NOAH J Price
j price
Noah j price
NOAH J Price
j price
NOAH J
Noah j price
IT'S ALL ABOUT THE RIDE
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IT'S ALL ABOUT THE RIDE ✦
NOAH J
Who is noah j price?
Noah J Price is a rising DJ and Producer hailing from North Devon making serious waves across the South West UK scene. Known for high-energy sets and slick productions, Noah first grabbed attention by landing top 10 spots in international remix contests. His early work quickly opened doors, earning guest mix spots and support from many labels and placements in music libraries for global brands.
Since relocating to the Bristol/Bath area, Noah has become a fixture in the region’s nightlife playing main stages at festivals like Bath Open Air Rave for crowds of nearly 3,000, and lighting up iconic clubs like Komedia, Second Bridge and the legendary Moles.
His debut album showcases his artistic vision fusing the raw energy of Bristols raves culture with intricate sound design built on granular synthesis hardware synths like the OB-X, Prophet 5 and modular synth setups. The project weaves together melodic depth with experimental live recordings, showcasing Noah’s ability to blur genre lines while delivering a sound that’s emotionally charged and sonically unique.
Noahs work as a live sound engineering has found him traveling around the world working with high-profile charity events and collaborating with renowned artists such as Graham Kendrick.
Off stage, you’ll find Noah shredding waves along the rugged English coast. Rain or shine, he's ALL ABOUT THE RIDE.
Independent study
Independent study
Project Description
Introduction
For this project I have created a 7 song album featuring music from a range of different dance music genres which also includes an ambient album intro and interlude song.
Central Idea/Concept
My central idea was to create a seven song album featuring music that could be performed in warehouse raves paired with high quality visuals such as Print Works London and that could also be enjoyed listening to on headphones or speakers.
What was I hoping to achieve?
The whole goal of this assignment was to improve on my production and composition skills, improving on my creative and signature style when creating music while improving on my mixes and masters of my music to compare with industry productions.
Why?
The reason for the creation for this album was to focus on improving my creative process when making music, this includes my creation of melodies, sound design, compositions, song writing and productions. I also focused on improving more technical skills such as - recording instruments, audio, vocalists, hardware synths and equipment as well as processing these recordings to a high standard and improving on quality of my mixes and masters to compare with industry level music.
What? inspirations
Throughout this production process, my main inspiration was an image in my head of the end product of this album being performed live at rave events in places like Print Works London and being accompanied with vibrant visuals.
Workflow of Key Stages
Prior to starting the production of this album I spent a couple of months researching and prototyping different production techniques and mix and master techniques. After this I set myself different deadlines to produce, compose, mix and master the songs and album.
What Tools/Software was used?
I used hardware synths such as the OBX 8 in most of the songs, one of the songs was primarily created from this synth. When recording live instruments, drums and vocalists I used different mics such as an AKG C414, SM57, SM58, ect.
I used FL studio as my primary DAW but also used Logic Pro X for all of the recordings and mixing one of the songs.
Challenges and How Solved
Throughout this project I came across many challenges, a couple of these were.
Mastering: when mastering my music no matter how soft or little processing I put onto the master chain my songs always sounded too squashed to me and I wasn’t able to push the songs loud enough to compete with my reference songs. The solution I found for this was to end with a limiter with an instant attack and instant release which allowed me to focus all the reduction onto the unneeded transients.
Mixing: An issue that kept on coming up with the mixes was the leads weren’t promanent enough in the mix. The solution for this was parallel processing different sounds, with the leads I added a mono version of the same sound and mixed the stereo signal and mono signal separately.
Any changes and why
I didn’t make many changes except for changing a couple deadlines I gave myself for each section. The reason for this was me not having access to studios or high quality speakers for periods of time and some deadlines got pushed back so I could focus on getting them closer to the standard and quality I wanted, for example I gave myself an extra 3 weeks to do the mixes and in doing so reduced the time I was going to spend on the master down from 1 month to 1 week.
Final Outcome
The final album consists of seven songs that take inspiration from different genres and techniques. The songs of the album flow together to help with the narrative of the album.
The limitations of this project is there’s still more room for improvement in the quality when compared to the references. A big strength is the production and the versatility of the genres within dance music. These songs are connected to one another in the album but they are different enough where they could be released as singles and still work well on their own.
From the process leading up to this final product I have learned that my songs are never going to be perfect but I have improved a lot on my skills needed when creating a finished song.
Project Context
Brief re introduction
When creating this album I used many different references taking inspiration from the many different production styles and genres.
here is a list of all of my reference songs and albums:
Freedom: By Synergy, What so Not
Back In Time: By Kanine, A Little Sound
Generator: By Dimension
R.A.V.E.A.S.P: By Gardna, DRS
Turn The Page: By Overmono, The Streets
Stretch For the Stars (Touring Rework): By Joshua Idehen, Touring
CHROMA 001 HELIUM: By BICEP
Breathe: By Camelphat, Cristoph
Proto Spoon: By Dusky
Condition: By SWIM
My Trust My Love: By Pretty Girl
Close: By SWIM
Better Now: By SWIM
Moon Music: By Coldplay, Jon Hopkins
Link: https://open.spotify.com/playlist/1WB1dINWfpLjqkecW1H5zV?si=NDrHRVzZQKiQrq6J2p-Jkg
Album:
In Circles: By SWIM
Link: https://open.spotify.com/album/27P7tEDJJfKCZXqrLrw4yr?si=EQdjW6eiSzarM-2jMO1Skw
I used these songs as a reference when creating the productions and compositions of my songs as well as referencing them for the more technical side when I started my Mixing and Mastering process.
Compare with Work A “SWIM: In circles”
During the creation of this album I have been comparing and using the album “In Circles by SWIM” as a reference. Even though I used this as a guide for my album they are very different, for example the songs SWIM created and used can all fit within the same genre and style of music. My album is different from this by having created music in different genres of dance music while following the same theme and narrative. Despite the difference in genre and tempo the album still flows from one song into the next giving the album as a whole its own narrative. Another difference between the two albums is all the songs in my album have different focus points, where some are focused on the drum production, some are focused more on vocals and some are focused on the synths and melodies.
Compare with work B “Breathe: By Camelphat”
One of my references “Breathe: By Camelphat” has had a heavy influence on my approach to mixing my songs but mostly the song “Echos feat: Beth Morgan”. Both mixes are centered around the Kick drum, Vocals and the Lead Bass Synth. They both follow a 4/4 rhythm. Some differences between the two is - My song takes more inspiration and shares similar themes to warehouse techno and it has a bit of a darker tone to my reference.
Compare with Work C “Freedom: By Synergy”
I used the song “Freedom: By Synergy” as one of my main references when creating my song Ambition. Despite this there are some differences between the two, for example the LUFs of this reference is very loud at about -3 LUFs where as my song Ambition is at about -8 LUFs, even though my reference will sound louder than my song I decided to keep the level of the whole album at a similar lever as most of the songs were at about -8 to -6 LUFs. Comparing the production of my song to this reference my song has more emphasis on the narrative of the song focusing more on melodies and the use of a live recorded piano, my song also has a bpm change from the break of the song to the drop to emphasis the melodies when needed.
Broader reflection
The songs for the album were created and took inspiration from an image I had in mind, during the creation of this I pictured the venue Print Works London with huge ceilings with people filling the floor and filling all the levels on the sides, the image is from a long way back but is focused on small person performing their music with huge vibrant visuals to accompany it.
Sonic Performance
Introduction
This blog documents the development of my performance project combining the use of an Ableton Push 2 and different hardware synths to create a live performance of myself improvising to create a new remix/structure for one of my songs. The main intention of this project was to explore and create a new method of performance and production for myself through the use of live sound design and interactive and live performance. From early research and prototyping to rehearsals and the final performance, this space captures the creative journey, supported by audio clips, visuals, and video excerpts.
Research: 20th - 27th April
My initial Idea for the project was to create a live electronic performance centered around the use of live sound design created from live instrument and hardware synths such as a modular synth or live synthesizers, taking inspiration from artists like Bicep and Jersey. Watching Bicep’s performance of Glue and Apricots at Glastonbury 2022 influenced me by their Use of hardware synths and live modulation to create analog textures on top of an original song to create a live remix to one of their own songs. This performance highlighted the potentials of live electronic sets and what I could do to incorporate them into my own performances and productions. After watching Jerseys don't break our new synths gave me the idea to potentially create something similar to them performing their own music purley from hardware equipment and recreating their own music from the equipment they use to create their music. I considered performing an entirely new song live in the TV studio using only hardware synths when performing. Another idea was to remix and re-arrange one of my own songs live using the Ableton Push 2. Another potential idea I had after watching these was to film myself recording and playing other live instruments and hardware synths separately to later combine what I had recorded in a post production. Eventually I decided to combine a few of my ideas by remixing my song live using the Ableton Push 2 while using a hardware synth such as the OB-X and a Modular Synth live alongside this. I also decided on filming this in a production studio setting.
Prototype Stage: 28th April - 11th May
During the prototyping stage I began to experiment with my setup and getting to learn how the hardware equipment worked for me to use in the live performance. I used a combination of modular synths and other hardware synthesizers such as an OB-X synth, to test what sounds they could create and how they could be used as a part of a live performance. A key part of this phase was exploring how to remix and re arrange one of my original tracks live while using the Ableton Push 2 while simultaneously using the live synths and hardware to create a hybrid performance style. One of the main challenges I encountered was how to keep the modular synth in time and in key with the rest of the track. The modular synth would constantly drift in tempo and didn’t have anything indicating the pitch or key the noise it was creating was in, so during this time I had to find practical solutions to keep everything in time. The solution I came up with for this issue was by using a tuner to find the correct frequency that matched the fundamental note in the original track, I then used my ears while using a pitch modulator to create a melodic layer that worked well with the original bassline. I also was able to use this same part of the synth to speed up and slow down how fast this melody Was being played in real time to keep this in sync with the track.
Rehearsal Stage: 12th - 14th May
During the rehearsal stage I focused on the structure of the performance, shortening the length from over an hour of improvisation into a 4-9 minute performance piece. I documented these first drafts via recording them on my phone to capture the early layouts of the set which helped me work out and visualize how different components could fit together in a live performance. A key part of this stage was learning how the modular synth worked and how I could effectively use it creatively and technically. During this I spent time learning how to create the type of sound I wanted until I learned how to create textures that felt right for the mood of the track. Alongside this I worked with the Ableton Push 2 to learn remixing the song live while getting used to playing with the live synths at the same time, testing how well these different sounds worked together and how I could create new variations in real time. This process showed me what the strengths of this set up were and what areas need improvement. For example, I found that certain transitions lacked impact, prompting me to reconsider how I build momentum throughout the performance. I also ran into an issue from using an expired demo of Ableton Live 12 which stopped me from reporting and recording audio separately and not allowing me to transfer the performance project onto Ableton Live 11, this made me have to record my laptop output instead and this stopped me from mixing the track after recording. The rehearsal process has been essential in identifying what works musically and technically, allowing me to make adjustments that bring the live remix concept closer to a finished, cohesive performance.
Final Performance Stage
The final performance is a live set that showcases my use of different hardware with all elements performed and modulated live. The final outcome has remained very similar to the original Idea I had come up with, the only difference was how I recorded it and what camera angles I used to make sure everything I used was clearly in shot when recording the performance. Overall I’m very happy with the outcome of using the modular synth in a live performance as it brought a unique texture and energy to the performance and helped deficient this version of the song to the original. One difference I would aim to make next time I do this would be to get more comfortable with my setup and learn how to be more efficient and create more improvised variations to the performance in a shorter space of time. There is also much more I could do with the modular synth and I aim to learn more techniques when using it. Overall the final performance is a strong first step incorporating live hardware into my creative process and performances.
Audio visual Project
1. Inspiration and References: 20th February - 14th April
Reference 1 - Fred Again, Overmono, Lil Yachty: stayinit
Reference 2 - Box by Dot and Dolly
Reference 3 - Touring, Joshua Idehen - Stretch For The Stars (Touring Rework)
After watching these videos it helped give me ideas on what I can create for my Audio Visual Project.
After watching my first reference “Fred Again, Overmono, Lil Yatchy: stayinit” I decided I wanted to create a promotional music video for one of my songs with a similar concept and camera angles to this. From this I will create a visual video containing flashing strobe effects that matches the audio and looks like it is matching the music.
After watching my second reference “Box by Dot and Dolly” and experimenting with projection mapping in the AVP workshop I decided I wanted to use projection mapping to create an immersive visual installation.
I got the inspiration for some of the visuals after watching my third reference “Touring, Joshua Idehen - Stretch For The Stars (Touring Rework)”
2. Production and Development Process: 14th April - 20th April
The production process began with the construction of the projection boards which played a huge part in the presentation of the visuals of the project. I bought wooden panels, beams, and screws to build two 3-foot by 6-foot boards. From this I cut the wooden panels down to size and built two detachable frames for easy transport that can be attached and detached by drilling in screws; these could also support dumbbell weights at the bottom to keep everything free standing during windy weather. These boards have also been painted white to optimal projection during outdoor filming.
The key component of the project (The projection mapping) was initially tested by using Resolume, this allowed me to practice setting up the projector and projecting the visuals by testing different times of day and how that would affect the overall quality of the visulas. However I did switch to MadMapper when shooting the final project as it offered a monthly subscription that Resolume did not.
The visuals were created on Adobe Premiere Pro where I used and edited my own footage of my gigs. These visuals were chosen when adding the mirror effect in the editor created a really satisfying look that worked extremely well with the projection set up.
I also tested using a video camera during this time but most of my development and improvements in the area was discovered and built upon during the final recording stage.
Each stage - building my equipment, projection, video recording and visual editing involved a lot of testing and refinement.
This process was essential to support the outcome of the final result.
3. Filming Period: 20th May - 23rd May
The filming period began by me traveling to the area I had chosen to film. This was a key point of feedback when presenting my work in progress and having to find somewhere that had an interesting background that wasn’t too distracting for the viewers attention away from the visuals.
To start I purchased a one-month subscription to MadMapper, which was what I ended up using for projection mapping due to Resolume not offering anything within my budget range.
The filming of the project was supposed to take place over three days, from Monday 19th and finishing on Wednesday the 21st but due to issues and problems arrissing this ended up taking place on Tuesday 20th May till Friday 23rd.
During this period I captured all the footage using a Sony PXW-Z90 video camera, which was then saved directly to an SD card. However an unexpected issue appeared when I discovered that I was unable to access or view any of the video files on my laptop. This problem led to me spending an extra day contacting many people, companies and tech experts to work out what had gone wrong. Despite all my efforts I was not able to find an immediate solution and eventually decided to extend my stay to re-film the entire project using a different camera and SD card I was confident would work. But after hours of research I finally discovered why I couldn’t access the files and worked out a solution that meant I did not have to re-film everything. This allowed me to continue with the post-production as planned.
An unexpected outcome created by the recording was a unique effect created by the camera's automatic lighting settings. During the moments with the flashing strobe effects, the camera darkened the background and ended up bringing the focus directly to the main visuals. This unexpected effect became a core feature of the final product.
4. Editing Period: 23rd May - 27th May
During the editing period in detail I reviewed all the videos I had recorded and identified the strongest parts of each video. A few parts I found were the most interesting when the visuals reflected onto the ground beneath during the high-energy parts. These reflections added an immersive effect to the visuals that I took full advantage of during the editing.
But during the brightest parts the visuals would lose detail during overexposure creating full white flashes. To resolve this I layered a few different takes over one another. I isolated and masked the 6-foot boards from the other videos where I then blended the visulas together to bring back the lost detail. I then adjusted the brightness, contrast and shadow settings to help bring out the strobe effect and reflections.
After creating a first draft I identified areas for improvement for example I needed better control of the background detail. I wanted to show the viewer the location this visual installation was and then as the visuals became more aggressive, bringing the attention to the visuals. To achieve this I layered multiple takes and transitioned from the lighter footage at the beginning to the darker more saturated scenes as the video progressed. For the drop/chorus of the soundtrack, I used footage filmed later in the day which featured more saturated and bright visuals to help with the contrast from the background as the video progressed.
5. Final thoughts
WWW:
The end result of this project was a visual video to support my music in the style of a visual installation.
Overall I’m happy with the way the camera angles came out
I’m also happy with the camera focus effect during the video progression giving an effect to the background, bringing more focus to the visuals.
EBI:
Next time I do this I will pay more attention to the shutter speed on the camera, when editing the videos I noticed the frame rate of some of the videos were slightly slower and with all the quick flashes it wasn’t quite as smooth as I would have liked. Next time I will spend more time researching the best way for me to record everything.
After recording the videos I noticed some bleed from the visual projection mapping onto the background. After editing this wasn’t too noticeable but next time this would be better to minimize issues like this.
In the future I plan to take this project to different locations and start to better incorporate the environment as well as the visuals to create an interesting visual installation.
IT ALL BEGINS WITH AN IDEA
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IT ALL BEGINS WITH AN IDEA ✦
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IT ALL BEGINS WITH AN IDEA
✦
IT ALL BEGINS WITH AN IDEA ✦