fell in love with the looks and feels of this one. I would really love to explore using this DAW soon, even if just to satisfy my curiosity. Some of its features are:

  • Flexible with third-party plugins
  • Drag & Drop features
  • Sounds Warm
  • Works well with time stretch
  • It allows you to use a different interface for input and output

Cubase

The last version of Cubase I used was Cubase 5 and it’s now up to version 10. One of the features that pulled me to this DAW during the presentation was how you can get to pitch correct audio in Cubase 10 by simply double-clicking on the Wav. I thought that was really cool.

Ableton

Ableton Live is that DAW that you can easily capture your ideas with on the go. Plus you can work with it in real-time as well as a performer on stage. Flexible and easy to use.

Fruity Loops

In the words of Mokhtar Doughan (personal communication, October 26, 2019), working on Fruity Loops is like painting your idea to life. I was fascinated by the way Mokhtar navigated Fruity Loops, it was clear that he had spent years working on it and become a master at it. I am not a big fan of this DAW but I appreciate the creative works that it users produce out of it.

Choosing a DAW for yourself might seem like a daunting task, but it really is not. The good thing about these DAWs is that they either have trial versions or free versions that you can work with to help you make informed decisions on which of them you want. And like I mentioned earlier, as long as you understand the principles of production, you can create the magic in your head with any of these DAWs. It’s just a matter of which workflow you are more comfortable with or that suits your personality or style of music.

The highlight of this event for me was of course when I was announced as the winner of a one year Pro Tools subscription courtesy of NMK Electronics.

A photo with staff of NMK Electronics and Avid Protools

It was a great event and I look forward to subsequent editions and more exposure to industry experts.

Me and my Avid Mug
The session by Sreejesh Nair from Avid Protools


References

Avid. (2015, January 22). Introducing Pro Tools 12 [Video file]. Retrieved from https://www.youtube.com/watch?v=WPqdNygQB38

Ableton. (2017, November 2). Ableton Live 10: what’s new [Video file]. Retrieved from https://www.youtube.com/watch?v=Z9Ku5ptjzKw

Cubase. (2018, November 14). What is new in Cubase 10| promo video [Video file]. Retrieved from https://www.youtube.com/watch?v=lSZ8yX1viV8

FL Studio by Imagine-Line Software. (2018, May 23). FL Studio 20 | Launch video [Video file]. Retrieved from https://www.youtube.com/watch?v=AuqqiuaLYJA

PreSonus Audio Electronics. (2019, May 21). Introducing Studio One [Video file]. Retrieved from https://www.youtube.com/watch?v=GrALp5dWv7A

PROFESSIONS IN THE AUDIO INDUSTRY; FOCUS ON AUDIO ENGINEERING

The Audio Industry is such a vast one, and it offers diverse professional opportunities. Some of which you can learn either by understudying a practitioner or by acquiring a degree and also understudying an experienced practitioner. There is a debate on which method works best, but that is not the focus of this post. This post will be talking about Audio Engineering as one of the numerous professions available in the audio industry. When it comes to Audio Engineering, there are specialisations of this profession within the audio industry.

Recording Engineers

(DIY Musician, 2015)

As the name implies, the recording engineer is in charge of recording. Mostly responsible for setting up the recording studio, making sure the right microphones are being used, works with the producer to apply the best recording techniques for different situations and sounds the band or individual is going for. Basically making sure the equipment in a recording session is working well and are optimally used. They communicate with all parties involved to get a recording that is satisfactory to all (Berklee, n.d., para 2).

Mixing Engineers

A mixing engineer is saddled with the responsibility to mix separately recorded tracks into a single harmonious file. For instance, after the recording engineer has recorded instruments and vocals on their individual tracks, it is the job of the mixing engineer to edit these tracks to sound as though they were all recorded at the same time. He sees to it that the end-user is able to hear both vocals and instruments sounding great together. Agarwal (n.d.) states some of the aims of a mixing engineer as making sure there is a balance on all the tracks, using equalisation (EQ) to ensure the mix sounds good, adding effects that are necessary and sometimes making specific corrections on the vocals (para 3).

(Yamaha)

The recording and mixing engineers have a lot in common with a slight difference when it comes to specifics. For example, both engineers can work on the same project at the same time, such as in the case of a live concert. While the recording engineer takes care of setting up the stage, making sure all the equipment are in their right positions (musitechnic, 2018, para 4), the mixing engineer ensures that there is a perfect mix of all the signals coming into the console for the listening pleasure of the audience (para 6).

Mastering Engineers

A mastering engineer is usually the last call in the production chain. He is responsible for the final mix of the master before distribution takes place. A mastering engineer is often expected to put a final touch to the mix already done by a mix engineer. There are different schools of thought as to what a mastering engineer should and shouldn’t do. Steve Albini is of the school of thought that the mastering engineer “should do very little to a master tape that is already satisfying” (Ereten, 2015, 12-15sec).

(Ereten, 2015).

On the other hand, Murphy (2010) thinks a mastering engineer should do more to get the best output (4:12-4:41). Whichever school of thought a mastering engineer belongs to, the end goal is to have a piece of work, music or otherwise, have the same quality across various device it is being played on. An important quality any of these engineers must possess is the ability to listen and pay attention to details.

(Murphy, 2010).

REFERENCES

Agarwal, R. (n.d.). Mix engineer-job profile, qualities and more [Blog post]. Retrieved from http://www.audioshapers.com/blog/mix-engineer.html

Berklee. (n.d.). Careers in music production and engineering. Retrieved July 10, 2018, from https://www.berklee.edu/careers-music-production-and-engineering

DIY Musician. (2015). [photograph]. Retrieved from https://diymusician.cdbaby.com/musician-tips/5-ways-get-moneys-worth-every-recording-session/

Ereten, A. C.  (2015, August 30). Steve Albini talks about mastering engineers and mastering process [Video file]. Retrieved from https://www.youtube.com/watch?v=xuvCIoiNPdI

Murphy, R. C. (2010, April 15). Recording boot camp: what is mastering and what does a mastering engineer do [Video file]. Retrieved from https://www.youtube.com/watch?v=asgXZVhytUo

Musitechnic. (2018). The difference between a mixing engineer and a recording engineer. Retrieved July 12, 2018, from https://musitechnic.com/en/differences-mixing-engineer-recording-engineer/

Yamaha. (n.d.). [Photopgraph]. Retrieved from https://th.yamaha.com/th/news_events/2018/0316_10_plymouth.html

Audio Industry; Learning and Opportunities- My reflection

SUMMARY:

The audio or music industry is one with various positions that students in the audio creative media class can look forward to. Some of these include the following:

  • Artiste:  Responsible for giving life to all the creative work put together by every other member of the production team.
  • Producer:  The producer is often responsible for the coordination of the whole process of recording from the start till finish. He ensures that the end product is of top quality.
  • Engineer:  He/she ensures that the recording is done in the best possible way and with the best quality. They make sure the idea of the artist and the producer is well portrayed.

There are more positions, some of which are shown in the diagram below.

(Huber & Runstein, 2013, pp. 17-23). Diagram created with Gliffy https://go.gliffy.com

One of the primary aspects of audio is recording, whether it be a song, or soundtrack for a movie, or jingle for an advert. There is a process involved in recording, and these are represented in the diagram below:

(Huber & Runstein, 2013, pp. 24-29).

As with every other career path, being in the audio or music industry or developing a career path in this field, requires a high level of motivation and an excellent networking skill (Huber & Runstein, 2013, p. 23).

Kopplin (2016) carried out research on some best practices in Music Industry Studies (MIS). The research sought to answer the question of what the most experiential learning method is for MIS students among other questions (p. 74). In answer to this question, his research found that one of the most effective experiential learning methods was an internship in the music industry. Based on the opinion of his interviewees, it is difficult to create real-life situations in classrooms (Kopplin, 2016, p. 86).

To have a basic understanding of what experiential learning is, watch the video below.

REFLECTION:

I have seen several funny expressions from people when they ask me what I am studying, and I say “Audio”. They often go; “I’ve never heard that before” and then I start to explain to them some of the various opportunities in the audio industry. However, I got more insight myself after reading an excerpt from Modern Recording Techniques by Huber & Runstein. If there is one important lesson for me after the reading, it is that fact that to develop my career in this field I need a high level of motivation and an excellent networking skill which I am already working on.

I have always known this quote by Penelope Douglas “Experience is the best teacher.” And I couldn’t agree more. However, I think it’s great that Kopplin took up this research to establish the fact that there is not enough hard evidence that this statement is true for students of MIS (music industry studies). In his concluding statement, he wrote that schools offering MIS should have more classes that allow students to learn by doing (Kopplin, 2016, p. 90). I am glad that at SAE Institute this is the model that is being followed as students are made to learn by experience, creating a well-equipped and conducive environment to learn from and sharing internship opportunity with their students. Another interesting part of the Kopplin’s recommendation is that schools should follow up on the student’s success after graduating in other to acquire more data that supports the already firm belief that experiential learning is an effective way to learn.

REFERENCES:

Family Board Meetings (2015, June 15). The 6 Pillars of Experiential Education [Video file]. Retrieved from https://youtu.be/pAlCHO_kDr0

Huber, D. M., & Runstein, R. E. (2013). Modern Recording Techniques (8th ed.). Burlington: Focal Press.

Kopplin, D. (2016). Best practices in music industry education. MEIEA Journal, 16(1), 73-96. Retrieved from http://p2048ezproxy.saeaustralia.edu.au.saeezproxy.idm.oclc.org/login?url=https://search-proquest-com.saeezproxy.idm.oclc.org/docview/1882382176?accountid=145504

OLOWOGBOGBORO IS TURNING THINGS AROUND.

Whew! where do I start? God has been marvelously amazing to me. What the Lord has done for me, I cannot tell it all. At the beginning of 2017, I released the song ‘I WILL GET THERE’ and the feedback has been wonderful. All glory to God. As if that was not enough, just before my birthday in April, this lovely God-sent angel in human form Inyang Otu, called me up that she wanted to shoot a video for me, I didn’t believe it until it was all done and released, still, to the Glory of God.


Then came June and hallelujah challenge was set in motion, I followed through with it, with the whole of my heart, and in the midst of it, ideas started rolling in and then my website was set in motion. There was so much struggle with it that I didn’t even believe I would launch it in this first quarter, but as OLOWOGBOGBORO would have it, on this last day of June, the end of the first quarter, my website is ready and I am also dropping a cover of a song that will help me profess my daily living for Christ, also an effect of the daily one hour praise challenge.

Indeed I can say it with all boldness that
OLOWOGBOGBORO IS TURNING THINGS AROUND FOR MY GOOD.

The First half of 2017 is ending on a good note and the second half is coming with so much to be done and achieved. “Though it’s rough, I am tough and I am ready for this Journey” and because OLOWOGBOGBORO is in charge, I WILL GET THERE and I will keep praising Him EVERYDAY!!

EVERYDAY drops at midnight. Anticipate.

Thanks for reading and for your support.

Kindly help me SHARE IF YOU CAN. God bless you.

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