Adapting our Skill Set with DAW
Adapting our Skill Set with DAW
Gareth Fry hosts a panel of designers as they discuss how they use their knowledge of DAW to adapt their skill set and how we can all adapt to working in the current climate.
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Gareth Fry is a multi award winning sound designer, best known for his cutting-edge work in theatre, and his collaborations with many leading UK theatre directors and companies.
Awards include an Olivier Award, Tony Award, Drama Desk Award, and Outer Critics Circle Award for Harry Potter and the Cursed Child; a Special Tony Award, Drama Desk Award, Helpmann Award and an Evening Standard Award for The Encounter (with co-designer Pete Malkin); an Olivier Award and Helpmann Award for Black Watch; an Olivier Award for Waves. and an IRNE Award for Wild Swans.
He is a specialist in the use of binaural stereo sound, being involved in a number of theatre productions, VR, exhibitions and advertising campaigns, including for Bose, Volvo and Land Rover. His work in VR has been featured at the Tribeca, Vienna and Sundance festivals.
Rob Bentall is a composer/performer working with electronic sound and live instruments. His work, which has been presented worldwide from Jakarta to Doncaster, hybridise ambient, folk, dance, and experimental styles.
Rob has held artist residencies at the Electronic Music Studios, Stockholm, Visby International Composers Centre, CMMAS Mexico, University of Huddersfield and Cryptic Glasgow. Rob was a finalist for the 2013 Franz Liszt Composition Prize in Weimar, Germany, and the 2014 Oxford/Sennheiser Electronic Music Prize.
Recent work includes Telian for Swedish nyckelharpa and 8-channel sound, composed as part of Sound and Music’s Embedded International Composer Programme. This piece also became Nearer Future, an immersive audiovisual collaboration with video artist Heather Rose Lander for Glasgow’s biennial Sonica Festival 2017. Rob made the sound design and performed for Knaïve Theatre for their award-winning production War With The Newts.
For the past two years, Rob has collaborated extensively Impermanence Dance Theatre, piecing together scores for art-house film Ballet of the Nations and multimedia dance work Baal, after Bertolt Brecht. He has written about genre hybridisation for leading academic electronic music journal Organised Sound and produced blogs for The Sampler. Rob holds a part-time post as Principal Lecturer at Leeds College of Music, where he teaches technology-led composition to BA and MA students.
Anna Clock is a composer, sound designer and musician based in London via Dublin. Anna often uses spatial techniques and elements of spontaneity, including improvisation, and my work is often collaborative and interdisciplinary. She works across all forms including theatre, film and installation, as well as composing works for other musicians, performing myself and facilitating workshops in sound, music and devising for children, young people and adults.
As a composer and instrumentalist Anna has written for the RTE Contempo quartet, Tonnta, New Dublin Voices, Kirkos Ensemble, Node Ensemble, Dulciana, Gamelan Nua as well as for my own groups Low Tide and Téada Orchestra, and performed and recorded with a number of Irish acts including Gavin Prior, David Turpin, Emma O’Reilly, Hozier, David Lacey and others.
Other recent collaborations include work with visual artists, dancers and scientists. In 2018 Anna presented her ongoing research about sound, headphone space and gender at UC San Diego’s Sonic Fluidities , on with collaborating neuro-ethicist Lauren Sankary.