Instructors: Ferran Conangla (ferran.conangla@esmuc.cat), Enric Giné (enric.gine@esmuc.cat)
Credits: 5 ECTS
Course presentation
This course encompasses both recording&mixing techniques and the audio technologies that make them possible. From mono to multitrack recording techniques, and from basic analog to digital audio technology, the course aims to give a broad of view of the grounds of recording industry within the recording studio scope. Special emphasis is given to applied state-of-the-art digital audio technologies as well as hands-on-hands specific recording techniques.
Prerequisites
To take this course it is desirable to have an engineering background, to have taken some courses in Physics (Acoustics) and Electronics at the undergraduate level, and also to be familiar with basic signal analysis. Recording and Mixing previous experience and/or formal music knowledge is also very worthy.
Competences to be acquired
General: Recording and mixing basic skills; Ability to understand and use state-of-the art recording technology; Ability to take criteria-based decisions; Ability to communicate in English; Ability to work in a team; Ability to work in an interdisciplinary field;
Specific: Ability to link up technological and technical uses to music recording; Identificaction of ground concepts in any state-of-the-art applied audio technology; Developement of musical and aesthetic criteria regarding music recording; Practical experience in a studio recording session;
Theory Content
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Course Introduction
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Basic recording acoustics
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Fundamentals of the recording chain
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Powering, wiring, interfacing and grounding
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Microphones, technology and recording techniques
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Studio monitoring. Loudspeakers and headphones
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Planning and procedures of a recording session
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Digital audio conversion and processing (I)
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Digital audio interfacing and networking (I)
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Understanding and use of the DAW (I)
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Final exam
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Final project presentation
Lab content
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Absortion&reflection phenomena within mono recording techniques
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Stereo recording techniques. MS-XY-AB comparison
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Multimicrophone techniques. Comb filtering and 3-to-1 rule
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Musical recording with and without headphones monitoring
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Final project
Class format and evaluation method
The course takes place in the 1st term of the year and it is organized depending on schedule in two types of sessions, once per week (Monday from 18:00 to 21:00)
- Lectures
- Hands-on exercises
The distribution between lectures and hands-on exercices throughout the course will balance both theoretical and practical aspects of the subject. The course will also include a final recording&mixing project.
Homework: each week, all students are expected to review the lecture material (usually consisting on a set of papers or lecture notes) and to work on a set of proposed exercises. Students are also expected to work on their project.
Project: for the project, groups of students (recommended 3-4 students per group) are expected to propose and develop a project related to audio recording & mixing technologies and thecniques. Each student is expected to work on the project during the term and present the results at the end of the course.
Final exam: the student will be asked to discuss some of the topics of the course at a final exam.
Evaluation: the evaluation of the course is based on the following items:
References
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Lecture Notes (Power Point presentations). Ferran Conangla & Enric Giné
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Acoustic Design for the Home Studio. Mitch Gallagher. Thomson Course Technology
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Acoustics and Psychoacoustics. David M Howard & James Angus. Focal Press
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Audio Metering. Eddy Bøgh Brixen. Broadcast Publishing
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Critical Listening Skills for Audio Professionals. F. Alton Everest. Thomson Course Technology.
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Digital Audio Technology. Sony Service Centre Europe. Focal Press, 4ed., 2001
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Echo & Reverb. Peter Doyle. Wesleyan University Press, 2005
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Environmental effects on the speed of sound. Dennis A. Bohn. Rane Corporation
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Handbook for sound engineers. Glen M. Ballou (editor). Focal Press, 2ed., 2002
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Introduction to digital audio coding and standards. M. Bosi, R. Goldberg. Kluwer Academic Publishers, 2003
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Master Handbook of Acoustics. F.Alton Everest. Focal Press
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Mastering Audio. Bob Katz. Focal Press
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Mikrofone in Theorie und Praxis. Thomas Görne. Elektor-Verlag GmbH, Aachen
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Mikrofone-Aufnahmetechnik. Michael Dickreiter. Hirzel Verlag
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Mixers, signal processors, Microphones & more. Bill Gibson. Thomson Course Technology.
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Mixing and Mastering Audio recordings. Bill Gibson. Thomson Course Technology
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Mixing, Recording and Producing Techniques of the Pros. Rick Clark. Thomson Course Technology.
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Principles of Digital Audio. Ken C. Pohlmann. McGrawHill Professional, 4ed., 2001
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Pro Audio Reference. Dennis A. Bohm. Rane Ed.
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Professional microphone techniques. David Miles Huber & Philip Williams. MIX books
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Recording Music on Location. Bruce & Jenny Barlett. Focal Press 2007
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Recording tips for engineers. Tim Crich. Focal Press
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Sound FX. Alexander U. Case. Focal Press
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Sound Reinforcement Handbook. Gary Davis & Ralph Jones. HLP (Yamaha)
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Stereophonic Sound Recording. Christian Hugonnet, Pierre Walder. John Wiley &Sons
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The Art of Digital Audio. John Watkinson. Focal Press. 3ed., 2001
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The Microphone book. John Eargle. Focal Press
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The Nixing Engineer's Handbook. Bobby Owsinski. Thomson
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The New Stereo Soundbook. Ron Streicher & F.Alton Everest. Focal Press
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The Science of Sound. Thomas D. Rossing. Addison Wesley. 2ed. 1990
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Tontechnik. Thomas Görne. Fachbuchverlag Leipzig
