Contact: Phone:
460-5625 / Office # 245 BMH / E-Mail: wujcikd@mail.belmont.edu
Credit/Class location:
3 Hours/Center for Music
Business, Massey B07
Class/Lab
time(s): CRN# 11639 - 3190.03l, 11:00-12:15pm TR - Lab: 2:00-3:15pm MW
CRN# 11640 - 3190.04l, 12:30-1:45pm TR - Lab:
3:30-4:45pm MW
Class
Website: Blackboard via
your BIC account.
Educational Objectives of the Mike Curb College of
Entertainment & Music: 1) To
provide a personalized career-oriented and practical educational program in
Music Business administration emphasizing the four themes of leadership,
innovation, private enterprise, and entrepreneurship. 2) To equip students with the ability to
communicate effectively, think critically, and make enlightened judgments about
their environment. 3) To emphasize quality classroom instruction within the
parameters of caring, Christian principles.
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)
Learning Outcomes: The student will demonstrate:
·
an
appropriate mastery of the knowledge, techniques, skills, and modern tools of
the discipline of audio engineering
·
an
ability to apply current knowledge and adapt to emerging applications of
mathematics, science, engineering, and technology
·
an
ability to conduct, analyze and interpret experiments, and apply experimental
results to improve processes
·
an
ability to apply creativity in the design of systems, components, or processes
appropriate to program objectives
·
an
ability to function effectively on teams
·
an
ability to identify, analyze and solve technical problems
·
an
ability to communicate effectively
·
a
recognition of the need for, and an ability to engage in lifelong learning
·
an
ability to understand professional, ethical and social responsibilities
·
a
respect for diversity and a knowledge of contemporary professional, societal
and global issues
·
a
commitment to quality, timeliness, and continuous improvement
·
an appreciation for the arts,
humanities, religion, social sciences, and natural sciences
·
an awareness of the complex nature of the
world around them and become engaged with that larger whole
Performance Criteria:
·
identify and differentiate the
components of the NEVE (Studio A), SSL (Studio B), and Toft (Studio C) consoles
explaining their function
·
identify and contrast the internal
patchbays of the NEVE (Studio A), SSL (Studio B), and Toft (Studio C) consoles
explaining their function
·
examine the purpose and function of the
central patchbay system
·
perform an accurate calibration of the
Studer 827 analog tape machine and explain the significance of proper bias
setting
·
apply advanced stereo distant miking
techniques using condenser microphones
·
demonstrate the use of ProTools as a
multitrack tape machine by:
o
creating session files
o
transferring tracks/files between
formats used
o
recording, managing, and creating
backup files
o
transferring files over the
network
·
demonstrate a knowledge of SMPTE chase
lock by synchronizing a digital transfer
·
demonstrate mixing back into ProTools and Nuendo, normalizing, and
bounce to disk.
·
demonstrate basic automation functions using Flying Faders (Neve
console), and Ultimation (SSL console).
·
demonstrate a knowledge of the parameters and function of a compressor,
limiter, gate, and expander, internally by use of the console, and externally,
by use of available outboard gear.
·
demonstrate advanced dynamic processing by creating external keying,
ducking, and de-essing.
·
demonstrate an advanced knowledge of the use of reverb, delay, and
special effects by applying proper optimization of the effect send and return.
·
discover what constitutes an effective mix through the exploration
of sound localization and the application of spectrum, dynamic and spatial
processing.
·
describe how developments in recording
technology have influenced trends in business
·
define, interpret, and apply a technical
language for use within the music business industry
·
assess the quality of audio, and recording
techniques developed using critical listening skills
·
create two recording projects that confirm the use of gained
knowledge, require individual hands-on experience, and synthesize quality audio
recording principles.
Accommodation of
Disabilities: In compliance with Section
504 of the Rehabilitation Act and the Americans with Disabilities Act,
Course
Requirements:
Text & Materials: 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.). 3) Course handouts distributed in class and
on class website (blackboard). You are responsible for all information
contained in the workbook and other readings assigned. Keeping a
class notebook/binder and owning a three hole puncher
is highly recommended. 4) Recording supplies
comprising: 2-inch analog master tape (furnished) (2) blank DVD-R’s; several blank
CD-R’s; and (1) 3.5 inch computer disk(s) are needed. A CD label will be required for identifying
your final project. 5)
A external USB 2.0/firewire drive, or a USB flash drive is highly recommended
for backups of your projects.
Attendance:
As per current Undergraduate Bulletin at:
http://www.belmont.edu/catalog/undergrad2006jun/apolicy/index.html
Roll is taken during every class and lab. Strict attendance
is critical to your progress and performance.
Participation and
Prepared assignments:
You
are expected to:
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 PRO TOOLS (24bit 48kHz) for
overdubs to be done on the PRO TOOLS TDM in Studio C, mixed in and to ProTools,
using NEVE Flying Faders Automation, and bounced to disk (16 bit 44.1 kHz
stereo interleaved) to be burned to CD using Toast software. You must provide two mixes; 1) stereo full
2) track only. Project 1 is due _______________
including all documentation. Immediately following the initial tracking session
of your song, you must complete a stereo 2 mix and record it back to tape as a
cue reference for your overdubs. You
must also burn a CD of this mix to the Alesis Masterlink, or the HHB burner. The CD is due the first class following your
tracking session. Remember to do this
BEFORE transferring to Protools.
B) Three sessions comprised of Tracking on RADAR in studio
A, Overdubs in Studio B, and Mixed on the SSL using Ultimation. You
are to provide two mixes; 1) stereo full 2) track only. Mixing is done to stereo
track(s) in Nuendo, normalized and exported as stereo mix files, stereo interleaved 44.1 kHz 16 bit, and
saved on the
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
6.25 points. A minimum of 12hrs is
required = 75%; 16hrs = 100%. Bonus
credit may be earned by assisting more than 16 hours with a maximum limit set at
120 points. Credit hours must 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 one
required assistant, and may also have one additional assistant. On Project 1,
AE2 students are the required assistant on the Tracking & Mixing sessions
and may also have an optional AE1 assistant. Project 1 Overdubs are required to use an AE1
assistant. On Project 2, an AE1
assistant is required for Tracking and an AE2 assistant for Overdubs & Mixing
(This is also noted on the session work order).
Audio 2 students receive the first three calls to assist on all non-class
projects, providing more opportunity to work with upper classmen. Please remember there is a direct link
between knowledge and experience.
Assisting hours become valuable experience outside class labs and your
sessions.
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 equals
10 points. Bonus credit may be earned by completing more than 13 labs. Bonus lab sessions will receive 10 bonus
points added to the lab grade. Total bonus lab points may not exceed 20. Lab sessions are scheduled on MW. To allow
ample hands-on experience, class enrollment is split for labs. Choose one day to
report during the duration of the semester.
Understand the lab time you choose should not be changed, nor should you
expect to attend another section’s designated lab.
Accommodation of
Disabilities: In compliance with Section
504 of the Rehabilitation Act and the Americans with Disabilities Act,
Honor
Code:
It is the responsibility of each student to abide by the
Belmont University 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.”
Testing:
There will be a midterm, two (unannounced) quizzes, and a final
exam. Testing is comprehensive and
includes all class content and assigned reading material covered to that
date. Exams also include a Practical, or a competency based demonstration of
your ability level. There are NO "MAKE-UP" quizzes or exams.
Grading Scale:
Grading scale as per
the current Undergraduate Bulletin located at:
http://www.belmont.edu/catalog/undergrad2006jun/apolicy/ap_as.html
Evaluation:
Credit will be given
for the following:
|
Item |
Percentile (%) |
|
1. 2 Quizzes:
written, oral, or practical (unannounced) |
5 |
|
2. Midterm exam:
written, practical & documentation |
15 |
|
3. Final exam:
written & practical |
25 |
|
4. Recording
projects (Grade based on
technical aspects of the project, not the music or musical performance) |
20 |
|
5. Labs |
20 |
|
6. Assistant
Sessions |
15 |
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.
Final Exam:
CRN# 11639 - 3190.03l, 11:00-12:15pm TR - Final Practical Exam Monday, 11:00am, Dec 10th
CRN# 11640
- 3190.04l, 12:30-1:45pm TR - Final
Practical Exam Friday, 11:00am, Dec 7th
THIS IS A TIMED PRACTICAL TEST. Each student reports individually at an assigned
time. Practical exams are only given
during the scheduled final exam time and may not be taken early, or during
another class section.
Lab Schedule:
CRN# 11639 - 3190.03l, 11:00-12:15pm TR - Lab: 2:00-3:15pm MW
CRN# 11640 - 3190.04l, 12:30-1:45pm TR - Lab: 3:30-4:45pm MW