Course Title: Manage production of sound recordings

Part B: Course Detail

Teaching Period: Term2 2013

Course Code: PERF5074C

Course Title: Manage production of sound recordings

School: 345T Media and Communication

Campus: City Campus

Program: C6104 - Advanced Diploma of Sound Production

Course Contact : Program Administration

Course Contact Phone: 03 9925 4815

Course Contact Email:mcvet@rmit.edu.au


Name and Contact Details of All Other Relevant Staff

Teacher: Anthony Norris
Phone: (03) 9925 4268
Email: anthony.norris@rmit.edu.au

Nominal Hours: 50

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

In this course you will learn specific skills related to live recording of improvised music in small to mid-sized venues. You will also liaison with artist(s) and conduct pre-production planning as well as the mixing of live recordings (in stereo).


National Codes, Titles, Elements and Performance Criteria

National Element Code & Title:

CUSSOU602A Manage production of sound recordings

Element:

1 Clarify Sound-recording brief

Performance Criteria:

1.1 Participate in production meetings with relevant personnel to confirm the vision, sound concepts, production values and expected outcomes for recording projects
1.2 Confirm production requirements
1.3 Finalise and confirm repertoire, artists and operational details for recording projects in consultation with relevant personnel
 

Element:

2 Organise resources

Performance Criteria:

2.1 Identify and confirm production staff requirements and recruit personnel needed for recording projects
2.2 Ensure artists are secured, confirmed and contracted as required
2.3 Identify and secure appropriate venues and resources for rehearsal and recording sessions
2.4 Ensure that contracts required for staff and venues are finalised
 

Element:

3 Prepare for production of sound recordings

Performance Criteria:

3.1 Ensure that arrangements are in place for ongoing communication with relevant personnel so that artistic vision can be achieved and resources are available when required
3.2 Ensure that accurate rehearsal and recording session schedules are drawn up and distributed to relevant personnel
3.3 Ensure that a project schedule for production meetings is finalised and distributed to each technical team member
3.4 Anticipate issues that may arise during the production of sound recordings and plan accordingly
3.5 Ensure that the technical team is fully briefed on operations, production values and contingency plans
3.6 Comply with relevant OHS, copyright and other legal requirements
 

Element:

4 Manage recording sessions

Performance Criteria:

4.1 Ensure that communication in sessions and production meetings is comprehensive and constructive and that documentation is completed correctly
4.2 Ensure that all production resources and requirements are in place for recording sessions and other associated activities
4.3 Communicate systematically with the producer/director to verify and maintain the required production quality
4.4 Communicate with and direct production staff constructively and consistently through prerecording, recording and post-production to achieve agreed production values
4.5 Comply with agreed quality, time and budget constraints at all stages of the production
 

Element:

5 Maintain effective communication with production staff & artists

Performance Criteria:

5.1 Ensure that agendas for production meetings are planned and circulated to all relevant parties in advance and that discussion of concerns is encouraged to establish and achieve planned artistic outcomes
5.2 Ensure that individual perspectives are considered and conflicting requirements are recognised and constructively negotiated
5.3 In collaboration with relevant personnel, ensure that the quality of musical and technical preparation is maintained throughout the production and take action as required
 

Element:

6 Manage post-production

Performance Criteria:

6.1 Ensure that all components of post-production mix meet agreed production values
6.2 Facilitate continuing input from artists and director/producer into the post-production process and take remedial action as required
6.3 Ensure that the physical components of post-production are delivered correctly and in the required formats
 

Element:

7 Evaluate production of sound recordings

Performance Criteria:

7.1 Discuss and obtain agreement from relevant personnel about evaluation techniques
7.2 Focus evaluations on the way the process of managing sound recordings was handled and document results
7.3 Evaluate own role in operations and note areas for improvement
7.4 Provide feedback to team members on their performance as required
7.5 Document evaluation of operations in line with enterprise procedures
 


Learning Outcomes


On successful completion of this unit you will have achieved the skills and knowledge required to: plan and carry out live recordings with small ensembles and mix them in stereo; produce a Red Book Master CD-DA and have observed the mastering process by a professional mastering engineer.


Details of Learning Activities

In class learning activities include, but are not limited to:
• Set-up for a live recording
• Operation skills
• Mixing Techniques (including on-line content)
• Approaches to the mastering process

Out of class activities include, but are not limited to:
• Artist research & liaison (incl. on-line content)
• Research of equipment features & suitability (On-line Content)


Teaching Schedule

Please note: While your teacher will cover all the material in this schedule, the weekly order is subject to change depending on class needs and availability of speakers and resources.

 WeekClass contentOtherElements covered
 Week 1Course Overview. Work Group allocations.
Artist & Record date allocations.
Prep. Of Artist Research & Liaison.
 Introduction1.1-1.3
2.1-2.4
3.1-3.6
5.1-5.3
 Week 2In class set-up of Live recording system.
Overview of Microphone Kit, suggested application & placements.
 LIVE Set-up1.1-1.3
2.1-2.4
3.1-3.6
4.1-4.5
5.1-5.3
7.1-7.5
 Week 3 Final summary of Artists & Record dates, Mastering & Mix sessions. Artist & Program Summary1.1-1.3
2.1-2.4
3.1-3.6
5.1-5.3
 Week 4 LIVE RECORDING @ Bennett’s Lane, City. 7:00pm ~ 12:30am  RECORD 11.1-1.3
2.1-2.4
3.1-3.6
4.1-4.5
5.1-5.3
7.1-7.5
 Week 5 LIVE RECORDING @ Bennett’s Lane, City. 7:00pm ~ 12:30am RECORD 21.1-1.3,
2.1-2.4,
3.1-3.6,
4.1-4.5,
5.1-5.3,
7.1~7.5
 Week 6 LIVE RECORDING @ Bennett’s Lane, City. 7:00pm ~ 12:30amRECORD 3
MIX 1
1.1-1.3
2.1-2.4
3.1-3.6
4.1-4.5
5.1-5.3
7.1~7.5
 Week 7 LIVE RECORDING @ Bennett’s Lane, City. 7:00pm ~ 12:30amRECORD 4
MIX 2
MASTER 1
1.1-1.3
2.1-2.4
3.1-3.6
4.1-4.5
5.1-5.3
7.1-7.5
 Week 8 LIVE RECORDING @ Bennett’s Lane, City. 7:00pm ~ 12:30amRECORD 5
MIX 3
MASTER 2
1.1-1.3
2.1-2.4
3.1-3.6
4.1-4.5
5.1-5.3
7.1-7.5
 Week 9 LIVE RECORDING @ Bennett’s Lane, City. 7:00pm ~ 12:30amRECORD 6
MIX 4
MASTER 3
1.1-1.3
2.1-2.4
3.1-3.6
4.1-4.5
5.1-5.3
7.1-7.5
 Week 10 LIVE RECORDING @ Bennett’s Lane, City. 7:00pm ~ 12:30amRECORD 7
MIX 5
MASTER 4
1.1-1.3
2.1-2.4
3.1-3.6
4.1-4.5
5.1-5.3
7.1-7.5
 Week 11 LIVE RECORDING @ Bennett’s Lane, City. 7:00pm ~ 12:30amRECORD 8
MIX 6
MASTER 5
1.1-1.3
2.1-2.4
3.1-3.6
4.1-4.5
5.1-5.3
7.1-7.5
 Week 12MIXING & MASTERING of previous recordingsMIX 7
MASTER 6
2.1-2.4
5.1-5.3
 Week 13MIXING & MASTERING of previous recordingsMIX 8
MASTER 7
2.1-2.4
5.1-5.3
 Week 14MIXING & MASTERING of previous recordingsMASTER 82.1-2.4,
5.1-5.3
 Week 15MIXING & MASTERING of previous recordingsEXTRA SESSION ALLOCATION2.1-2.4
5.1-5.3
 Week 16 Final Listening sessions and course summary: Studio TBC Final Class1.1-1.3
2.1-2.4
3.1-3.6
4.1-4.5
5.1-5.3
7.1-7.5


Learning Resources

Prescribed Texts

•Recommended texts listed during orientation, all of which are housed in RMIT the libraries of the city campus.
•On-Line resources as recommended by teacher & other staff.


References

You are advised to look at the course Blackboard site for ongoing updated information.


Other Resources

You will provide:
• Your own Studio quality Headphones & External Storage device (recommend FW800 or FW400).
• 2 Blank CD-R’s for live recording stereo archive.
• Own transport for late night recordings, generally finished by 1:00am.


Overview of Assessment

Assessment tasks include research and liaise with artist(s) prior to recording, taking part in the live recording at a nominated venue, mixing the recording in stereo to industry standards, attend a mastering session of the mixed audio.


Assessment Tasks

Assessment tasks in this course are either formative or summative. Formative tasks provide the basis for ongoing feedback and can be considered as essential building blocks for the more substantial summative assessment tasks.

To demonstrate competency in this course, you will need to complete each one of the following pieces of assessment to a satisfactory standard. You will receive feedback on all assessments and a grade for the summative assessment.

Formative Assessment
1. Research & liaise with artist(s) prior to recording. (Incl. line-up of ensemble & production requirements).
2. Attend, transport & set-up LIVE recording system at venue.
3. Attend and observe a Mastering session for Stereo mix.

(Formative assessments undertaken in small groups - assessment times will be undertaken between weeks 3 - 15 as advised)

Summative Assessment
Undertake stereo mix of recorded performance, applying selection criteria received from artist(s) (Due week 16).

Grading criteria for this assessment can be found on the course blackboard site.

Grades used in this unit are as follows:

CHD Competent with High Distinction
CDI Competent with Distinction
CC Competent with Credit
CA Competent Achieved
NYC Not Yet Competent
DNS Did Not Submit for Assessment


Assessment Matrix

The assessment matrix demonstrated alignment of assessment tasks with the relevant Unit of Competency. These are
available through the course contact in Program administration.

Other Information

Attendance
The major learning experience involves studio based exercises, demonstration and production. It is strongly advised that students attend all sessions in order to engage in the required learning activities, ensuring the maximum opportunity to gain the competency.

Cover Sheet for Submissions
All students must complete a submission cover sheet for each piece of submitted work.

Plagiarism - RMIT has a strict policy on plagiarism. For more information on this policy go to Academic Integrity

Copyright
All students have access to the myRMIT copyright shell. The myRMIT copyright shell contains information on copyright, plus also examples on how to use copyright works as part of your projects and assignments.

Special consideration Policy (Late Submission)
All assessment tasks are required to be completed to a satisfactory level. If you are unable to complete any piece of assessment by the due date, you will need to apply for an extension. Please refer to the following URL for extensions and special consideration:
www.rmit.edu.au/students/specialconsideration/online

Student Progress Committee
This committee promotes the early identification of students who are not achieving acceptable academic performance. The committee provides identified students with assistance and seeks to ensure such students are aware of the range of support services available to them at the University. Student Progress Committee (SPC)

Student Feedback
Students are offered opportunities to provide feedback through a variety of mechanisms including online surveys conducted at the end of each course or semester, student complaints and Student Staff Consultative Committees
 

Course Overview: Access Course Overview