BELMONT UNIVERSITY

MIKE CURB COLLEGE OF ENTERTAINMENT AND MUSIC BUSINESS

COURSE SYLLABUS

Course Title: Master Mixing Techniques

Course #: AET 44966 Credit Hrs: 3

Semester: Spring 2007

Class Location: Ocean Way Studios

Meeting Time(s): Sat. 10am-3pm

Final Exam: Project to be turned in

Instructor: Mr. Bob Bullock

Contacts: Phone: 771-9746 Email: bob@bobbullock.net

EDUCATIONAL OBJECTIVES of the Mike Curb College of Entertainment & Music: To provide a personalized, career-oriented and practical education that emphasizes leadership, innovation, private enterprise and entrepreneurship. 2) To equip students with the tools to think critically, communicate effectively, accept responsibility, make successful decisions, and prosper in diverse work environments. 3) To emphasize quality classroom instruction within the parameters of ethical Christian principles.

COURSE DESCRIPTION: A study of the major areas of recording technology as related to the music industry. The student receives an overview of analog and digital technology with attention to its innovations, history, and effect on the music industry.

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: Students will:

· identify major historical events throughout audio history and explain their significance

· 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

· apply course concepts by composing written reports

· assess the quality of audio, and recording techniques developed using critical listening skills

· demonstrate signal flow through creating a final mix from a pre-recorded multi-track project

· synthesize outcomes by creating a final recording project

· demonstrate the use of compression, tuning of tracks and effects in mixing

· understand and apply the proper use of equalization and limiter compressor techniques

· demonstrate the use of reverb, delays and effects in music mixing

· understand the requirements of working in a new studio environment for the first time

· understand hard disc management and choosing sample rates and bit rates

· explore the differences between analog and digital mixing techniques

HONER 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.”

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:

1. Attendance: Since there are only 6 classes, each class has a high bearing on

final grade.

2. Materials: Various handouts supplied by instructor. You will be responsible for

all information contained in the handouts

3. Participation and Prepared assignments: All students are expected to contribute to

class discussions, research projects, and any assignments.

All students will attend class.

4. Basis of grade evaluation: Grading scale as per the current Undergraduate

Bulletin.

Participation credits are listed below:

Item Credit (or %)

A. Attendance: 50 %

B. Group Project: 25%

C. Individual Project: 25%

Total Points (%) = 100%

Research Project Protocol:

1. Four (6) two (2) member research teams.

2. Tasks will be designed that can be completed within two studio days (two (2) 12hr

days, 24 hrs total per project).

3. All testing will be completed by 4th Saturday in May.

Articles / Papers of Interest:

Alan Sides “The Mic Cabinet” you must hear

Bosun, Xie (2001). Signal Mixing for a 5.1-Channel Surround System – Analysis and Experiment. J. Audio Eng. Soc., 49(4), 263-274.

Snow, William, B. (1953). Basic principles of stereophonic sound. J. SMPTE, 65, 567-589.

Ceoen, Carl. (1972). Comparative listening tests. J. Audio Eng. Soc., 20(1), 247-254.

Borja, S. Erik. (1977). How to fool the ear and make bad recordings. J. Audio Eng. Soc., 25(7/8), 260-268.

Dooley, Wesley L. & Streicher, Ronald D. (1982). M-S stereo: A powerful technique for working in stereo. J. Audio Eng. Soc., 30(10), 707-718.

Books as reference:

Modern Recording Techniques by David Miles Huber and Robert E. Runstein,

Pro Tools 5.1 for Music Production by Mike Collins, Focal Press; ISBN:

Critical Listening and Auditory Perception by F. Alton Everest,

The Mixing Engineer's Handbook (Mix Pro Audio Series) by Bobby Owsinski

The Art of Mixing: A Visual Guide to Recording, Engineering, and Production
by David Gibson 

Pro Tools A…Z an Engineers Guide by J Franze