BELMONT UNIVERSITY

MIKE CURB COLLEGE OF ENTERTAINMENT & MUSIC BUSINESS

AET 3190.04 AUDIO ENGINEERING II

Spring Semester 2008

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 AM – 1:45 PM

Lab time(s): Mon/Wed    3:30 PM -- 4:50 PM                                                                  

Educational Objectives of the Mike Curb College of Entertainment & Music Business: 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.”

Course Outcomes   The student will:

· explain the function of specific components of the NEVE (Studio A), SSL (Studio B), and Toft (Studio C) consoles

· associate the operation, location, and relationship of similar component functions between consoles

· demonstrate satisfactory application of each console’s patchbay

· demonstrate signal flow between multiple locations using the central patchbay tie lines

· differentiate the location of specific studio A, B and C equipment in the central machine room

· explain the need for, and demonstrate a satisfactory calibration of the Studer 827 analog tape machine

· apply advanced miking techniques using condenser microphones

· demonstrate operation of the Studer 827 analog tape machine, RADAR hard disk recorder, and ProTools HD system

· perform basic audio synchronization

· conduct an analog to digital, and digital to digital transfer of tracks

· apply basic automation procedures using Flying Faders on the Neve console (Studio A), and Ultimation on the SSL console (Studio B)

· demonstrate basic and advanced signal processing (spectrum and dynamic), through use of consoles and external devices available   

Course Outcomes (cont’d)

· demonstrate basic knowledge and use of delay, reverb, and spacial effects through use of hardware based external devices available

· explore advanced mixing through the introduction of sound localization, spectrum, dynamic, and spatial processing techniques

· satisfactorily document and illustrate recording session information

· learn and apply a technical language for use within the music business industry

· assess quality of audio and recording techniques using critical listening

· create two recording projects confirming the use of gained knowledge, required individual and group experiences, and synthesis of quality audio recording principles

Performance Criteria The student will:

· locate respective audio recorders, CUE amps, console power supplies, automation fader motors, ELCO wall panel connectors, computers and audio interfaces for Studio A, B & C in the central machine room

· know studio session procedures for securing microphones, stands, and supplies needed

· dramatize session setups in Studio A (large), and Studio B (small)

· label console channel strips identifying tracks and EFX with auxiliary assignments used

· satisfactorily connect multi-track audio recorders using ELCO multi-pin harnesses

· operate channel, monitor, and master section components of the NEVE, SSL, and TOFT consoles demonstrating advanced signal flow comprehension and application

· establish CUE sends using the NEVE (Studio A), SSL (Studio B), and Toft (Studio C) consoles monitoring with headphones and at the console

· recognize the need to zero a console after each use

· know, repeat, and perform an accurate tape alignment calibration of the Studer 827 24 track tape machine including setting proper bias for type of tape used

· conduct (6) recording sessions during the semester; (2) each: tracking, overdub, and mix for two projects implementing satisfactory operation of equipment used to date

· express an accurate, advanced technical language

· interpret related, supplemental articles and web-linked assigned reading

· discriminate basic microphone characteristics, practice proper mic placement, and critique out-of-phase stereo miking techniques

· apply a minimum of one different stereo miking technique using condenser microphones in each project; coincident, near-coincident, spaced, Mid-Side, or Blumlein

· satisfactorily operate multi-track audio recorders and autolocators for the:

o Studer 827 24 track analog tape machine

o RADAR 24 track digital recorder

· demonstrate ProTools as a multi-track tape machine by:

o creating session files with tracks labeled (new or imported)

o identifying sample and bit rate of audio files in folder

o transferring tracks/files between formats

o recording, managing, and creating backup files

o transferring files over the network 

· perform (2) project transfers; analog to digital, and digital to digital, demonstrating use of:

o ELCO transfer cabling

o Network applications

o Wordclock

o SMPTE

· practice basic automation using Flying Faders on the Neve console (Studio A), and Ultimation on the SSL console (Studio B)

· understand and apply equalization techniques using console parameters (pre and post tape) and available outboard equipment

· demonstrate satisfactory parameter settings and function of a compressor, limiter, gate, and expander by use of console DYN section and available outboard equipment

· demonstrate advanced dynamic processing by creating external keying, ducking, and de-essing by use of console KEY/GATE and available outboard equipment

· determine the accurate tempo of a song and calculate delay times in milliseconds

· investigate the need to change basic parameter settings in reverb, delay, and special effect hardware found in the studio   

· Performance Criteria cont’d

· demonstrate proper level setting of an effect send and return

· create stereo mixes demonstrating the use of: 

o the HHB CD-R Burner

o the Alesis Masterlink recorder

o mixing to ProTools and/or Nuendo software

· create a balanced mix from an unfamiliar pre-recorded 24 track project utilizing level setting, panning, equalization, advanced compression and gating techniques, onboard and outboard EFX processing, calculated delays, and automation in an assigned team

· plan, organize, and submit approved documentation in (2) final project reports satisfactorily defining accurate recall of all session procedures

· perform (2) practical examinations certifying accrued knowledge and skill level achieved

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:

Materials: 1) Current edition of the Audio Engineering II Workbook (New Frontier Publishing).            2)  Audio in Media (7^th Ed.) by Stanley R. Alten (Wadsworth Publishing Co.). 3) Course handouts distributed in class and on class website (Blackboard).  You are responsible for all information contained in the workbook and other readings assigned.  Keeping a class notebook/binder and owning a three-hole puncher is highly recommended.  4) The following recording supplies are provided for you: a) 2-inch analog 24 track master tape b) (4) printable CD-R’s and c) hard disk space in studios A, B, & C.   5) You will need to provide: (a) (1) 3.5 inch 1.44 MB computer disk b) (1) DVD RAM disk for RADAR transfers ($7.00 from Mr. Prince) c)  (2) blank CD-Rs for tracking mixes, and d) an external USB 2.0/firewire drive, or a USB flash drive for backups of your recording projects. Studio drives are periodically checked and cleaned.  YOU are ultimately responsible for any lost files.  Backup your material frequently.  CDs are to be labeled using the Epson R200 printer and template(s) available on the desk lobby computer. Finally, you will need (2) ½” binders and (2) boxes of clear sheet protectors for your project documentation reports.

Attendance: As per current Undergraduate Bulletin at:

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

(You must be present to win!!)

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.

Testing: Test dates are noted in the class schedule. Quizzes are unannounced.  No makeup tests or quizzes will be given.  No electronic devices of any kind may be used during exams. A midterm, two quizzes, two practical exams, and a written final will be given.  Testing is comprehensive and includes all content and assigned reading to date. The final written exam is administered the last day of class.  (2) Practical exams (competency based demonstrations of ability) are required; one during midterm, and the second, during the scheduled final exam time. This exam has a time limit. Each student will report individually at an assigned time.  Practical exams may not be taken early, or during another class section.

You are required to engineer two recording projects. ** Both projects and all sessions contained within the project must be performed in the Belmont Robert E. Mulloy student studios.  You may not take files of data home or elsewhere to overdub to, edit or manipulate in any way and use them in your class project. **  Your project grade will depend on your following the exact assigned project procedure.

Projects:

(A), Three sessions comprising Tracking on Radar in studio A, Radar Session Backup on DVD-RAM, Digital Transfer to Pro-Tools, Overdubs & Mix to be done on the SSL & Pro Tools in Studio B. Mixed back to Pro-Tools, at appropriate level, and bounced to disk as stereo mix file, stereo interleaved 44.1 kHz 16 bit, And saved on the Record Drive of the Mac In Studio B.

 (B) Three sessions comprising a 2-inch 30 ips analog Tracking Session in Studio A, transferred to Pro Tools, Overdubs in Studio C, and Mixed In Studio A on the NEVE console back into Two tracks in PRO TOOLS, at appropriate level, 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.

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 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 may also assist on Non-Class Pjts.

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 8.3 points. Bonus credit may be earned by completion of more than 12 labs.  There are 13 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.  Quizzes will be un-announced. Mid-Term and Final will be comprehensive and inclusive of all class content and assigned reading material covered to that date. NO “MAKE-UP” TESTS.

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

Item	Percent  (%)
1.  Quizzes (2)  (Un-announced)	6
2.  Worksheets	6
3. Mid Term Exam  Written & Practical                                                                                         15
4. Recording projects  (2) 10% each (Grade based on technical aspects of the project, not the music or musical performance)	20
5.  Analog Tracking              Document Check	3
6. Labs	13
7. Assistant Sessions	15
8. Final Exam Written & Practical Exam	22

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 10	Class Introduction – Overview of Equipment in the R.E. Mulloy Student Studios – Studios A & B.
2 Jan 15	Intro to Neve Signal flow … I/O Module    Homework assignment.. Lab Workbook Multi-tracking vs Mix status.
3 Jan 17	Neve Signal flow cont’d.  Center section – Patch bay.. Console Status selector.
4 Jan 22	Condenser microphones - Stereo Miking Techniques.  Mid-side and phase considerations.
5 Jan 24	Miking Techniques Continued.. Microphone comparisons..
6 Jan 29	RADAR Operations - Lock & Chase Synchronization.. SMPTE Time Code......RADAR to Pro Tools   D-D Transfers….
7 Jan 31	Pro Tools Operations. File management.
8 Feb 5	SSL Signal Flow; Homework Assignment in Lab Workbook
9 Feb 7	SSL Signal Flow Cont.  Switches R Us
10 Feb 12	Computer Automation / SSL Ultimation
11 Feb 14	Dynamic Processors: Gates, Expanders, Compressors, Limiters.
12 Feb 19	….Spectral Processing Mixing considerations..
13 Feb 21	Dynamic Processors Cont’d.  External Keying, ducking, D-essing, Practical Uses
14 Feb 26	Analog Tape Machine Calibration.  dBu  VS NW/m.  Part One: Repro & Sync Calibration with Test Tape.
15 Feb 28	Analog Tape Machine Calibration – Part Two Calibrating Bias & Record Levels.  Recording Tones on Master Tape.
16 Mar 4	Project 1 Due A-D Transfers  Studio C operations – More Pro Tools
17 Mar 6	Spacial Effects processing.  Analog & Digital Reverb.  Digital effects processors in A & B. Use of Central Patch Bay for connection to Plates.
18 Mar 11	Practical uses of effects in Mixing.  Delay Times .
19 Mar 13	Neve Flying Faders Automation. Basic operations.  Setting up a simple mix.  Touch Record, Lock Record, automatch.
20 Mar 18	Flying Faders Cont’d.  RSI, the global master.. grouping & linking.
	Easter and Spring Break Mar 20- 28
21 Apr 1	Mixing Techniques.. using what we’ve learned.. Setting up the mix, headroom considerations, panning & placement, including dynamics, effects, and EQ.
22 Apr 3	More Mixing Techniques …
23 Apr 8	Class Mix Exercise A & B
24 Apr 10	Class Mix Exercise A & B
25 Apr 15	Open - TBA
26 Apr 17	Open - TBA
27 Apr 22	Project #2 Due. Listen to Projects in Class (If Possible)
28 Apr 24	Review For Final Exam
29 Apr 29	Final Written (Practical Final to be given on scheduled final day)

Audio Engineering Lab Schedule

Mondays & Wednesdays @ 11:00 AM

	LAB	SCHEDULE	CREDIT
1	Signal Flow Lab	Mon              Jan 14	8 points
	Studio A	Wed              Jan 16
2	Large Session Set-up	Wed             Jan 23	8 points
	Studios A	Mon              Jan 28
	Radar Operations
3	Small Session Setup B	Wed            Jan 30	8 points
	SSL Signal Flow	Mon            Feb 4
4	Radar to Protools	Wed           Feb   6	8 points
	Transfers	Mon           Feb 11
5	SSL Ultimation	Wed          Feb 13	8 points
		Mon          Feb 18
6	Dynamic Processors / EQ	Wed         Feb 20	8 points
	Mixing	Mon         Feb 25
7	Advanced Dynamic Processing	Wed       Feb 27	8 points
	Studios A & B	Mon        Mar 3

8	Advanced Dynamic Processing	Wed       Mar 5	8 points
	Studios A & B	Mon        Mar 10
9	Spacial Effects Processing	Wed         Mar 12	8 points
	Studios A & B	Mon         Mar 17
10	Neve Flying Faders	Wed         Mar 19	8 Points
	A	Mon         Mar 31
11	Neve Flying Faders	Wed        April 2	8 points
	A	Mon         April 7
12	Mix Lab	Wed         Apr 9	8 points
		Mon         Apr 14
13	Mix Lab	Wed     April 16	8 Points
		Mon     April 21
14	Bonus Lab	Wed      Apr 23	10 Points
	Practical Practice	Mon      Apr 28