Curb College Syllabus Templet

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.”

COURSE REQUIREMENTS:

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 After eight total absences, the student will be removed from the class roster and withdrawn from the class with a grade of F. Absences are excused at the discretion of the instructor.

Materials: Audio Engineering 1 Workbook (Red cover); Audio in Media by Stanley R. Alten (6^th or 7^th Edition)

Assignments and Participation

· Song Analysis 1 (SA1): Analyze a song structure and create a Lyric/Arrangement chart as described in class. Must be typed.

· Song Analysis 2 (SA2):

o Critically listen to a nationally released musical recording of your choice and describe the instrumentation, arrangement and production techniques used to make the recordings. Include any relevant anecdotes. This description is to be a minimum of two pages, with citations in the MLA format. This is a short research paper, not an editorial.

o Create a Lyric/Arrangement chart for the song.

o Prepare a Credits Sheet listing the production credits including artist, album (if applicable), label, song title, writer, publisher information, PRO, producer, engineers, musicians and vocalists.

o Submit a CD of the song in addition to the documents listed above.

· Labs: In order to gain experience with specific tasks, you are required to participate in lab sessions. Labs are hands-on activities with small groups of students in each studio. Credit for lab participation is based on individual attendance and participation.

· Team Recording Projects: Students are required to participate as an Engineer in three (3) Team Recording Projects as part of AE1: an 8-Track Record & Mix Project, a 16-Track Record Project and a 16-Track Mix Project. See the Studio Team Recording Project Requirements for detailed information.

· Assistant Sessions: In order to gain hands-on experience, you are required to serve as Assistant Engineer, as described in the Project requirements, for at least five recording sessions in the CMB and RCAB studios.

· Testing: 2 written tests, 1 practical exam, 1 final exam (includes written and practical exams). See class schedule for dates.

· Grading scale as per the current Undergraduate Bulletin.

Basis of Final Grade Evaluations:

ITEM DESCRIPTION	PERCENTILE CREDIT (% of 100 points)
Song Analysis 1: Create Song Chart	3%
Song Analysis 2: Critical Analysis	5%
Class Attendance & Participation	10%
Lab Attendance	10%
Written Tests 1 & 2	10%
Practical Exam (Mid-Term)	5%
Team Recording Projects	30%
Assistant Engineer Sessions	7%
Final Exam (includes written & practical)	20%

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 the Director of Counseling & Developmental Support in the Office of the Dean of Students (460-6407) as soon as possible.

Spring 2007 Class Schedule

Date	Class Topic	Readings (AIM = Audio in Media, 7^th Edition)	Lab	Assignments
1/11/07	Studio History, Class Overview
1/16-18/07	Basic Studio Signal Flow; Basic Electrical Concepts; the decibel; Polarity; Studio Equipment Interface: The Patchbay, Balanced & Unbalanced Circuits; Audio Cabling & Connectors	AIM: Ch.2, 72-74, 90-93 Lab Book
1/23-25/07	Console Signal Flow; API Signal Flow: buss, aux system	AIM: 79-92 Lab Book	Session Setup
1/30/07	Session Procedures: Planning, Recording, Mixing, Assisting, session documentation	AIM: 424 “Recordkeeping” Lab Book	Signal Flow	SA1 assigned
2/1/07	Written Test 1; Pro Tools operations for printing mixes	AIM: 372-378 Lab Book	Signal Flow
2/6/07	Acoustics & Room Awareness; Mic Operating Principles & Specifications	AIM: Ch.3, 43-50, 68-78, 279-280 Lab Book	Mic Lab 1	Due: SA1
2/8/07	Mic Techniques for Vocals and Acoustic Stringed Inst.	AIM: 188-194, 212-214 (“Single Mic Tech”), 302-304, 286-288	Mic Lab 1
2/13/07	Mic Techniques for Acoustic Keyboard Instruments	AIM: 214-216 (“Multi Mic Tech”), 307-310 (“Stereo Mic Arrays”)291-293 (piano mic)	Mic Lab 2	2/12/07: Begin Team Project 1
2/15/07	Mic Techniques for Amplified Instruments	AIM: 298-302	Mic Lab 2	SA2 assigned
2/20/07	Mic Techniques for Drums & Percussion	AIM: 280-286	Mic Lab 3
2/22/07	Review Written Test 1 & Practical Exam Prep		Mic Lab 3	Due: SA2
2/27/07	Analog Tape Recording Theory, Digital Recording Theory	AIM: 101-112, 112-134 Lab Book	EQ
3/1/07	Mid-Term: Recording Practical Exam		EQ	Due: Team Project 1
3/6-8/07	Spring Break
3/13-15/07	Equalization	AIM: 146-150, 408-410 Lab Book	Comp-Gate	3/12/07: Begin Team Project 2
3/20-22/07	Dynamic Processors: Compression, Limiting, Expansion, Gating	AIM: 155-160, 410-412 Lab Book	Reverb-Delay
3/27-29/07	Time Processors: Acoustical Reverberation, Mechanical Reverberation, Delay	AIM:150-155, 412-413 Lab Book	Mix Lab 1
4/3/07	Written Test 2			Due: Team Project 2
4/5/07	Easter Break
4/10-12/07	Hearing & Listening, Loudspeakers & Monitoring, Mixing Techniques	AIM: Ch.1, 168-187, 399-414, 437-440 Lab Book	Mix Lab 2	4/9/07: Begin Team Project 3
4/17/07	Analog Tape Machine Alignment	AIM: 101-112 Lab Book	Tape alignment
4/19/07	Review Written Test 2 + TBA	TBA	Tape alignment
4/24/07	Movie: Tom Dowd & The Language of Music		None
4/26/07	Listen to Project 3		None	Due: Team Project 3
5/1/07	Last Day: Review for Final Exam		None

AET3090: STUDIO TEAM RECORDING PROJECT REQUIREMENTS:

· AET3090 students are required to participate as an Engineer in three (3) Team Recording Projects as part of AE1: an 8-Track Record & Mix Project, a 16-Track Record Project and a 16-Track Mix Project.

· AET3090 students are required to participate as an Assistant Engineer on 5 sessions (any session at RCA Studio B or on campus in the R.E. Mulloy Student Studios).

· These projects give you practical, hands-on recording experience, and require you to work together as a team to organize and coordinate sessions as well as record the music. If you have any questions after reading these requirements, please see your instructor.

Team: Includes two Engineers and one Assistant Engineer. With a minimum of one page per session, each team member will describe the recording process and the events of the session in a Session Journal. Each team member will turn in his or her Session Journal at the next class following the session.

Responsibilities:

Two recording engineers (Any AET3090 students may pair up)

Responsibilities:

· Organize session

1. Choose musicians

2. Choose song

3. Coordinate session date with musicians

· Plan Session Details

1. Recording

a. Plan studio layout (placement of musicians in room).

b. Plan mic assignments and track layout.

c. Acquire lyrics, create vocal comp/arrangement chart and make copies of chart for session.

2. Mixing

a. Plan initial instrument balance and signal processing ideas.

· The Session

1. Arrive promptly at studio and sign in

2. Check out equipment needed from staff engineer (mics, headphones, etc.)

3. Setup: prepare studio room as needed (rugs, baffles, stands, cables, cues)

4. Recording

a. Place mics (including signal processing, if desired) and test signal path.

b. Record song.

c. Create mix, including signal processing, as specified below.

d. Print mix to two-track recorders, as specified below.

5. Mixing

a. Create mix, including signal processing, as specified below.

b. Print mix to two-track recorders, as specified below.

6. Both engineers to review session documentation with assistant engineer.

7. Clean up studio and control room, put away equipment and instruments, normal console and signal processing equipment.

· Turn in finished project, with all session documentation and recorded material. Engineers are responsible for the presentation (the “look”) of the project. The documents must be submitted in the order listed below. The engineers are responsible for the final version of the Recording Credits sheet.

One assistant engineer (must be AET3090 student)

· Complete the following session documentation:

o Recording: Track Sheet-Mic list, tape times on lyric/song charts (charts to be provided by engineers), patchbay documentation on Recording Map, studio layouts, relevant equipment recall documentation, and notes for the Credits sheet (names of everyone who played or worked on the session)

o Mixing: Track Sheet-Mic list, patchbay documentation on Recording Map, studio layouts (if needed), relevant equipment recall documentation, and notes for the Credits sheet (names of everyone who played or worked on the session) and the CD Label and AES Media Insert.

· Assist in setup and clean up of studio room and control room (rugs, baffles, stands, cables, cues – no mics).

MATERIALS REQUIRED FOR EACH PROJECT

· PROVIDED BY STUDENT:

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

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. Analog Recording Tape: 2” for recording, ¼” for printing mixes

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

GENERAL PROJECT REQUIREMENTS

· Engineers may not perform on their project sessions.

· Assistant Engineers may not perform on project sessions.

· Only enrolled AET3090 students may assist on AET3090 project 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

Documents must be submitted in this order!

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

2. Recording Credits: Type the following on a separate sheet of paper: “Song Title”, song writer(s), song publisher (or list as “unpublished” if there is no publisher), Performing Rights Organization (ASCAP, BMI, or SESAC; or “no PRO” if none), Date of Recording or Mixing, Producer, Engineers, Assistant Engineers, Artist, Vocalists, Musicians (include instruments), Staff Engineers, and anyone else who contributed to the session.

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

4. Cue Sheets: 1 Lyric/Comp Chart, 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. Turn in the actual documents used during the session (handwritten sheets are okay if legible).

5. 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 to show placement of each instrument.

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

PROJECT 1: 8 TRACK RECORD & MIX PROJECT

In one 3-hour session, the Team will record a vocal accompanied by an acoustic instrument to the analog multitrack recorder and then mix the tracks using the Channel side of the API console and printing the mix to Pro Tools and an analog two-track recorder.

· 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 two acoustic instruments.

· No drum sets or amplified instruments may be used; small 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: 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 AIFF file, then print the audio CD of your final mix using the Toast application.

PROJECT 2: 16 TRACK RECORDING PROJECT

In one 3-hour session, the Team will record an ensemble to the analog multitrack recorder and then create a “rough mix” of the tracks using the Monitor side of the API console and printing the mix to Pro Tools. The Team will do a final mix of this recording using the Channel side of the API console in Project 3.

Note: For Project 2 you may only record a “cover” (previously released through national distribution) song. No original, unreleased compositions may be used. Indie releases should be checked with the instructor prior to proceeding. No original, unreleased compositions may be used.

· Minimum Required Tracks: Drum Kit (bass drum, snare drum, toms, high hat, cymbals), bass (electric and/or acoustic, amplifier optional), Lead Vocal, electric guitar, acoustic guitar, 1 stereo keyboard instrument (piano or Hammond B3 organ).

· 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 a drum kit, bass, and either a guitar or stereo keyboard instrument.

· The recording may not exceed 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.

PROJECT 3: 16 TRACK MIXING PROJECT

In one 3-hour session, the Project 2 Team will use the Channel side of the API console to mix their Project 2 tracks from the analog multitrack recorder and print the mix simultaneously to Pro Tools and an analog 2-track.

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

· In the process of your mix you must use at least one time processor, one dynamic range processor, and one equalizer.

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