BELMONT UNIVERSITY
MIKE CURB COLLEGE OF ENTERTAINMENT AND MUSIC BUSINESS
COURSE SYLLABUS
Course Title: Special Studies: Master Mixing Techniques
Course #: AET 4990.03 Credit Hrs: 3 Semester: Fall 2005
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
COURSE DESCRIPTION: Prerequisites: AET-3090, three hours from AET-3190, AET-3370, AET-4400, or AET-3560 and permission of instructor. This course explores the practical application of master mixing techniques used in modern music production. ($30.00 course fee) This course will substitute for AET-4190 or AET-4380.
COURSE OBJECTIVES: To provide students with advanced knowledge of classic and modern recording and mixing techniques through 1) lecture and reading assignments, 2) studio observations, 3) group participation, and 4) an in-depth research project. An emphasis on understanding and problem solving is designed to optimize students' awareness of the real life demands of professional studio recording.
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.
· To equip students with the tools to think critically, communicate effectively, accept responsibility, make successful decisions, and prosper in diverse work environments.
· To emphasize quality classroom instruction within the parameters of ethical Christian principles.
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 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. Multi-track master tape, DAT(s), computer disk(s), paper, etc. as needed.
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. Testing: All test dates are noted in the daily class schedule. No make-up tests will be given. Final exam will be comprehensive.
5. Basis of grade evaluation: Grading scale as per the current Undergraduate Bulletin. Participation credits are listed below:
CREDIT
A. Attendance 60 %
B. Group Project 20%
C. Individual Project 20%
Total Points (%) = 100%
Outline of Possible Class Activities
Hard Disc Management
EQ and Limiter Compressor Techniques
Getting the Right balance
Reverb, Delays, Effects
The use of compression, tuning, and effects in mixing.
Choosing Sample Rates and Bit Rates
Analog VS. Digital Mixing
Do's & especially Don'ts.
Understand a New Environment: Mixing in a new studio for the first time.
Phase considerations & problems. Degrees to keep in mind
Multiple vs. Minimal plugin techniques.
Vocalist and spoken word processing and mixing:
Setup and techniques for eliminating ambient noise.
Session psychology, understanding the vision of the Artist and Producer.
Tricks of the trade.
Research Project Protocol:
1. Four (4) three (3) member research teams.
2. Projects should be based around research of technical and/or perceptual themes and are NOT “demo” projects.
3. For perceptual tasks, members of the class will serve as "subjects" or “listeners.”
4. Tasks will be designed that can be completed within two studio days (two (2) 12hr days, 24 hrs total per project).
6. All testing will be completed by 1st Saturday in Dec.
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.
Web Resources:
Home Recording Web Site http://homerecording.about.com
ProRec.com
The Recording Web Site
Modern Recording
ArtistPro.com http://www.artistpro.com
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: 0240516400; (2002)
Critical Listening and Auditory Perception by F. Alton Everest , Cardinal Business Media, Music & Entertainment; ISBN: 0918371139; (1997)
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.