Sense of Space - edit

 At first it seemed quite daunting when it came to the edit; we had a whole host of sounds and had to successfully arrange them on a multi-track sequence. Luckily Paul drew a rough plan for the edit, which we referred to, as we new how we wanted it but needed the visual aid to get us started, because you can't put it all on at once then rearrange. We needed to figure out what we wanted to keep and from that what order they needed to be in.

(image by Paul Manning) 

We started by using a general atmos as a base, then gradually began building up the sounds, duplicating tracks which slowly decreased in spacing between the next repetition until the end when you have the full on sounds and irritation. There is a transition between the real and hyper real. We put on the guitar track just to see what it was like and it worked well, acting as a soft juxtaposition to the irritating sounds, which gets overwhelmed towards the end when we added hyper real irritating sounds like a car starter motor groaning, the constant irritating beep when you leave the lights on in your car and open the door, then finally the scratching of the guitar strings. We had to rework the guitar in so it fitted better, fading in then out seamlessly. We also used pan in a considered way to add movement to the piece, making it so that the taxi would pull up on the left side of the road for example, and making different clips interact with each other.   

We used duplication and cross fades, spacing out some of the sounds which slowly go into a constant. We used the levels to check that we were in a good range of volume and quality. Our aim wasn't to create something overwhelmingly loud but instead an irritating mash of sounds.