Portfolio Online submission

Rowan Bunney

10 Balham Avenue
Kingswood SA 5062
Contact: h: (08) 8373 1812 m: 0417 847 224

Class C drivers Licence Senior 1st Aid certificate

Key Skills and Experience


Sound Engineering

Ø Formally trained and experienced in the use of:
o Digidesign's Pro Tools HD & Pro Tools LE software
o Steinberg's Cubase
o Steinberg's Nuendo
o Bomb Factory Plug-ins
o Waves Diamond & Mercury Bundles
o WaveLab 6.0
o Logic Pro
o Bias Peak LE
o Studio Contorl Surfaces
o Live Mixing Consoles
o Various Outboard Hardware
o Editing strategies
o Advanced Production Techniques
o Drum programming
o MIDI sequencing



Multimedia

Ø Formally trained and experienced in the use of:
o 3D Studio Max, Photoshop 7
o Flash, Dreamweaver
o Adobe Illustrator, Paint Pro Shop
o After Effects, Director
o Advanced Word programs


Retail

The ability to develop good rapport with customers
Experience using cash registers, EFTPOS
Enjoy creating a positive shopping experience for customers
Product knowledge in Music
Stock control and display
Proven ability to follow direction, also comfortable working with limited supervision


Labouring

Ø Experience as a builder labourer in family business
Ø Carpentry, decking, roofing, tiling
Ø Demolition work
Ø Installation of storm water systems
Ø Concreting and painting
Ø Site clean ups


Personal

Ø Motivated and dedicated worker with solid teamwork skills
Ø Strong written and verbal communication skills
Ø Effective interpersonal skills, readily able to consider the needs of others
Ø Well presented, polite and courteous
Ø Willing to learn and readily grasp new concepts



Employment History


Customer Sales Assistant
Billy Hydes Music Adelaide
September 2006 - December 2007
Employed in a permanent part-time role, specialised retail sales, running dispatch and managing customer orders. Fast paced, competitive, initiative driven environment.

Customer Sales Assistant
Myer Stores, Adelaide
November 2004 – January 2005
Employed in a casual capacity working in a very busy environment

Trades Assistant
Paul Bunney Constructions (Family Business)
January 1999 – January 2003
Casual work while studying

Customer Sales Assistant
Derringers
January 1997 (work experience)

Web Page Design
Volunteer Activity designing and developing web sites for local bands
Casual ad hoc assignments








Education and Qualifications

Diploma in Sound Engineering
Adelaide University
Currently Studying (2007)

BA in Occupational Therapy
University of SA
2 years completed (2002 - 2004)

Diploma in Multimedia
Prides Centre for Excellence
Achieved 2001

Certificate in Short Film Production
Prolific Productions
Completed 1999

SACE Stage 1
Unley High School and Eynesbury College
1999

Personal Interests

Playing guitar, composing and arranging, production and engineering.
Band member (Composer/Programmer/MIDI sequencer/Lead Guitar) "Entanglement" 2007
Band member (Session Lead Guitar/ Live Lead Guitar) “Enemy Of” 2004 - 2006










IN THE MEAN TIME TO HEAR SOME OF MY WORK GOTO:
http://www.myspace.com/entanglementmusic




(Note: I can't work out how to attach files to this blog, I'll be sure to fix this soon)

Music Technology Forum - Presentation Paper

Honestly, I felt my presentation went reasonably well, but due to a shorter timeslot I had to lose the formula and PowerPoint presentation which lead to me adjusting things on the fly and getting slightly off track. In retrospect I would have liked to be more succinct and followed my plan. Due to the re-shuffling, I think it ended up being more of a showcase of my interests and work I had done, as well as how I had achieved certain things, rather than my personal goals as a prospective sound engineer and particular interests in the future. I had originally planned to jump between both show-reels I had prepared, one being diversified, the other being all the ‘Metal’ genre engineering and composition I had been working on more recently. Due to time constraints and my absence the week before I was just happy to have an opportunity to still get to present. I guess it would be safe to say what I presented wasn’t as comprehensive and representative of my work this year as I would have liked, however, this was only my fault. I think the whole process of the presentations, apart from technical difficulties with some of the equipment that was supposed to be functional, was performed in a considered and fair manor.

Unfortunately, since the nature of my presentation was rushed so we could fit one more in, I didn’t really receive any feedback at all so I cannot comment on that element. Instead I will try and identify my own strengths and weaknesses starting with the latter. I definitely think that my weaknesses that would have come across in this particular presentation would have appeared to be somewhere in the ball park of organisation and direction. Maybe this was due to the rushed nature of things, for some reason I decided to skip the ‘my history in sound’ part and goals. Skipping the part about my goals as far as a career in sound engineering and the surrounding climate of the industry would have definitely made it seem that I had less direction and was less diversified. I have decided to specialise in certain areas, but understand the great importance or diversification and adaptability, and unfortunately that didn’t come through in my talk.

I would say my strengths are being driven, open minded and always wanting to soak up new information. I do a substantial amount research at home and reading about different things to do with mixing and studio techniques etc. I think my greatest strength lies in the analytical sense of referencing, as well as building up a ‘sound memory’. I enjoy constantly adding to these skills and I definitely have a passion for it. However, I am always willing to have peers identify my fault or offer inspiration or advice to further my own personal development, as that is a very important element of learning, knowledge, self critique and moving forward.

I found all the presentations interesting and insightful and thought that it was beneficial to see what my peers directions were in the industry.

MTF Sem2 - Week 7

This week there is not much to write about for the online blog as we spent most of forum going through what was is required for our major assignment. We will be compiling all the work we have done to do with sound engineering this year and beyond into a portfolio complete with CV (snippet track, show reel, examples of work etc). We will also be doing a 10 min presentation in class to the rest of the class to get us used to the process of talking about what we have done and certain things we have achieved and constructive critisms of our own and from others. Should be interesting to see how diverse peoples different styles and tastes are with this assignment.

MTF - Disc Edits

This week we went out to Disc Edits at Bowden. Nevill took us through the facilities they had there briefly, however most of the time we spent was in the mastering facility. He took us through a brief history of the equipment used as well as how techniques have changed along with the advent of the digital medium. We also got a run down of the evolution of mediums used to print to i.e viny, tape, cd as well as showed us how they put together a master copy. The mastering room itself had been accousticly treated and has been evolving over the years. I can understand how the room would be especially important for mastering and needs to be completely transparent. He also described the importence of building up a internal referencing database that you gain with experience and 'knowing the room'. Overall I thought the trip to Disc Edits was quite informative and provided real world insight into the business of mastering.

Paradise Studios

This week for MTF we all travelled to Paradise Studios.

I found the trip pretty insightful, Dewald was our guide around the studio and explained a fair bit about the processes he uses and a fair bit about flexability with different artists from more of a production (/producer's) stand point. The studio seemed to be still in the final stages of asthetic renovation, however all the main elements were functional. I was quite impressed with the desk in the control room, seems like it was worth quite a bit of money, as well as all the outboard effects and their layout which seemed like there was a fair bit of thought into the layout. Dewald had a lot of useful tips and strategies that he has picked up from experience regarding the recording of different types of artists and how to get the most out of particular situations. A lot of the stuff said regarding work ethic and maximising the potential of differnt types of recording sessions was quite useful and logical. His advice on the value of well placed breaks as well as 'powering through' when an artist is on a roll made a lot of sense. I really liked the layout of the studio altough I could relate to how it might be a bit of a pain to go and change mic placements if you were set-up in the control room as you have to walk around the long way to get into the live room. All in all a nice studio and informative guide.

Audio Studies A - Creative Project

Staring Into The Abyss
Rowan Bunney

3'03

I wrote the source material for this song starting by programming the whole drum beat first using 'Drum kit From Hell Superior', then I added two rhythm guitar tracks that essentially follow the drums, then the bass and finally some ambient guitar tracks to make it sound a little more eerie. However, I had to chop up the drums and re-structure some parts to give it more of a song feel before I began tracking the other elements. The song is recorded in dropped-A tuning using heavy gauge strings. The main focus being the rhythmic aspect of the guitars rather than adding melody, so I thought using a low tuning was most suitable. I added some abrasive panning automation to the short intro and a fade-in on some of the tracks as well as a fade out on the master fader, at the end, during the last riff. I also used mute automation on the rhythm guitar tracks and bass during in sections of guitar riffs that had small gaps to make them sound a little tighter. Equalisation and slight compression was added to most tracks in order to tidy up and shape sounds (EQ) as well as remove unwanted noise (EQ) and control the dynamic range (Compression). Main influence: Fredrik Thordendal (Guitarist).

EMU Blog - Week 12 Blog - REAL WORLD RECORDS

Real world studio’s is a cutting edge recording studio founded by the highly successful musician Peter Gabriel as well as WOMAD. The Real World project’s main objective revolves around promoting world music/ artists and giving them exposure they otherwise may not have. As a point of interest, Peter Gabriel himself has released all of albums since 1989 on the Real World Records label. The Real World Record label has introduced such musicians as Nusrat Fateh Ali Khan, Yungchen Lhamo and Youssou N'Dour to Western culture. The former I have found in my parents CD collection at home, I think it was purchased from the latest WOMAD festival. The studio's best-selling musical group, other than Peter Gabriel, has been the Afro Celt Sound System, who embrace a ‘fusion’ type elements combining African and Celtic rhythms and melodies.

Coming from someone new to the Real World project, I believe it has given an outlet and also a chance to collaborate, to artists from around the word, that never would have previously (or even had the chance to) collaborate. This is an exiting premise alone.

As an extra note, I mentioned earlier the affiliation with WOMAD, the other founding part of Real World Records, has been a highly successful event travelling around the globe. I have been fortunate enough to get to two of these events myself. All I can say is, I would recommend anyone else reading this ‘Blog’ to go out and experience it, you definitely won’t regret it. There is such a diverse range of music from around the globe brought together in one event that you cannot possibly pass it up. I plan on continuing to go for years to come.

Reference:
http://en.wikipedia.org/wiki/Real_World_Records