BELMONT UNIVERSITY
MIKE CURB COLLEGE OF ENTERTAINMENT AND MUSIC BUSINESS
COURSE SYLLABUS
Course
Title: Audio Engineering 1
Course
#: AET3090
Credit
Hrs: 3
Semester:
Spring 2007
Class
Location: RCA Studio B, 1611 Roy Acuff Place, Nashville, TN 37203
Meeting
Time(s): 3090.03; Tue-Thu;
11a-12:15pm
3090.04;
Tue-Thu; 12:30pm-1:45pm
3090.05;
Tue-Thu; 2pm – 3:15pm
Class
Lab Times:http://campus.belmont.edu/mb/studio/LabSchedule.htm
RCA-B
Website: http://campus.belmont.edu/rcastudiob/
Final
Exam: 3090.03: 5/7/07, 11am
3090.04: 5/4/07,
11am
3090.05: 5/3/07,
2pm
Instructor:
Michael Janas, B.M.E.
Contact: Office RCA-B / Phone: 242.5167 / email: janasm@mail.belmont.edu
Office
Hours: By appointment.
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
OBJECTIVES:
Learning
Outcomes: The student will demonstrate:
Performance
Criteria:
Students will:
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.
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 (6th or 7th 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, 7th 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.
·
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.
·
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
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.
·
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.