COURSE
SYLLABUS
Course Title: Audio
Engineering I
Course #: AET 3090
Credit Hours: 3
Semester: Spring 2007
Class Location: RCA Studio B,
Meeting Time(s): Section
1. TR 8:00AM – 9:15AM
Section
2. TR 9:30AM – 10:45AM
Labs: Section 1. MW 1:00PM - 1:50PM – one
day per week as assigned in class.
Section 2. MW 2:00PM – 2:50PM – one day per week as assigned in class.
Final Exam: Section 1. Thursday, 7 December 2006, 8:00 AM
Section
2. Tuesday, 12 December 2006,
8:00 AM
Instructor: Mr.
Ken Landers Phone: (615) 460-6174 Email: landersk@mail.belmont.edu
Contacts: Mr. Michael Janas, Studio Manager,
RCA Studio B (615) 242-5167 Email: janasm@mail.belmont.edu
COURSE DESCRIPTION:
Prerequisites: 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 electronics and signal flow,
dynamic processing, basic microphone design, studio acoustics, basic session procedures,
and the role of the assistant engineer. Emphasis is placed on developing
logistical as well as audio perception skills for recording engineers. Lab
hours required. ($30.00 course fee)
LEARNING OUTCOMES:
Students will:
· Demonstrate their knowledge, comprehension, and abilities to analyze and synthesize information presented during classroom lectures, demonstrations, labs, and assigned readings through testing, papers, and projects.
· Demonstrate their knowledge and comprehension of audio engineering and apply developed knowledge and skills in the recording studio by recording and mixing multiple studio projects.
· Assemble relevant project data and organize it into a cohesive project while engineering and assisting on student recording projects. Students will also evaluate the session experience and project data in a session journal.
· Develop the applicable skills and knowledge to become a competent assistant engineer on a professional recording project.
PERFORMANCE CRITERIA:
Students will:
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.
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:
1. Attendance: As per the current Undergraduate Bulletin. Students are encouraged to attend all class sessions. This class moves very fast and covers lots of material. There will be no make-up exams given. If a student has an excused absence (official notice from the provost) and misses an exam, the other exam grades will be averaged without that test.
2.
Textbooks:
a.
Audio in Media, 7th
Edition by
b.
Make Mine Music by Bruce
Swedien. MIA Press 2004.
c.
Audio Engineering I Lab Book
3. Participation and Prepared Assignments: All projects are due at the beginning of
class on the date stated below in the class schedule.
a.
Assistant Engineering Assignment.
i.
Song Chart. This involves charting
song structure, identifying instruments and parts performed, and matching
timings to a CD or downloaded recording.
ii.
Lyric Sheet. Using a word processor, format the song
lyrics to match exactly what is on the recording. Provide boxes to the right of the lyric for
marking takes.
b.
RCA Studio B Song Analysis. Students will select a song that was recorded
at historic RCA Studio B in its commercially operational years 1957-1977. Students must verify that the selected song
was actually recorded at RCA-B with Mr. Landers or Mr. Janas to be accepted for
credit.
i.
Paper. Students will research the recording and
include the following information in a well thought out and executed short
paper (2 pages minimum). Students must provide the following
information: label, album song was released on, song title, writer(s),
engineer(s), producer(s), player(s) , and, if possible, recording format and
anecdotes regarding the session.
Citations must be in MLA form.
ii.
Song Chart. As above, in the Assistant Engineering
Assignment.
iii.
Lyric Sheet. As above,
in the Assistant Engineering Assignment.
c.
Historic Song Analysis. Students will select a popular song (charted
song in pop, country, rock, or similar charts) recorded and released prior to
1980. Otherwise, this assignment is
identical to the RCA Studio B Song Analysis.
The elements to be turned in include:
i.
Paper. As above, see RCA Studio B Song Analysis
ii.
Song Chart. As above,
see RCA Studio B Song Analysis
iii.
Lyric Sheet. As above,
see RCA Studio B Song Analysis
d.
Additional Assignments. The
instructor reserves the right to add assignments as he deems fit or
necessary. Any additional assignments
will be averaged into the Additional Projects/Papers section of the grade
evaluations.
4.
Studio Team Recording Projects.
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.
a. 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).
b. 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.
c.
Team: Includes two Engineers and one Assistant
Engineer.
d. Responsibilities:
i.
Recording engineers (Any AET3090 students may pair
up)
1.
Organize session
a.
Choose musicians
b.
Choose song
c.
Coordinate session date with musicians
2.
Plan Session Details
a.
Recording
i.
Plan studio layout (placement of musicians in room).
ii.
Plan mic assignments and track layout.
iii.
Acquire lyrics, create vocal comp/arrangement chart
and make copies of chart for session.
b.
Mixing
i.
Plan initial instrument balance and signal processing
ideas.
3.
The Session
a.
Arrive promptly at studio and sign in
b.
Check out equipment needed from staff engineer (mics,
headphones, etc.)
c.
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.
c.
Both engineers must review session documentation with
assistant engineer.
d.
Clean up studio and control room, put away equipment
and instruments, normal console and signal processing equipment.
e.
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.
ii.
Assistant engineer (must be AET3090 student)
1.
Complete the following session documentation:
a.
During 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)
b.
During 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.
2. Assist in setup and clean up of
studio room and control room (rugs, baffles, stands, cables, cues – no mics).
iii.
All Team Members:
1.
Session Journal:
a.
With a minimum of one page per session, each team
member will describe the recording process and the events of the session. Each team member will turn in his or her
session journal at the next class following the session.
i.
Session Journal should be typed and double-checked
for proper grammar and spelling.
e.
Required Materials for the Projects
i.
To be provided by students:
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)
ii.
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)
f.
General Session Requirements
i.
Engineers may not perform on their project sessions.
ii.
Assistant Engineers may not perform on project
sessions.
iii.
Only enrolled AET3090 students may assist on AET3090
project sessions.
iv.
Scheduled Engineers or Assistant Engineers who do not
show up for confirmed sessions will lose one full letter from their final
course grade.
v.
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.
vi.
Only AE1 Approved
Microphones (dynamic mics) may be used – no exceptions.
1.
A complete (and current) list of RCA-Bs microphones
can be found at http://campus.belmont.edu/rcastudiob/rcabgear.html
vii.
In a manila envelope, submit a mix CD and the session
documentation for each project on the due date at the beginning of class.
g.
Scheduling Session Time
i.
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.
ii.
To confirm your session, complete a WORK ORDER
(available at RCA Studio B or online) and submit it to the RCA Studio B
Manager.
iii.
Once the work order is verified your session is
posted in GREEN typeface on the RCA Studio B Schedule website.
iv.
Work Orders must be submitted no less than 1 week
prior to the first session.
v.
Requests to change session times must be submitted
directly to the RCA-B Studio Manager via email or written note.
h.
Session Documentation - Documents
must be submitted in this order!
i.
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.
ii.
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.
iii.
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 of the Track
Sheet is a setup sheet to list sound sources, mics, mic lines, and mic preamps.
iv.
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 – if there is a question on
legibility – show it to Mr. Landers or Mr. Janas before ).
v.
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.
vi.
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.
i.
PROJECT 1:
8 TRACK RECORD & MIX PROJECT
i.
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.
ii.
Project Specifics
1.
The song recorded may be an original composition or a
“cover” (previously released) song.
2.
Recordings will consist of one or more vocals
accompanied by one or two acoustic instruments.
3.
No drum sets or amplified instruments may be used;
small percussion is permitted.
4.
Instruments and vocals may be “punched” or overdubbed
as needed.
5.
All instruments and vocals must be recorded using
only microphones (no direct boxes).
6.
The recording may not exceed 8 tracks.
7.
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.
j.
PROJECT 2:
16 TRACK RECORDING PROJECT
i.
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.
1.
Note: 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.
ii.
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).
iii.
You may add any other tracks you wish to complete the
song.
iv.
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.
v.
The recording may not exceed 16 tracks.
vi.
You may use as many overdub passes as necessary to
record the parts.
vii.
You may “bounce” tracks in order to free tracks for
additional recording.
viii.
Direct Boxes (DI boxes) may be used for bass
only. All other electric instruments
must be recorded using amplifiers, speakers, and microphones.
ix.
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.
k.
PROJECT 3:
16 TRACK MIXING PROJECT
i.
In one 3-hour session, the Team will mix their tracks
from the analog multitrack recorder and print the mix simultaneously to Pro
Tools and an analog 2-track.
1.
You may use part of this session to complete overdubs.
2.
In the process of your mix you must use at least
one time processor, one dynamic range processor, and one equalizer.
3. Analog 2-track: Edit the head & tail of the mix with white leader tape before and after the mix.
4. 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.
5.
Assistant Engineering.
For full assisting credit (5% of total grade), students must assist on a
minimum of 5 sessions (20 hours) for AE1 and AE2 students.
6.
Labs. Students must attend lab one time per
week. Lab attendance is worth 5% of the
total grade.
7.
Testing:
a.
Test dates
i.
Exam 1 – 6 February 2007
ii.
Exam 2 – 1 March 2007
iii.
Exam 3 – 10 April 2007
iv.
Final Exam – either 3 May 2007 or 8 May
2007 according to section.
b.
The instructor reserves the right to add
unplanned or “pop” quizzes as he sees fit.
Any “pop” quiz will be averaged with Exams 1-3 and will not be worth
more than 5% of the Exam 1-3 grade.
c.
No make—up exams will be given. Students can only be excused from an exam
with proper notification from the provost.
In the case of excused, missed exams; the other exams percentages will
be adjusted accordingly.
8.
Basis of grade evaluation: Grading
scale as per the current Undergraduate Bulletin.
a.
Itemized Credit
i.
Attendance & Participation 10%
ii.
Labs 5%
iii.
Exams 45% (Exams 1-3 = 25%, Final = 20%)
iv.
Recording Projects 25%
v.
Assisting Hours 5%
vi.
Additional Projects/Papers 10% (Asst Engineering Assignment = 2%;
RCA-B Assignment = 4%; Historic Song = 4%)
b.
Total Points (%) 100%
9.
Class Schedule:
|
Day |
Class Topic |
Readings/Assignments |
|
11 Jan |
Intro to Class, Tour,
Assistant Engineering |
Assistant Engineering
Assignment Assigned. |
|
16 Jan |
Microphones; Physics
of Sound in Air |
|
|
18 Jan |
Microphones (cont)
Recording Basics |
|
|
23 Jan |
Microphones (cont),
Stereo Mic Techniques |
Assistant
Engineering Assignment Due. |
|
25 Jan |
Lines, Balanced v.
Unbalanced, Physics of Electrical Signals, Levels |
RCA Studio B Song
Analysis Assigned. Lab
Book; AiM 14-15 |
|
30 Jan |
Basics of Signal Flow,
Patchbay Usage |
Lab Book; AiM Consoles (79-100) |
|
1 Feb |
Signal Flow – Aux
systems |
Lab Book; AiM Consoles (79-100) |
|
6 Feb |
Exam I |
|
|
8 Feb |
deciBels & level
relationships |
Lab Book; AiM 14-15. Project 1 Assigned (starts 2/12/07) |
|
13 Feb |
Analog Tape Recording
Theory |
AiM: Analog Recording 101-112 |
|
15 Feb |
Analog Tape Recorders
– Usage |
Lab Book |
|
20 Feb |
Recording Techniques -
Drums |
|
|
22 Feb |
Recording Techniques –
Guitars |
|
|
27 Feb |
Recording Techniques – Keyboards – Piano/Organ |
|
|
1 Mar |
Exam II – Mid Term, Recording Signal Flow Practical |
RCA Studio B Song
Analysis Due. Project 1 Due. |
|
5-9 Mar |
Spring Break! |
|
|
13 Mar |
Recording Techniques -
Vocals & Horns |
Historic Song
Analysis Assigned. Project 2 Begins.
(3/12/07) |
|
15 Mar |
Dynamics |
AiM 11-22; MMM 160-170 |
|
20 Mar |
Dynamics |
AiM Dynamics (155 – 164) |
|
22 Mar |
Equalization |
MMM 144-156; AiM EQ 146-150 |
|
27 Mar |
Equalization |
Lab Book |
|
29 Mar |
Delay & Reverb |
AiM 150-155; Lab Book |
|
3 April |
Exam III |
.Project 2
Tracking Due. |
|
5-8 Apr |
Easter Break! |
|
|
10 April |
Mixing Techniques |
Historic Song
Analysis Due. Project 2 Mixing Begins
(4/9/07). AiM 398-440; MMM 233-249 |
|
12 April |
Mixing Techniques |
|
|
17 April |
Analog Tape Editing |
AiM Analog Recorders 104-111 |
|
19 April |
Digital Recording |
AiM: Digital Recording 112-134 |
|
24 April |
Digital Editing |
AiM DAWS 372-397
|
|
26 April |
The Future of Audio |
Project 2 Mixing Due. |
|
1 May |
Final Review, Listen
to Projects |
|
|
Section .01 Final Exam, Thursday, 3 May 2007 @ 8:00 AM |
||
|
Section .02 Final Exam,
Tuesday, 8 May 2007 @ 8:00 AM |
||
AiM = Audio in Media, 7th
Edition. MMM = Make Mine Music
ACCOMMODATION OF
DISABILITIES:
In compliance with Section 504 of the
Rehabilitation Act and the Americans with Disabilities Act,