Music & Audio Engineering
Whether recording music groups on campus, mixing compositions or creating sound stimuli, the studio is my construction ground for sonic architecture. My Audio engineering mentor at dartmouth is Sangwook "Sunny" Nam. I am privileged to learn from his extensive experience both in analog and digital producing. As an electroacoustic folk singer, I am on a quest to create an analog sound in a digital world.
Harmony an anthem of social justice and peace has been featured on the Stanford University Soundtrack and has raised money for foster care encouraging at risk youths to direct their passions and energies into positive opportunities. Derived from think-tanks at United Nations conferences and travels around the world,harmony is a true mosaic. Beneath the steady guitar rhythms one can faintly discern a drum beat supplemented by the strategically spliced audio of cheering youths recorded at numerous charity events. The energy and spirit of the song is fueled by audible hope for theencouragement of humanity.
Märchen is a song derived from philology and mythos, inspired by the Grimm Fairytale world of the metaphysical philosophy of action and anticipation. Taking place in a dystopian desolation, the sonic structures of the song unfold into an effervescent tonal weft. The first three minutes of the song were recorded blindfolded, whereas the last moments of the song wererecorded sighted. Whilst blindfolded, the song takes place within the cerebral mind-scape but later filters into a physical setting. This principle is based upon theories of visual tonality: sight and visual cues imbuing and affecting music through a sighted performer. The lyrics, written first in German, translated into Gaelic back into German and then into English received only minor editing after the final translation, lending idiosyncratic yet etherial prose to the retelling of an ancient folktale.
The melody of Little Sailor was derived from four hours of recoding light frequencies in the moving shadows cast by water and oceanic life in an aquarium exhibit. The instrument in the trackis a prepared piano containing remnants of an old fishing boat and one of the drum tracks was played underwater while additional beats and tones were created by tapping seashells. These are only some of the things which give Little Sailor an aquatic feel.Drawing from cornish and gaelic prose tradition and celtic folklore the song little sailor was exhumed from depths of the sea ringing of siren calls, “selkie” promises and aphrodite’s treasures.
The song Wanted encapsulates a memory: a moment in time. The sirens and helicopters heard in the track I recorded on a mobile phone from a high-school art classroom while waiting to be evacuated by officers. Our entire Los Angeles street block was on lockdown due to a bomb planted in a next door bank vault. The bomb was deactivated but the memories of those who experienced this and similar more devastating events, are not. Wanted is an ode to the complexities of survival, fear and retribution. The wind sounds are taken from a recording of my heartbeat when recalling the occurrence while the lyrics speak to particular happenings of the night.
Featuring theremins and the very same archaic synthesizers British Band Depeche Mode used in their early albums, Growing Apart is an ode to the yesteryear. The song itself was recorded with my taking a step away from the microphone for every half minute of the song. The microphone sensitivity and my vocal dynamics increased with each step away, allowing for consistent volume control whilst providing heartfelt shifts in timbre and tonality matching the emotion of the song. An algorithm which converted pressure magnitude into sound frequency was employed to create the melody through the analysis of pen-pressure frequencies used in vintage love letters found at charity shops and thrift stores.