Tegen Fisher - Old Times
Recorded live on location in the Nelson Cathedral
Tegen was working with a videographer to create a live performance music video. While wanting to capture the essence of a single live take, budget constraints did not allow for multiple cameras, and the videographer did not want microphones to be visible.
To achieve the resulting clip we captured an unedited take with the camera in close-up on Tegen's hands. Once happy with her own performance, I packed up the microphones, left to mix the recording, leaving behind a copy of the chosen take to be used as a guide.
Subsequent wide angles were shot with Tegan playing along to the guide track, and once the video was edited and audio mixed, the two were reintroduced and synced up.
Wither Hills TV Ads Location Recording
This project was certainly an interesting experience. What might appear in the final edit to be common advertising trickery, was in-fact an intensive process to record 3 full-length songs written by the ex Powderfinger frontman Daren Middleton in response to his experience over a 'long-long weekend' on the winery.
Darren and accomplice Kelly performed multiple layers of guitars, vocals, stomp-box, harmonies, violin, hand percussion, harmonica as well as 1 wine glass. We tracked to a click so that the resulting session files could go back to Sydney where the songs were mixed and a rhythm section added to some songs.
Adam Chamber Festival Sound Shell
I was commissioned to design, construct and install a temporary sound shell to introduce additional acoustic reflections into the auditorium. Acousticians determined around 18 sheets of 18mm thick MDF were required around and above the performers to improve reflections for Chamber Music.
In 2017 I was commissioned to design, construct and install a temporary sound shell in the Theatre Royal because The festival's spiritual piano venue, The Nelson School Of Music, was undergoing earthquake strengthening and redevelopment.
Marshall Day acousticians determined that introducing around 48 square meters of dense reflective at the usually sound-absorbing stage end. Modelling showed this would significantly introduce additional reflections into the auditorium which would improve spacial-perception.
What followed was a design and pre-visualisation process to establish how to rig around 18 sheets of 18mm thick MDF around and above the performers, while allowing stage access, positions for over-head lighting and a gap large enough to bring the piano on or off as required.
All of the overhead panels were rigged to the counterweight fly system. To achieve the required angles, each row was suspended off 4 line-sets allowing control of the pitch of all three panels, and the yaw of the outers. The twin rear wall panels were flown of their own bar allowing the piano to be stored when not required - This always received a large 'oooooo' from the unsuspecting audience!
Once the panels were installed as per the intended plan, we invited the New Zealand String Quartet to rehearse onstage and provide their feedback.
A collection of critical listeners including audio engineers and festival artists supplied notes from positions dotted around the auditorium. Over the next hour and a half, we tweaked the positions, altered angles and shifted each panel until everyone was satisfied.