Here I will be documenting all of the work experience hours that I have done
Jazz and Wychwood festival with Rubasu – Lila:
I have sent this time sheet to the supervisors of these events. However, they have not yet gotten back to me with signatures.
Lebreze gigs – Frog and Fiddle, Smokey Joes:
I was not able find the contact details for the supervisor from Smokey Joes.
The final assessment for this module consisted of a recorded performance of two original songs for a 15 minute set.
Assessment performance:
During the month of June 2022 Joe and I performed at two Gigs.
The first gig we performed at was a rock night at Smokey Joes and support for the band Giant Walker, accompanied by Death is a Girl who was also supporting.
Smokey Joes:
As you can see we played with two other bands. Blood Uncle set up this rock night which gave us a good opportunity to test some of our original material for the first time.
Frog and Fiddle:
This was the largest and most important gig we have ever played as a band. we were supporting and the first to go on stage for that night, this meant that we had a lot of pressure put on us because had to perform and set the atmosphere for the rest of the gig.
Session work I have completed for the artist collaboration with Rubasu (Adam Mumford) and Lila (Zara Bosley) plus other session players.
This post will consist of two parts because these two events were close together. these events were the Jazz festival where we performed a 45 minute set at the frog and fiddle, and the Wychwood festival where we played two sets. the first was a 15 minute set on a small stage where I played the Cajon and a 30 minute set in the Tone Radio tent.
Jazz festival:
On the second page you can see this collaboration is mentioned on the leaflet.
We performed at Smokey Joes on the 30/04/2022 for around 45 minutes, we did mostly covers and an original.
Wychwood festival.
We did two sets this day. A small set where i played the Cajon and a larger set for Tone Radio where I used the kit above. We can also be seen on the Wychwood festival Website as one of the line up acts for this event shown in the link below.
By Joe Courtney and Anthony Watts.
you can check out the pre-master on SoundCloud.
Instagram:
Evidence of our progression as a band can be seen on this page.
In this post I want to showcase my work on sound-design for a short film/clip.
For this assessment we were allowed to use any clip we wanted. I decided to go with the opening cutscene from the game ‘Dark Souls’. This game is based in a dark fantasy setting with gothic and Japanese influences tied to it.
Originality Report:
MD5356 Sound Design and Composition for Moving Image: Originality
Report AW S1902772
• Erosion: Atmos bed. Found in logic. (Cinematic, Textures).
• Dark Forces (1 and 2): Atmos bed. Found in logic. (Cinematic, Moments).
• Twilight Splendor: Atmos bed. Found in logic. (Cinematic, Ambient
moments).
• Thunder Sounds: Sample. Found online. (http://soundbible.com/tagslightning.html).
• Tiger Roar: Sample. Found online.
(https://www.youtube.com/watch?v=GmEX4X3OldM). Uploaded By:
QuinTich. Date uploaded: (17/09/2017).
• Elephant Sound Effect: Sample. Found online.
(https://www.youtube.com/watch?v=t-4bIA7Uck0). Uploaded By: Classic
Sounds: Upload Date: (09/04/2017).
• Cinematic Trailer Transition (Whoosh) – Sound Effect HD: Sample. Found
online. (https://www.youtube.com/watch?v=HDRVzwNkV20). Uploaded
By: 2MirrorsDialogue. Upload Date: (25/11/2017).
• Eagle Sound Effect: Sample. Found online.
(https://www.youtube.com/watch?v=IdFxnbZtu1I). Uploaded By: Red and
Black. Upload Date: (03/12/2012).
• Horror Screech: Sample. Found online.
(https://www.youtube.com/watch?v=UJ0m-Tamtfc&t=33s). Uploaded By: n
Beats. Upload date: (07/10/2016).
• Alligator Crocodile Growl Sound Effect: Sample. Found online.
(https://www.youtube.com/watch?v=PB0M_lrLnt4). Uploaded By: Needed
Sound Effects. Upload Date: (02/09/2016).
• Percussive Snake Hiss: Sample. Found online.
(https://www.youtube.com/watch?v=HKG_3IqvZQU). Uploaded By:
Kalledoni. Upload Date: (01/05/2019).
• Alligator Growl: Sample. Found online.
(https://www.youtube.com/watch?v=HKG_3IqvZQU). Uploaded By:
Kalledoni. Upload Date: (01/05/2019).
• Strong Wind Sound Effect (1 and 2): Sample. Found online.
(https://www.youtube.com/watch?v=RL-pDnXvNUE&t=13s). Uploaded By:
Effect Factory. Upload Date: (07/02/2019).
• Rock Falling Sound Effects All Sounds_1: Sample. Found online.
(https://www.youtube.com/watch?v=tff-vRUXZR4&t=39s). Uploaded By: All
Sounds. Upload Date: (10/03/2018)
As you can see there was a lot of work put into this, I did my own voice lines, some of my own sound effects, music, mixing and mastering. some sound effects where taken from no-royalty sound sites for things like lightning.
This I think worked pretty well as the audio and instrumental choices I made sit well within the different scenes of the clip; highlighting the different moods between them.
This post will be showcasing some work that I have done for this particular module where I had to create a music video to accompany a song. I also wrote and performed this song.
This form states that the music was used correctly under the copy right law, because the music was written and performed by me, I didn’t have to ask permission or pay any fees to edit, distribute or add-on when uploading it with the music video that I had to film.
Music Video Analysis:
What went well?
The camera angle that were used in the video worked well for creating a distorted demon like figure. This also coupled with the dark and simple costume I designed for this video. I also like how the mask looks like its suffocating the person wearing it in some scenes.
The editing brings across the distorted vs the normal very well in this by changing the colors of the scenes from black and white (demon) to full color (normal). This gives off the strong idea that there is a difference between the two characters in the video. Ghosting was edited in my slowing down a track and pasting another with a low opacity. This gives the effect that the demon is not of this world and looks to not be a fully physical entity. The top down few of me shaking my head with my arms crossed is my favourite shot due to the head moving very fast and not looking human.
This idea and design of the demon also works with the pace and the lyrics of the song by adding the faster scenes to the fast parts of the song and then using slower clips or editing to match the softer parts of the song. The lyrics also tell the story of this demon taking ahold of its victim and not allowing them to escape.
What could be better?
When recording this my camera person had my phone in portrait rather than landscape which would not work for the video so I had to re-record some parts myself which was annoying for editing and general operation of the cameras was difficult due to having to take time to put the mask on and walking in and out of frame to operate the camera. This also added some mishaps like the first scene of the demon standing. You can see the pointy bit of the mask messing with the attic lining which is distracting from the actual content which I want to be focused on.
The second problem was when recording the instrument playing to the music it was done by lip syncing with the guitar just for simplicity. However, that clip would start before the actual song due to it being acted to the soundtrack. This meant that I had to mess around with the clip and move it ever so slightly along the sequence to get it in sync with the song which took ages for some clips.
The clips with me playing the guitar could have done with some more movement. However, due to the low ceiling in the attic I could not stand so it would look odd because I would have to arch over uncomfortably, and I wanted everything to be recorded in the attic to keep it as the main theme location.
Sometimes I had to re-use demon clips. I had done enough to be able to have all new clips throughout the video but after uploading them into premier I decided that they didn’t fit the style for the video.
What I will do next time?
Next time I will make sure to use an area where movement isn’t restricted so that I can have a full range of performance opportunities instead of being restricted by my height.
I would also look into getting more cameras for multiple shots on one scene which will give me the opportunity to play with the different positions in an interesting way. With this i would also find more people to operate the cameras and make sure that they are formatted correctly to make post editing easier and more movement-based shots. This would also give me more ammo for the video instead of reusing clips.
Youtube link to video:
In this form we can see that I made sure to tell the University that this was all my own work.
Risk Assessment:
With this risk assessment I was able to make sure that the creation of this music video was done in a safe manor.
Overview:
This post will be detailing my time doing two collaborative projects.
My two project ideas:
My first project will be focusing on session musician work where I will be providing drum playing services, My main services include recording or playing drum tracks live. This work can be given to me either as something i need to write for or play given drum lines to play provided by the client.
By implementing outsourcing options such as online session musician hiring which will give a larger range of opportunities to work with wider range of clients in different styles of music.
Session musician work Diary and final products:
Christmas gig preparation
My first set of work was for Rubasu and Lila which is an artist collaboration that planned on performing at different events.
Dates and rehearsals:
8th November 2021
17th November 2021
23rd and 28th November.
Most of these days were spent looking through what we needed to learn and playing the set ready for the Christmas gig at the Frog and Fiddle.
Photos and videos from Christmas gig rehearsals:
throughout my time doing this I have learnt a lot of new things about dynamics, control, technique and feel. this session work is was particularly difficult to work on because of its vast difference to my usual style of playing. However, now that i have practiced this new style i have been able to incorporate it into my heavy drumming style which should add a bit more character and feel into the rhythm.
After this gig I was invited back to play two sets for the Jazz festival and Wychwood festival which will be including new songs.
Rory Jeffers “Don’t Leave Now” 29th March 2022.
My second project consists of recording semi-improvised punk drums in a full band recording. this was also in conjunction with Joe Courtney’s session work as he played and recorded some guitar and vocals on this track. I was given a demo drum beat which was meant to be something to take inspiration from. to follow this demo i stuck with the main beat and then added my own flares, accents and styles on top of it to make it sound human and to serve the music better. Joe, Rory and I, plus the two techs that were in the studio managed to record the whole song in a couple of hours in one day.
photos and tracks from this session
This was Definitely difficult because we couldn’t all play with a click track which meant that everything goes in and out of time at parts, it was also difficult because it was mostly improvisation with zero prior preparation or listening of the track.
My last project will consist of a busking styled teaching event which will be more of a community music works based event. I will hopefully be providing a little bit of drum teaching to anyone who walks by and wants to play an instrument. This could be carried over to guitar/bass teaching etc depending on how many instruments and people I decide to implement. My idea for this came from looking at a charity called “Help Musicians” of which is a non profit organisation working towards helping musicians from many different communities from around the world whom have or are still struggling to practice music due to various reasons depending on region and social climates, so with this in mind I want to give the community in cheltenham to have the chance to do something they may not do regularly in normal everyday life. I could also partner up with this organisation in particular and give any donations received from the event to them.
Music community public social event 9th July.
When planning for this event there were a lot of factors that i would have to consider before going forward with the event. Here is a list of these factors within their certain categories which correlate with contacts, equipment, transport, staff, public and own HnS, busking\un-licensed event proposal or planning, location, etc. My plan is to run this on 9th July which is a Saturday and will be at a time where most people are done with their assignments and work. The 9th is also on a Saturday which automatically means that there will be more foot traffic heading around the cheltenham high-street area.
equipment:
Electronic drum kit.
Guitar, either electric or acoustic.
Amplifier or speaker of some sort with a jack or 3.5mm input.
tuner.
People and organisations I need to contact:
Gloucester county about Busking rules and regulations regarding my event.
Help musicians to enquire about possible partnerships with this event.
Transport:
My Car.
Costs of fuel
Parking locations near town centre.
carrying equipment to specific location.
Staff:
figure out who I am going to work with on this event if any.
Can they teach an instrument?
Health and safety:
Cables that may be tripped on.
people intending malicious acts on either staff or equipment.
Covid-19 regulations and safety measures.
Location:
preferably hold the event where there is a lot of foot traffic.
Town Centre.
on university grounds.
Advertisement of the event:
posters.
post on local cheltenham community based web pages.
word of mouth with people in the uni.
how am I going to create posters that will grab the attention of passers by.
Inspiration for this event:
With this event and its nature I aimed for it to be similar in structure to The Rock Project (https://www.therockproject.com/) which also works with Help Musicians (https://www.helpmusicians.org.uk/). these are both very wide spread organisations that aim to encourage practice in music in some form. these organisations make music far more accessible than it usually would be and allows for more musically oppressed people in different communities around the world to be supported, by doing this, these organisations are making the music industry grow and adapt faster than ever. I think with this event I want to try and be a part of promoting music as a hobby or career because of the benefits gained from it. it would also be interesting if I would be able to inspire someone into making music or playing an instrument.
Location and stage plan:
Poster:
The aim is to make sure people know what this event is about instantly, it must also be child friendly as to not deter certain groups or age ranges from joining.
Transport:
everything will be driven by me with my car which should be able to carry all of the required equipment to the location in one trip.
Contact with charities and council:
I am using this email to let these guys know that there is a small event going on. If I can get them on board then this event could become a little bit more impactful to the music community than I thought because i would be able to directly contribute to these organisations and music through any donations that we may make.
EDIT:unfortunately I still have not received anything back from this email so i may have to go forward with this event on my own.
Health and safety:
Although this is not really too much of a problem any more we still need to keep our eye out on potential covid spread. To prevent this it would be wise for us to spray down and clean the instruments after use and wear face coverings. By doing this we will be ensuring a decent amount of covid prevention strategies for the event.
wires and cables will need to be tucked neatly and out of the way of foot paths to reduce the risk of tripping, slipping and pulling power sockets out of equipment.
electronics under harsh weather will need to be tuned off and protected by tarps to ensure that there are no short circuits or damage to people/equipment.
Potential lesson ideas:
I plan on teaching some simple drum rudiments like doubles, para-diddle etc to get people started and then maybe work through building a beat by implementing new layers after every bar. This is good for starting limb independence, bar counting, hand technique and writing drum parts which i think will be well rounded enough to get someone started or in a sense introduced to some of the main points in drumming that they will start to learn.
If I teach guitar then I will have maybe go through and learn some chords myself or just show how to play power chords and extensions of those, this is where a helper with knowledge in guitar playing would be helpful for this event.
Lead sheet:
Live performance:
Unplugged Version:
Re-arrangement:
Roles and responsibilities for the creation of each arrangement:
The live recording:
Joe Courtney on guitar, bass and vocals.
Anthony Watts on drums.
I was in charge of recording the practice sessions on video, editing them down and uploading them for our development research. I was also the designated driver for getting us and the equipment back and forth from the practice rooms.
Joe was in charge of getting the rooms booked and guiding the general direction of the session and what we needed to practice.
I wrote some of the drum parts with ideas of which joe had.
Joe was in charge of writing the guitars, bass, vocals, lyrics, structure and sound of the song.
Unplugged arrangement:
Joe did most of the writing here due to restrictions of distance between each other during covid lockdowns and not being able to record the guitars or bass at the same standard or time limit.
I gave some advice on the percussive elements of the song and the mixing as a whole in the song so that we were both happy with how it sounded.
Joe will be the one to upload these to his media platforms because it is on his computer.
Remix arrangement:
Again Joe did most of the writing for the orchestral version of this song with me giving some advice about the percussion (which we wanted to be pretty limited here) and the mixing again to make sure we are both liking it.
A description on how we met the creative restrictions:
The live performance version of this song was the most true to us as a band and our sound. This also gives us an insight into our future music and how we decide to record it.
We used aggressive guitar tones, down-tuning and hard hitting drums to best serve the angry aesthetic of the song which is our intention for the music we create. we want to build that energy through these sounds and layers for the audience.
For this version we decided to make it a pretty busy song, this was to give the song the power it needs form the other instruments and effects. To play around with the arrangement we put the song into 3/4 instead of 4/4 which the original was in. This was an attempt to impose a slower melancholy feel also coupled with finger picked guitar rather than all strummed and low dark harmonies.
We would use this kind of song as an extra or a B side to the original because we like to explore and play with the songs we make into different genres.
In this version we created an orchestra remix of the song without any vocals. This lead it to become more of an interlude instrumental and could probably be expanded upon a bit further to allow it to sound bigger than what it is now.
the song is back into 4/4 to make it more true to the original so that it isn’t too different and unrecognisable.
This was the last few full run throughs we decided to do before the assessment date.
Anthony Watts Music 