COURSE SYLLABUS
Course Title: Advanced Music Mixing
Course #: AET 499.03 Credit Hrs: 3 Semester: Fall 2006
Class Location:
Final Exam: Project
to be turned in
Instructor: Mr. Bob Bullock
Contacts: Phone:
771-9746 Email: bob@bobbullock.net
COURSE DESCRIPTION: To provide students with
advanced knowledge of classic and modern recording and mixing techniques
through 1) lecture and reading assignments, 2) studio observations, 3) group
participation, and 4) an in-depth research project. An emphasis on understanding and problem
solving is designed to optimize students' awareness of the real life demands of
professional studio recording and mixing.
COURSE OBJECTIVES: To provide students with
advanced knowledge of classic and modern recording and mixing techniques
through 1) lecture and reading assignments, 2) studio observations, 3) group
participation, and 4) an in-depth research project. An emphasis on understanding and problem
solving is designed to optimize students' awareness of the real life demands of
professional studio recording.
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.
Honor CODE:
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: Since there are only 6
classes, each class has a high bearing on
final
grade.
2. Materials: Various handouts supplied by instructor. You will be responsible for
all
information contained in the handouts.
Multi-track master tape, DAT(s),
computer
disk(s), paper, etc. as needed.
3. Participation
and Prepared assignments: All students are expected to contribute to
class
discussions, research projects, and any assignments.
All
students will attend class.
4. Testing: All test dates are noted in
the daily class schedule. No make-up
tests will
be
given. Final exam will be comprehensive.
5. Basis of
grade evaluation: Grading scale as per the current Undergraduate
Bulletin.
Participation credits are listed below:
ITEM CREDIT (or %)
A. Attendance 60 %
B. Group Project 20%
C. Individual Project 20%
Total
Points (%) = 100%
Outline of Possible Class Activities
Hard Disc Management
EQ and Limiter Compresser Techniques
Getting the Right balance
Reverb, Delays, Effects
The use of compression, tuning and effects in
mixing.
Choosing Sample Rates and Bit Rates
Analog VS. Digital Mixing
Do's & especially Don'ts.
Understand a New Environment : Mixing in a
new studio for the first time.
Phase considerations & problems. Degrees
to keep in mind
Multiple vs. Minimal plugin techniques.
Vocalist and spoken word processing and
mixing:
Session psychology, understanding the vision
of the Artist/Producer.
Tricks of the trade
Research Project Protocol:
1. Four (4) two (2) member research teams.
2. Projects should be based around research
of technical and/or perceptual
themes
and are NOT “demo” projects.
3. For perceptual tasks, members of the class
will serve as "subjects" or “listeners.”
4. Tasks will be designed that can be
completed within two studio days (two (2) 12hr
days,
24 hrs total per project).
6. All testing will be completed by 2nd
Saturday in Dec.
Articles / Papers of Interest:
Alan Sides “ The Mic Cabinet” you must hear
Bosun, Xie (2001). Signal Mixing for a 5.1-Channel Surround System – Analysis and
Experiment. J. Audio
Snow, William, B. (1953). Basic principles of stereophonic sound. J.
SMPTE, 65, 567-589.
Ceoen, Carl.
(1972). Comparative listening tests. J.
Audio
Borja, S. Erik. (1977). How to fool the ear and make bad
recordings. J. Audio
Dooley, Wesley L. & Streicher, Ronald D.
(1982). M-S stereo: A powerful technique
for working in stereo. J. Audio
Web Resources:
Recording/Mixing Web Sites http://homerecording.about.com
http://www. prorec.com
http://www.talkrecording.com
Books as reference:
Modern
Recording Techniques by David Miles
Huber and Robert E. Runstein,
Pro Tools 5.1
for Music Production by Mike Collins, Focal Press; ISBN:
Critical
Listening and Auditory Perception by F. Alton Everest ,
The
Mixing Engineer's Handbook (Mix Pro Audio Series) by Bobby
Owsinski
The Art of
Mixing: A Visual Guide to Recording, Engineering, and Production
by
David Gibson
Pro Tools A…Z
An Engineers Guide by J Franze
Accommodation of
Disabilities:
In compliance with Section 504 of the
Rehabilitation Act and the Americans with Disabilities Act,