COURSE SYLLABUS
Class
Location: MBC CMB – B-07 Meeting Time(s): Mon 3:30 PM – 5:30 PM
Final Exam: Dec. TBA
Lab Sessions: Tuesday
/ Thursday 2 PM – 2:50 PM
Instructor: Mr. Billy W. Prince
Contacts: Phone: 460-5553 Email: princeb@mail.belmont.edu
COURSE DESCRIPTION:
AET 3190. Audio Engineering II (3). Prerequisite: AET 3090 and permission of instructor. A continuation of AET 3090, this course is an advanced study of the technical characteristics and performance of each component of the recording studio. Topics include advanced studio electronics and signal flow, computer-based digital recording and editing, analog and digital tape machine operations, automated console operations, condenser microphones, spatial signal processing, and the role of the audio engineer. The development of audio perception skills for recording engineers is emphasized. Lab hours required. ($30.00 course fee)
COURSE OUTCOMES:
To
provide students with instruction and hands on experience in the setting of the
modern recording studio, building on the foundation of their experience in
their pre-requisite classes.
GOALS OF THE
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.
As members of the
“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.”
COURSE REQUIREMENTS:
1. Attendance: As per the current Undergraduate
Bulletin.
2. Supplies/Materials: You will need two texts and recording
supplies.
(1) Current edition of the Audio Engineering 2
Workbook (New Frontier Publishing).
(2)
Current edition of Audio in Media (7th Ed.) by Stanley R. Alten (Wadsworth
Publishing Co.) or your textbook
from Survey of Recording Technology. You will be responsible for all
information contained in the Workbook and other readings as assigned.
(3)
Recording supplies comprising: 2-inch analog master tape (furnished); an
Exabyte data storage tape for backup of RADAR recording); a blank CD-R; and
misc. 3.5 inch computer disk(s) as needed.
A CD label for burning your final project. (Or Printable CD)
3. Participation and Prepared assignments:
You are expected to: show a sincere effort of co-operation,
participation, and self application during this course of study; read assigned
and recommended text and handouts; and fully complete ALL class, lab, homework,
and project assignments.
You are
required to engineer two recording projects.
(A) Three
sessions comprising a 2-inch 30 ips analog Tracking Session in Studio A,
Transferred to Radar (24bit 48kHz) for overdubs & Mix to be done with RADAR
on the SSL in Studio B. Mixed to a Stereo track in Nuendo, Normalized and
exported as stereo mix file, stereo
interleaved 44.1 kHz 16 bit, And saved on the Record Drive of the Mac G-4.To be Completed by Oct 9. All Documentation of Project #1 Due Oct 9.
(B) Three
sessions comprising Tracking on PRO TOOLS or Radar in studio A. May be tracked
on RADAR and transferred to ProTools D-D. Overdubs in Studio C, and Mixed In
Studio A on the NEVE console to Two tracks in PRO TOOLS, Normalized, and
bounced to disk (stereo interleaved 16 bit 44.1 KHz) Using Toast CD Burning
software, make a CD containing project 1 and project 2 respectively. (Due Nov 27, along with all supporting
documentation of Project #2 )
4. Assistant Sessions: In order to gain hands-on experience, you are
required to serve as assistant engineer for recording sessions in the CMB
studios. Credit for assisting is based
on an hourly basis. Every assistant hour
will receive a credit of 8 points. Bonus
credit may be earned by completion of more than 12 assistant hours. Each hour of assisting above 12 will earn 5
bonus points up to a maximum of 125 points.
Credit hours 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. Each session will have 1 required assistant, and may also have 1
optional assistant. On Pjt 1, AE2 students are the required assistant on the
Tracking & Mixing sessions, and also may have an optonal AE1
assistant. Pjt. 1 overdubs are required
to use an AE1 assistant. On pjt 2, an
AE1 Assistant is required for tracking, And AE2 for overdubs & mixing. (This is also noted on the session work
order).
Audio 2
students will receive first 3 calls to assist on all non-class projects.
5. Lab
Sessions: In order to gain experience
with specific tasks, you are required to participate in various lab
sessions. Credit for lab participation
is based on lab hours completed. Each
lab session will earn 8 points. Bonus credit may be earned by completion of
more than 12 labs, 5 bonus points may be
earned for each lab above 12. Lab sessions are scheduled on Tuesday and
Thursday afternoons at 4pm 4:50 for
AE2.04. The class must be split, half on
Tuesday, and half on Thursday.
6. Testing: There will be a Mid-Term and a Final Exam. Each will be comprehensive and inclusive of
all class content and assigned reading material covered to that date. NO
"MAKE-UP" TESTs.
7. Basis of grade
evaluation: Grading scale as per the current Undergraduate Bulletin. Participation credits are listed on the
following
page.
8. Basis of final grade evaluation: Scale as per current Undergraduate
Bulletin, (Vol. 50).
|
Item |
Credit Percentile (%) |
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1. Class
attendance |
15 |
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0 days absent = 100 points
credit. 1 day absent = 88 points
credit. 2 days absent = 76 points
credit. 3 days absent = 64 points
credit. 4 days absent =
Dropped from class with F |
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2.
Mid-Term exam |
15 |
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3. Final
exam |
20 |
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4.
Recording project (Grade
based on technical aspects of the project, not the music or musical
performance) |
15 |
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5. Labs |
20 |
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6.
Assistant Sessions |
15 |
9. Audit
Students:
As per the
current Belmont University Bulletin (catalog), students who audit are
allowed to attend classes as a "non-participant in a non-credit, non-degree
seeking status." However, audit
students are encouraged to participate in class discussions and labs and to
attend and observe recording sessions in the Center for Music Business
studios. Students who audit will not be
given a report topic, recording project,
or allowed to assist as second engineer on project recording sessions. In addition, since auditing is a non-credit
status, participation as an audit will not meet the minimum qualifications for
booking and participating in recording sessions held in the Center for Music
Business Studios.
10. Class Schedule: Class Topic
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1 Aug 28 |
Introduction,
class overview. CMB studios A & B overview. Overview off Neve & SSL. Tour of CMB
wiring & equipment. Homework
Assignment. |
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2 Sep 11 |
Console
Signal Flow. Console Status Selector. Channel and Monitor Paths. The Patchbay. Comparisons of the Neve and SSL. |
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3 Sep 18 |
Analog Tape Machine Calibration. dBu
VS NW/m. Part One – Calibration
Test Tape. Setting Repro & Sync Playback Levels |
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4 Sep 25 |
RADAR
operations .. Introduction to Pro Tools as a tape machine. A/D Transfers,
Analog tape to RADAR & ProTools.
D/D transfers (RADAR to Pro
Tools) |
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5 Oct 2 |
Stereo
Miking Techniques. The Mid-Side
technique and phase considerations.
Condenser Mic design and uses. |
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6 Oct 9 |
SMPTE
Time Code.. Lock & Chase Synchronization.
Console Operations Review.
Mixing to Pro Tools and Nuendo.
Normalization, and ‘Bouncing to Disk’. |
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7 Oct 16 |
Dynamic
Processors: Gates, Expanders,
Compressors, Liimiters. External Keying / Ducking / d-essing. Practical Uses. |
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8 Oct 23 |
Mid Term Exam Intro to Computer automation
. SMPTE, Read, Write, and Update. |
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9 Oct 30 |
NEVE Flying Faders SSL Ultimation |
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10 Nov 6 |
Sound
localization in 3-D through the use of head-related transfer. (HRTF)..
Spatial processing and
binaural hearing: Jeffress's neural model of auditory Psychoacoustics: Sound
in an enclosed space, the precedence effect and echo suppression processing,
the duplex theory, and Mill's minimum audible angle (MAA. ). units..Computer
automation |
|
11 Nov 13 |
Mixing
Techniques – Practical use of multiple effects Creating Space with effects.
Setting up the mix – headroom – effects – gates – expanders - compressors |
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12 Nov 20 |
Mixing
Techniques – Class Exercise. Two Groups A & B. Mixing from Pro Tools Back To Pro Tools. |
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13 Nov 27 |
Project 2 due Listen to projects in
class all materials with supporting paperwork |
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14 Dec 4 |
Review For Final Exam |
Audio Engineering Lab Schedule
Tuesdays & Thursdays @ 1 PM
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LAB |
SCHEDULE |
CREDIT |
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1 |
Large Session Set-up |
Th Aug 31 |
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Studios
A & B |
Tu Sep 5 |
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2 |
Large Session Set-up |
Sep 7 |
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Studios
A & B |
Sep 12 |
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3 |
Analog |
Sep 14 |
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Radar Transfers |
Sep 19 |
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4 |
Analog – Protools Transfers |
Sep 21 |
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Radar Transfers |
Sep 26 |
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5 |
Analog – Protools Transfers |
Sep 28 |
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Radar Transfers |
Oct 2 |
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6 |
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Dynamic
Processing |
Oct 5 |
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Studios A & B |
Oct 10 |
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7 |
Adavanced
Dynamic Processing |
Oct 17 |
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Studios
A & B |
Oct 19 |
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8 |
Spacial
Effects Processing |
Oct 24 |
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Studios
A & B |
Oct 26 |
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9 |
Spacial
Effects Processing |
Oct 31 |
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Studios
A & B |
Nov 2 |
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10 |
Computer
Automation |
Nov 7 |
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A &
B |
Nov 9 |
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11 |
Computer
Automation |
Nov 14 |
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A &
B |
Nov 16 |
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12 |
Bonus
Lab |
Nov 28 |
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Nov 30 |
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Accommodation of Disabilities:
In compliance
with Section 504 of the Rehabilitation Act and the Americans with Disabilities
Act,
AE 2 Project Criteria Detail
Organizing Your Project.
Pre-Production Meeting.. Once you have found the
artist and reserved a date to record, Set up a Pre-production meeting with
Producers, Artist, Musicians, and Assistant Engineers. Take your project packet with you to the
meeting. At this meeting, you should
establish the information required for your work order in order for your
project session to be confirmed. Song
Title, Writer(s), Artist, Publisher, PRO, if applicable. If the song is
original and not published, write “unpublished”
on that line of your work order.
At this meeting, you should obtain a Lyric Sheet of
the song to be recorded from the writer or artist.
The session leader should also be prepared to give you
a chord chart of the song’s arrangement.
Paperwork: Each project session will be booked in
advance on the schedule in RED. A Work order MUST be submitted
containing pre-production information, and other vital information about your
session. This must be done at least one
week in advance of your first project session in order to get confirmed status
(GREEN) Your project will be graded using this
criteria sheet and your syllabus as the standard. Paperwork will consist of 60%
of your project, and your
recording will be 40%. Procedure and
organization will be exemplified in your work.
Paperwork will be as follows:
1. Obtain the yellow copy of each session invoice from the studio staff person at
the end of each session. This will be
turned in with other project materials.
2. Make a detailed studio layout of your
tracking and overdub sessions. A floor
layout will be provided for Studio A & B. (Make a sketch of you overdub
session in C on the back of your studio
A layout for Pjt. 1) Indicate the position of each instrument you record and
the microphones that you use.
3. Turn in a completed Track Sheet of each
project. Include notes such as effects
and locate numbers. Be sure to fill out
the back of the track sheet with mics, lines, and channels assigned to.
4. A sheet containing dynamics, and effects
processing for each mix – 2 provided.
(Projects 1 and 2).
5. A lyric sheet of each song recorded. (Obtain this at your Pre-Production Meeting).
At the beginning of every line write the locate number of the recorder
(min./Sec). Be careful to indicate the
writer of music and words and the publisher and PRO if applicable.
6. A Chord chart (preferably the
7. A separately typed credit sheet listing all
musicians, writers, engineer, producer, assistant engineer, and staff engineer,
Song title, length of song, Publisher, and PRO, info. (If none, so state)
8. A properly labeled CD containing two
songs, Project 1 & 2 respectively.
You may use the software,
printer, and PC at the desk in the CMB to make your CD label. The software is called
“Click ‘N Design” You will
have to furnish your own label, or if you wish, you may use a printable CD, and
use the program, “Epson Print CD”. Use
your sample Project Grade Sheet as a checklist to make sure your label contains
all the required information.
*The neatness and
organization of your documentation and paperwork will comprise 60% of your
project grade.
** Any deviation from this procedure will result in points deducted.. **