BELMONT UNIVERSITY
MIKE CURB COLLEGE OF
ENTERTAINMENT AND MUSIC BUSINESS
COURSE SYLLABUS
Class
Location: MBC CMB – B-07 Meeting Time(s): Mon. 1 PM – 3 PM
Final Exam: May
TBA
Lab Sessions: Tuesday
/ Thursday 1PM – 1:50 PM
Instructor: Mr. Billy W. Prince
Contacts: Phone: 460-5553 Email: princeb@mail.belmont.edu
COURSE DESCRIPTION:
AET 3190. Audio Engineering II (3). Prerequisite: AET 3090 and permission of instructor. A continuation of AET 3090, this course is an advanced study of the technical characteristics and performance of each component of the recording studio. Topics include advanced studio electronics and signal flow, computer-based digital recording and editing, analog and digital tape machine operations, automated console operations, condenser microphones, spatial signal processing, and the role of the audio engineer. The development of audio perception skills for recording engineers is emphasized. Lab hours required. ($30.00 course fee)
COURSE OBJECTIVES:
To
provide students with instruction and hands on experience in the setting of the
modern recording studio, building on the foundation of their experience in
their pre-requisite classes.
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.
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: As per the current Undergraduate
Bulletin.
2. Supplies/Materials: You will need two texts and recording
supplies.
(1) Current edition of the Audio Engineering 2
Workbook (New Frontier Publishing).
(2) Current edition of Audio in Media by Stanley R. Alten (Wadsworth Publishing
Co.). OR your text from Survey of
Recording Technology.
You will be responsible for all
information contained in the Workbook and other readings as assigned.
(3)
Recording supplies comprising: 2-inch analog master tape (furnished); an exabyte
data storage tape for backup of RADAR recording; 2 blank CD-R; 2 blank DVD-R
disks; and misc. 3.5 inch computer disk(s) as needed. A CD label for burning your final project.
3. 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.
(#1) (By
Spring Break) Three sessions comprising Tracking on RADAR in studio A, Overdubs
in Studio B, and Mixed on the SSL console to NUENDO bounced to disk (stereo
interleaved 16 bit 44.1 KHz ) Save on
the Nuendo Record Only Drive. You will
combine this with Pjt.#2 and turn in on
a single CD Using Toast software on the Mac.
During
your tracking sessions for both projects, before breaking down, record
your board mix (rough) direct to a CD. Turn this in first class period after your tracking
session.
(#2)
(Immediately after Spring Break) Three
sessions comprising a 2-inch 30 ips analog Tracking Session in Studio A,
Transferred to PRO TOOLS (24bit 48kHz) for overdubs to be done on the PRO TOOLS
TDM in Studio C. Mixing in Studio A on the
NEVE Console, in and to ProTools and ‘bounced to disk’ (16 bit 44.1 kHz stereo interleaved) to be
burned to CD using Toast software, combined with Project 1. Projdect 1 will be the first song, Pjt. 2 the
second song. (Due May 1st)
4.
Assistant Sessions:
In order to gain hands-on experience, you are required to serve as
assistant engineer for recording sessions in the CMB studios. In order to
receive an A for the assisting component of your grade, you must assist on 3
sessions (12 hours) Bonus credit may be earned by completion of more than 12
assistant hours up to a maximum of 110 points. Bonus points will be accrued @
2.5 points per hour above 12 hours. 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. Pjt 1Tracking sessions are required to use
AE2 student assistant engineers, with
the option to use 1 AE1 student as an additional assistant. Project 2 is required
to use an AE 1 assistant for tracking and overdubs. An additional assistant
from AE2 may be used as well. Pjt 2 overdubs, and project 1 & 2 mixing will
use AE2 for assisting.
**Current
AE2 students will receive first opportunity to assist non-class projects.
5. 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, 5
bonus points may be earned for each lab
above 12, to a maximum of 10 bonus
points. Lab sessions are scheduled on Tuesday and Thursday afternoons at
4pm 4:50 for AE2.04. The class must be split, half on Tuesday, and
half on Thursday.
6. Testing: There will be a Mid-Term and a Final Exam. Each will be comprehensive and inclusive of
all class content and assigned reading material covered to that date. NO
"MAKE-UP" TESTs.
7. Basis of grade
evaluation: Grading scale as per the current Undergraduate Bulletin. Participation credits are listed on the
following
page.
8. Basis of final grade evaluation: Scale as per current Undergraduate
Bulletin, (Vol. 50).
|
Item |
Credit Percentile (%) |
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1. Class
attendance |
15 |
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0 days absent = 100 points
credit. 1 day absent = 90 points
credit. 2 days absent = 80 points
credit. 3 days absent = 70 points
credit. 4 days absent = 60 points 5 days = Dropped from class
with F |
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2. Mid-Term exam March 15 |
15 |
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3. Final exam TBA |
20 |
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4.
Recording project (Grade
based on technical aspects of the project, not the music or musical
performance) |
15 |
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5. Labs |
20 |
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6.
Assistant Sessions |
15 |
9. 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.
10. Class
Topics
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Introduction,
class overview. CMB studios A & B overview. Tour
of A & B wiring & equipment. Console
Operations /Patrchbay |
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Console Operations: The ins and outs of The NEVE VR- Legend console. |
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Console
Operations Comparisons Neve / SSL |
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Console Operations / SSL |
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Condenser
Microphone design and listening comparison of condenser microphone
performance Miking
Techniques. The Mid-Side technique Phase considerations |
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Digital
Recording: Various Formats: Sony PCM-3348 digital recorder--advance,
assemble, and insert modes.; RADAR
operations. A/D and D/D Transfers.. |
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Nuendo /
Protools |
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Pro
Tools; Smpte; Time code synchronization |
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Computer automation
. SMPTE, Read, Write, and Update
.. NEVE Flying Faders |
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Computer
automation SSL Ultimation |
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Mixing
Techniques – setting up the mix – headroom – effects – gates – expanders -
compressors Compressing or limiting the mix Dynamic Processing – Compressors
/ Gates / Expanders External Keying / Ducking/ d-essing |
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Practical
use of multiple effects Creating Space with effects Sound localization in 3-D
through the use of head-related transfer. (HRTF).. Spatial processing and
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.. |
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Mixing
Techniques – Spacial Effects |
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14 Apr 24 |
Listen to projects in class |
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15 May 1 |
Review For Final Exam All Project Materials Due !! |
Audio Engineering Lab Schedule Tuesdays & Thursdays @ 4 PM
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LAB |
SCHEDULE |
CREDIT |
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1 |
Large Session Set-up |
Tuesday Jan 17 |
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Studios
A & B |
Thursday Jan 19 |
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1 |
Large Session Set-up |
Jan 24 |
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Studios
A & B |
Jan 26 |
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2 |
Analog – Protools / Nuendo Transfers |
Jan 31 |
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Radar Transfers |
Feb 2 |
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Analog – Protools / Nuendo Transfers |
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2 |
Radar Transfers |
Feb 7 |
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Feb 9 |
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Spacial
Effects Processing |
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3 |
Studios
A & B |
Feb 14 |
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Feb 16 |
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3 |
Spacial
Effects Processing |
Feb 21 |
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Studios A & B |
Feb 23 |
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4 |
Advanced
Dynamic Processing |
Feb 28 |
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Studios
A & B |
Mar 2 |
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4 |
Advanced
Dynamic Processing |
Mar 14 |
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Studios
A & B |
Mar 16 |
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5 |
Computer
Automation |
Mar 21 |
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Studios
A & B |
Mar 23 |
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5 |
Computer
Automation |
Mar 28 |
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Studios
A & B |
Mar 30 |
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6 |
Analog
Tape Machine |
Apr 4 |
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Calibration |
Apr 6 |
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6 |
Analog
Tape Machine |
Apr 11 |
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Calibration |
Apr 13 |
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7 |
Bonus
Lab #1 |
Apr 18 |
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Apr 20 |
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8 |
Bonus
Lab #2 |
Apr 25 |
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Apr 27 |
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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.
AE 2 Project Criteria Detail
Paperwork: Each project session will be booked in
advance on the schedule in RED. A Work order will 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 will be as follows:
I. Before your session:
1.
Meet with your session personell before your first session. And complete
a Pre-Production/Work Order and planned studio layout sheet to be turned in 1
week before date of session. Include a
list of the mics that you plan to use for each instrument, with planned mic
lines and track assignments.
At and After your session:
1. Obtain the yellow copy of each session invoice from the studio staff person at
the end of each session. This will be
turned in with other project materials.
2. Complete an actual studio layout sheet of
your tracking and overdub sessions.
Floor layouts will be provided for Studio A & B. (Make a sketch of
your overdub session in C on the back of your studio A layout for Pjt. 2)
Indicate the position of each instrument you record and the microphones that
you use.
3. Turn in a completed Track Sheet of each
project. Include notes such as effects
and locate numbers. Be sure to fill out
the back of the track sheet with mics, lines, and channels assigned to. (The
actual session)
4. A sheet containing dynamics, and effects
processing for each mix – (2 provided. For Projects 1 and 2).
5. A lyric sheet of each song recorded. At the beginning of every line write the
locate number of the recorder. Be
careful to indicate the writer of music and words and the publisher and PRO if
applicable. (This should be obtained
during your pre-production
meeting.)
6. A Chord chart (preferably the Nashville
number system) of each song. Ask your
session leader to provide this at the beginning of your session)
7. A separately typed credit sheet listing all
musicians, writers, engineer, producer, assistant engineer, and staff engineer,
Song title, length of song, Publisher, and PRO, info. (If none, so state)
8. 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.
*The neatness and
organization of your documentation and paperwork will comprise 60% of your
project grade.
Recording:
We will lislten to our projects in class. Please
follow these and the directions in you syllabus exactly, as Any deviation from this procedure will
result in points deducted..