Course Title: Develop and implement sound production for a recording

Part B: Course Detail

Teaching Period: Term1 2007

Course Code: BUSM5779C

Course Title: Develop and implement sound production for a recording

School: 345T Creative Media

Campus: City Campus

Program: C4128 - Certificate IV in Music Industry (Technical Production)

Course Contact : Adam Lovell

Course Contact Phone: +61 3 9925 4976

Course Contact Email:adam.lovell@rmit.edu.au


Name and Contact Details of All Other Relevant Staff

Nominal Hours: 86

Regardless of the mode of delivery, represent a guide to the relative teaching time and student effort required to successfully achieve a particular competency/module. This may include not only scheduled classes or workplace visits but also the amount of effort required to undertake, evaluate and complete all assessment requirements, including any non-classroom activities.

Pre-requisites and Co-requisites

None

Course Description

This course covers the technical, artistic, expressive, communication and sound design competencies required for producing a recording.
Semester 1 covers the physics of sound, the theory of acoustics and acoustic treatment of spaces.
Semester 2 covers the planning of a recording, organization of artistic talent, tracking, mixing and mastering of a recording, and compiling a portfolio disc.


National Codes, Titles, Elements and Performance Criteria

National Element Code & Title:

CUSSOU17A Develop and implement sound production for a recording

Element:

Confirm arrangements

Performance Criteria:

1.1 Confirm the artistic vision and production values required for
the recording project and planned artistic outcomes
1.2 In collaboration with artists ensure that adequate time and
facilities are provided to achieve the agreed performance
standard within time and budget constraints
1.3 Plan and agree communication processes and time
1.4 schedules with artists and technical production personnel
1.5 Ensure that time schedules are drawn up and distributed to each
artist for all proposed rehearsal and recording sessions
1.6 Liaise with technical staff and recording site as required

Element:

Develop and confirm a vision for the required artistic outcome

Performance Criteria:

2.1 Apply knowledge of commercial music trends, market niches,
new musical styles and artists as required to develop the musical
vision and concept for the recording project
2.2 Establish and confirm with relevant personnel the budget for the
recording project in line with financial risk analysis
2.3 Apply musicianship, knowledge of repertoire, technical
knowledge and awareness of sound design possibilities to
develop the underlying artistic style and sound concepts for the
recording
2.4 Discuss and confirm a vision for the sound concepts with
relevant personnel to achieve consensus on artistic values and
agreed outcomes for the project
2.5 Address copyright issues to ensure that the recording process
and product complies with legislation

Element:

Evaluate the recording process and product

Performance Criteria:

3.1 Discuss and obtain agreement on possible indicators for
evaluating the recording process and completed product
3.2 Seek and obtain feedback from relevant sources to assess the
recording process and product
3.3 Use evaluation results to improve future practice

Element:

Identify appropriate artists for the recording project

Performance Criteria:

4.1 Where required, identify the required style of the artists against
the intended outcome and provide recommendations for relevant
personnel based on available or proposed artists
4.2 Finalise and confirm repertoire, artists, project vision and
operational details for the project in consultation with relevant
personnel as required

Element:

Undertake the recording sessions

Performance Criteria:

5.1 Confirm that sessions are scheduled to allow adequate rehearsal
and sound testing prior to main recording sessions
5.2 Record parts, ensuring that methods are appropriate to artistic
vision
5.3 Select and place microphones
5.4 Communicate criticism of performers' work in a balanced,
constructive and supportive manner that includes positive and
obtainable options to achieve the desired artistic outcomes
5.5 Ensure that individual perspectives are considered and
conflicting requirements are recognised and constructively
negotiated
5.6 Continuously monitor all aspects of the recording and adjust
where necessary to achieve desired artistic values


Learning Outcomes


   


Details of Learning Activities

Students will study the theory of Sound and Acoustics through a series of classroom lectures/tuturiols/discussions and self directed research. Studio Recording will take place via a number of supervised practical recording sessions in which students will develop and demonstrate competency of  ’real world’ studio production techniques.


Teaching Schedule

SEMESTER 1


Week 1Orientation
Week 2Physics of Sound
Course overview
What is sound, sound wave propagation, Wavelength, Frequency, Phase, Envelope, Velocity.
Week 3The ear
Pinna, auditory canal, tympanic membrane, Basilar membrane.
Reflection & diffraction of sound
Week 4 Decibels & SPL
Application of basic formulae
Amplitude, Sound Levels, and Decibels
Inverse Square Law
Sound Intensity, SPL
Week 5Decibels & Hearing
Threshold of Hearing
Threshold of Feeling
Threshold of Pain
Equal Loudness contours.
Week 6
Reverberation
Early reflections & Echoes
Pre delay & RT60
Intelligibility of rooms & idealised reverb times.
Sabine’s formula
Week 7
Acoustics Theory
Standing Waves/ Eigentones/ Room modes
Room mode calculations. Axial, tangential, oblique
Week 8
 Acoustics Theory
Introduction to Building Acoustics
Membrane Absorbers, Porous Absorbers, Diffusers.
Week 9
Design & Building Acoustics
Noise criteria and Transmission Loss.
Room Acoustics and design requirements.
Week 10
Practical session for Assignment & Revision
Week 11
Exam


SEMESTER 2

16 X 4HR Studio Recording Sessions - Commencing Week 1




Learning Resources

Prescribed Texts


References

"Modern Recording Techniques" (6th Edition), Huber and Runstein, Focal Press

0240806255

"Sound Reinforcement Handbook", Davis and Jones, Yamaha

0881889008

"Audio For Media", Alten, Wadsworth

0534630464


Other Resources

- basic scientific calculator
- External firewire hard drive
- CD and DVD blank media
- Prossional quality headphones


Overview of Assessment

Assesment will incorporate a variety of methods including research and written report of studio design practices for acoustic treatment, in-class written examination, observation of learner practical activities, planning participation and completion of professional standard audio recording.


Assessment Tasks

Semester 1 - Sound and Acoustics 30%

Task 1 - Studio Design Project
    Task 1.1      50% - Research, analyse, calculate and submit findings on acoustic properties of a recording environment

Task 2 - Examination
    Task 2.1      50% - Written multiple choice and short answer question paper
 
Semester 2 - Major Recording Project  70%

Task 3 - Complete two studio recordings and submit Portfolio
    Task 3.1     30% - Balance a mix (individual elements)
    Task 3.2     10% - Capture and produce appropriate tone/EQ
    Task 3.3     10% - Implement appropriate dynamic processing
    Task 3.4     10% - Conceptualise and control stereo image and depth
    Task 3.5     10% - Apply appropriate use of effects processing
    Task 3.6     10% - Deliver appropriate output level of pre master final mix
    Task 3.7     10% - Demonstrate adequate individual contribution to completion of production
    Task 3.8     10% - Submit portfolio with presentation and labeling to industry standard


Assessment Matrix

not applicable

Course Overview: Access Course Overview