The following document was prepared some time ago but still reflects the general trending of thought at CARA about what our general mission is. While the complex of fields which comprise Audio Recording Arts is changing at an unbelieveable rate, these technical issues are, for the forseeable future, central. I would like to acknowledge my dear friend and colleague Joe Kucera, Chief Recording Engineer of the University of California at San Diego, for his invaluable help in the creation of this document.
Overview of Pedagogy and Equipment Needs in the
Audio Recording Arts Program and for Research
in the School of Music at Georgia State University:
Prepared by: Dr. R. S. Thompson
May 19, 1995
Note: The following document liberally blends pedagogical issues and agendas
with actual equipment needs. This is a working draft and therefore presents
a complex of issues. In the following Studio A: refers to the large control
room of the Audio Recording Arts Complex and Studio B: refers to the smaller
control room.
Analogue Tape Recording:
Essential Pedagogical Subjects:
Machine Calibration
Master Recording
Multi-track Recording
Razor-blade Editing
Electronics, physics and mechanics of tape recorders
Both multitrack and 2-track mastering recorders
are necessary. It is crucial that the these recorders
be "user calibrated" so that this crucial skill can be
imparted to our students.
Studio A: Otari MTR-80 24-track Recorder (2 inch tape)
or, TASCAM MSR-24 Recorder (1 inch tape)
Otari MTR-12 1/2 Track Recorder
or, other (less expensive) 1/2 track
EACH WITH DBX AT THE OUTSET
Studio B: TASCAM MSR-16 Recorder (1/2 inch tape)
TASCAM 1/2 track
EACH WITH DBX AT THE OUTSET
While it may not be possible to have this equipment
in a "complete" configuration at the outset, such
equipment will facilitate the following:
Additional Pedagogical Areas:
Classical style Analogue Recording w/ NR
(Dolby A, DBX, SR, TELCOM, HX PRO, Dolby S)
(at the outset not all noise reduction schemes can
be supported, however Dolby A, SR and DBX should
be considered a goal due to their proliferation
in the industry)
"Rock 'n Roll" style Analogue Recording
- tape compression
Electronic music (musique concrete) techniques for:
1) effects
2) composition
Analogue Tape Editing:
Razor Blade
Digital i/o and analogue mastering
Digital Tape Recording:
Essential Pedagogical Areas:
Technology and technique of digital audio
Sampling Theorem
ADC/DAC design and use
(Many of the same concerns as Analogue Recording but
specific to the digital domain.)
Sony PCM F-1 + BETA Video (ideally 2, at least 1)
(still the cheapest way to Lock digital with jam sync
video-time code on the analogue track while you record
the F-1 with Black Burst on the sync in / also
quite cost effective for field recording and cheap
tape stock - VHS can be substituted with some minor
increase in error rate)
DAT
(from the outset - crucial for location recording,
in-studio mastering and archiving:
therefore, portable units and time-code units are
essential)
Recommended:
TASCAM DA-P1 - Portable DAT (1)
Studio A:
TASCAM DA-30 - Rack DATS (3)
Studio B: and MIDI Suite
TASCAM DA-60 - Time-code DAT (2)
Studio A: and Studio B:
Open Reel 2 track Digital-Pro-Digi/DASH
(this is beyond our grasp at the moment but might be
considered in the 3, 5 and 10 year plans)
DA-88 Modular Digital Multitrack
(Modular Digital Multitrack offers significant
performance to cost ratio, therefore we must consider
these machines as crucial to our program as a basis.
In addition to fine sound quality in the digital
domain tape stock is relatively cheap which will be
be a bonus to both students and School of Music
users)
Recommended:
Studio A: DA-88 (3 units) 24-tracks total
System Remote (RC848)
Synchro Cable (PW88S)
Studio B: DA-88 (2 units) 16-tracks total
System Remote (RC848)
Synchro Cable (PW88S)
Multi-track- Pro-Digi/DASH
(The other crucial digital format which is also beyond
our grasp at the moment. This may be considered as
a possibility for the future.)
Consoles
Essential Pedagogical Subjects:
Architecture-signal flow
Design concepts-electronics signal path
Recall
Automation-VCA/Motorized faders
Patchbay and studio integration
Recommended:
Studio A: TASCAM M5000 40 x 24 with Automation
or, M3500 32 x 8 with Automation
Studio B: Mackie Designs - 32 x 8
or, TASCAM M3500 32 x 8 with Automation
Microphones
Essential Pedagogical Areas:
Basic types
Polar patterns
Mic Techniques
Classical-2 mic patterns
rock 'n roll/pop usage
combined techniques-delayed spot mics with main pair,
and etc.
(This area is complex as microphones are expensive and
delicate. We must identify needs and goals for the
acquisition of microphones over time. As the list
grows the costs soar - best to start with what we
currently have and build our microphone holdings
slowly and carefully.)
Recommended:
Schoeps (matched pair for classical recording)
AKG Blue Line System ( 2 pair)
AKG Hi-Intensity (1 pair)
Audio Technica AT815A Shotgun (1 pair)
Electro-Voice RE2000 (1 pair)
Electro-Voice RE20 (1 pair)
Microtech Gefell (2 pair)
Psychoacoustics
Essential Pedagogical Subjects
Hass effect
Aural effect (Deutch, Wessel, Shepard research)
(Eventually, sound analysis tools will become necessary
to the Audio Recording Arts Program - not only to
explicate Psychoacoustical concepts but also to teach
digital audio. Digital Audio Workstations (DAWs) can
assist in the meantime - this is mostly a software
concern.)
Acoustics
Essential Pedagogical Subjects:
Control Room - LEDE
Studio
Halls
Where you can get into problems
- console bounce from near field monitors;
- wall/ceiling bounce from main monitors
(This area can also benefit from DAWs and software
especially those programs which exist for studio
design (CAD) that incorporate physical modeling,
and those which aid loudspeaker design. However,
in this area equipment is not terribly relevant. It
will be crucial though that our control rooms are
designed along the principles we are attempting to
elucidate.)
Mixing
Essential Pedagogical Subjects:
Among many others:
Classical recordings using multiples (more than 2) mics
and/or multitracking techniques
Nashville-vocals up-front (country style)
clean and crisp background tracks
LA-Heavy rhythm tracks, buried vocals
(It is crucial to have integrated consoles, analogue
and digital audio recorders and patchbays to enable
teaching of the above concepts and others.)
Digital Signal Processing
Essential Pedagogical Subjects:
Introduce with analogue synthesizers and acoustic
compilers such as Csound and cmusic
Phasing, flanging, delay, EKO, PVOC, pitch shifting,
Doppler, phase vocoding, reverberation and etc.
Compressors/ Gates:
applications, including: De-ess,
tape noise reduction, archival noise reduction.
Equalization:
Electronic filter types: Bezzel, etc.
Why there are different types,
the pro's and con's of several common types
and uses
(x-overs, high-pass, parametric, transversal,
graphic, etc.)
Compare Massenburg, with Focusrite and with API
Recommended:
Studio A: Lexicon 480XL (in 5 years, the equiv)
Lexicon 300L (perhaps at the outset?)
DBX Project I signal processors (gain)
DBX 3231L - 1/3 octave graphic EQ
t.c.electronic M5000
Studio B: Lexicon LXP 15
DBX Project I signal processors (gain)
DBX 3231L - 1/3 octave graphic EQ
t.c. electronic M5000
(We still have a number of signal processing
from the lot of equipment from Studio One. It
will be necessary to integrate what we already
have with a few new tools at the outset. Once
again, the need for a coherent plan of growth
in acquisition is clear.)
Grounding/electronics stuff
(This pedagogical area can be well supported by
a staff technical engineer and his or her
equipment, which we must also purchase by the
way. Some important pedagogical needs will
potentially be met by including this person's
talents among those of the full-time faculty.)
Sessions
(A special seminar for recording engineers
which concerns the real-world issues of audio
production in the marketplace will be essential.
As of now there is no training in this area of
pedagogy, though it is clearly essential to our
academic program.)
Essential Pedagogical Areas:
Pre-production
documenting the sessions
documenting the personnel
labels for materials
specs of tools and how to use
collaboration with musicians
collaboration with producers
acting as engineer/producer
rights and responsibilities of each roll
SYNC for audio and audio/video or multimedia applications
Essential Pedagogical Subjects
MIDI
SMPTE
House sync
MIDI time code
OMS/Mac Midi/Midi time piece
Recommendation:
House sync (SMPTE)
- Studio A, Studio B and MIDI suite(s)
MIDI clocks in each area
MIDI
Essential Pedagogical Subjects:
software/hardware for MIDI
Both platforms: PC-486 and MAC
Computer based sequencing
Max
Performer
Studio Vision
etc--what ever is the software of choice
Recommendation:
(It is essential that MIDI instrument and computers
for MIDI use are located in both studios in addition
to the MIDI suite(s).)
Digital Audio Workstations / Computer Music Applications
Essential Pedagogical Areas:
Basic DSP and Computer Music Synthesis
Sound Hack (MAC)
Csound, cmusic, Dolson DSP (486)
Digital Editing / Hard Disk Recording
Recording/Multitracking:
Pro tools III (16 track - 3 gigabyte storage)
Editing/Mastering/CD Premastering/CDR
Audio Forensics, De-noising, De-clicking:
Sonic Solutions - UltraSonic Processor
NoNoise Option
MediaNet (multiple stations)
10 gigabyte storage
CD Mastering
Sony 9000 CD-Recorder
Integrated with the SonicStation (above)
JVC Rom-Maker
Integrated with 486 DAWs
(The above systems are intended for Studio A only)
Editing/Mastering/CD Premastering/Audio Forensics
Digital Signal Processing/Computer Music
Synthesis:
Micro Technologies Unlimited MicroSound
SMPTE Sync
4 Channels Digital I/O
486 DX2-66mhz, 16MB RAM,
3 gigabytes SCSI storage
(The above system is intended for the MIDI suite.)
Miscellaneous:
Each studio space should have the following:
2 Cassette Recorders (for recording and dubbing)
1 CD player
Main and near-field monitors
1 SMPTE Video Recorder and Monitor
This will suffice as a basis for continued discussion on the matter of
technological outfitting for our Audio Recording Arts Program. I have left
out the MIDI suite(s) on this listing and will provide recommendation for
discussion on this aspect shortly.
POSITION DESCRIPTION BASIC FUNCTIONS AND RESPONSIBILITY To assist in the operation and maintenance of hardware and software for stand-alone and networked computer music systems; coordinate the resolution of hardware, software, and network connectivity to meet the needs of faculty, staff and students; coordinate the resolution of hardware in the Center for Audio Recording Arts (CARA). CHARACTERISTIC DUTIES AND RESPONSIBILITIES Assist in the planning, operation, and maintenance of the hardware and software for stand-alone and networked computer systems. Coordinate the implementation of problem resolutions for system hardware, software, network connectivity, and operational needs. Prepare and present seminars and workshops for faculty, staff, and students relating to the features, services, capabilities, and reference resources of a computer music installation or network system. Consult with faculty, staff, and students at an advanced level on a wide range of subjects in computer systems and music technology. Provide appropriate systems documentation and technical advise in support of the curricular and research objectives of faculty and students. Assist faculty in the review of music technology products and assess the compatibility and projected use in the School of Music. Assist in the development of concepts for improvement of a comprehensive hardware, software, and communications environment of the School of Music and participate in the design of specialized software required to extend the system. SUPERVISION RECEIVED General supervision is received from a research project director, faculty member, Director of the School of Music or other designated official. SUPERVISION EXERCISED Functional supervision may be exercised over graduate student support staff. QUALIFICATIONS A Bachelor's degree, including music and computer-related course work, or an equivalent combination of education and experience is necessary. Knowledge of the fundamentals of music theory, including the ability to read music, is required. Prior experience with audio recording, MIDI, synthesizers, computer music systems and digital media systems in required. Prior experience with ethernet, client-server architecture, and license management is required. Considerable experience in effectively communicating complex, technical concepts and information to a wide range of users is necessary. Some experience teaching music is desirable. Computer-related technical consulting, writing, or teaching experience is desirable. Prior experience providing comprehensive technical support in an academic setting is desirable. Prior experience supervising student personnel is desirable. The Center for Audio Recording Arts (CARA) The Center for Audio Recording Arts (CARA) houses three fully equipped recording studios, integrated MIDI suites and other computer music facilities in support of technology within the School of Music and the Audio Recording Arts Program. CARA provides state of the art digital audio recording and editing technology in support of teaching and research in music recording, post-production, computer music and intermedia. Interdisciplinary research projects among the performing arts, computer science and digital signal processing create an intellectually and artistically challenging environment.