Course Syllabus
Course: MUSC 4450
Division: Fine Arts, Comm, and New MediaDepartment: Music
Title: Audio Production I
Semester Approved: Spring 2020
Five-Year Review Semester: Summer 2025
End Semester: Fall 2025
Catalog Description: This course focuses on the study of advanced techniques involved in audio production that build on the concepts covered in Audio Fundamentals I and II. It is the first of two course that comprise the Production Track core. Audio Production I focuses on the recording (tracking or capturing) process, which includes the study of various tracking and microphone techniques involved in recording all types of instruments, ensembles, and situations.
Semesters Offered: TBA
Credit/Time Requirement: Credit: 2; Lecture: 2; Lab: 1
Prerequisites: MUSC 3352
Justification: There is audio in every aspect of our world from public service announcements to recorded music to sound effects in a video game. Someone has to record and produce that audio information. Audio Production I and II provide the opportunity for students to develop the core skills necessary to record and manipulate audio content on a professional level preparing them for jobs as audio engineers, music producers, sound designers, voice artists, sound effects editors, etc. These courses are the core of the Production Track for students pursuing the Bachelor of Music with an emphasis in Commercial Music degree, which helps them to build technical knowledge that supplements the musical skills developed this degree.
Student Learning Outcomes:
Be knowledgeable of and familiar with historical techniques and equipment used throughout the progression of recording technology. Demonstrate knowledge of and familiarity with historical techniques and equipment used throughout the progression of recording technology through participation in labs and objective written examinations.
Be familiar with the common types of equipment used in a recording studio. Demonstrate familiarity with common types of equipment used in a recording studio through participation in labs and objective written examinations.
Be familiar with the considerations involved with recording an ensemble in a studio environment as well as during a live performance. Demonstrate familiarity with considerations involved with recording an ensemble in a studio environment as well as during a live performance through participation in labs and objective written examinations.
Be knowledgeable of and familiar with various recording techniques used for both ensemble recording and individual multitracking. Demonstrate knowledge of and familiarity with various recording techniques used for both ensemble recording and individual multitracking through participation in labs and completion of various projects.
Be able to record various instruments with the three standard types of studio microphones. Demonstrate the ability to record various instruments with the three standard types of studio microphones through participation in labs and completion of various projects.
Be familiar with standard microphone placement and technique for a myriad of instruments. Demonstrate familiarity with standard microphone placement and technique for a myriad of instruments through participation in labs and completion of various projects.
Be able to record and produce a multitrack audio production of a band or ensemble. Demonstrate the ability to record and produce a multitrack audio production of a band or ensemble through participation in labs and completion of various projects.
Be knowledgeable of advanced Digital Audio concepts including dither, jitter, aliasing, floating point processing, etc. Demonstrate knowledge of advanced Digital Audio concepts including dither, jitter, aliasing, floating point processing, etc. through participation in labs and objective written examinations.
Be knowledgeable of various debates and discussions in the audio world including Digital Audio resolutions, analog vs digital, and Native vs DSP processing. Demonstrate knowledge of various debates in the audio world including Digital Audio resolutions, analog vs digital, and Native vs DSP processing through participation in labs and objective written examinations.
Content:
• Recording – Historical Techniques/Equipment• Recording – Studio vs Live• Recording – Tracking an Ensemble • Recording – Loop Record/Punch/Playlist• Microphone Technique – Stereo/Multi-Channel• Microphone Technique – Drums/Percussion• Microphone Technique – Piano• Microphone Technique – Acoustic Guitar• Microphone Technique – Electric and Bass Guitar• Microphone Technique – Vocals• Microphone Technique – Strings• Microphone Technique – Brass/Woodwinds• Digital Audio – Dither/Jitter/Aliasing• Digital Audio – Native vs DSP/Floating Point
Key Performance Indicators:
Class and lab participation 20 to 40%
Class Projects 30 to 50%
Exams 20 to 30%
Representative Text and/or Supplies:
Modern Recording Techniques (Current Edition) by David Miles Huber,
The Recording Engineer's Handbook (Current Edition) by Bobby Owsinski,
Pedagogy Statement:
This course will be delivered via direct instruction, class discussion and teacher directed hands on work.
Instructional Mediums:
Lecture/Lab
Maximum Class Size: 15
Optimum Class Size: 12