BELMONT UNIVERSITY

MIKE CURB COLLEGE OF ENTERTAINMENT & MUSIC BUSINESS

AET 3190.04 AUDIO ENGINEERING II

Spring Semester 2007

Instructor: Billy W. Prince

Contact: princeb@mail.belmont.edu Office: CMB B-1A Phone 460-5553

Credit/Class location: 3 Hours/Center for Music Business, Massey B07

Class Times: Tue/Thur 12:30 PM – 1:45 PM

Lab time(s): Mon/Wed 3:30 PM -- 1:50 PM

Class Webpage: Blackboard (formerly Web CT) Access using 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 accelerated study and use of perpetual components found in the modern recording studio complex. Topics include advanced signal flow and console operations, central patchbay functions, advanced stereo miking techniques, effective use of iso- booths and recording space, analog tape machine calibration, tape machine operations (analog and digital), computer-based digital recording and editing, transfers (analog, digital & network), synchronization, advanced signal processing, automated console operations, and the role of the audio engineer. Emphasis is placed on the development of consistent audio perception skills characteristic of the successful recording engineer. Lab hours required. ($30.00 course fee)

Honor CODE:

As members of the Belmont community, students, faculty, staff, and administrators are all responsible for ensuring that their experiences will be free of behaviors, which compromise value. In order to uphold academic integrity, the University has adopted an Honor System. Students and faculty will work together to establish the optimal conditions for honorable academic work. Following is the Student Honor Pledge that guides academic behavior:

“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.”

Learning Outcomes: The student will demonstrate:

An appropriate mastery of the knowledge, techniques, skills, and modern tools of the audio engineering discipline;

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: Students will:

Identify and differentiate the components of the NEVE (Studio A), SSL (Studio B), and Mackie (Studio C) consoles explaining their function;

Identify and contrast the internal patch bays of the NEVE (Studio A), SSL (Studio B), and Mackie (Studio C) consoles explaining their function;

Examine the purpose and function of the central patch bay 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 Pro Tools as a multi-track tape machine by: Creating session files,

Transferring tracks/files between formats used, Recording, managing, and creating backup files,

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.

Develop a basic understanding of sound localization, spatial processing, binaural hearing, Jeffress's neural model of auditory psychoacoustics, sound in an enclosed space, the precedence effect and echo suppression processing, the duplex theory, and Mill's minimum audible angle (MAA) units.

Demonstrate an advanced knowledge of the use of reverb, delay, and special effects by applying proper optimization of the effect send and return.

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

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.). You are responsible for all information contained in the workbook and other readings as assigned. A class notebook/binder & 3-hole puncher is recommended. 3) Recording supplies: 2-inch analog master tape (furnished); A DVD Ram data storage disk for backup of RADAR recording; blank CD-R’s; and misc. 3.5 inch computer disk(s) as needed. A CD label will be required for identifying your final project.* Although not required, an external USB 2.0/firewire drive, or a USB flash drive is recommended for personal backup of your projects. The alternative to a hard drive or flash drive, is to back up on DVD-R or CD-R disks. You are responsible for backing up your projects.

*If you wish, you may use a printable CD.

Attendance: As per current Undergraduate Bulletin at:

http://www.belmont.edu/catalog/undergrad2006jun/apolicy/index.html

Participation and Prepared assignments:

You are expected to: show a sincere effort of co-operation, participation, and self application during this course of study; read assigned and recommended text and handouts; and fully complete ALL class, lab, homework, and project assignments.

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 Radar (24bit 48kHz) for overdubs & Mix to be done with RADAR on the SSL in Studio B. Mixed to a Stereo track in Nuendo, Normalized and exported as stereo mix file, stereo interleaved 44.1 kHz 16 bit, And saved on the Record Drive of the Mac In Studio B, Due Feb 27 With All Documentation of Project #1. 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. This MUST be done at this time. Your transfer to RADAR will be done at the beginning of your overdub session.

**An Additional Handout will be provided on Recording procedure for both projects.

(B) Three sessions comprising Tracking on Radar in studio A and transferred to Pro Tools D-D. Overdubs in Studio C, and Mixed In Studio A on the NEVE console to Two tracks in PRO TOOLS, Normalized, and bounced to disk (stereo interleaved 16 bit 44.1 KHz) Using Toast CD Burning software, make a CD containing project 1 and project 2 respectively. (Due Apr 24, along with all supporting documentation of Project #2)

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. Bonus credit may be earned by completion of more than 16 assistant hours. Each hour of assisting above 16 will earn 5 bonus points up to a maximum of 120 points. Credit hours will 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 1 required assistant, and may also have 1 optional assistant. On Pjt 1, AE2 students are the required assistant on the Tracking & Mixing sessions, and also may have an optonal AE1 assistant. Pjt. 1 overdubs are required to use an AE1 assistant. On pjt 2, an AE1 Assistant is required for tracking, And AE2 for overdubs & mixing. (This is also noted on the session work order). Audio 2 students will receive first 3 calls to assist on all non-class projects.

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 will earn 8 points. Bonus credit may be earned by completion of more than 12 labs. There are 14 Lab opportunities. Lab sessions are scheduled on Monday and Wednesday afternoons at 3:30 PM – 4:50 PM. The class must be split for Labs, half on Monday, and half on Wednesday.

Testing: There will be a Mid-Term , Final Exam and 2 quizzes. Mid-Term and Final will be comprehensive and inclusive of all class content and assigned reading material covered to that date. Quizzes will occur on week 4 and week 12. NO "MAKE-UP" TESTS.

Basis of final grade evaluation: Scale as per current Undergraduate Bulletin, (Vol. 50).

Item	Credit Percentile (%)
1. Quizzes (2)	5
2. Mid Term Exam Written 7.5
“ “ “ Practical	5
“ “ “ Document Check	2.5
3. Recording projects (2) 10% each (Grade based on technical aspects of the project, not the music or musical performance)	20
5. Labs	20
6. Assistant Sessions	15
7. Final Exam Written	15
8. Final Exam Practical	10

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.

Class Schedule:

Meeting Topic

1 Jan 11	Class Introduction – Overview of Equipment in the R.E. Mulloy Student Studios – Studios A & B.
2 Jan 16	Intro to Neve Signal flow … I/O Module Homework assignment.. Lab Workbook
3 Jan 18	Neve Signal flow cont’d. Center section – Patch bay .. Console Status selector.
4 Jan 23	Analog Tape Machine Calibration. dBu VS NW/m. Part One: Repro & Sync Calibration with Test Tape.
5 Jan 25	Analog Tape Machine Calibration – Part Two Calibrating Bias & Record Levels. Recording Tones on Master Tape.
6 Jan 30	Radar Operations – Transferring from Analog To Radar .. Or Pro Tools
7 Feb 1	Radar Operations – Transferring Digital formats Radar to Protools SSL Signal Flow; Homework Assignment in Lab Workbook
8 Feb 6	SSL Signal Flow Cont.
9 Feb 8	(Quiz #1) Then, Condenser microphones - Stereo Miking Techniques. Mid-side and phase considerations.
10 Feb13	Miking Techniques Continued.. comparisons..
11 Feb15	Smpte Time Code .. Lock & Chase Synchronization.. Mixing to Pro Tools & Nuendo D-D Transfers. Intro to Computer Automation
12 Feb20	SSL Ultimation
13 Feb22	Dynamic Processors: Gates, Expanders, Compressors, Limiters.
14 Feb27	Mid – Term Exam
15 Mar 1	Mid – Term Practical
	Spring Break Mar 5 - 9
16 Mar13	Dynamic Processors Cont’d. External Keying, ducking, D-essing, Practical Uses
17 Mar15	Sound Localization in 3-D through the used of HRTF (head relatred transfer) Sound in an enclosed space. The Duplex Theory.
18 Mar20	Spacial Effects processing. Analog & Digital Reverb. Digital effects processors in A & B. Use of Central Patch Bay for connection to Plates.
19 Mar22	Practical uses of effects in Mixing..
20 Mar27	Neve Flying Faders Automation. Basic operations. Setting up a simple mix. Touch Record, Lock Record, automatch.
21 Mar29	Flying Faders Cont’d. RSI, the global master.. grouping & linking.
22 T Apr 3	Quiz #2
Thu R Apr 5	Easter Break No Class
23 T Apr10	Mixing Techniques .. using what we’ve learned.. Setting up the mix, headroom considerations, panning & placement, including dynamics & effects
24 R Apr12	Class Mix Exercise A & B
25 T Apr17	Practical Final Exam Practice
26 R Apr19	Practical Final Exam Practice
27 Apr24	Project #2 Due. Listen to Projects in Class (If Possible)
28 Apr26	Review For Final Exam
29 May 1	Final Written (Practical Final to be given on scheduled final day)

Audio Engineering Lab Schedule

Mondays & Wednesdays @ 3:30 PM

	LAB	SCHEDULE	CREDIT
1	Signal Flow Lab	Wed Jan 17	8 points
	Studio A	Mon Jan 22
2	Large Session Set-up	Wed Jan 24	8 points
	Studios A	Mon Jan 29
3	Small Session Set-up B	Wed Jan 31	8 points
	SSL Signal Flow	Mon Feb 5
4	Analog – Calibration	Wed Feb 7	8 points
	A/B	Mon Feb 12
5	Analog – Radar Transfers	Wed Feb 14	8 points
		Mon Feb 19
6
	SSL Ultimation	Wed Feb 21	8 points
	Studio B	Mon Feb 26

7
	Advanced Dynamic Processing	Wed Feb 28	8 points
	Studios A & B	Mon Mar 12
8
	Advanced Dynamic Processing	Wed Mar 14	8 points
	Studios A & B	Mon Mar 19
9	Spacial Effects Processing	Wed Mar 21	8 points
	Studios A & B	Mon Mar 26
10	Spacial Effects Processing	Wed Mar 28	8 points
	Studios A & B	Mon Apr 2
11
	Neve Flying Faders	Wed Apr 4	8 points
	A & B	Mon Apr 9
12
	Neve Flying Faders	Wed Apr 11	8 points
	A & B	Mon Apr 16
13
	Bonus Lab	Wed Apr 18	8 Points
	Practical Practice	Mon Apr 23
14
	Bonus Lab	Wed Apr 25	8 Points
	Practical Practice	Mon Apr 30

AE 2 Project Criteria Paperwork Details

Organizing Your Project.

Pre-Production Meeting.. Once you have found the artist and reserved a date to record, Set up a Pre-production meeting with Producers, Artist, Musicians, and Assistant Engineers. Take your project packet with you to the meeting. At this meeting, you should establish the information required for your work order in order for your project session to be confirmed. Song Title, Writer(s), Artist, Publisher, PRO, if applicable. If the song is original and not published, write “unpublished” on that line of your work order.

At this meeting, you should obtain a Lyric Sheet of the song to be recorded from the writer or artist.

The session leader should also be prepared to give you a chord chart of the song’s arrangement.

Paperwork: Each project session will be booked in advance on the schedule in RED. A Work order MUST be submitted containing pre-production information, and other vital information about your session. This must be done at least one week in advance of your first project session in order to get confirmed status (GREEN) Your project will be graded using this criteria sheet and your syllabus as the standard. Paperwork will consist of 60%

of your project, and your recording will be 40%. Procedure and organization will be exemplified in your work.

Paperwork Packet Turned in will be as follows:

1. A separately typed credit sheet listing all musicians, writers, engineer, producer, assistant engineer, staff engineer, Song title, length of song, Publisher, and PRO, info. (If none, so state)

2. Track Sheet (1 for each project – Completely fill out both sides)

3. Studio layout of tracking and overdub sessions. (Pjt 1 - A & B; Pjt 2 - A & C) (Provided in Packet.)

4. Obtain Yellow copy of each session invoice from the studio staff person at the end of each session.

5. A dynamics, and effects processing sheet for each mix – 2 provided. (Projects 1 and 2).

6. A lyric sheet of each song recorded. Containing the Writer/Pub/PRO info. (Obtain this from your artist / writer at your Pre-Production Meeting). At the vocal session, write the locate number of the recorder (min./Sec) at the beginning of each lyric line, and should also be recorded on the track sheet at the time of the tracking session by the assistant engineer.

7. A Chord chart (preferably the Nashville number system) of each song. (Should be obtainable at your Pre-Production Meeting from either the writer/artist, or the musician serving as Session Leader).

8. Completely fill out the packet of AES materials provided.

9. A properly labeled CD containing two songs, Project 1 & 2 respectively.

You may use the software, printer, and PC at the desk in the CMB to make your CD label. The software is called “Click ‘N Design.” You will have to furnish your own label, or if you wish, you may use a printable CD, and use the program, “Epson Print CD”. Use your sample Project Grade Sheet as a checklist to make sure your label contains all the required information.

10. The Project Grade Sheet included in the packet given to you.

*The neatness and organization of your documentation and paperwork will comprise 60% of your project grade.** Any deviation from this procedure will result in points deducted.. **