Cinesonika International Film Festival
The Cinesonika International Film Festival will be at BSU this week, and in the Music Instruction building on Saturday. This is a special opportunity if you are interested in film music and applying your skills to another art form. "The intent of Cinesonika is to give attention to innovative work in the creation of film and video soundtracks, and to give due credit to the importance of audio in audiovisual media." The organizers have opened the sessions to students, and you can get a badge on the second floor of the Letterman Building. Here are some highlights:
Peter Damski, Production Mixer
David Stone, Supervising Sound Editor
3-3:45 with Hollywood pros
Steve Lee, Sound Effects "Wrangler" and Archivist
Vanessa Ament, Foley artist
1-4:00 The Hollywood Sound Museum - Classic Sound Effects Exhibit
1-2:15 Paper panel
"The Portable Recording Studio"
"Documentary Filmaking and Live Album Recording 1967-1969"
"We're Surrounded by Sound"
"Directing Films to Elucidate Musical Compositions," Robert Willey, Music Instruction 229 (the ensemble room at the end of the hall)
"Film Scoring Demonstration," Joshua Kattner, Music Instruction 213 (Studio 1 / Soundhouse A). Three techniques will be covered: Recording music to video, ADR (dialog replacement), and foley (sound effects).
"Keynote Speech and Ear Wax Award", Rick Altman, Sursa Hall.
See the attached program for more details.
Immersive Learning Class Opportunity
Lori Rhoden is recruiting students for a possible immersive learning class next semester and will rush the process through if there are enough students interested in it. The project would be to create a musical collection of piano works at the upper-elementary and early intermediate level focused on teaching the various rhythms associated with sixteenth-note and triplet patterns. MMP students would assist with tech resources such as audio and video recordings of performances of the pieces, website, and notation. I think there could be some added partnerships with Yamaha by recording and editing MIDI on the Disklavier and releasing the work through their Pianosoft series and online through Hal Leonard's Noteflight. The class could count toward guided specialization credit.
Please contact Dr. Rhoden ASAP if you want more information on the class.
Alex Rodriguez Working With Mike Mentz
The Ball State Daily recently reported a story about Alex Rodriguez and his ongoing work with Mike Mentz, the runner up from THE SONG. Mentz's entry into THE SONG may be recorded by Rascal Flatts, thanks to the efforts of Skip Bishop, who was one of the judges. Alex was one of the assistants for THE SONG, stayed in touch with Mike, and is now recording 7 tracks with the songwriter. Alex also produced a live show in Soundhouse A that was open to an audience.
THE SONG's producers are continuing in their efforts to find a home on a network for the series and are confident that it will happen.
Songwriter to Perform in Pruis on Wednesday, October 5
Kara Claudy, songwriter, singer, and recording artist will be performing at Pruis Hall on Wednesday, October 5 at 7 p.m. The concert is free and open to the public. More information about Claudy can be found at www.karaclaudy.com.
MMP majors are fortunate to have 24/7 access to the facilities and in the past there has been very minimal breakage, damage, and theft. However, lately a number of items have gone missing and the access policy may have to be restricted to working hours. Examples of losses include power and patch chords, an AudioBox, and an M-Audio Axiom 49 keyboard. If you have seen any of our equipment outside the studios return it immediately.
Nothing is to be removed from any of the studios without advance permission from Jeff Seitz. Ball State has some of the finest audio production facilities of universities in the United States, and we are abundantly equipped. However, do not think that there is an unlimited supply. The university will not replace equipment that is stolen, and if the frequency of thefts increase the administration will expect tighter security measures. It is in everyone's interest that we all do our part to keep the facilities in good order, which includes setting rooms back to their default configuration when you finish a session, especially in Soundhouse C which is used as a classroom. Please report anything that appears missing as soon as possible to Jeff as that will make it easier to track down who was last in the room before it disappeared. The swipe cards do keep a record of entry to the hallways.
Failure to follow rules in the studio regarding the care or equipment and eating policy can result in access privileges being revoked. Remember that you are also responsible for the behavior of musicians that you bring into the studios to record. Keep an eye on them and do not let them wander around unsupervised.
Michelle Treacy Session Report
SONY recording artists Michelle Treacy was in Studio One last Monday to record vocal track for her song "I Blame Me". She and producer Mark Liggett worked with Dr. Thompson and Jerry Lane, who were assisted by MMP students Mike Tabor, David Rohrer, Kaitlyn Delle Donne, and Alex Rodriguez. The track is expected to be released by SONY on Michelle's next CD early in the second quarter of 2017.
Mark Liggett and Michelle met with students after the session, and Mark later commented: "The students were total pros. They want to help, and are eager to listen and learn. The recording at your place is great. The control room (in my opinion) is not a super critical listening environment, but overall it's a solid room and I can't say enough about Christoph. We love Ball State. You guys know what you are doing and really care, and that speaks volumes to someone that has done this for thirty years."
Mark suggests this setup to make a singer more comfortable:
"Cover the window in the vocal booth (through the left window in Studio 1). It should be more private and not distracting for vocalist since they are the most important element in a song. There's too much traffic. Or you could move it to Soundhouse B (where the piano was before) so they don't feel inhibited. Block their view of the control room so they don't see the engineer and producer talking to each other, which might make them worry they are saying negative things about them. That way you can just let them hear what you want them to hear when you hit the talkback switch."