VISITING PRACTITIONERS

Asa Stjerna

Asa Stjerna is a sonic artist from Sweden, she uses listening as a method of exploration, these explorations are reworked and expressed through site specific installations. Asa explores sounds transformative quality, she uses sound as a means to transform experience of a site/situation. Sites/situation relates to environments, this could be the ocean, the weather etc. From Stjerna’s perspective, the small processes an artist does in the preparation to present their work are just as valuable as the end sonic result. These, she says, are affective inter relational processes, and engagement with the site. Stjerna emphasises the importance of looking at what is not yet in a space, how the space can be transformed into something else.

Asa presents her piece ‘The Well’, a permanent installation in the Swedish Institute in Paris. She installed a mono channel work inside the dried out well, she talk about engaging with the stone wall’s ‘agency’ as she puts it. She describes having a dialogue with the space in question, an experimental practice, an engagement with the space.

‘The Well’ (2014) – Asa Stjerna

Stjerna explains some points from her writings on transversal practices of sound installation:

  • Mapping the affective lines– The process of site specific exploration, this is what it means to find the space, researching the site engaging with archives etc. This is, for Asa, a very vivid/active engagement.
  • Establishing new connections– The artistic design process. Stjerna provides an example of installing a loudspeaker with a cable on a site, this is not just an action of laying a cable. It is engaging in a dialogue with the agencies of the space.
  • Becoming Non-Autonomous– It is important to understand your own situated perspective.

Recently Stjerna has become interested in the ocean as a public space. Asa next presents her work ‘Currents’ made in 2011. It was a site specific piece for the opera building in Oslo, the piece was based on scientific measurement data from the North-Atlantic current in the North Sea, this current Is associated with the melting of ice in the northern hemisphere. The piece was a signification of real-time data, this data was acquired at the floor near the Faroe Islands. Water flows past a cable inducing an electrical current, giving an indication of the oceanic current. The sound was generated using 4 data streams, the North Atlantic current, the semi-diurnal tide, the diurnal tide and the ionosphere. The slow patterns of energy from the tidal streams and the ionosphere where sped up 9 million times to make them audible. The tidal information was translated into drones, while the ionosphere was split into a granulated sound texture. The data from the North Atlantic current was used to control the textures and spatial positioning of the sounds. This was dispersed in the space through 22 loudspeakers.

Oslo Opera House

VISITING PRACTITIONERS

Lucia H Chung

Lucia H Chung (AKA ‘En Creux’) is a Taiwanese experimental audio artist based in London. Lucia began her talk by presenting a visual piece called ‘Tell me a story’, she describes the work as a reaction to the culture shock of moving to the UK. She was working with a small group of MA students in Winchester, Lucia was the only non-english speaker and as a result was quite shy and reserved. Lucia was interested in the ‘gap’ between translations, and how a person can get caught in that gap. Lucia would whisper something in mandarin to her partner, and the partner would whisper some English phrases back. This process was filmed with a two channel video set up, the absence of understanding was expressed clearly in their faces. During this time at Winchester, Lucia was primarily working with video to explore themes of communication, and the differences in personality when speaking different languages. She conducted a visual investigation on herself, filming herself speaking English, and then speaking Mandarin.

After these works Lucia started working more with sound in video. The piece Lucia showed was a film of her doing a full body prostration, a buddhist ritual that is repeated 108 times as a way of offering yourself or to repent. She was interested in the psychological transition from the first action to the 108th repetition, an ‘untranslatable mind space through a very physical repetition’. Lucia didn’t perform 108 repetitions, instead she edited the video to invoke the psychological mind space. She sped up and slowed down the footage, emphasising the frequency change in the audio.

Continuing her investigation into translation, Lucia found a researcher called  Sarat Maharaj. She quotes an article by the South African man,

‘There emerged, it seems to me, a notion of translation which activates both the visual and the sonic. Beyond the sense of the word and image are sounds which cannot be entirely drawn into the net of signification, and cannot be entirely decoded or deciphered as meaning this, that or the other. This larger sonic pause, the penumbra of the untranslatable that shadow and smudge language, and for which we have to venture beyond language.’

This quote gave Lucia the confidence to ditch visuals and focus on sound as a material medium. Lucia started her PHD at Goldsmiths, she was trying to understand what sound arts is. Lucia discovered Jacob Kirkegaard, a sound artist who had an interest in space. Lucia specifically talks about his piece ‘4 Rooms’, an art piece in which Jacob went to the zone of isolation in Chernobyl. He then recorded the ambient sound of 4 public spaces, he choses these spaces because of the public traffic they once hosted. The recording were then played into the room and rerecorded, repeating this process 10 times for each room, a technique pioneered by Alvin Lucier. Lucia appreciate the hidden dimension of the space Jacob was revealing, she equated this to her investigation in translation.

‘4 Rooms’ – Jacob Kirkegaard

Next Lucia presented a piece she created in 2009 called ‘Spring Piece’, an audio piece created at a time of transition for her. She had just moved to London, specifically New Cross, she recalled it as a horrible place with rats and an inordinate amount of noise created mainly by passing buses. She described how her room would shake when the busses drove past, which would happen very frequently. This was a stark contrast to the quant medieval town of Winchester. She recorded the sound of her room, and used a piezo microphone to play the recording through the single glazed Windows pane, then rerecording this. This was Lucia’s first sound piece.

Lucia takes a lot of inspiration from sculpture, and says she felt a lot more comfortable using sculpture as a medium. Although she was working with sound, she still hadn’t found a way to equate it to working with a physical medium. She then recalls the breakthrough moment when she made that connection. Lucia recalls seeing Whiteread’s piece ‘Ghost’, a casting of the inside of a living room. Its a piece displaying negative space, a casting and documentation of a living space. Lucia compares this to Alvin Lucier’s ‘Im sitting in a room’, equating the plaster in the casting of the room with Lucier’s mapping of the room with sound as a catalyst.

‘Ghost’ – Rachel Whiteread

DEVELOPMENT OF HEARING AND SIGHT IN A FOETUS

First Sounds

  • At about 18-20 weeks the physical ears start to protrude from the head.
  • At 20 weeks the neurosensory section of the auditory system starts to develop.
  • At around 25 weeks the auditory system is functional, and they can hear low frequencies from the outside world.
  • Late in the pregnancy a foetus can differentiate between voices.

Once the auditory system is functional the hair cells in the cochlea, the axons of the auditory nerve and neurons of the temporal lobe auditory cortex are tuned to receive stimuli. It is within the time of 25 weeks and 5-6 months of age that these systems calibrate to receive certain frequencies and intensities. This auditory system requires external environmental sound to refine and develop, the main two sounds that do this are speech and music. The auditory environment a foetus is in within this time can determine their ability to hear, if the foetus is continuously exposed to loud environments it can interfere with the development of their auditory system.

Our auditory perception of the world can be shaped and influenced by our first exposure to it. There is a time in which we cannot see but can hear voices, to me this is important when considering the acousmetre. The acousmetre is described as being everywhere, neither on screen nor outside it. I think that a foetus’s experience in the womb mirrors this, and perhaps the cinematic experience of the acousmetre is that which subconsciously reminds us of a venerable time in our sensory development.

Bibliography:

https://www.sciencedirect.com/science/article/abs/pii/S1527336908001347

https://www.medicalnewstoday.com/articles/324464#fetal-hearing-at-each-stage-of-development

VISITING PRACTITIONERS

Richard Phoenix

Richard Phoenix is an artist that works in paint, drawing, writing and music with an emphasis on how these things can help people be together. He works with autistic and people with learning disabilities, encouraging people to make and share art.

Richard started his artistic career when he was 16 playing in bands with his friends, he predominantly played the drums. These bands are where Richard came to value a DIY approach to creation, he values the idea that anyone is capable of becoming a musician and sharing their work. He sees it as an empowering process that helps communities and individuals overcome obstacles and achieve their goals.

In 2006 Richard moved to Brighton and started volunteering for an organisation called carousel that supported artists with learning disabilities. This was his first exposure to working with people who had learning disabilities. He recalls being blown away by a band called ‘Beat express’ who played at one of the gigs, and describes it as a lightbulb moment where he realised he had never seen bands with learning disabilities. This moment sparked 15 years of work, his aim is to get these bands the time and space they need to produce more music and play for more people. Richard started using the skills he had learned playing in DIY bands to support these new bands, putting on shows and recording. Richard started a night in Brighton called ‘rock house’ which gave time for these bands with learning disabilities to play every month, this night has been going for 10 years and is still going.

Richard fell in love with a Finnish punk band called PKN, and he was determined to get them to play in England. To do this he started an organisation called ‘Constant Flux’ in order to be eligible to apply for arts council funding, he managed to get £10,000 to bring them on tour. Phoenix describes the merging of working learning disabilities bands and DIY punk bands as a life changing experience, he managed to find a way to get these bands a diverse audience.

VIENNA, AUSTRIA – MAY 18: Pertti Kurikan Nimipaivat of Finnland performs during a rehearsal of the first Semin Final on May 18, 2015 in Vienna, Austria. The final of the Eurovision Song Contest 2015 will take place on May 23, 2015. (Photo by Nigel Treblin/Getty Images)

Richard later produced a one page print manifesto for Goldsmiths fringe and underground music group called ‘DIY as privilege- 13 point manifesto for musicians’. This was designed to talk directly to DIY music scenes, and to ask them to consider access within their scenes, to consider who is not in the room and what they can do about it. Richard started fundraisers to provide practice spaces, to transport people to and from the spaces, and to pay for shows. This lead to people with communication barriers being able to work together in order to write songs, Richard makes a point of saying that the money is used to provide structures that help people to do it themselves, this maintains agency and creative freedom.

The manifesto was later expanded and published for rough trade books. Here Richard included more personal stories from creative people that he knows, had worked with or supported. Richard clarifies that he is not speaking on behalf of disabled people, he is speaking on behalf of himself. The experiences he has had working in his field and putting on the events he has, as he says, shifted the way he sees the world and making music. This book was intended to share that knowledge with other people to try and influence their perspectives. Richard says that one of the big issues with disability is fear, fear of doing the wrong thing that stems from ignorance. This ignorance is put upon us and disability can be a very silent part of society.

‘Every art-form is intimately related to a type of life experience. The difference between chamber music and jazz is not one of quality, finesse, or virtuosity but two ways of life, which the people involved did not choose but were born into.’ – John Berger

I do think it’s too easy to be set in your own perceptions, due to our experience of life many people unknowingly have a solipsistic outlook. We should make the effort to consider others experiences and perceptions in the creative field. I’ve always been focused on the process of making and the only thing that matter to me is if like it. However I do think it’ll be interesting to explore the perception and origins of art, much like Sam Auinger talking about all of our perceptions of sound being different. Ive rented ‘Ways of seeing’ by John Berger from the library and Im going to give it a read, id like to see if it applies to my practice.

VISITING PRACTITIONERS

NikNak

Nicole Raymond AKA NikNak

Nicole studied music tech and innovation at DMU, her initial intention was to become a producer and make beats. She recalls experiencing a stark contrast between her practice and the course, she was focused on production techniques and practical work, whereas the introduction to her course was binaural meditation music. At the start, joining the course was a mistake in her eyes but it turned out to be a very formative time for her, which she touches on later in the talk.

Her most recent work was a residency for Sound Uk called ‘sound generator’. Raymond created an album of music with field recordings, she then presented it through an octo-phonic set up, it was a live performance triggering recordings while using a turntable. Raymond expresses her value of working in surround sound, there are few opportunities to work with it, namely university and gallery spaces. Both of which, Nicole states, have a limited crowd. Raymond is interested in bringing surround pieces to venues more familiar to the public, drawing a more diverse crowd.

Raymond presents a radio show for worldwide FM called ‘Melanin’, a show about black music irrespective of genre. Her aim is to play new artists and artists she has connected with, this is a kind of rebuttal against the pigeonholing of black artists to certain genres.

VISITING PRACTITIONERS

Cedrik Fermont

Cedrik begins the talk by recalling when he was teenager growing up in Belgium, he realised that he was one of the only people of colour in the industrial/punk music scenes, he also recalls being confused as to why this was and why his other friends from around the world were not involved in the scene. As Cedrik began to collect music he noticed he was mainly collecting music from the west, and almost none from Africa and Eastern Europe. To solve this Cedrik sen out flyers stating that he was looking for people in these countries that were interested in and making the same kind of music as him. It took months but he did get some answers, mainly people saying they knew someone that fit the description, but he had found people. This lead to Cedrik creating what he called ‘Human Archives: Vol 1’, it was a cassette tape containing a compilation of alternative electronic improvised music from around the world. This was done before the age of the internet, Cedrik says, it’s nothing compared to what we can do now in terms of global projects but back then it was very difficult. It was 25 artists and bands from 25 countries, Cedrik was pleased with this but thought he could do more, and was still wondering why he could not find more like minded artists especially in Asia and Africa.

In the early 2000’s with the help of the internet, Cedrik had an opportunity to dive deeper into his research into music from the non-western world. During this time he was studying the history of electro acoustic music in Belgium, and he noted the lack of Italian and Egyptian artists mentioned when talking about very early electroacoustic artists, the History being told was predominantly western. Continuing with his research, file sharing softwares became a very effective means of finding like minded music consumers from the east. Cedrik would find people from these non-western countries uploading vast catalogues of experimental electronic music. Cedrik thought that the best way for him to publish more of, and write about experimental music being made outside of the west, was to go to these places. In 2003 he got the opportunity to go to Istanbul, he managed to find someone who was organising experimental music concerts in Turkey, he performed in some of these concerts with varying success. He would either be playing for 25-30 people who tended to be musicians, or he would get kicked out venues because no-one thought it was music. A year later he got the opportunity to go to Thailand, he was put in touch with a composer who booked him to play in an art gallery. He found most people who attended he concert had not heard this type of music before but attended and stayed out of curiosity. In 2005 Cedrik toured around many countries in south east Asia, with a goal of meeting as many experimental artists as possible. He brought back a great number of records and cassettes with which he created another compilation album. This was a very important archive for Cedrik, as he was discouraged by people to even go to these countries, people would say he wouldn’t find anything. The album was named ‘Beyond ignorance and borders’, and he says it is ignorance to assume no-one outside of the west is making experimental electronic music. The archive is a rebuttal against the borders we have created, and that are maintained by the media, painting foreign countries as having no modern art (ex. Eastern Block). Cedrik documents these artists and scenes by recording audio, taking notes, interviewing, publishing music and playing artists on a radio show.

Cedrik asks himself, why is this part of history so unknown, and why is it not taught to people? Colonisation is the answer, he says, the west has put aside a large part of eastern artistic history. Cedrik is making an effort to update this history of electroacoustic music and sound art. He has created an online database with which people can access a list of artists/composers/labels organised by country.

ARCHIVE- http://syrphe.com/index.html

VISITING PRACTITIONERS

Sam Auinger

Sam began his talk by talking about his origins. He was born in 1956 in upper Austria. As a child he recognised that sound was basically information and music was social. This means that people needed the help of auditory information to function in their daily lives, Auinger gives the example of running a farmhouse. He recalls that his grandfather was famous for a practice of listening to the sound of hay in the summer to determine the weather. Sam later realised that he was listening to the moisture levels in the material, and with knowledge of the interdependencies between air pressure, materiality and weather was able to deduce the change of the weather. Sam provides another example of auditory information as a warning of people approaching, before CCTV he says they would rely on the sound of the geese. Auinger says that listening to the environment in any field was a daily practice, the sounds ‘talk’ to you. Bringing the same concept to the city, he says that the sounds are talking, but without any meaning for you.

Auinger describes a game he would play with his friends in his youth, one person would hide in a wooden hut to obscure their sight, and they would have to guess what type of car or truck passed by relying solely on sound. He says that each machine had a distinct sound, and this is the crux of his talk. He believes that it is getting harder and harder for people to rely on their ears.

Auinger talks about the catholic influence on his childhood, he recalls the mass being a huge event, and that the churches were built with the intention to enhance your experience, especially the architecture interacting with the sound of the organ. Certain types of cathedrals are even taking advantage of geographical location, making sure the sun hits a stain glass window at the time of the mass. They have used the ability of design to underline their message. But you can take this concept and apply it to all architecture, all buildings influence peoples psychology.

After studying economics and mathematics, Auinger studied composition and computer music in the 80s. There are many properties of sound we take as a given, Sam says, during in this study he learned how to describe the many different qualities that make up a sound and actually talk about it meaningfully. He would have to talk about an imagined sound in order to try to replicate it with computers. Here, he notes, he would quite often get stuck using sounds he already knew from traditional instruments. Sam equates this to trying to imagine a deep sea creature, and the fact that nothing we imagine can be weirder than what is actually in the sea. Certain principles of sound reoccur all over the soundscape, in different practices and sources. Much like evolution in sea creatures, there are structures and systems that form the way sound works. Through this line of enquiry he found psychoacoustics, realising that his body and listening apparatus reacts very differently than a microphone.

Through learning to program sounds Sam became interested in public spaces, because he realised how much daily life was influencing the way he perceived music. He provides the example of his mother hating the Rolling Stones with a passion when he was younger describing it as just noise, and later on in life, as his mothers life had changed, she grew to like it. Now she was able to decode the song structure, in the sixties when these songs were released, it was impossible for her to enjoy the music due to her upbringing on upper Austrian folk music. Auinger raises the question, how many systems are in play that influence our perception of sound?

An example of a system would be the shape of our ears, the shape enhances a certain type of frequency spectrum. A young healthy human has a listening range from 20 Hz to 20000Hz, so when Sam hits a pen against a glass almost all people will hear it, but his grandson will hear more overtones than him. Over time our ability to hear high frequency decreases, this produces a problem for our language centred society, language is constructed with vowels and consonants, our ability to hear consonants decrease as they are mostly found at 8-10 kilohertz. Auinger realises that he is missing quite a lot of his higher range of hearing, and he gives an example of how this effects his perception. If you were to imagine somewhere with a very lively nightlife, lots of people and talking, a lot going on, for a young person with healthy hearing they can perceive this as energy, something that enhances you. If an elder person listens to the same thing, there is a lot less frequency response in their hearing, so for them they perceive the same situation as stress. Another system that influences us, and for Auinger is the most important, is our personal history or context. He gives the example of some people skating in the parking lot of an office. If you are the skateboarder the sound means success or failure of a trick, or seeing a friend. If you are working in the office and have nothing to do with skateboarding you will perceive this sound as annoying. It is almost completely impossible to hear a sound in the same way as someone else. Another interesting point that Auinger brings up is that loudness steals space, for example walking in London on a busy road, you will perceive the other side of the road as a silent movie, the road acts as a border in space.

Auinger stresses the importance of learning how we listen, that it will give rise to many different avenues of research and will deepen your listening experience of the world.

SPECIALISATION PROJECT

Mixing

As the deadline for the hand in of this project is approaching I have decided to focus on mixing from now on. I am missing certain elements in the sound design, namely the dragging of the coffin, the donkey footsteps and the sound of the character rubbing the bloody fur of the donkey as it dies.

Firstly I created a bus channel for atmosphere reverb, I then applied a convolution reverb to this channel with a ‘soccer field’ preset as I thought this was most appropriate for the mountainside. I then adjusted the levels to make it sound realistic, I also made the output of this channel 5.1 and placed the sounds slightly towards the rear, this was to give the atmosphere a sense of space.

The first time I mixed the foley, I mixed it way too loud. I think I was just trying to make sure it was in sync with the picture, but the result was that it sounded like the footsteps were right next to the camera. I fixed the levels and identified different locations so I could make bus channels with correct reverb, I then sent the foley tracks through the right channels.

I had fun mixing 01:01:51:16 to 01:02:16:05 as it allowed the most room for creativity. The scene follows our main character directly after his donkey, which he had been using to transport the coffin, dies leaving him to carry it himself. I feel as though the imagery of him dragging the coffin behind him and particularly carrying it on his back, is reminiscent of the myth of Sisyphus. An endless tremendously difficult task that has no value to anyone other than to him, the character remains focused against barrages from the outside world as he slowly slips into exhaustion. I wanted to reflect this in the sound, in particular I wanted to highlight the breath as a means to cope, similar to how people focus on breath in meditation. I did this by sending all environmental tracks (the footsteps, the coffin creaking, the wind and the atmos) to an aux channel, here I could manipulate all of them as one. I used reverb as a means to express exhaustion, giving the effect of hallucination and disassociation from reality. I automated this to start as a realistic reverb for the space, and gradually increased the wet output to more of an abstract effect. The second and most important thing I did was apply a compressor to the aux track and side chain it with the breath track as the input. I also automated the mix of the compression from 0 to 100%, this gave the effect of the environment gradually becoming more blurred, and this blurred soundscape would dip in volume when the breath comes in, mirroring the idea of focus. I think this worked well but I did have a couple of problems, I found that the environmental sound was too loud and compressed at the start (where its supposed to be realistic, I fixed this through volume automation and the automation of the mix helped. The main problem I encountered was that breath was quite a weak input, the finished effect didn’t have the contrast I was hoping for. If I were to try this again I would research side chaining a bit to see if there was a solution to this, or I would possibly just automate the volume myself.

I think that overall this project has been a successful investigation into sound design, I have worked with lots of elements of sound for film. I worked through problems and found methods to achieve synchresis, experimenting with reverb to place sounds in a space. If I were to redo the process I would prepare the session slightly differently, I think I would section out the session into locations as well as different elements. I would also create separate bus channels for the reverb at the start of the process.

SPECIALISATION PROJECT

Foley

I tried to make some progress recording the breaths for the main character in my room, however it did not work too well. There was a slight reverb and as my room is situated on the ground floor of a house at the front, I had a lot of unwanted noise from the road outside.

I rented out the composition and foley studio to record the rest of the foley, however I was limited by a 3 hour time slot, I didn’t manage to record everything I needed. I used a highly directional shotgun microphone because although the foley studio was acoustically treated, there was still some bleed from people using the synthesisers next door. I started by recording the footsteps, this process took about 2 hours. I filled one of the trap doors with gravel and rocks, I also used some audio tape for the sound of vegetation. With this set up I was able to achieve a number of different textures, mountainside with dry grass (using the tape), gravel hillsides (using the larger rocks) and hard mud (by scraping the larger rocks out of the way and using the smaller ones against the concrete) . I found the process quite challenging at first, I often fell out of the rhythm of the steps, or starting at the wrong point. Eventually me and Raul (in the control room) figured out a method, we would watch the shot and say the rhythm of the steps, we would also figure out when the first step is and which leg it was. I could then record the track in fewer takes. I got the hang of making different surfaces pretty quickly, but I found making footsteps for different people more challenging. I recorded all of the male footsteps with my own shoes while I was wearing them, but later the time came to record the female footsteps. The method I came up with was using my hands holding some smaller shoes, I found it difficult to simulate realistic footsteps this way but after a while I sort of got the hang of it, I also ended up pitching the footsteps up in post. Due to the time restraints I didn’t manage to record footsteps for the donkey, I would have done this with some hoof sized pieces of wood or rocks, depends on what sounded better.

Recording a scene where the character falls to the ground from their knees.

Next came the sound of the coffin.

This sound came out surprisingly well. I used an old wooden violin case and wrapped it in rope. I then recorded a track of me keeping the case still under my arm while pulling and creating tension on the rope, this was for the sound of the coffin on the donkey’s back. After this I recorded the scene where the character carries the coffin on his back, to do this I increased the tension of the rope in sync with the steps of the character. I did encounter a couple of problems with this as the violin case had some cracks in it, and occasionally when I pulled the rope, pieces of wood would build up tension and release resulting in a plucking sound, this didn’t really fit the picture. I solved this by cutting around it and removing the plucks in post.

All in all the session was very successful, and I learned a lot of things. I really enjoyed the process as I found myself working around problems in creative ways, it’s very strange working in a way that only vales the outcome, in foley it doesn’t really matter what you do to achieve a sound, as long as the sound works.

SPECIALISATION PROJECT

FX

I have been working on the sound of the dogs, and a couple of problems arose that I didn’t foresee. Firstly, making the barks impactful enough, I have been pulling sounds from a library and the recordings just aren’t punchy enough, they sound dry and a bit weak. To remedy this I have layered some growling that increases in volume, in effect amping up to the bark. I also used a couple of plugins on the bark, firstly I shifted the pitch down an octave to give the impression of a larger more intimidating dog, I then used an EQ to boost some of the higher frequencies to emphasise the texture of the bark. Next I used a compressor quite aggressively to give the bark a better punch, after this I used a Bit crusher to add a slight crunch to the sound. Lastly I added a convolution reverb set to a mountain top preset and adjusted the levels. I think this method has worked well, the result was a more interesting rich effect, I think the layers support and emphasise the singular bark.

The second problem I had to work around was making the FX match the location of the source to the camera. Specifically this was for the sound of the dogs running, they run away from the camera very quickly. I achieved this by automating the volume making the sound quieter as they got further away. I also applied the space designer reverb to the track, I then automated the wet output to get higher as they got further away.

I applied a reflective reverb to the sound of the vultures to achieve the effect of the character walking through a stone alleyway, I think this was very effective and places the audience in the same location as the character. I also used Ozone Imager to reduce the stereo spread of the sound, I did this to make it more directional as there is only a narrow opening for the sound to come through above the subject.