Robert S. Thompson Ph.D. - 1114 Standard Building - Office Phone: 651-1731
E-Mail: rst@aucourantrecords.com
Summer Quarter 2002
Office Hours: M / W 12:30 – 1:30, or by appointment
Advanced Topics in Recording and Audio Production
Center for Audio Recording Arts (CARA)
School of Music, Georgia State University
MI 3130 – M/W 8:00 – 11:40 (1527)
1100 Standard
Prerequisites:
MI Recording Majors only
Physics 2030, Music Theory Sequence, MI 3120
Texts and materials:
Modern Recording Techniques - Runstein et al.
Audio Workstation Handbook - Rumsey
Acoustics and Psychoacoustics - Howard/Angus
Thompson et al: Selected pre-prints/reprints/ROMS
Hi-8 Video/Audio tapes – as needed
DAT tapes – as needed
Cassette tapes – as needed
CDR – as needed
Course aim: This course returns to the technical agenda of MI 3110 after the practical agenda of MI 3120. In MI 3120 the emphasis was on the response to a set of 6 recording projects (problems) and upon hands-on use of the studios and equipment. Concepts of multi-track recording, console operation and automation were considered within the context of a set of prescribed recording tasks. MI 3130 returns to a theoretical base and further refines concepts intuitively grasped in MI 3110 and MI 3120. While directed projects in recording are not a part of the general course work, the student participant is expected to undertake significant independent work in producing original recording during the semester. The portfolio of recordings will form one major aspect of the graded work for this course.
Student Goals and Objectives: The student will learn advanced conceptual material relating to audio signal processing, time and frequency domain techniques for audio production and concepts of psychoacoustics as they relate to the creation of artistic and technically superior audio recordings. The creative outcome of this course for each student engineer will be a recording portfolio that demonstrates his or her own level of accomplishment.
Specific Technical Agenda:
digital signal processing
aesthetics of audio recording in technologically robust environments
advanced console applications
console automation usage
advanced microphone usage and stereo techniques
advanced audio mastering techniques
critical listening and response, aural skills training
studio session management
The goal of our activity will be to facilitate exploration and experimentation so that each student may develop technical facility in audio recording which match his or her own artistic sensibility and personal goals.
Assignments and Grading Policy:
1. Studio Journals
Each student is required to keep a complete and comprehensive studio use journal – also referred to as the LOG BOOK. This document should be kept in the same manner as a scientific log book. Keep entries with dates and times in addition to details concerning your various activities and projects. This journal will give the instructor an opportunity to review the work that the student has done from the perspective of the engineer. The journals can also become a means by which the student can expand his or her own process of discovery by including references to texts, recordings, articles and the like. Evidence of critical thinking and quality activities related to the subject matter and context of the course is expected for an excellent grade (A) in this course.
2. Independent Recording Projects – DATE DUE: August 7, 2002 – in-class playback session (see below)
In the development of a professional foundation as a
recording engineer and music technologist it is crucial that sufficient
freedoms are allowed to enable creative activities which in turn bolster
critical thinking, problem solving and independent exploration. In some ways it
is more difficult to remain active without the constraints imposed by a set of
external caveats - such as the projects which form the basis of MI 3120. This
course requires a greater degree of individual initiative and commitment from
the individual student. Each
student is urged to develop a specific agenda of recording sessions which will
meet the specific goal of 15 minutes of excellent quality and perfected audio
recordings by the day of the final, in-class playback session – August 7, 2002.
3. Playback and Evaluation Sessions
At the final individual students will be asked to present a portion of their work, either finished mixes, rough mixes or basic tracks, for peer review and critique. This activity is crucial to independent success in this course - having the response of your peers is very important to the develop your own theoretical and aesthetic foundation.
4. Specific Assignments, Tests and Examinations
There will be a reasonable number of specific readings and assignments throughout the semester. These will be relatively finite in nature and should not interfere greatly with the studio session work which should be on-going. A number of quizzes will also be given (sometimes without announcement) during the semester based on readings and discussions. There will be three examinations - MIDTERM I (take-home, on-line Due June 26 in class), MIDTERM II (take-home, on-line Due July 17 and a FINAL (in-class August 5) based upon readings and discussions.
5. Seminar Presentations and Research Paper
Each student will participate in the course by presenting a 45 minute seminar topic (inclusive of discussion and audio playback) which will be assigned at the beginning of the semester. The seminar presentation should include sound examples when appropriate, handouts and other media when possible. A professional and thorough approach to the topics is expected. As a summary activity, a research paper of no less then ten typed pages (exclusive of graphics and other materials) will be submitted. The Due date for this paper is August 5, 2002.
Grading Policy:
The grade will be determined based upon the following general scheme:
1. Recorded Music - 20%
2. Assignments, Tests and Examinations - 45%
Midterm I - 15%
Midterm II - 15%
Final - 15%
3. Journal - 0% (Required for passing grade)
4. Playback Sessions - 0% (Required for passing grade)
5. Seminar Presentation 10%
6. Research Paper derived from Seminar Presentation (25%)
Recording Projects:
The overall expectation for the recording projects this quarter has the following general outline:
a. 15 minutes of music
The music that is recorded, mixed and mastered is completely up to the individual participant - working largely independently. There is no over-arching caveat concerning style and type of music that makes up the projects.
b. the music is "new" for this quarter
No carry-over recordings from the previous course MI 3120 (or any other course) is allowed!
c. the music must be prepared for a critical listening audience (for example FM radio, or published CD)
d. the music must be recorded to CD at 44.1 for archiving
This component of the course is similar to the level of activity for MI 4910, the final requirement in recording, though the technical expectation is considerably higher in this final course.
Attendance, Laboratory Time and Security Issues:
Attendance: After 2 unexcused absences the professor reserves the right to drop a student from the course. Attendance and class participation is highly encouraged. Laboratory Time: Lab time will be available to students in this course working both in pairs or small groups. Some of the projects will be group projects and some will be pair projects. Lab times will be assigned and scheduled throughout the semester according to the CARA Studio Session Booking Policies.
Security Issues: Only those individuals enrolled for credit in a course taught in the Center for Audio Recording Arts (CARA) will have access to the facility. Furthermore, depending on the course and the level of the students technical skills, as designated by the various courses, various aspects of the studio will be available for use. No keys for the facility will ever be issued to students.
It is crucial that no guests be invited into the CARA facility without prior clearance and that you do not allow any persons without identification into the facility under any circumstance. Failure to comply with this rule and other rules of the Center will result in your being dropped from the course and the loss of studio access.
Laboratory Fee: In keeping with policies in place elsewhere in the School of Music and in other academic departments there will be a Laboratory Fee in effect for each of the studio courses offered in the Center for Audio Recording Arts. This fee is necessary for studio maintenance costs and upgrades. The summer session fee is $30.00.
To pay your fee go to the University Bookstore and purchase
Cash Cards. Bring these cash cards to the 5th Floor of the Hass Howell Building
for payment by the end of the first week of the semester. You will be given a
receipt for the transaction. Bring this receipt to me for the issue of an
official CARA ID Badge. Studio bookings and reservations will be denied
until you have paid your fee and been issued a CARA ID.
Studio Issues:
1. No food or drink in the studio complex.
2. Do not bring backpacks, coats, umbrellas or the like to the studio - store these in a School of Music Locker.
For locker assignment see the School of Music Office.
3. Do not make excessive noise or behave disruptively in the studios. This is a professional working environment and other people are working.
4. Do not use excessive volume in any of the studios
5. Do not bring unauthorized guests into the studio complex.
Student Recording Project Guidelines:
Following these simple guidelines will make our lives at CARA pleasant and interesting. Failure to follow them could result in being dropped from the course you are taking. So, please take a moment to familiarize yourself with this document and follow the provisions set forth throughout the quarter.
Student Recording Projects are those activities that are associated directly with course work and/or are those projects which are important to the further professional and technical development of authorized persons with the Center for Audio Recording Arts.