Abstract blue and purple marble-like background

GRADUATE 2021 SHOWCASE

Featured cover art: 'IntraLuden' by Rory Burcham

Our Music Technology students have explored subjects relating to recording and production, composition and music computing, leading them to careers in the music industry in a creative or technical capacity.

They’ve specialised in recording and production, composition and sound design, and computing with software design, coding and audio programming for creative projects.

Students used professional-grade studio equipment, such as audio mixing desks, surround sound, matrix consoles and synthesisers, along with industry standard applications to create a stellar showcase.

Experience the innovative outcomes of this enjoyable student showcase.

We wish every student continued success on their creative journey.

Watch George Pack's "Sound Toy"

George Pack

"Sound Toy" - Implementing GameAudio

This artefact was created as a “sound toy”. It is an environment that the user can interact with, to explore its sound world. The user has an audiovisual space to explore, with various components that ensure a different experience each time it is run.

Simple game engine physics simulations are used as a generative element for the sonic output. The use of a physical modelling synthesizer allowed for the creation of many unique, interesting timbres which are characterful in the context that they are presented.

Watch Sky Curtis, Seb Langdon and Jaye Wright's vlog about their Sound Application

Sky Curtis, Seb Langdon and Jaye Wright

Sound Application

For this project, we created an interactive app highlighting the various soundscapes of areas around Portsmouth & Southsea based on the concepts of Acoustic Ecology from R. Murray Schafer’s World Soundscape Project. Videos of the areas are presented in the app along with impressionistic music composed for the different areas.


Rory Burcham

IntraLuden

Completed as part of my final year project, IntraLuden is an EP consisting of original music, written as an exploration and demonstration of incidental music techniques, and the idiosyncrasies of music composition for film and games. The name IntraLuden is the combination of the Latin words for “within” and “play” the music use of the word “Interlude”, being a reference to instrumental sections of songs.  The EP presents music for a variety of different genres featuring a wide range of sound worlds, from the ambient spaces, fast-paced platformers and shooters to more thematic Eastern Role Playing Games.

Cristian Munteanu

Final Year Project - Genre Studies

A selection of original compositions exploring the nature of genre classification, as part of the Final Year Project submission.


Watch James Kelly and Rory Burcham's project for implementing game audio ​

James Kelly and Rory Burcham

Implementing Game Audio

Once we felt we had a strong concept to work with, ideas came to us quite quickly. James and I agreed that the creation of an actual level to be explored and completed by the player would allow for more instances to demonstrate this concept. We decided it would feature a number of tasks or “quests'' that the player had to complete to achieve a success state.

The level design, quests and audio from here were designed from the ground up to represent the core of our project’s themes. To achieve this we decided to adhere to two rules and design conventions:

- All audio is diegetic,

- All audio heard is contextualised as what the main character hears.

Using these ground rules we decided that three to four quests was a reasonable amount of content considering our scope and timeframe. After sifting through our collection of ideas we settled on a tutorial and three quests we felt illustrated our design concept most effectively.

Watch Elliot Whatson's project about exploration of interactive adaptive music

Elliot Whatson

Implementing Game Audio

This project is an exploration of interactive adaptive music. It uses a pinball table as an interface to command changes in the audio accompanying the gameplay. This takes the project in a different direction than in the first development stage, using Max instead of Wwise and compares the two approaches to adaptive music.

The project started as an abstract concept with shapes controlling various elements of the music. This developed into the idea of a pinball game that is based around collisions. The aesthetics of the game were inspired by arcade games with a dark background, brightly coloured lighting and simple angular shapes.

This new system used the ball’s collisions to trigger notes and sent other triggers and values to automate parameters within VST instruments and effects. This new system demonstrates a clear correlation between the gameplay and the audio and controls more parameters of the audio to a much finer degree. The audible result of this path is much more abstract and some limitations were added to maintain a cohesive result.

This is a more generative technique as the soundtrack is being composed through actions in the gameplay and has in-game parameters changing the timbre with filters and other effects.


Rhys McCauley and Ruairi Neave

Professional Music Production Techniques

Ruairi Neve and Rhys McCauley collaborated to make this track in isolation from each other. Ruairi remained in the UK while Rhys went back to Ireland due to the lockdown. The track was created by sending audio files back and forth via Google Drive.

Alex Naylor

Professional Music Production Techniques

The style of the song is a sea shanty. Vocals are layered to give the impression that there is a group singing/ chanting. After recording the initial vocals, I added different takes in different singing styles. These varied in pitch and timbre, to create the sense of a crowd singing. As the track is quite acapella, I have also incorporated humming to generate the bass tones for the track. These tracks sometimes follow the harmony of the song and in other areas are there to contrast it, which further accentuated the group chorus feel of the music.

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