Instructor: Michael
J. Janas
Contact: Office
RCA-B / Phone: 242.5167 / email: janasm@mail.belmont.edu
Office Hours: By
appointment only.
Course Credit: 3
Course Hours
Class Meeting Times: Sec 03
Tue-Thu 11:00am 12:15pm
Sec
04 Tue-Thu 12:30pm 1:45pm
Class Lab Times: http://campus.belmont.edu/mb/studio/LabSchedule.html
Final Exam: Sec 03:
Mon, May 8 @ 11am
Sec
04: Fri, May 5 @ 11am
RCA-B Website: http://campus.belmont.edu/rcastudiob/
Course Description: Prerequisites: MBU 111, MBU 138 and permission of instructor. A detailed study of the technical
characteristics and performance of each component of the recording studio. Topics include basic studio electronic signal
flow, tape machine operations, dynamic processing, basic microphone use, studio
acoustics, session procedures and the role of the assistant engineer. Emphasis is placed on developing audio
perception skills for recording engineers.
Course Objective: To gain experience in setting-up a
studio for a recording session; to gain an understanding of acoustic and
electronic signal flow; and to become familiar with the various tools
(microphones, consoles, machines, outboard gear, etc.); and to learn procedures
that will help make recording sessions go smoothly, enjoyably, efficiently, and
will result in quality recording.
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.
·
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.
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,
Audit Students: As per the current Belmont
University Bulletin, 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. Due to time
constraints on studio availability, students who audit are NOT allowed to
assist as second engineer on project recording sessions and NOT given recording
project session time. 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 (CMB).
Course Requirements:
Class & Lab Materials:
Audio Engineering 1 Workbook (Studio Class Lab the red one); Audio
in Media by
Participation: Students are expected to show a sincere
effort of co-operation, participation, and self-application during this course
of study. Students are expected to read
assigned text, recommended reading and handouts, and to fully complete ALL class, lab, workbook, and project
assignments.
Basis of Final Grade Evaluations:
|
ITEM DESCRIPTION |
PERCENTILE CREDIT (% of 100
points) |
|
1. Class Attendance & Participation |
10 % |
|
2. Written Test #1 |
10 % |
|
3. Practical Exam (Mid-Term) |
10 % |
|
4. Written Test #2 |
10 % |
|
5. Final Exam (Written 10% & Practical 10%) |
20 % |
|
6. Song Analysis 1 |
2.5% |
|
7. Song Analysis 2 |
2.5% |
|
6. Studio Project 1: 8-tracks |
5 % |
|
8. Studio Project 2: 16-tracks |
10 % |
|
7. Assistance Sessions |
10 % |
|
8. Labs Participation |
10 % |
Grade Scale: As per current Undergraduate
Bulletin.
Attendance:
Class attendance policy follows the guidelines presented in the current
Belmont University Catalog. Students may miss up to four class periods
throughout the semester without any grade reduction. After four absences, a students final grade
will be reduced by 5%. After six misses,
the students final grade will be reduced 10%.
After eight absences, the student will be removed from the class roster
and withdrawn from the class with a grade of F.
Academic Testing:
There will be written and practical exams. Each will be comprehensive and inclusive of
all class, workbook, and reading material covered up to that date. No
makeup or late exams will be given. If
you know you must miss an exam, see the instructor at least one week prior to
the test date.
Song Analysis Presentations: Students will do at least two (2) or more (if assigned)
recording reports and class presentations.
The first will be a recording analysis of a song recorded at RCA-B from
1957-1977. The second will be a
recording done before 1980 in any recording studio.
The student will scrutinize the
original recordings and will seek to provide information on instrumentation and
production techniques used to make this recording. Students will present their finding to the
class in a short (5 minute) oral presentation and will turn in a typed and
well-edited report documenting their findings.
Grammar, spelling, and presentation count towards full credit.
Recording Projects: You are required to complete two Recording Projects. These projects will give you practical,
hands-on recording experience, and will require you to organize and coordinate
sessions as well as record the music. Detailed
requirements are listed in the syllabus.
Approach these projects with the intent of putting into
practice the subject material covered in class.
To that end, Engineers WILL NOT perform on their own projects, and
Assistant Engineers WILL NOT perform on sessions they are assisting. You may, of course, perform on projects on
which you are not the Engineer or Assistant.
Late projects are not accepted.
Assistant Sessions: In order to gain hands-on experience, you are
required to serve as Assistant Engineer for recording sessions in the CMB and
RCAB studios. Credit for assisting is given
on an hourly basis; each hour will receive a credit of 5 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. If two (2) assistants serve one session, each
assistant will receive 1/2 credit. As
assistant you will be required to keep all session records including: track
sheets, studio layout, signal processing, effects set-up, etc.
Labs:
In order to gain experience with specific tasks, you are required to
participate in lab sessions. These sessions
are hands-on activities with small groups of students in each studio. Credit for lab participation is based on
individual attendance and participation.
Lab sessions times are posted on the CMB website: http://campus.belmont.edu/mb/studio/LabSchedule.html
Spring 2006 Class
Schedule
|
Jan 12 |
Class
Overview; RCA Studio B History |
|
|
Jan 17-19 |
Basic
Electrical Concepts; Studio Equipment Interface: The Patchbay, Balanced &
Unbalanced Circuits; Audio Connectors; Absolute Polarity; dB Chart |
|
|
Jan
24 |
RCA
Studio B Session Setup & Teardown: Mics, Mic Stands, Baffles, cable runs,
cues |
Lab
1: Session Setup |
|
Jan 26 |
Session
Setup, Session Personnel, Studio Signal Flow, API Console signal flow |
|
|
Jan 31 |
Lab 2:
Signal Flow-Pro Tools |
|
|
Feb 2 |
Written
Test 1; Pro Tools |
|
|
Feb 7 |
Microphones:
Types, Design, Patterns & Specifications; Mic techniques for Vocal and
acoustic inst., mic preamps |
Lab 3:
Mic Lab 1 Vocals & Acoustic Inst 2/9:
begin Studio Project 1 Tracks |
|
Feb 9 |
||
|
Feb 14 |
Mic
techniques for amplified instruments |
Lab
4: Mic Lab 2 Amplified Instruments |
|
Feb 16 |
Song
Analysis 1 Presentations |
|
|
Feb 21 |
Microphones:
Types, Design, Patterns & Specifications; Mic techniques for drums &
perc. |
Lab
5: Mic Lab 3 Drums 2/20: begin
Studio Project 1 Mix |
|
Feb 23 |
||
|
Feb 28 |
Review
Test 1 |
Lab 6:
Equalization |
|
Mar 2 |
Practical
Exam |
|
|
Mar 6-10 |
SPRING BREAK |
|
|
Mar 14 |
Studio
Project 1 Due; Spectral Processors/EQ |
Lab
7: Dynamic Processors 3/17: begin Studio Project 2 Tracks |
|
Mar 16 |
Spectral
Processors/EQ |
|
|
Mar 21 |
Dynamic
Processors: Compressors, Limiters, Expanders, Noise Gates |
Lab
8: Time Processors |
|
Mar 23 |
||
|
Mar 28 |
Time
Processors: Echo Chamber,
Reverberation Plates, Spring Reverb, Tape Delay, Room Mics |
Lab
9: Mix Lab Ό analog |
|
Mar 30 |
||
|
Apr 4 |
Analog
& Digital Recording: Basic Theory, level matching, analog electronic
alignment |
Lab
10: Analog Machine Alignment |
|
Apr 6 |
||
|
Apr 11 |
Written
Test 2 |
3/10: begin Studio Project 2 Mix |
|
Apr 13-16 |
EASTER BREAK |
|
|
Apr 18 |
Mix Considerations: Loudspeaker placement, Equal Loudness
Principle, dB-SPL, printing mixes |
|
|
Apr 20 |
|
|
|
Apr 25 |
Song
Analysis 2 Presentations |
|
|
Apr 27 |
Review
Test 2; Final Exam Prep |
|
|
May 2 |
Final Exam
Prep Studio
Project #2 Due |
|
|
May 5 |
Sec 04
(12:30 TR) final Exam at 11am |
|
|
May 8 |
Sec 03
(11 TR) final Exam at 11am |
|
Audio 1 Studio Project Requirements
You are
required to do two Recording Projects as part of AE1: an 8-Track Record & Mix Project and a 16-Track
Record and Mix Project. These projects
will give you practical, hands-on recording experience, and will require you to
organize and coordinate sessions as well as record the music. If you have any questions after reading these
requirements, please see your instructor.
MATERIALS REQUIRED
·
6
blank CD-Rs with jewel cases (do not use CD-A discs)
·
Neato
Labels for CD-Rs (provided at RCA Studio B)
·
2
analog tape (provided at RCA Studio B)
·
1/4
analog tape (provided at RCA Studio B)
·
7
box label (provided at RCA Studio B)
·
2
manila envelopes with clasp (or equivalent) to turn in projects (will contain
CDs, 1/4 tape, & paperwork)
GENERAL REQUIREMENTS
·
Engineers
may not perform on their own sessions.
·
Assistant
Engineers may not perform on their sessions.
·
Only
enrolled AE1 students may assist on AE1 sessions.
·
Scheduled Engineers or Assistant Engineers who do not show up for
confirmed sessions will lose ten points from their FINAL grade.
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.
·
Only
AE1 Approved
Microphones may be used no exceptions.
·
Turn
in projects separately (different envelopes).
SCHEDULING SESSION TIME
·
Project
sessions are assigned in class. The
sessions are considered on HOLD, and are posted in RED typeface on the Studio
Schedule website: http://campus.belmont.edu/mb/studio/schedule.htm.
·
Complete
a WORK ORDER, and turn in to RCA-B Studio Manager. Once verified, your session is CONFIRMED, and
is posted in GREEN typeface on the Studio Schedule website.
·
Work
Orders must be submitted no less than 2 weeks prior to the first session.
·
Schedule
change requests must be submitted directly to the RCA-B Studio Manager.
8 TRACK RECORD & MIX PROJECT
Studio:
RCA Studio B
Equipment:
API 2098 recording console, Otari MTR-90II 2 16-track analog recorder,
Pro tools LE system
Materials: 2 analog tape, 1/4 analog tape, 2
CD-Rs with jewel cases, 2 Neato labels
Turn In:
1 labeled CD-R of the finished and rough mixes and required paperwork
16 TRACK RECORDING & MIXING
PROJECT
Studio:
RCA Studio B
Equipment:
API 2098 recording console, Otari MTR-90II 2 16-track analog recorder,
Otari MTR10 1/4 2-track analog recorder, Pro tools LE system
Materials: 2 analog tape, 1/4 analog tape, 2
CD-Rs with jewel cases, 2 Neato labels
Turn In:
1 1/4 analog tape of the finished mix, 1 labeled CD-R of the finished
and rough mixes and required paperwork.
1.
RECORD
·
You
will have 1 session to record tracks through the API console to the Otari
MTR-90II.
·
Required
Tracks: Drum Kit (bass drum, snare drum, toms, high hat, cymbals), bass
(electric or acoustic), Vocal, and at least 3 other instruments
·
You
may add any other tracks you wish to complete the song.
·
You
must record the rhythm section and a scratch vocal simultaneously. The rhythm section is to include at least a
drum kit, bass, and either a guitar or keyboard instrument.
·
You
may not use more than 16 tracks.
·
You
may use as many overdub passes as necessary to record the parts.
·
You
may bounce tracks in order to free tracks for additional recording.
·
Direct
Boxes (DI boxes) may be used for bass only.
All other electric instruments must be recorded utilizing amplifiers,
speakers, and microphones.
2.
MIX
·
You
will have 1 session to mix the tracks through the API console and print the
final mix, simultaneously, to the
Otari MTR10 1/4 2-track and the Pro Tools LE System.
·
Otari
2-track: Print reference tones first,
then the mix. Edit the head & tail
of the mix with white leader tape before and after it. Also insert leader before and after the
reference tones (LEADER TONES LEADER MIX LEADER).
·
Pro
Tools: Using the appropriate tools,
place a Fade-In at the head of the song and a Fade-Out at the tail. Normalize the mix to -.5dB. Bounce to disc as a BWF (Broadcast WAV) file,
then print 2 audio CDs of your final Pro Tools mix.
REQUIRED PAPERWORK FOR PROJECTS
(EXAMPLES IN LAB BOOK)
·
1. Properly labeled mix CD Use
Neato Label
·
2. Properly labeled 1/4 analog tape
use label provided by RCA Studio B
·
3. Track Sheet/Microphone List (Mic List is on reverse side of
Track Sheet)
·
4.
Studio Layout: Show the locations of each instrument in the
studio during each phase of recording.
Document mic locations & mic lines.
·
5. Session Recall Documents:
All settings and patches used in the session should be notated on
session recall documents.
·
6. Credits:
Include all personnel who worked on or contributed to this session: Client, Producer, Artist, Engineer, Assistant
Engineer, Musicians (and which instruments they played), Vocalists, Staff
Engineer. Also include all song info
including writing and publishing credits.
Dont forget PRO info.
·
7. Cue Sheets:
Lyric Sheet, Separate Chord Chart.
Each notated with Tape Times for major sections of the song.
·