This document is a resume for Nick Pavey that outlines his work experience in sound editing and mixing for films and television shows from 2011 to present as a freelancer. It also details his previous experience from 2005 to 2008 as a sample editor and programmer for EastWest, one of the world's leading producers of virtual instruments. The resume provides a concise listing of Nick Pavey's relevant skills and qualifications for sound-related work in the entertainment industry.
Orchestrating Change: An Artistic Representation of Software EvolutionShane McIntosh
Several visualization tools have been proposed to highlight interesting software evolution phenomena. These tools help practitioners to navigate large and complex software systems, and also support researchers in studying software evolution. However, little work has explored the use of sound in the context of software evolution. In this paper, we propose the use of musical interpretation to support exploration of software evolution data. In order to generate music inspired by software evolution, we use parameter-based sonification, i.e., a mapping of dataset characteristics to sound. Our approach yields musical scores that can be played synthetically or by a symphony orchestra. In designing our approach, we address three challenges: (1) the generated music must be aesthetically pleasing, (2) the generated music must accurately reflect the changes that have occurred, and (3) a small group of musicians must be able to impersonate a large development team. We assess the feasibility of our approach using historical data from Eclipse, which yields promising results.
Just Add Beats: STEAM Learning Through Audio Recording presented at Texas STE...Andrew Karnavas
How do we prepare kids from a young age for their roles in designing the future? How do we promote media literacy, entrepreneurship, and leveraging new technology to tell our stories, make our voices heard, and make the world a better place?
Audio!
Tools for recording and distributing professional quality audio are more affordable and accessible than ever, which means kids don’t have to wait until they are adults to get hands-on experience. With the right tools and curriculum, schools and other learning centers have the opportunity to foster students’ creative musical thoughts, stories, and inventions in an audio maker space. Welcome to Just Add Beats, creative audio production camps and school programs for kids.
PBS’ Tom Crenshaw and NPR’s Javaun Moradi discuss the PBS and NPR APIs. Topics covered are radio, television and dual-licensee stations can leverage the PBS and NPR APIs to innovate and build audience on their websites, mobile devices, and beyond. Tom and Javaun discuss retrieving API content for use on station sites, putting station content into our APIs for reuse elsewhere, and finding station information based on location or call letters. They share their ideas on where the public media APIs are headed, and they look forward to hearing your questions, feedback, and pain points.
A co-presentation by Thomas Crenshaw of PBS and Javaun Moradi, NPR.
A look at NPR and PBS's APIs past and present and how they've supported our product roadmaps. We'll also give a glimpse at where we're headed.
Orchestrating Change: An Artistic Representation of Software EvolutionShane McIntosh
Several visualization tools have been proposed to highlight interesting software evolution phenomena. These tools help practitioners to navigate large and complex software systems, and also support researchers in studying software evolution. However, little work has explored the use of sound in the context of software evolution. In this paper, we propose the use of musical interpretation to support exploration of software evolution data. In order to generate music inspired by software evolution, we use parameter-based sonification, i.e., a mapping of dataset characteristics to sound. Our approach yields musical scores that can be played synthetically or by a symphony orchestra. In designing our approach, we address three challenges: (1) the generated music must be aesthetically pleasing, (2) the generated music must accurately reflect the changes that have occurred, and (3) a small group of musicians must be able to impersonate a large development team. We assess the feasibility of our approach using historical data from Eclipse, which yields promising results.
Just Add Beats: STEAM Learning Through Audio Recording presented at Texas STE...Andrew Karnavas
How do we prepare kids from a young age for their roles in designing the future? How do we promote media literacy, entrepreneurship, and leveraging new technology to tell our stories, make our voices heard, and make the world a better place?
Audio!
Tools for recording and distributing professional quality audio are more affordable and accessible than ever, which means kids don’t have to wait until they are adults to get hands-on experience. With the right tools and curriculum, schools and other learning centers have the opportunity to foster students’ creative musical thoughts, stories, and inventions in an audio maker space. Welcome to Just Add Beats, creative audio production camps and school programs for kids.
PBS’ Tom Crenshaw and NPR’s Javaun Moradi discuss the PBS and NPR APIs. Topics covered are radio, television and dual-licensee stations can leverage the PBS and NPR APIs to innovate and build audience on their websites, mobile devices, and beyond. Tom and Javaun discuss retrieving API content for use on station sites, putting station content into our APIs for reuse elsewhere, and finding station information based on location or call letters. They share their ideas on where the public media APIs are headed, and they look forward to hearing your questions, feedback, and pain points.
A co-presentation by Thomas Crenshaw of PBS and Javaun Moradi, NPR.
A look at NPR and PBS's APIs past and present and how they've supported our product roadmaps. We'll also give a glimpse at where we're headed.
Presenter: Amar Chadgar, Interaction Designer, frog design
Sound is an essential part of human experience. Whether it is a reactive, proactive, or a byproduct of use, sound is an essential medium to enhance the experience of the products & services we create. But most of what we - as designers - have been designing has been devoid of sound. We define shape, color, motion, behavior etc. but we rarely pay attention to sound. But it’s not that we don’t care about it. We just take it all for granted.
Un-muting Design explores the impact that sound has on design and how we can be more mindful of sound in the way our design is experienced.
How to build desktop apps that help your web app succeedMatthew Ogle
The Carsonified gang suggested a slightly different spin on a "Lessons from Last.fm" talk, focused around the desktop. Here are the slides that came out of it, along with an unveiling of the Last.fm Boffin tech demo.
Presented at FOWA Dublin, 6 March 2009
1. Nick Pavey ______________________________________
Contact: 323.304.5889 nickpavey@icloud.com
Work:
Freelance Sound Editorial and Mixing
2011- Present
Recent projects include:
The B-Sides: Elsa Dorfman’s Portrait Photography (dir. Errol Morris) -- sound effects editor
Demon In The Freezer (dir. Errol Morris) -- dialogue and effects editor
It’s not Crazy, It’s Sports: 6 Short Films About Sports (dir. Errol Morris) -- dialogue editor
3 Short Films About Peace (dir. Errol Morris) -- dialogue editor
After The Storm (dir. Jessica Oyelowo) -- dialogue editor
Thanks (dir. Odeya Rush) -- dialogue editor
Hidden Idols (dir. Jason Kohn) -- dialogue and sound effects editor
NikeLab+Kim Jones (dir. Ivan Landau) -- sound design and mix
NikeLab+Roger Federer Collection (dir. Ivan Landau) -- sound design and mix
The Better Angels (dir. AJ Edwards) -- dialogue editor
Another Day, Another Time: Celebrating the Music of Inside Llewyn Davis -- (dir. C. Wilcha) – asst. sound editor
After The Fall (dir. Saar Klein) -- sound effects editor
Dig Two Graves (dir. Hunter Adams) -- sound effects editor
Ronny (dir. Guy Shalem) -- dialogue and sound effects editor
How To Cheat (dir. Amber Sealey) -- dialogue editor
Wildwoods Sound
2012- present
A post audio production facility providing complete post sound solutions, from editorial to mixing to versioning, with an
emphasis on reality tv programming.
Sound Editor
As a sound editor, I was responsible for editing dialogue, sound effects, and backgrounds for over 500 episodes of
broadcast television. Notable shows include, Master Chef, Master Chef Junior, Hell’s Kitchen, Undercover
Boss, Catfish, Shahs of Sunset, Flipping Out, Restaurant Stakeout , and many more. For a complete list,
please visit my IMDB page.
EastWest 2005- -2008
EastWest is the world’s leading producer and distributor of software instruments and music creation tools for composers.
Sample Editor and Programmer
As a sample editor and programmer I took the audio files recorded by producers and engineers, isolated them into tens of
thousands of discrete audio files, and compiled them according to precise naming conventions, tuned them when
necessary, and created and tested sampler instruments for the software engineers to compile and incorporate into the final
product.
My initial project for EastWest was the first surround sound virtual orchestra instrument, “Symphonic Orchestra.” I returned
to help build “Symphonic Choir,” and again to work on the award-winning Beatles virtual instrument “Fab Four.” I
contributed to other products such as “Voices of Passion,” “Ministry of Rock,” “Storm Drum 2,” and “Gypsy.”
2. get it…pictures 2000- 2002
A television production company that provided high quality original and marketing content for cable broadcasters such as
Comedy Central and FX, and commercial representation for directors.
Assistant Video Editor
As an assistant video editor, I was responsible for all tape input and output, maintaining three Avid Media Composer
suites, and all logging and binning of clips for editors. Additional responsibilities included all music clearance reporting,
maintaining an extensive library of master tapes and original video recordings, and light cutting of promotional materials
and sequencing director’s commercial reels.
Outpost Sound Mixing Company
1995- 1996
A boutique post sound facility, specializing in short-form television and network television promos.
Reception/Scheduler
Education:
California Institute Of The Arts 1997-1999--Bachelor of Fine Arts; Jazz and World Music Performance
UC Santa Cruz 1994-1996—Music Major
Loyola High School; Class of 1994
References available upon request.
