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Audio

DMs: Decades

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Project Bio

The DMs are a Sydney based collective of musicians, producers, and engineers spanning 3 decades. Our latest studio album is a culmination of songs featuring an array of genres. From disco through to dubstep and everything in between. Witness versatility and our attention to detail. Join us on a journey through sound. An album you won’t want to miss.

Group Participants

Dustin Petritsch, Mitchell Lucan, Mendy Stein

The Pixels

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Project Bio

This project is a 4 song EP detailing the journey of the fictional punk band 'The Pixels'. Each song is from a different decade and acts as another chapter in the overarching story of the band. The story includes the band’s rise to fame, falling out, reconciliation and untimely death.

Group Participants

Callie Hoskin (audio) Linda Tran (design)

Boo Ragu

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Project Bio

5 Track Ep , Recorded ,Produced Mixed and Mastered Harrison Blackall and Jai Cougle

Group Participants

Jai Cougle Harrison Blackall

Under The Octagon

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Project Bio

Our final Major Work for 2021 will be the completion of a compilation album. The album will consist of eight different bands or artists that will each perform a single track in a unique genre. We decided the title for the album should be called "Under The Octagon" as the theme focuses on the number 8. All tracks will be recorded, mixed and mastered by our group then posted on music streaming platforms for the public to access.

Group Participants

Kurtis McGarrity, Aidan Yasa, Nicholas Chander

PASTEL CLOUD - MILK ARCADE EP

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Project Bio

A DIY electro pop EP with aesthetic inspired by the tumblr culture. Inspired by the new wave of pop musicians who produce, write and perform their own music, we decide to go for a similar approach.

Group Participants

Linh Nguyen

MAJOR WORK

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Project Bio

Our goal is to create an immersive performance experience, encapsulating a band's live energy and allowing the viewer to feel like they are present and part of the show. To achieve this, rather than doing a simple live performance or an EP recording, we have decided that a 360° camera can help us capture this as it allows the audience to have control of what they see, and which elements they focus on at a given time. The audio components remain similar to that of a live performance, where the band will be in the same space, miced up and recorded in real time. This allows us to practice what we've been learning the past few trimesters and put our engineering skills to use, aiming to capture the best quality sound we can, so that the potential when mixing and mastering is not limited, and we are able to make the band sound amazing. The video component is definitely the most ambitious aspect of this project, as the nature of 360° video means that the setup will need to cater to these needs. Having a film student on board who has experience with set design, lighting effects and general scene structure will help immensely, and will be crucial to ensuring this project is at the highest quality possible upon submission. The genre of music we will record will heavily influence the type of equipment we use and the size of the room. The band composition will also come into factor, as the more members and more complicated the nature of the instruments are, the harder it will be to capture the sound all live in the same room, especially trying to avoid noise spill. The microphones used for this will be especially particular, as they will have to be chosen both for the genre of music and for a live application, both aspects being extremely important in this context.

Group Participants

Emad Ghaffar, Toby Chantharasy

Autonomy

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Project Bio

With emerging technologies pathing way to new and exciting instruments - I seek to remind audiences of our autonomous future ahead of us. Where currently 'normal' interactions between 'man' and 'machine' gradually become infused with machine learning and contactless connections. The instrument in question here is able to play itself without a user just by "listening" to its environment. Sensors placed in a module are reading proximity (with ultrasonic frequencies) to control a number of digital parameters manipulating components of the sound. The idea was to create a unique sense of connectedness between the artist, the instrument (in this case a computer) and the audience. The project has aimed to explore some of the furthest reaches of digital music productions - fusing emulated and synthetic sounds into an interactive piece that is different every time. It seems that humans and technology are becoming increasingly symbiotic with one another; and so this work aims to emphasise that through an experimental demonstration. This demonstration takes the audience through a fusion of interactive music technology, and aims to be the basis for future models which I believe can form new performance types and sound generation techniques.

Group Participants

Campbell McGillivray

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