Spreadable Media (Part 3)

You may have read my previous blog posts about my spreadable media project – if you didn’t, here’s the video I’ve been trying to spread:
.
.

Views

According to the stats on YouTube, as of 15th December 2014 the video has had 593 views and 7 likes. That’s over the 3 weeks it’s been online. After following Mark Robertson’s advice and uploaded the video at 1pm on Thursday, it started off spreading fairly rapidly reaching 100 views in the 8 hours following its upload. 24 hours later it had reached 400 views, then as predicted the internet traffic slowed in the following days and the video was watched increasingly less often. The initial success of the video was hopeful, but it seems to have reached it’s peak within the first few days.
.

Audience Retention

The video statistics show that the average view duration is 17 seconds (100% of the video), which I think confirms my prediction that a shorter video is more likely to be watched in its entirety. In this sense, the video was a success because it seems no one switched off the video within the first few seconds, but after seeing it wasn’t long decided to stay until the end.
.

Geography

Most of the video’s audience were in the UK (83%), the spike in viewers here was on the day of its upload. The next in the rankings was the United States down at 4.4%. This was expected given the choice of politician – while politics seems to be a good choice for creating something topical and spreadable, aiming the video at the United States with a population 5 times the size would have made a more spreadable piece of media. However, for a video practically limited to an English audience, it seems to have done fairly well.
.

Traffic Sources

Chart showing sources of Internet traffic for the video.

Chart showing sources of Internet traffic for the video.

.
The video was mostly seen through external websites (64.6%), followed by through youtube searches (14%). This is somewhat surprising, as the multitudinous and popular tags on the video made me expect it to be found mostly through YouTube searches. This could suggest that the video was seen mostly from shared links over various forms of social media. Using bit.ly, however, on my tweets about the video have shown me that very few people were directed to the video by following that link. Facebook is my best guess for these stats, which would suggest that it was mostly seen because of my statuses about it, and from friends of other people I asked to share it.
.
The video only had 1 share from YouTube, which was probably me…
Advertisements

Spreadable Media (Part 2)

After some investigation into spreadable media, I decided the best idea would be a short video (perhaps only a few seconds so as to encourage viewers to see it all), and something amusing that overlaps between entertainment, music and politics. I went with the idea of a mash up of short clips from a politician’s speeches to construct the lyrics of a popular song.
.
Google Trends threw up some interesting results when analysing interest over time. David Cameron, for example, was the first politician I searched, but his interest peaked in May 2010, around the time of his first speech as Prime Minister, and has been relatively insignificant since. Nigel Farage, on the other hand, as UKIP has made increasingly more significant appearances in the news, has had much more interest recently. There is a spike in May 2014 (the time of the european election results) and the number of searches recently has been increasing since early 2010. A common related search, according to google trends, is ‘youtube nigel farage’, so this seemed like a good place to start for a spreadable YouTube video.
.
Graph showing interest in google searches of 'Farage' over time.

Graph showing interest in Nigel Farage based on google searches over time.

.
The recent popularity of Nicki Minaj’s ‘Anaconda’ seemed like a good choice for the song as well. An analysis of both terms ‘anaconda’ and ‘minaj’ shows that the release of the song in August 2014 almost doubled the previous interest in Nicki Minaj.
.
Graph showing interest in Nicki Minaj based on google searches over time.

Graph showing interest in Nicki Minaj based on google searches over time.

.
So here it is, a mashup of Nigel Farage performing Anaconda:
.
.
Let’s see if it spreads…

Spreadable Media (Part 1)

From Charlie Bit My Finger to the Keyboard Cat to the Rickrolling bait and switch with Rick Astley’s ‘Never Gonna Give You Up’, we’ve all seen those videos that have made their way around the online world reaching an enormous number of people. This kind of spreadable media has become increasingly more possible with sites like YouTube and meme sharing websites (like quickmeme for example) and it can reach all these people within hours.
.
As part of my University course, we’ve been given the challenge of creating some form of spreadable media – something original, or amusing or though provoking. The idea is simply to try to get it seen by as many people as possible, essentially considering the factors that makes content worth spreading.
.

Traffic

Analysing patterns of internet traffic is a good place to start. Mark Robertson has done some interesting analysis of the best times to post to YouTube (from 1pm on a Wednesday or Thursday). He also noted that the most popular video categories are Entertainment, Sports, Music, and Comedy.

http://www.reelseo.com/youtube-traffic-analysis-seo/

.
Length
Attention spans on the internet are very short – analytics of YouTube videos show that most viewers don’t make it to the end of the video, most switch off after a matter of seconds, so keeping your media concise is an important aspect to consider.
.
Emotion
People tend to forget things very easily, especially with the wealth of information provided by the Internet, very little of what we see will be retained. What we do remember, however, is how things make us feel, so activating emotions in the viewer will dramatically increase the likelihood of people viewing and sharing your content. Derek Halpern complies a list of the high-arousal emotions he’s found to be effective: awe, anger, anxiety, fear, joy, lust and surprise, and suggests that evoking any of these, while not easy, is a sure way to get your content shared.
.
Over the next few weeks, I’ll be trying out a few of these ideas and attempting to get something spread.
.
On a side note, Henry Jenkins has written an extensive blog on the subject (‘If It Doesn’t Spread, It’s Dead’) which makes for an interesting read.

Recording the Bassoon

Almost anyone who calls themselves a recording engineer has got their own array of different techniques for recording instruments, from a 15-mic drum setup to an SM57 in front of a guitar amp, and we can inevitably become complacent with our own setups and methods. After all, if it’s not broken…
.
IMG_1162
But every so often, technical challenges come our way, and it might just be in the form of a bassoon player and their unyielding beast. As both a bassoonist and a recording engineer, albeit a more unconventional combination of professions, I can hopefully provide you with a step in the door so you have an idea of what you’re up against.
.
Find a Good Room – Concert Hall or Studio?
If you have the space (and isolation) for it, the room is often the best place to start. Every bassoonists will have a different tone, formed by the shape of their mouth, position of their teeth and many many factors, but the nature of way the double reed used on the bassoon vibrates means that it’s going to sound different when you’re playing it than when you’re listening to it (when you’re face isn’t vibrating along with it…)
 .
Bassoon-reedsAs with most classical instrumentalists, projection becomes an important part of the performance – the sound made by a bassoon isn’t particularly loud, so it needs to be projected to the back of a concert hall yet still convey an extensive dynamic range. This is the sound we are used to hearing from a bassoon, and often with a close-mic setup we’ll end up hearing something completely different.
.
Close Miking
Close miking a bassoon can work well, don’t get me wrong, but do consider the number or orifices the sound emits from – and there are lots! The shape of the instrument doesn’t lend itself to being miked at the bell, you’ll end up with a very thin, reedy sound. Most of the sound comes out from underneath the finger holes, and as the left and right sets of holes are quite far apart, you’ll need to mic both sets to get a balanced sound. I’ve often found large-diaphragm condensers to work best here. However, the left hand thumb of the player has 9 different keys to play, so this area can get noisy with key clicks, and picking up these sounds isn’t the best representation of how a bassoon is normally heard.
 .
 IMG_1163
 .
Capturing the sound from a distance will work well in terms of capturing a fuller, more accurate representation of the sound, but that’s working under the assumption that we’re not talking about ensemble playing. An omni-directional condenser will work well at a small distance from the instrument if that is the case, and a dry treated studio is often not the best place for this. If you can get a concert hall or an acoustically appealing performance space, use it, and that goes for most string and woodwind instruments. If you’re in an orchestra situation, however, you’ll need something directional which can be placed effectively in front and above the performer when space is at a premium (but not pointing into the bell…)
 .
IMG_1164
 .
Let me know if you’d had any experience dealing with recording bassoonists and how you went about it – I’m always eager to hear of any other techniques and ideas.

Allen & Heath Zed 22FX Mixer

Having recently acquired an Allen & Heath Zed 22fx mixer and tried it out both at home and at a few gigs, I though I’d take some time to review it for anyone interested or looking to get their hands on a mixer for themselves.

IMG_1158

Going for an RRP of just under £600, this mixer isn’t the cheapest, but certainly not one of the more expensive ones either. But for the money, I’d say the 22fx is well worth the investment. There are 16 mono mic/line input channels at your disposal, and a further 3 stereo channels with 2 balanced jack inputs. It also features a USB connection which can be used as another stereo input channel or as an output which can send the main mix or any of the auxiliary channels. For any outboard gear/effects units there is an additional stereo return, and 2 sets of additional RCA phono sockets are available (e.g. for CD players) which brings the number of input channels up to 30 if you include all of these.

EQ

Each mono channel strip features 3-band EQ controls. The amplitude can be cut or boosted at 80Hz and 12kHz, and there is a sweepable control for the mid frequencies between 120Hz – 4kHz, which provides much more flexibility in a live situation to be able to adjust such a large range. The EQ controls, however, are not parametric so the bandwidth cannot be adjusted. A 100Hz low-cut switch is also available for every channel.

FX

The FX units boast a wide range of delays and reverbs, ping-ping delay, flanger and chorus and the parameters for these effects can be easily adjusted – the delay time can be tapped in manually, and the reverb decay time can be adjusted, as can the depth for the chorus. Each channel can be sent to the FX units via aux 4, and the FX return has its own fader which can be muted and panned as well as sent the main output, or to aux 1 and 2 as a summed mono signal or stereo (aux 1 to left and aux 2 to right).

IMG_1156

PreAmps

The Zed 22fx uses DuoPre preamps which produce very low noise levels. The two stages of the preamps allow a 69dB gain range for the XLR inputs at the first stage, with line levels sent straight to the second stage. A jack input breaks the signal from the XLR connection and takes priority, to avoid noise from the more sensitive mic preamp.

There are several small features of the mixer that make it so easy to use and practical for small live gigs. Weighing only 10.5 kg, the Zed 22fx is very easy to carry around and it doesn’t take up much space on stage. The recessed buttons for the phantom power and the routing switched for the RCA inputs means they can’t be accidentally pressed between and during gigs which avoids any unnecessary issues. There are both pre- and post-fader auxiliary channels to use for foldback monitoring and effects units, and pre-fader switch illuminates the channel’s peak light to instantly highlight if any tracks are highlighted. Monitoring can be done visually with the stereo LED meter and through the headphone amp (with both 6.3mm and 3.5mm jack outputs).

IMG_1157

So far this mixer has performed fantastically – I’ve used it mainly for a small 7-piece function band with vocals, guitar, bass, keyboard, sax, trumpet and drums, and it has given the gigs a great sound and wonderful control. I wouldn’t hesitate to recommend this mixer to anyone!

Recording Techniques – Stereo and Spot Microphones

A common issue I’ve been faced with when doing live recordings of acoustic ensembles, particularly in more classical concerts for chamber ensembles, is that the performers (and audience) don’t like to have the stage cluttered up with microphones and cables. The challenge here is to keep everyone happy and still get a decent recording out of the performance.

Stereo Pair – Performance Space

Generally speaking, if it is a concert that you’re trying to record, it will be in a good venue like a concert hall or church (somewhere with a nice acoustic anyway) so as much as possible I try to capture the sound of the space, rather than applying plug-ins like reverb later when mixing because it’ll never sound as convincing as the real thing. Generally I try to capture this with a matched pair of condenser microphones in a XY setup a short distance from the ensemble to get a good stereo image as a starting point. If the ensemble is of a professional standard (or close to) the balance between the instruments will already be there in their performance. This leaves less editing on our part, and means we can use the stereo pair as a good reference for instrument balance and stereo imaging.

Spot Microphones

Once you’ve found a good place for these two microphones, you’re left with deciding which instruments need more of a close-miking technique to bring them forward in the mix. If you’re recording a string quartet (one of the most common classical ensembles), you may find that you don’t even need any close miking; string instruments often sound unnatural when the microphone is placed too close to the instrument as it picks up some unpleasant harmonics and sometimes ‘scratchiness’ from the bow on the string which you wouldn’t hear from a few feet away (and certainly not from the audience). Other situations, however, will require some close miking as well as the stereo pair to get a more intimate feel.

Two ensembles I have recently recorded live in concert are a wind quintet (Flute, Oboe, Clarinet, French Horn and Bassoon) and a Klezmer ensemble (Flute, 3 Clarinets, Violin, Trombone and Bass Guitar). A wind quintet is a far more common ensemble (the wind version of the string quartet), so is a good one to have some knowledge of. For an ensemble like this, you’ll probably find that the French Horn may not need close miking as the sound produced directly from the bell is very different to that heard from the audience. It relies on reflections from the surfaces behind the player so you’re better off recording it with a microphone facing the surface the horn’s bell is also facing. The horn is such a loud instrument, however, that it will probably be picked up perfectly well from the stereo pair and will sound more natural than placing another microphone any closer.

The flute, oboe, clarinet and bassoon may need some individual microphones. In my last recording I found that 2 large-diaphragm condenser microphones (one between the flute and oboe, and one between the clarinet and bassoon) did the job well, placed about 1-2 feet away from the players’ instruments. I did, however, place a small-diaphragm condenser above and facing down on the flute after the first recording, as the lower range of the flute doesn’t project particularly well and started to get lost in the mix.

Dealing with Unconventional Ensembles

The Klezmer ensemble, being an unusual combination of instruments, provided more of a challenge. In the end, a spot microphone on the 3 clarinets worked well and picked the 3 of them up well. Again, as long as your ensemble is sufficiently musical, the musicians balance brilliantly between them so using only one mic for the 3 players didn’t cause any problems with balance. The trombone, much like the french horn, is better captured off-axis and from a distance, and was picked up sufficiently by the ambient stereo pair. The violin, being a relatively quiet instrument in comparison to the trombone and bass guitar, was recorded with a small-diaphragm condenser from about 3 feet above. The bass guitar was captured with a dynamic microphone in front of the amp, but, had I more warning about the instrumentation, a DI box would have been a good solution to this unusual combination of instruments.

Mixing

When mixing, I’ve found it best to start with the ambient stereo pair and slowly bring up the level of the spot microphones one by one. Listen to the position of the instruments in the stereo field and analyse whether the sound moves left or right, and match the position of the spot microphone to the ambient pair.

You can hear some examples of some live stereo and spot microphone recordings on my soundcloud page.

Social Ideals of the Internet

“Our social connections until now have almost all been constrained by geography and atoms: the real world. These constraints feel natural to us because that’s exactly what they are. They’re so natural that they’re usually invisible: It’s inconspicuously true that we generally have to travel longer to get to places that are farther away; that to be heard at the back of the theatre you have to speak louder; that when a couple moves apart, their relationship changes; that if I give you something I don’t still have it; that our presence in the world is continuous from birth until death. Our every social act implicitly conforms itself to the geographic and material facts of the real world. But the Web is an unnatural world, one we have built for ourselves. The facts of nature drop out of the Web. And so we can see reflected in the Web just how much of our sociality is due not to the nature of the real world but to the nature of ourselves. The Web confronts us with a different sort of brute fact: we are creatures who care about ourselves and the world we share with others; we live within a context of meaning; the world is richer with meaning than we can imagine.”

– Weinberger, 2002

http://www.smallpieces.com/content/preface.html

IMG_1155.PNG

This article by David Weinberger highlights some particularly interesting issues that have arisen since the Internet’s conception in the 1960s, or perhaps more accurately, the proposition of the World Wide Web nearly 25 years ago when the Internet became a public resource. Our social ideals have indeed been drastically altered by the presence of such an extensive resource, which has not only affected how we experience communication but has also made us more complacent through the ever-increasing convenience and accessibility that the Web provides.

Of course, the Internet has had significant and multitudinous positive implications for both individuals and organisations, and it is somewhat ironic that I am using an online blog to almost criticise the way the Web contradicts previous conceptions of the laws of nature, but I think the reality is that it is simply our over-depenedence on the Internet that is causing us to percieve things so differently.

This video more or less sums it up I think:

The Internet is just another piece of technology that we have become complacent with. For instance, take the analogue computer above, albeit a rather obvious example. It contains technology that doesn’t even compare to the fucntionality of a smart phone that is less than a hundredth of the size, and a computer from the mid 20th-century could take days to carry out some functions, yet we get frustrated when a photo takes more than 20 seconds to upload, or when we have to search for whole minutes to find a video. Not to mention the infuriation we experience if the WiFi goes down for even one minute. But with the web migrating onto mobile phones, we tend to multitask more and more (or try to at least) and time is never wasted; in the 5 minutes waiting for a train we can do the week’s grocery shopping, watch a video, book a restauarant, download an album, and it’s no more than we expect to be able to do…