Instructor:                    Michael J. Janas

Contact:                       Office RCA-B / Phone: 242.5167 / email: janasm@mail.belmont.edu

Office Hours:                By appointment only.

Course Credit:              3 Course Hours

Class Location:            RCA Studio B, 1611 Roy Acuff Place, Nashville, TN 37203

Class Meeting Times:   3090.03 Tue-Thu 11a-12:15pm

                                    3090.04 Tue-Thu 12:30pm-1:45pm

Class Lab Times:         http://campus.belmont.edu/mb/studio/LabSchedule.html

RCA-B Website:           http://campus.belmont.edu/rcastudiob/

Course Description:  Prerequisites: MBU 1110, AET 1380 and permission of instructor.  A detailed study of the technical characteristics and performance of each component of the recording studio.  Topics include basic studio electronic signal flow, tape machine operations, dynamic processing, basic microphone use, studio acoustics, session procedures and the role of the assistant engineer.  Emphasis is placed on developing audio perception skills for recording engineers.

 

Course Objective: To gain experience in setting-up a studio for a recording session; to gain an understanding of acoustic and electronic signal flow; and to become familiar with the various tools (microphones, consoles, machines, outboard gear, etc.); and to learn procedures that will help make recording sessions go smoothly, enjoyably, efficiently, and will result in quality recording.

 

GOALS OF THE MIKE CURB COLLEGE OF ENTERTAINMENT AND MUSIC BUSINESS:

 

The following objectives will be applied toward course completion:

·         To provide a personalized, career-oriented and practical education that emphasizes leadership, innovation, private enterprise, and entrepreneurship.

·         To equip students with the tools to think critically, communicate effectively, accept responsibility, make successful decisions, and prosper in diverse work environments.

·         To emphasize quality classroom instruction within the parameters of ethical Christian principles.

 

HONOR CODE: It is the responsibility of each student to abide by the Belmont University Honor Code:

“In affirmation of the Belmont University Statement of Values, I pledge that I will not give or receive aid during examinations; I will not give or receive false or impermissible aid in course work, in the preparation of reports, or in any other type of work that is to be used by the instructor as the basis of my grade; I will not engage in any form of academic fraud. Furthermore, I will uphold my responsibility to see to it that others abide by the spirit and letter of this Honor Pledge.”

 

Accommodation of Disabilities:  In compliance with Section 504 of the Rehabilitation Act and the Americans with Disabilities Act, Belmont University will provide reasonable accommodation of all medically documented disabilities.  If you have a disability and would like the university to provide reasonable accommodations of the disability during this course, please notify Tammye Tanksley, Director of Counseling & Developmental Support in the Office of the Dean of Students (460-6407) as soon as possible.

 

Class & Lab Materials: 

Audio Engineering 1 Workbook (Red cover)

Audio in Media by Stanley R. Alten (6th or 7th Edition)

Make Mine Music by Bruce Swedien.  MIA Press 2004.

 

Course Requirements:

 

Grade Scale: As per current Undergraduate Bulletin.

 

Attendance:  Class and lab attendance policy follows the guidelines presented in the current Belmont University Catalog. Students may miss up to four class or lab periods throughout the semester without any grade reduction.  After four absences, a student’s final grade will be reduced by 5%.  After six misses, the student’s final grade will be reduced 10%.  After eight absences, the student will be removed from the class roster and withdrawn from the class with a grade of F.

Academic Testing:  There will be written and practical exams.  Each will be comprehensive and inclusive of all class, workbook, and reading material covered up to that date.  No makeup or late exams will be given. Students may only be excused from an exam with proper notification from the provost.  In the case of excused, missed exams, the other exams percentages will be adjusted accordingly.

 

Written Assignments

 

Assistant Engineering Assignment:  Analyze a song and create the following session documents, each on a different sheet.  You will need to view the running time of the song during this assignment.

 

Song Analysis: Critically listen to the musical recordings listed below and describe the instrumentation, arrangement and production techniques used to make the recordings.  Include recording format (if possible), any relevant anecdotes and production credits including artist, album (if applicable), label, song title, writer, publisher information, PRO, producer, engineers, musicians and vocalists, a song chart and a lyric sheet (as described above in the Assistant Engineering Assignment).  The paper is a minimum of two (2) pages, plus the song chart and lyric sheet, and should be a clear and concise presentation.  Citations must be in MLA format.  This is a short research paper, not an editorial.

 

 

Recording Projects:  You are required to complete two Recording Projects.  These projects will give you practical, hands-on recording experience, and will require you to organize and coordinate sessions as well as record the music.  Detailed requirements are listed further in the syllabus.

 

Assistant Sessions:  In order to gain hands-on experience, you are required to serve as Assistant Engineer for recording sessions in the CMB and RCAB studios.  Credit for assisting is given on an hourly basis; each hour will receive a credit of 5 points and will be logged via the CMB Studio Invoice database system.  You must be properly booked on the session and sign the invoice at the end of the session in order to receive credit.  If two (2) assistants serve one session, each assistant will receive 1/2 credit.  As assistant you will be required to keep all session records including: track sheets, studio layout, signal processing, effects set-up, etc.

 

Labs:  In order to gain experience with specific tasks, you are required to participate in lab sessions.  These sessions are hands-on activities with small groups of students in each studio.  Credit for lab participation is based on individual attendance and participation.  Lab sessions times are posted on the CMB website: http://campus.belmont.edu/mb/studio/LabSchedule.html

 

Basis of Final Grade Evaluations:

ITEM DESCRIPTION

PERCENTILE CREDIT (% of 100 points)

1. Class Attendance & Participation

10 %

2. Written Test #1

05 %

3. Practical Exam (Mid-Term)

10 %

4. Written Test #2

05 %

5. Final Exam (Written 10% & Practical 10%)

20 %

6. Song Analysis & Assistant Engr Paper

10 % (Song Analysis @ 4% each, Asst @ 2%

7. Studio Project 1: 8-tracks

08 %

8. Studio Project 2: 16-tracks

12 % 

7. Assisting Hours

10 %

9. Lab Participation

10 %

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Fall 2006 Class Schedule

Month

Day

Class Topic

Readings/Assignments

August

24

Intro to Class, Tour, Assistant Engineering

Assistant Engineering Assignment Assigned.  Readings: AiM 1-42; MMM 18-27; Lab Book – assistant engineering

29

Microphones; Physics of Sound in Air

Readings: AiM Mics 43-78; MMM 174-190

31

Microphones (cont) Recording Basics

Readings: MMM 30-35; 194-233; http://www.dpamicrophones.com, click the tab for “Application Guide” for placement ideas. 

September

5

Microphones (cont), Stereo Mic Techniques

Assistant Engineering Assignment Due.  Readings: MMM 38-43;   http://www.dpamicrophones.com, click tab for “Microphone University” and select “Stereo Techniques”;

7

Lines, Balanced v. Unbalanced, Physics of Electrical Signals, Levels

RCA Studio B Song Analysis Assigned.  Lab Book; AiM 14-15

12

Basics of Signal Flow, Patchbay Usage

Lab Book; AiM Consoles (79-100)

14

Signal Flow – Aux systems

Lab Book; AiM Consoles (79-100)

19

Exam I

 

21

Decibels & level relationships

Lab Book; AiM 14-15

26

Analog Tape Recording Theory

AiM: Analog Recording 101-112

28

Analog Tape Recorders – Usage

Lab Book

October

3

Recording Techniques - Drums

 

5

Recording Techniques – Guitars

 

10

Exam II – Mid Term, Recording Signal Flow Practical

RCA Studio B Song Analysis Due.

Recording Project 1 Due.

12

Fall Break

17

Recording Techniques – Piano/Organ/Keyboards

Historic Song Analysis Assigned.

19

Recording Techniques - Vocals & Horns

 

24

Dynamics

AiM 11-22; MMM 160-170

26

Dynamics

AiM Dynamics (155 – 164)

31

Equalization

MMM 144-156; AiM EQ 146-150

November

2

Equalization

Lab Book

7

Delay & Reverb

AiM 150-155; Lab Book

9

Exam III

Historic Song Analysis Due.

14

Mixing Techniques

AiM 398-440; MMM 233-249

16

Mixing Techniques

 

21

Analog Tape Editing

AiM Analog Recorders 104-111

23

Thanksgiving Break

28

Digital Recording

AiM: Digital Recording 112-134

30

Digital Editing

AiM DAWS 372-397

Recording Project 2 Due.

December

5

Final Review

 

Section .03: FINAL EXAM:  Monday, Dec. 11 @ 11am

Section .04: FINAL EXAM:  Friday, Dec. 8 @ 11am

 

AiM = Audio in Media, 7th Edition.      MMM = Make Mine Music

 

 

Audio 1 Studio Project Requirements

 

You are required to do two Recording Projects as part of AE1:  an 8-Track Record & Mix Project and a 16-Track Record and Mix Project.  These projects will give you practical, hands-on recording experience, and will require you to organize and coordinate sessions as well as record the music.  If you have any questions after reading these requirements, please see your instructor.

 

MATERIALS REQUIRED

·         PROVIDED BY STUDENT:

1.       Blank CD-Rs with jewel cases (do not use CD-A discs)

2.       2 manila envelopes with clasp (or equivalent) to submit projects (it will contain your mix CDs & session documentation)

·         PROVIDED BY RCA STUDIO B

1.       Neato Labels for CD-Rs (create using the public access computer at RCA Studio B)

2.       2” analog tape

3.       1/4” analog tape

4.       Session documentation forms (located in the black file cabinet in the Break Room)

 

GENERAL REQUIREMENTS

·         Engineers may not perform on their project sessions.

·         Assistant Engineers may not perform on project sessions.

·         Only enrolled AE1 students may assist on AE1 sessions.

·         Scheduled Engineers or Assistant Engineers who do not show up for confirmed sessions will lose one full letter from their final course grade. 

·         Assistant Engineers who must miss a session must contact the Engineer and make arrangements for a replacement.  It is the responsibility of the Assistant Engineer to find their substitute.

·         Only AE1 Approved Microphones (dynamic mics) may be used – no exceptions.

·         In a manila envelope, submit a mix CD and the session documentation for each project on the due date at the beginning of class.

 

SCHEDULING SESSION TIME

·         Reserve project session time in class.  The sessions are considered on HOLD, and are posted in RED typeface on the RCA Studio B Schedule website: http://campus.belmont.edu/mb/studio/schedule.htm.

·         To confirm your session, complete a WORK ORDER (available at RCA Studio B or online) and submit it to the RCA Studio B Manager.

·         Once the work order is verified your session is posted in GREEN typeface on the RCA Studio B Schedule website. 

·         Work Orders must be submitted no less than 1 week prior to the first session.

·         Requests to change session times must be submitted directly to the RCA-B Studio Manager via email or written note.

 

SESSION DOCUMENTATION

1.       CD Label & AES Media Insert:  Use the Neato label listed above for the CD and complete an AES Media Insert.

2.       Session Journal:  With a minimum one page per session, describe your recording process and the events of the session.

3.       Track Sheet/Microphone List:  The Track Sheet lists what you have recorded on each track of the 2” analog tape.  On the back side is a setup sheet to list sound sources, mics, mic lines, and mic preamps.

4.       Studio Layout:  Show the locations of each instrument in the studio during each phase of recording.  Include mic placement, layout of mic lines and cue lines, baffles, etc.  You may need to use several sheets for each session.

5.       Session Recall Documents: Use the AES/NARAS recording maps and the equipment recall documents to detail every control setting used during each session.

6.       Credits:  On a separate sheet list every person who worked on or contributed to the project:  Client, Producer, Artist, Engineer, Assistant Engineer, Musicians (and which instruments they played), Vocalists, Staff Engineer.  Also include all song credits including writer, publisher, and performing rights organization.

7.       Cue Sheets:  1 Lyric Sheet, 1 Chord Chart.  Each sheet to be notated with Tape Times for each section of the song and are to be used during the session to help you locate the tape to different sections as needed.

 

PROJECT 1:  8 TRACK RECORD & MIX PROJECT:  DUE OCTOBER 10

Recording Dates:  September 18 – October 8

In one 3-hour session the student will record a vocal accompanied by an acoustic instrument to the analog multitrack recorder and then mix the tracks to Pro Tools using the channel side of the API console.  The student will burn two CD copies of the mix, turn one copy in with the session documentation to the instructor and keep the other as a safety copy (backup).

 

·         The song recorded may be an original composition or a “cover” (previously released) song.

·         Recordings will consist of one or more vocals accompanied by one or more acoustic instruments.

·         No drum sets or amplified instruments may be used.  Hand percussion is permitted.

·         Instruments and vocals may be “punched” or overdubbed as needed.

·         All instruments and vocals must be recorded using only microphones (no direct boxes).

·         The recording may not exceed 8 tracks.

·         Pro Tools Mix Information:  After recording the mix, place a Fade-In at the head of the song and a Fade-Out at the tail. Bounce to disc as a stereo interleaved, 44.1kHz, 16-bit BWF (Broadcast WAV) file, then print 2 audio CDs of your final Pro Tools mix.

 

PROJECT 2:  16 TRACK RECORDING & MIXING PROJECT:  DUE NOVEMBER 30

Recording Dates:  October 9 – November 2

Mixing Dates:  November 3 – 21, 27-29

In two separate 3-hour sessions the student will record an ensemble to the analog multitrack recorder and then, in a subsequent session, mix the tracks to Pro Tools and an analog 2-track.  The student will burn two CD copies of the mix, turn one copy in with the session documentation to the instructor and keep the other as a safety copy (backup).

 

 

 

1.  TRACKING SESSION

·         You will have 1 session to record basic tracks.

·         Required Tracks: Drum Kit (bass drum, snare drum, toms, high hat, cymbals), bass (electric and/or acoustic), Lead Vocal, and at least 3 other instruments.

·         You may add any other tracks you wish to complete the song.

·         You must record the rhythm section and a “scratch” vocal simultaneously.  The rhythm section is to include at least a drum kit, bass, and either a guitar or keyboard instrument. 

·         You may not use more than 16 tracks.

·         You may use as many overdub passes as necessary to record the parts. 

·         You may bounce tracks in order to free tracks for additional recording.

·         Direct Boxes (DI boxes) may be used for bass only.  All other electric instruments must be recorded using amplifiers, speakers, and microphones.

 

2.  MIX SESSION

·         You will have 1 session to mix the tracks and print the final mix, simultaneously, to the analog 2-track and the Pro Tools System. 

·         You may also use part of this session to complete overdubs.

·         Analog 2-track: Edit the head & tail of the mix with white leader tape before and after the mix.

·         Pro Tools: After recording the mix, place a Fade-In at the head of the song and a Fade-Out at the tail. Bounce to disc as a stereo interleaved, 44.1kHz, 16-bit BWF (Broadcast WAV) file, then print 2 audio CDs of your final Pro Tools mix.