Robert S.Thompson Ph.D.
1114 Standard Building
Office Phone: 651-1731
E-Mail: rst@aucourantrecords.com
Summer Quarter 2000
Office Hours: by appointment...
Recording Techniques III
Center for Audio Recording Arts (CARA)
School of Music, Georgia State University
MI 3130 - M 10:00 - 1:00 (2773)
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
Hi-8 Video/Audio tapes
DAT tapes
Cassette tapes
It is recommended that you begin with one HI-8 and one DAT tape, 120 minutes in duration and purchase more materials as needed throughout the quarter. Tape supplies are best obtained from Tape Warehouse located off Peachtree Industrial Blvd. in the Chamblee area. Note: Tape Warehouse has moved north of I-285.
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 aspect of the graded work for this course.
Specific Technical Agenda and Learning Objectives:
Yamaha O2R console and operations
aesthetics of audio recording in technologically robust environments
digital audio fundamentals continued
pulse-code modulation
advanced console applications
console automation usage
digital signal processing
audio mastering techniques
critical listening and response
session management and work environments
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. 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.
2. Independent Recording Projects
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.
3. Playback and Evaluation Sessions
A the midterm and final individual students will be asked to present 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 professional peers is very important to the develop your own theoretical and aesthetic foundation.
4. Specific Assignments, Tests and Examinations
There will be a number of specific assignments throughout the quarter. 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 tests will also be given (sometimes without announcement) during the quarter based on readings and discussions. There will be two examinations - a MIDTERM and a FINAL based upon readings and discussions.
Grading Policy:
The grade will be determined based upon the following general scheme:
1. Recorded Music - 60%
2. Assignments, Tests and Examinations - 40%
Midterm - 14%
Final - 14%
Other tests - 5%
Assignments - 5%
3. Journal - 1%
4. Playback Sessions - 1%
Recording Projects:
The overall expectation for the recording projects this quarter has the following general outline:
a. 30 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 carryover from the previous course MI 3120 is allowed
c. the music must be prepared for a critical listening audience Keep the article "Art of Listening: The Role of Perception in the Audio Recording Process" (NARAS Journal) in mind when preparing recordings for critical evaluations.
d. the music must be recorded to DAT at 44.1 for archiving At the end of the quarter a CD will be proposed by the class as a whole, selecting from the best recordings of produced during the quarter. This component of the course is similar to the level of activity for MI 4610 and MI 4910 the final two requirements in recording though the technical expectation is considerably higher in these final two courses.
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 quarter.
Laboratory Assistants: There are two laboratory assistants in the Center for Audio Recording Arts - John Peters and Esteban Anastasio. They are available to you during assigned Lab hours to help with specific questions and facilitate your project development. These are capable individuals and each possesses thorough knowledge of the Center and the 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 fee is $50.00.
To pay your fee go to the University Bookstore and purchase 2 $25.00 Cash Cards. Bring these cash cards to Ms. Judith Vaughn in the 5th Floor of the Hass Howell Building for payment by the end of the first week of the semester. She will give you a receipt for the transaction. Bring this receipt to me for the issue of an officialCARA ID Badge. Studio access will be denied until you have been issued a CARA ID.
CARA ID BADGES: All persons working in the studio complex must carry with them their Student ID card and also a valid CARA ID BADGE. Please wear the CARA ID BADGE at all times while working in the studios. This is extremely helpful to the administration as an aid to identifying authorized persons quickly. Lost or destroyed badges will be replaced free of charge, but replacement will take at least one day. Keep the receipt for your fee payment.
Studio access will not be granted without a CARA ID BADGE. Please protect your badges and do not forget them when coming to the studio. GUEST CARA ID BADGES are available for loan from Dr. Thompson, if you want to bring a guest with you. Please get these badges in advance and return them promptly.
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.
1. Only those students who have a valid CARA ID badge may be involved in organizing recording projects. All other persons are considered guests except a) School of Music Administration members and CARA Staff, Interns, Research Assistants and Laboratory Assistants.
2. In general, recording projects should take place during individual, assigned, studio times. The general studio allocation is as follows -
MI 3130, 3230, 4610, 4910 and MUS 4990 - Studios A, B and C
MI 3120 - Studios B and C
MI 3110 - Studio C
MUS 4980/6980 - Studio M
With this in mind, make certain that the project proposed can be realized in a given studio.
3. The general studio guidelines contained in the syllabus for your courses apply for all sessions held within CARA. Please adhere to them.
4. You are responsible for the actions of those musicians you record during your projects. They must also be assigned guest ID badges prior to the recording session. ID badges for guests are allocated on a per- session basis and are valid only for that session (date and time). To get them have your musicians fill out a short registration form - get these from Dr. Thompson.
5. It is crucial that your session begin on time and end on time. Sessions must end when scheduled as a courtesy to others working in the complex.
6. You are responsible for leaving the studios in a better condition than you found it in. Please be careful with the equipment, the stretched fabric walls and wood floors of our facility.
7. Keep a LOG BOOK - JOURNAL of each session you do. Be detailed in your note keeping. This is an important habit to get into for the future and the LOG BOOK will be turned-in for evaluation at the MIDTERM and the FINAL.
Note all musician's names - phone numbers
Describe the session in detail
Provide some insight into problems encountered and solved