Week 1

The first day of class we learnt on how to create a resume that will enable us to gain attraction from potential employers towards my internship program. We learnt the various tools such as professional writing skills, language in creating a resume, appropriate dress code when attending an interview.

The most significant things I got from this activity are

  • Designing a creative one page resume that will attract potential employer which will have potential to be picked.
  • Research about the company that I desire to apply to and knowing the job description
  • Knowing what to bring to the interview
  • 10 things that require zero talent (being on time, work ethic, effort, body language, energy, attitude, passion, being coachable , doing extra & being prepared.

I need to start creating my resume using the tool guides that I have learnt in this activity and build my confidence in using the correct language & designing a one page resume. I will go back and continue to have a look at my resume and see if it is suitable enough or amend were there is need to.


Karsh, B., & Pike, C. (2009). How to say it on your resume : a top recruiting director’s guide to writing the perfect resume for every job(1st ed.). Prentice Hall Press.

Yate, M. J. (2015). Knock em dead resumes : a killer resume gets more job interviews (11th ed.). Jumping Dude Media. 

Week 2

In this activity we learnt about emotional intelligence which is my own awareness around how I feel, act, behave in any given situation. It also means being aware of other people’s emotions and how that impacts their behaviour.

The most significant things I got out of this activity are

  • The star technique: Prepare, Situation, Task, Action, Result.
  • Interview Preparation
  • Work placement expectations
  • Legal rights and responsibilities

Week 3

I have started my internship with radio 4EB and it is actually exciting at the same time nerve wrecking as it does have activities similar to audio and other pretty much audio related. They do mainly focus on broadcasting but the signal flow is most likely the same.

Signal flow is one aspect that I made sure that I become more familiar during the first day of internship. The broadcasting mixers majority of them are digital and go through powered monitors just like the studio setup. The microphones used I found it interesting to be Sennheiser MD421 that we normally use for miking drums particularly toms. It is very absolutely a great mic for broadcasting apparently. What will probably take me a while is the interconnectedness I can say of the tape machines which automatically switch if there is a fault during broadcasting.

I find broadcasting to be interesting but at the same time mentally draining particularly if clients bring in their shows pre-recorded very late. I see it piling intense pressure on the audio team who have to find gaps to fit in the program. Some of the pre-recorded files come in a format that is below the loudness requirements snd that makes the production become poor. The choice is either I compromise and accept the clients work since its free Radio station or I just put strict standards.


Slotten, H. R. (2000). Radio and television regulation : broadcast technology in the united states, 1920-1960. Johns Hopkins University Press.

Crane, L., & Albini, S. (2007). Tape op : the book about creative music recording, vol. ii. SingleFin.

Week 4

The week has pretty much moved quite quick for me and this shows that time is of essence. The task allocated to me was to look at a 25 minute film which is yet to be released particularly the audio embedded in the film.

The first challenge I faced was that the film edited in Adobe Premiere 2019 and I have the same software but CS 5.5 which is pretty old and would not open. It would not upgrade for free rather it wanted to charge me a monthly fee and therefore resort to downloading a free trial for seven days. I had to work fast as seven days was not much, the audio for dialogue was ok could be better as they used zoom recorders and lapel microphones. I could tell that the audio recording was not up to standard and it required cleaning up. In most cases I would have the dialogue redone and would prefer audio crew that are specialised in audio who know the best ways to get gain structure and balance perfect.


Chandler, G. (2012). Cut by cut : editing your film or video (2nd ed.). Michael Wiese Productions.

Adobe Systems. (2003). Adobe premiere 6.5 : classroom in a book (Ser. Classroom in a book). Adobe.

Week 5

Overall I had a very good experience last Friday being involved in a live recording with a 5 piece Brisbane based band. The musical influence is from Hungarian and Polish backgrounds with a native Hungarian instrument Cimbalom as the main instrument.

I was given an opportunity and with my fair share of knowledge I helped out with the live room setup which includes drum miking, horns miking, headphone monitoring and lighting. I did get an awkward moment when I was handed a camera to record the session from one of the staff yet there was 2 interns who were film students and were already doing the task. My Supervisor saw it and signalled to me to just accept and not to say anything as he had highlighted before a week ago that I might face such strange situations. Interestingly I did take a few good shots which came out pretty good considering that I am not a videographer.

The knowledge and skill has helped me immensley in working with audio and I this enabled me to blend in with the band making sure they are comfortable and can hear themselves through the monitor system (headphones) for communication.

As for the control room I did not get much with my hands instead it was more of an educational experience as the engineer had already set the Pro tools session before we came in. I was more of a shadow as the engineer did most the work and he was quite open mind about his workflow and even opened the floor for questions from us about the studio session for that day.

There are a couple more recording s this coming week and I look forward to it again. This is such a great opportunity to learn more and writing journals also helps me to keep track of all that I am learning.


Huber, D. M. (2017). Modern recording techniques (Ninth, Ser. Audio engineering society presents). Routledge. https://doi.org/10.4324/9781315666952

Benesty, J., Chen, J., & Huang, Y. (2008). Microphone array signal processing (Ser. Springer topics in signal processing, v. 1). Springer.

Week 6


A day well fused with delicious Indian folk music really opened up my learning skills that it is possible to fuse 2 different genres together and come up with some great composition. I had the opportunity of working with this band and amazingly friendships and connections were established and this is very encouraging start of my career.

Before I thought of the technical aspects, firstly I had to introduce myself to the band making sure they know my name and why I am there and if they do need anything to just let know. This is a very good step to take so that the individuals feel relaxed and that is part of my transferrable skills of communication that I exercised. Gladly the whole band became relaxed and we interacted more often as I was setting up the microphones, cables and the Pro tools session. I got to know about the traditional instruments that were used such as the Tabla percussion drum and a guitar looking instrument called a Sitar. The fusion with the acoustic guitar and the violin was just epic

The main highlight for me on that day was communication and I am glad that I managed to exercise that transferrable skill very well and the whole band I have started following their social media platform and amazingly they are also following my social media platform which I showcase my workflows.


NOS Stereo Technique


Huber, D. M., & Williams, P. (1998). Professional microphone techniques (Ser. Mix pro audio series). Mix Books.

Brandstein, M., & Ward, D. (2001). Microphone arrays : signal processing techniques and applications(Ser. Digital signal processing). Springer.

Bartlett, B., & Bartlett, J. (1999). On-location recording techniques. Focal Press.

Week 7

The week started with recording live a band named ‘Ostoorah’, with music that is infused with Arabic and Folk music. It was a very interesting music with lots of work put in it. The band had a backtrack that they had pre recorded before coming to the studio and that had its own challenges.

The first song had a backing track which had an Oud instrument and was used as a guide track. At first they did start well with it but the challenge came when they wanted to improvise adding some solos which had a different tempo which pretty much did not work well. I encouraged them to have another take without the backtrack a rather record a live Oud as they did have it.


There were many takes and so we created a playlist so that we have more takes. I noticed that they were a bit of perfectionists so it was a wise idea to have playlists so that we have an easy workflow.

Shah Kamaan

There was quite a large amount of time spent on editing as one of the team members was not so sure about the takes. Therefore my colleague Alex had to do a couple of edits whilst with the band leader.


Lastly the last song was tracked well as all instruments were played live. I think that was the best take and I do recommend good takes as you spend less time on editing and mixing of the song.


Brinner, B. E. (2009). Playing across a divide : israeli-palestinian musical encounters(Ser. Acls humanites e-book). Oxford University Press.

Pennanen, R. P. (2008). Lost in scales: balkan folk music research and the ottoman legacy. Muzikologija2008(8), 127–147. 

Week 8

The music masala project recorded started this week with an Indian singer called Menaka. She is of Tamil descent and her music is Indian classical with a fusion of folk and bit of jazz. She came in with 3 other band members who play other instruments such as viola, banjo, drums & percussion.

I chose to take part in the live room interacting with the band introducing myself and what areas of study I am involved & campus I am at and making sure they are comfortable as I know recording can take a huge toll on the body. They were quite relaxed by the way I presented myself. They came asking for the bathroom and directed them to the nearest rather than going downstairs. Such simple gestures made me to build relations which then helped us exchange details soon after the recording.

I did not spend much time in the control room in this particular recording as there was much to do in the live room. There was the change of setup which required lots of concentration like starting with an acoustic guitar and shaker recording at the same time with seperate microphones. After that then we did vocal recordings for each individual separately which meant more adjustments of microphone stands as some were taller or shorter than the other. We then had to change the setup once again fro the drums. It was quite a lot to do but I am glad that the time management I managed it very well.

The exercise has helped me so much as I gained more knowledge on live studio recording, how much time it can take with a professional artist and an amateur. Investing in good quality microphones is also important as it does make a difference on the final outcome of the project. I did also learnt that I do not need a fancy room for a studio. It is just how you set it up having the correct sound proofing. It is quite fantastic if you have an artist who knows what they are doing without wasting time as progress is great. But I also have to prepare for the worst if I get to receive artist who are the opposite.

A good recording is determined by the type of microphones and how they are setup, gain structure of the instrument and vocal level, The positive energy amongst the band and the technicians and cohesion. These are some of the takes for me on that very day and I will treat the as very essential knowledge as I will be in this industry forever.


Bartlett, B., & Bartlett, J. (1999). On-location recording techniques. Focal Press.

Touzeau, J. (2009). Artists on recording techniques. Course Technology.

Sokol, M. (1998). The acoustic musician’s guide to sound reinforcement & live recording. Prentice Hall.

Week 9

The week I call it a marathon style of a week as I am left with 4 weeks to complete studies and also taking opportunities of learning during my internship program with Radio 4EB at Kangaroo Point. In the session today we had a band recording Bosnian cultural style of music playing the double bass accompanied with vocals.

The task that I had was to establish what type of microphones to use for a duet between a vocalist and a double bass player. Fortunately I had done some research on how to record a duet therefore I used the knowledge that I had acquired on using a dynamic microphone (AKG 5600)for the double bass and a ( Neumann U89)condenser microphone for the vocal. It is also a good idea to take advantage of the spillage from both microphones during the mixing process later on.

The task that I thought to implement during the recording process was to engage with artists giving them feedback on their articulation on vocal production which I am glad to say they did appreciated throughout the session. It also gave me the opportunity to connect with the artists building new relationships for the long run.

As I conclude, technical abilities in a recording session are very significant to any audio engineer, but I it is also very significant to build a camaraderie with the recording artists which builds confidence amongst each and builds log term relationships.

As I conclude, technical abilities in a recording session are very significant to any audio engineer, but I it is also very significant to build a camaraderie with the recording artists which builds confidence amongst each and builds log term relationships.


Alldrin, L., Petersen, G., & Molendra, M. (1997). The home studio guide to microphones. MixBooks.

Touzeau, J. (2009). Home studio essentials. Course Technology Cengage Learning.

Simons, D. (2006). Analog recording : using analog gear in today’s home studio(1st ed.). Backbeat

Week 10

our reflections should go beyond just describing what you do in your placements and should offer insight into how what you are learning integrates with your other modules, how you can improve, and how it will help you in your future careers.

As the days go continue moving I am getting more hands on experience and knowledge during my internship program with Radio 4EB. This week I had a difference task from the previous weeks creating an opportunity to learning. The station required some Foley sounds that will be added to the library for daily use by anyone who comes to use the facility.

The task allocated was:

  • recording Foley and Atmos
  • Cleaning, cutting & processing of audio
  • Music composition
  • Creating sound effects
  • Mixing & processing of tracks

Today’s task was to record the Lali drum which is a Fijian wooden instrument. The idea was to have it played in various cultural ways and in this instance the Iranian way played by Fahid and the African way played by me. The most exciting part was that this exercise I did I believe in my 3rd tri in the C24 studio and the opportunity arose once again. I was asked for an option whether to use both the control room and live room or just the live room and chose the live room. That meant we were not able to use the PC in the control with Pro tools for recording rather I opted for the H6 zoom recorder, Rode NT5 condenser microphone and an AKG 5600 and a pair of AKG headphones for monitoring.

For more stability I placed the the H6 recorder on and a camera stand and the other two microphones I did the same on the stands. The idea was to get sound only from the drum and not get any external sounds so that the cleaning process would be much more swift later on. The beauty about the H6 is that it comes with xlr inputs that we connect external microphones to capture mono whilst the H6 captures stereo. Honestly I acted like I did this before but it was my first time and it was just the confidence that I had that enabled. I then asked my colleague who also is studying the same as me to get the right gain structure for the microphones whilst getting ready to record.


Newell, P. (2011). Recording studio design (3rd ed.). Elsevier Science.

Clark, R. (2011). Mixing, recording, and producing techniques of the pros (2nd ed.). Course Technology 

Newton, D., & Gaspard, J. (2007). Digital filmmaking 101 : an essential guide to producing low-budget movies(2nd ed.). Michael Wiese Productions

Week 11

One more week towards the ending of my study program and it has been quite an interesting journey with ups and downs which have made me to be who I am today. I do not regret studying at all, I believe it has helped grow and establish who I am and the journey goes on.

As for this week I spend some time doing editing to some of the recordings that we did from the first day at Radio 4EB recording studio. The supervisor asked me and my colleague to do some editing paying more attention not the groove of the rhythm its solidity and punchy but within a short timeframe he had set. I would say that was pretty challenging being given 10 minutes to edit and complete it. The focus was more on the drum, bass and synth which held the frame of the song but also thinking of syncing them timely. Once done there was need to add fades to all the edits.

So what did I learn from this exercise? Time management was one skill that I learnt so much. In the real industry scenario with the way I presented my work I would have lost my job as I did not manage to do it in 10 minutes but rather in 15 minutes. My supervisor advised that I must not spend too much time on editing as the is mixing too. It’s all about gut feeling when it comes to editing being hang happy with what you hear. I am very grateful to have gone through this exercise as it taught me time management skills and some technical skills with the DAW which made the work flow much flexible.

I so look forward to keep practising editing in my won time and space as it will keep challenging my knowledge and expand as I endeavour to become an excellent editing, mixing and mastering engineer.


Brian, S. (2009). Mixing in pro tools: skill pack, second edition. Course Technology PTR. http://techbus.safaribooksonline.com/9781598639728.

Langford, S. (2014). Digital audio editing : correcting and enhancing audio in pro tools, logic pro, cubase, and studio one. Focal Press.

Krug, J. (2013). Mastering pro tools effects : getting the most out of pro tools’ effects processors. Course Technology.

Week 12

What a journey it has been learning both academically and practically speaking, full of challenges that made me stressed, overjoyed and confused at times. But thought it all I managed to pull through the toughness.

Today we were scheduled to do more foley recording exercise which I do enjoy so much as I get to be creative in creating sounds. The goal for this project as mentioned before in other previous blogs is to build the 4Eb radio library so that volunteers and broadcasters can have access to use them for broadcasts and for anything they desire to produce. My colleague brought in some traditional instruments which were of interest so that we would explore their uniqueness through playing and recording them.

The instruments comprised of a Chickasaw tortoise shell shaker from Native American tribes, Kalimba an African thumb piano which in my culture we call it mbira, Chinese flute and the Aboriginal didgeridoo. We also had a couple more recordings we did from crashing straw, carpet footsteps, brushes wind playing so forth. The brainstorming process allowed us to creatively think of what, how and why we recorded and that is what made us to come up with a couple more strategies. We used the same setup we did before for recording which is a zoom recorder with attached stereo microphones with xlr outputs that allow us to connect the Rode shortgun microphone and the Neumann U89 condenser microphone. All the microphones where insert in different outputs so that we can record seperate tracks so that it makes it easy when editing and mixing the wave files in the DAWs of our choice (Pro tools).

Overall I really enjoyed the internship program from the first day of class learning on how to write up a resume that best describes me, and that has been a very important aspect as it opened the door for me to be able to work with 4EB radio. The relationships I have managed to build are so amazing that it got to a point I had to register a business for my productions and have acquired some little gear to start my own home studio and I am so excited about it. I am continuing to create my portfolio presenting it on multiple social media networks and I am happy to say I go quite a good following all over the world amazingly.

I do still have couple of ares that I will continue to improve myself on a daily basis so that I can bring the best out of me. I work up everyday with so much motivation that I see bigger things coming through if I keep focused on being successful.


Pisani, M. V. (2005). Imagining native america in music. Yale University Press. 

Browner, T. (2009). Music of the first nations : tradition and innovation in native north america(Ser. Music in american life). University of Illinois Press.

Diamond, B., & Hoefnagels, A. (2012). Aboriginal music in contemporary canada : echoes and exchanges(Ser. Mcgill-queen’s native and northern series, 66). McGill-Queen’s University Press.