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Month: November 2021

Categories
First Year Pro Tools

Pro Tools – Lesson 6

1.) What audio file formats can be imported to Pro Tools without requiring conversion?

  • WAV and AIFF do not require conversion

2.) What condition would cause a file in one of Pro Tools’s native format to require conversion on import?

  • Any files that have a different sample rate from the session, regardless of format, must be converted.

3.) Name some common audio file formats that Pro Tools can convert on import.

  • MP3,
  • Windows Media Audio (WMA),
  • Sound Designer (SDII), 
  • Audio Interchange File Compressed (AIFC)
  • Waveform Audio File (WAV)
  • Audio Interchange File Format (AIFF)

4.) What are some video file formats that can be imported by Pro Tools? 

  • MP3, BWF, SD I/II, MXF, AIFL, MWA, MOV, AAC, M4A, REX, ACID

5.) What is the difference between split stereo and interleaved stereo? Which is/are supported for importing into ProTools?

  • split stereo is 2 or more separate mono files for left, right, etc. channels. interleaved is 1 file that contains right/left stereo information.
  • ?

6.) What is the difference between the Add button in the Import Audio dialogue box and the Copy button? Which button will force-copy the files into your session’s Audio Files folder?

  • The Add/Add All button will add compatible files or clips to the Clip List without copying them to the Audio Files folder. The Copy/Copy All button will add the compatible files or clips the Clip List but will copy them the Audio Files folder.
  • ?

7.) What happens when you use the Workspace browser to import audio that is not compatible with your session’s parameters (in other words, audio that requires conversion)? What happens when you import audio that does not require conversion? 

  • it converts automatically
  • Non-compatible audio is converted (and copied) when imported from Workspace browser.

8.)What steps are required to conduct a search for an audio file using the workspace browser?

  • 1. Window menu > New workspace > Default
  • 2. Select Advanced Search (Magnifying glass icon)
  • 3. Choose the folder that you want to search by selecting it in the Locations pane on the right side of the window (in this case, choose “Audio” folder).
  • 4. Click “Kind” and “File type” on the Search Column.

How would you go about importing a QuickTime movie file to Pro Tools while simultaneously importing the audio embedded in the file?

  • (Make sure that the Video Engine is enabled in the Playback Engine option)
  • 1. File menu > Import > Video
  • 2. Select “Import Audio from File” option in the Video Import Options dialog box

How many video files can be associated with a standard Pro Tools session at once?

  • Only One

Categories
First Year Thinking & Doing Sound

A Reflection Upon My Finally Art Piece & My Artistic Process

Corruption On Childhood Innoncence:

My piece is a reflection upon the corruption of childhood innocence. It mirrors a short journey through life; showing how adulthood and added stimuli from the outside world can destroy innocence. I hoped to portray the negative effect it can have upon life. In this piece, I will be writing about my journey and the reasons behind my creative process.

Originally I wanted to represent how childhood innocence blinds people from the class divide and how your economical status is inevitable due to where and who you are born to. My idea was to take a field recording of private school children playing and state school children playing. However, this created some moral barriers and was not entirely ethically correct. From this, I decided to reflect the piece on something a little more personal – my experiences entering adulthood and my perception of life as a whole. 

The piece begins with very little sound and noise. A piano key and low pitched thudding in a rhythmic pattern. To me, this highlights the sound of a heartbeat showing connotations of new life. A heartbeat is what every human share. No matter who you are! This represents a human stripped down to its bare; naked from any outside influence or complexities. The sound is pure with no added other noise. I have played the piano from the age of 4 and chose to include this instrument to represent the heartbeat as it is a personal view of my life. As the piece develops and the beating continues extra noise is added including an increased raw which slowly takes dominance of the piece. This is the corruption from the outside world creeping in and taking over your purity.

As the piece moves on to the next part, I include a field recording taken from an old childhood video from my dad’s recording camera. These videos are something entirely personal to me and my life as it is a true representative of my life growing up. I decided to include a recording from one of my childhood assemblies. This recording involves many young voices, talking, and general chatter while we all play with each other. I liked this recording as I thought it fit the brief of my piece perfectly. The children (including me) are unaware of the camera recording them meaning their conversations are natural and pure. In their eyes, there is no outside influence on their conversation which represents to me how childhood innocence is dependant upon outside corruption. I added reverb and delay along with tampering the volume to go up and down throughout the recording. I used this to create a wave effect and intentionally show how slowly over time certain parts of your life take away that childhood innocence. Adulthood creeps up on your life and I truly believe from my experiences it has not been sudden. By creating a waved effect upon the sound by editing the recording it highlights slow corruption and the process of puberty. Silent parts of the piece demonstrate how I began to feel lost and out of place through my teenage years. Despite the fact, the pieces still going on the silence is lonely and creates a feeling of isolation – mirroring my emotions undergoing my journey into adulthood. 

As a sufferer from anxiety and paranoia, I often refer to my head as a “wasps nest”. Throughout the end part of the piece, I wanted to present this and the disarray that life has upon your mental state. The piece then begins to build in intensity through volume and added sounds. I started to include rhythmic beats and percussion as it shows a representation of adult working life and the routines in which we bind ourselves. It begins to get chaotic with several different noises and sound effects ranging from many different synthesisers, midi inputs and field recordings. Banging sounds taken from field recordings are used to add to this disordered sound, highlighting how problems and stress in adulthood life shatter your innocence. The noise ranges in pitch volume and type of recording which I hoped would portray severals paths of influence on the brain and the disordered stimulus it can create. Adults face multiple types of stress which is what I hoped it would indicate. 

Finally, the childhood recordings begin to come back into play and build up in sound as the chaos begins to die down. As a result, despite everything, your childhood will always be implemented in your life. It becomes your route for identity and carries on with you mentally throughout your entire existence. To end the piece I chose the heartbeats from the beginning sequence to start playing back again. I believe despite your influences and your positionality in life, everyone shares this process. By repeating the beginning I wanted to show a full circled effect – mirroring the circle of life. It shows me how everyone follows this process through and the heartbeats are leading onto someone else’s life. 

Everyone is born innocent and it is your life and society’s choices that destroy this. The frustrations, stress, and business of adult life take away your innocence bit by bit. Everyone shares this process and it is just a cycle waiting to happen. My goal was to produce this within my piece and I hope these visions come across when listening.

Categories
First Year Pro Tools

Pro Tools – Lesson 4

1.) What are some actions that can be initiated from The Dashboard?

  • Create a new blank session on local storage. Create a new blank project, with or without cloud backup. Create a new session or project from a template. Open a session or project from a list of recently opened Pro Tools documents. Open a project that you created or are a collaborator on. Open a session from a connected storage location on your system.

2.) What is the difference between a session and a project in Pro Tools? 

  • A session file is saved to local storage. A project is stored remotely (on the cloud)

3.) What is required to create a project document? What are some reasons you might want to create a project instead of a session? 

  • An Avid account, and Internet connection. The reasons to use a project include the following: a.to protect your Pro Tools work against loss in the event of Drive failure or other computer mishap. b.To be able to access your projects from anywhere with an Internet connection. c.You can collaborate with other Pro Tools users anywhere in the world.

4.) What are some available options for parameter settings in the dashboard? 

  • Create from Template, Audio file type, Sample Rate, Bit Depth, I/O settings, Interleaved, Prompt for Location, Show on Start-up

5.) What audio file types are supported in Pro Tools? What is the default file type? 

  •  (WAV or AIFF) 

6.) What is the maximum sample rate supported in Pro Tools? What is the maximum bit depth? 

  • 192Khz. 32-bit

7.) What menu command lets you add tracks to your session? What keyboard shortcut can you use to access this command?

  • Track. cmd+shift+N

8.) How many tracks can you add to a session at one time?  

  • you can simultaneously add as many tracks with as many different configurations as your session will allow.

9.) Describe some primary track types that are available in Pro Tools. Describe the two types of folder tracks.

  • Primary Track Types: Audio, MIDI, Instrument, Video, Auxiliary, VCA, Master Fader. Basic Folders: purely for organisational purposes, essentially just containers for visually grouping sets of related tracks together into a collapsible view. Basic folder tracks do not have any signals rooted through them. Aside from solo and mute functionality that propagates to their constituent tracks, basic folder tracks have no mixing controls. Routing Folders: have all of the signal routing functionality of an Auxiliary input track (audio input an output selectors, insert points and send routing), along with mixing controls (Pan and Volume) and all associated automation controls in the Mix and Edit windows. Routing folders are designed primarily for sub mixing and stem mixing workflows combining key features of Auxiliary inputs and VCA master tracks with folder behaviour for organising and managing sets of tracks.)

10.) Which timebase do Audio tracks use by default? Which timebase do MIDI and Instrument tracks use by default?

  • Audio tracks are Sample-based by default, while MIDI and Instrument Tracks are tick-based.

11.) What happens to the Audio and MIDI data on a track when the track gets deleted from your session? Can the Track > Delete command be undone?

  • When you delete tracks, your audio or MIDI clip data will remain in the Clip list, but your arrangement of clips on the deleted track (the tracks playlist) will be lost.

12.) Name the two types of cursors available in the Edit window. What is the difference between them?

  • 1. Playback cursor 2. Edit cursor. The Playback cursor is a solid, non-blinking line that moves across the screen during playback and indicates where the current playback point is. The Edit cursor is a blinking line that appears on a track playlist when you click with the selector tool in a track .

13.) Which tool can be used to set the playback point by clicking directly on a track?

  • Selector Tool

14.) What is the Playback Cursor Locator used for? Where will the Playback Cursor Locator appear (in what Ruler)? 

  •  To help locate the playback cursor when it might have moved off screen after reaching the edge of the Edit window. It appears in the Main Timebase Ruler.

15.) What is the purpose of the Save As command? Which session will be opened after completing the Save As command – the original or the renamed copy

  • It’s useful for saving a copy of a session under a different name or in a different drive location. The Save As command leaves the original session unchanged and allows you to continue working on the renamed copy. And such, it is particularly useful when experimenting, to save alternate versions of your work. This command is also useful for saving stages of your work under different names. By working in this way you can always retrace your steps if you ever need to go back to an earlier stage of the project. It is the renamed copy that will remain open to continue working on.

16.) What is the purpose of the Save As New Version command? What type of Pro Tools document does this command apply to?

  •  It provides similar benefits to the Save As command, but is available only when working on project documents

17.) How can you open a session after locating it in a workspace browser?

– Double-click

Categories
Pro Tools

Pro Tools – Lesson 3

1.) What icon is used for the Zoomer tool in the Edit window? How can you use this tool to quickly zoom out, filling the Edit window with the longest track in the session? 

  • Magnifying glass. Double click to see ALL (fn+f5 to use Zoomer)

2.) Which Edit tool is represented by a hand icon? What is this tool used for?

  • Grabber Tool. It is commonly used for arranging clips. You can use the grabber tool to select an entire clip with a single mouse click you can also use the gravity movie clip along the timeline, within its current track into movie clips between tracks

3.) Which tool is active when the Trim, Selector, and Grabber icons are all selected (highlighted in blue) in the Edit window toolbar?

– The Smart Tool  

4.) What are the four Edit modes in Pro Tools? How can you switch between them?

  • Shuffle (fn+f1). Slip (fn+f2). Spot (fn+f3). Grid (fn+f4)

5.) Why should you use caution when editing synchronized material in Shuffle mode? When is Shuffle mode useful?

  • Movements and edits made on shuffle mode will cause timing changes for the media on affected tracks. This mode should be used with caution when editing material that is synchronised to other tracks or are aligned to a timing reference or tempo. It’s useful as a way to make clips line up next to each other without overlapping or leaving silence between them. This can be convenient when you need to shorten a line of dialogue by removing a pause, cough repeated word, or similar unwanted material.

6.) How does editing a clip in Slip mode affect the timing of other clips on the track?

  • In Slip mode, you can move, trim, cut, or paste clips freely within a track without affecting the placement of other clips on the track. All selections, clip movements and edit operations at unconstrained

7.) When is it helpful to work in Spot mode? When it is helpful to work in Grid mode?

  • Spot mode lets you move and trim clips using precise locations or durations specified in a dialogue box. In Grid mode selections, clip movements, and trim operations are constrained by the grid, i.e. it is useful for quantising material.

8.) What are some ways to set the Main Time Scale in Pro Tools? 

  • VIEW > MAIN COUNTER. Main TimeScale pop-up menu

9.) What are the two types of Rulers available in Pro Tools? What is the difference between them? 

  • Timebase rulers and Conductor rulers. Timebase rulers measure time in various ways (they include Bars| Beats, Minutes: seconds, samples, timecode, timecode 2, Feet+Frames). Conductor rulers contain events that map out locations, characteristics and changes within a session (these include Markers, Tempo, Meter, Key, Chords)

10.) What are some ways to hide Rulers that you do not need displayed in a session? 

– VIEW > RULERS. Opt+click directly on a Ruler’s name in the Timeline display area.

11.) Which Pro Tools windows provide access to MIDI controls, such as Wait for Note, Metronome, and MIDI Merge?

  • The MIDI Control section in the Edit and Transport windows

12.) What is the purpose of the Metronome button in the MIDI Controls area? What kind of track must be added to a session for the Metronome button to work? 

  • The metronome button is used in conjunction with a click track and controls whether or not the click will be audible. When the Metronome button is active, a metronome click will sound during playback and recording, as specified by the settings in the Click/Countoff options dialog box (SET-UP > Click/ Countoff). Metronome playback requires a click track on the click source to be configured for your session.

13.) What are the two states or modes available for controlling the current session tempo? How can you switch between these modes? 

  • Tempo Map Mode and Manual Tempo Mode

14.) What is displayed by the Tempo field in the MIDI Controls area? What are some ways to set the session tempo using this field?

– The session’s current tempo is based on the play selection. In manual tempo mode (or when the session tempo has not yet been defined) you can enter a BPM value directly into this field. In addition, when the tempo field is selected, you can tap in a tempo from a midi controller or from the computer keyboard using the T key

Categories
First Year Sound Artists

Halim El- Dabh

An Egyptian sound artist, who was a pioneer for electronic sound also known for his “musque concrete” and “electroacoustic” work. ‘Wire Recorded Piece’ was the earliest electronic piece of recorded tape music.

Categories
First Year Thinking & Doing Sound

Interactive Exhibitions Within Western Germany

After reading the article based on exhibition experiences within late 20th century Germany, I came to ask myself what works better for the art: including touch or not including touch? It is well known about Germany’s history under strict dictatorship rule throughout many centuries including only years before this article was discovered. During the end of the century, Germany took a new step towards freedom and began inheriting new waves of contemporary art within their lifestyle. Music became more experimental, and life found a new sense of freedom. However with the Berlin Wall still standing until 1989 Berlin still held a strict divide within society- highlighting an everlasting presence and control from the government. The debate of whether viewers were allowed to touch the art still tells me that western Germany still held a strong control over society’s actions. During Sehen und Hören, Josef Haubrich- Kunsthalle, Cologne 1974. They presented their work in a clinically white room with sealed windows- allowing no exposure from the outside world. The article states it “allegedly allows optimal concentration on their perception”. This feels to me as if the viewers were being forced to view the art in a certain way. Art is ambiguous and can sometimes be vague. People’s perceptions are based on their positionality and life context. The art should speak thousands of languages and meanings – dependent on the viewer and what their life had entailed. By shutting out any other influence stimulates a strict and regimented environment which contrasts the idea of a new, free Germany. Its militant environment mirrors the dictatorship past; allowing no flexibility during the exhibition. On the other hand, this could be viewed in another light. By blocking out any outside life during the exhibition could allow the opportunity for the viewer to forget existing oppression and current social ills happening in the outside world. Boycotting existing life can almost create a sense of calm and focus to experience the exhibition to its full potential. To me, the contrast between the white walls and the art almost creates a sense of divide – mirroring Berlin’s current state due to the Berlin Wall and the divide between Eastern and Western Germany. The art represents a sense of freedom away from strict rule juxtaposing the other side of the wall where rigid dictatorship rule was still held in place. These restrictions within the gallery could have had a greater effect and shown to the viewer what they would have seen outside anyway. They do the work for the windows meaning they’re not needed almost making it an immersive experience. Despite the fact, they didn’t want to do that.

Thinking about my future work, I will make the decision whether or not to incorporate touch within my piece. As already discussed earlier in my blog, I can clearly see the benefits of incorporating other senses to highlight the sound. However, I do believe that what senses you include is entirely down to the theme and focus of the piece. I will go away and think about my up and coming performance and decide whether I should or shouldn’t include this.

Categories
First Year Pro Tools

Pro Tools – Lesson 1

1. Name and describe five types of production tasks that ProTools can be used for. – 1 Audio Processing, 2 MIDI Production, 3 Notation and Scores, 4 Mixing and Automation, 5 Audio for Video and Post-production

2.What’s the frequency range of human hearing? –  20Hz – 20Khz

3. What does the frequency of a sound wave affect in terms of how we perceive the sound? How is frequency measured? –  Pitch. Cycles per second (CPS) / Hertz (Hz)

4. What does the amplitude of the sound wave affect? How is amplitude measured? – Loudness / Volume. Decibels (db)

5. How does the sample rate of a system relate to the frequency of audio it can capture? What is the name of the law that specifies the relationship between sample rate and audio frequency? – The sample rate of a system should be twice the frequency of audio it is required to capture. Nyquist theorum

6. How does the bit depth relate to the dynamic range of audio it can capture. How can you estimate the dynamic range of a system? – The more binary digits included in the bit depth, the greater the accuracy of each sample measurement. For example a 4-bit word (2 to the 4th power) can represent 16 discrete amplitude levels. A 16-bit word could represent 65, 536 levels (2 to the 16) and a 24-bit work can define more than 16 million discrete amplitude levels (2 to the 24)

You can estimate the dynamic range of a system by multiplying by 6.

e.g. an 8-bit system would produce a dynamic range of 8 x 6 = 48b. 16-bit = 96dB (16 x 6) and 24-bit = 144dB (24 x 6)

Note: 16-bit / 44.1Khz mono = 5MB per minute, 16-bit 96-Khz mono = 11MB per minute. 24-bit/44.1kHz mono 7.5MB per minute, 32-bit/44.1Khz = 10 MB per minute.

7. What are some common digital connections available on Pro Tools audio interfaces? What type of connector jack does each use? – S/ PDIF (Sony/Philips Digital Interface) which uses RCA (a.k.a. coaxial) and AES / EBU (Audio Engineering Society /European Broadcast Union) that uses XLR. The latter is preferable as it is technically more stable and filters out any copy protection encoded in the digital audio stream. Also S/PDIF is consumer grade.

8. Name some audio interfaces that are compatible with standard Pro Tools software. –  Any audio interface with Core Audio (Mac) or ASIO (Windows) drivers

9. Name some Avid audio interfaces that are compatible with Pro Tools | Ultimate software. –  Pro Tools | HD OMNI, Pro Tools | HD I/O, Pro Tools | HD MADI, Pro Tools | HD MTRX, Pro Tools | HD MTRX Studio

Categories
First Year Visiting Practitioners

Richard Pheonix – Visiting Practioner

During Richard’s talk, he mentioned his work within different variations of disability groups and music bands. He expressed his shock when he first visited a punk rock gig for people with learning difficulties. This being his first-ever interaction within this environment he talked about how incredible and unique the music and the experience was. I went away and thought about this concept in great depth. Human positionality depicts their genre and area of music- however, it does not mean it’s the only thing you will ever like or know! So don’t settle! Richard’s previous experiences in the music scene prior to this were underground rock bands. Despite this being the same genre this was still a completely unique experience due to its members and the environment in which the gig was held. Music has no barrier or class structure, yet humans decide to put one there. Why should one genre decide your life path, attitude, fashion, or personality? This brought my attention to the music scene in the ’80s where “mods” and “rockers” formed a full physical and mental divide truly based on their genre of music. Richard’s interactions and close interest in disability music prove to me that despite your positionality genres and barriers can be knocked down as it is us who create them. Music can not always be liked by everyone but opinions over the years have formed blockades within society even on things that are entirely away from the music. I learned from this to never position myself within one area of music and to continue through life with an open ear to sound and music. Not allowing music to control you as a being but only to teach you is something that many people should think about. Positionality forms you as a person and what you surround yourself with. However, barriers should not be formed because of this.

Categories
First Year Pro Tools Uncategorised

Pro Tools – Lesson 5

1.) How much disk space is consumed per minute by a mono track at a sample rate of 44.1 kHz and a bit depth of 16-bit? What happens to disk space consumption if the sample rate is doubled to 88.2 kHz with the same bit depth? – Approx. 5 MB storage; it doubles to approx -Sample rate of 44.1kHz: Each track consumes approx. 5MB of disk space per minute for 16 bit audio (mono).

2.) How can you monitor the storage space available on your system to determine the amount of record time remaining for each mounted drive? – monitor storage space and estimate the amount of available record time remaining for your project using the Disk Usage Window.

3.) How can you create a click track for a session? What kind of track is used for a click track? – TRACK > CREATE CLICK TRACK – Auxillery Track

4.) What window(s) can you use to record-enable an Audio track? – Edit Window, and Mix Window

5.) What selector can you use to route a signal from an input on your interface to a track for recording? – Audio Input Path Selector, (I/O Section)

6.) How can you adjust the input level going to a record-enabled track? Can you use the Volume Fader to achieve a strong signal going to disk? – Can be adjusted on the audio interface or the pre-I/O signal processing – Basically use the pre-amp gains

Although a track’s Volume Fader can be used to increase or decrease playback levels, the Volume Fader does NOT affect record levels. Therefore No

7.) How can you place a session in Record Ready mode after record-enabling a track? What modifiers/shortcuts are available to initiate recording without first entering Record Ready mode? –

WINDOW > TRANSPORT – Click the button

Command+Space Bar

Fn+F12

8.) Where are recorded audio files stored for Pro Tools sessions? –

Clip List

Track Playlist

Also stored in the Audio Files Folder within the Session Folder

9.) What term is used to describe an unedited audio file in Pro Tools? What term is used to describe the smaller, edited pieces of the original sound file? –

Whole-file Clip

Subset Clip

10.) What types of clips are represented by boldface text in the Clip List? What type is represented by normal (plain) text? –

– Whole-file clip/Parent Clip

– Subset clip

11.) How do track names affect the default names of the audio files you record in Pro Tools? – Pro Tools names the resulting file (a whole-file clip) using the name of the Audio track followed by an underscore and the take number (a sequential number based on the number of times you’ve recorded on that track).

12.) Describe two ways to rename an audio file after recording into Pro Tools.-

– Double click the file or clip in the edit window (with the grabber tool) or in the clip list

– Right click on the file or clip in the Edit Window or Clip List and select RENAME from the pop-up menu.

13.) How would you go about removing unwanted audio from the Clip List without deleting the files from disk? –

– To select multiple clips, COMMAND+CLICK on clips individually

– To select a continuous range, click on the first clip in the range and SHIFT+CLICK on the last clip

2. 

– Choose CLEAR from the Clip List pop-up menu

3.

– In the resulting Clear Clips dialogue box, click REMOVE to remove the clips from the session, while leaving all parent audio files on the hard drive.

14.) How would you go about deleting unused whole-file clips to erase them from your hard drive? Can this action be undone? –

1.

– To select multiple clips, COMMAND+CLICK on clips individually

– To select a continuous range, click on the first clip in the range and SHIFT+CLICK on the last clip

2. 

– Choose CLEAR from the Clip List pop-up menu

3.

– In the resulting Clear Clips dialogue box, click MOVE TO TRASH or DELETE to remove the clips from the clip list AND remove or delete any selected parent audio files from your hard drive.

Categories
First Year Thinking & Doing Sound

Does Sight Effect Sound?

I recently visited the LUX New Wave of Contemporary Art at 180 The Strand. The exhibition focused upon how light and colour can affect the human being and their perception of reality. Every piece came along with a sound installation which got me thinking. The first room I entered (“I Can’t Breathe”) was 7 electrical screens surrounding you with visuals of a choir singing. Despite the words and the name of the piece being oppressive and negative, the sound was extremely soothing and peaceful. Its tranquillity resonated due to its surrounding speakers making you feel as though you were being embraced by the sound itself. This brought an extremely calming sensation to the room which contrasted with the juxtaposing lyrics “I can’t breathe”. However, despite the sound having such a calming effect I often wondered whether the bright warm coloured visual enhanced this effect. On the screens, they presented images taken from the choir in the church which were slowed down. Its tampered speed highlighted serenity and peace with no impression of rush. Big bursts of warm natural light hit the camera and the choir bringing a sense of unity and spirituality. Its angelic aesthetic in which the camera captured brought the same effect as the sound; calm and a fulfilled surrounded protection. When both mediums are put as one do they affect one another by heightening the mood it is trying to portray? If the sound is taken from that piece was filled with contrasting images of dark and ominous visuals; would we hear something different? 

This idea was furthered in the next room I visited. A more visual piece- here was a long blank wall with a strand of projected light. Mirrors on either side helped magnify its everlasting effect. The colours would change from Purple, Green, Yellow, Red and Blue. When colder colours such as Blue or Purple would hit the screen it would play a high frequency pitched note that would ring as if it was “everlasting”. In contrast when the screen would project warmer colours (red and yellow) the frequency would drop to a lower pitch note. The sound affected how you viewed the colours. High pitched frequency would give a strong sense of high energy and chaos. My memory played a part in this and made me refer to the atmosphere as weather and temperature (I thought about cold wind whistling). With the colder colours to add to this, it gave a taste of icy uncertainty. Whereas the lower frequency sounds would give a more sluggish, heavy sensation like being in warm heat. I once again asked myself the question what if the visuals and sound would have swapped? What effect would it then give me? The cold colours which before gave me high energy against a low frequency could have given an ominous and oppressive impression. Whereas the high-frequency sounds against the warmer colours could have given a burning intensity perception which juxtaposes the sloth-like laziness it gave when against low frequency. 

As a whole, I realised that although sight does affect how you hear something, sound also affects how you see something. No medium is stronger than the other and in fact, they work together hand in hand. These questions made me realise how I would like to present my work. Image and sound as mediums really do affect one another and the atmosphere they can create as a whole. Due to our memory and relative thinking, we put images and sound together to create a specific sense of feeling. I would like to play upon this when presenting my work to ensure I create the right mood I intend to create. Finally, to expand on this I would also like to incorporate other sensory mediums such as temperature and touch.