| Module Code: TON1013 |
Module Title: AUDIO ENGINEERING AND RECORDING TECHNIQUES A |
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Module Provider: Music and Sound Recording
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Short Name: TON1013
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Level: HE1
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Module Co-ordinator: FISHER DM Prof (Music Record)
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Number of credits: 15
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Number of ECTS credits: 7.5
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| Module Availability |
| Semester 1 |
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| Assessment Pattern |
Coursework 1:
• Two equally-weighted coursework assignments - 30%
Coursework 2: listening assignment - 20%
Exam: a 2-hour written paper under examination conditions - 50%
A mark of at least 40% in each Unit of Assessment is required to pass the module.
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| Module Overview |
| This module is intended to introduce you to the theory of professional audio systems engineering, professional recording operations and equipment, the practical operation of a range of recording equipment, and critical listening skills. |
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| Prerequisites/Co-requisites |
| None |
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| Module Aims |
• To introduce you to the theory of professional audio systems engineering.
• To introduce you to professional recording operations and equipment.
• To prepare you for the HE2 Recording Techniques modules.
• To introduce you to the operation of a range of professional recording equipment.
• To develop your skills in critical listening.
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| Learning Outcomes |
On successful completion of this module you should be able to:
• Define the dB, including all major professional abbreviations of reference levels, e.g. dBu, dBm0.
• Explain the need for, and use of, balanced, unbalanced, and co-axial circuits.
• Describe the jackfield wiring schemes used in professional and broadcast installations.
• Explain the need for modulation systems.
• Derive, mathematically, the sideband structure of AM, DSBSC, and FM systems.
• Describe the Zenith-GE system of stereo coding.
• Describe the principles of operation and operational characteristics of omnidirectional, bi-directional, cardioid, variable directivity pattern, and "gun" microphones.
• Describe the principles of operation of moving-coil, electrostatic, and ribbon microphones
• Recognise a wide range of professional microphones.
• Relate hearing mechanisms to stereo recording techniques.
• Explain the requirements of a professional stereo system.
• Discuss the requirements of mono compatibility, and quality monitoring.
• Discuss the relative merits and disadvantages of co-incident pair, Decca tree, spot, and multi microphone techniques for commercial and broadcast recording of "classical" music and speech using both X/Y and M/S techniques.
• Select suitable commercial microphones for a classical piano session.
• Plan and rig a classical piano recording session.
• Operate a professional sound desk such as that installed in Studio 1.
• Align a recorder to agreed Departmental standards.
• Account for equipment borrowed from the Departmental Technical Stores.
• Record the level of "live" microphones to acceptable artistic and technical levels.
• Critically asses the subjective quality of a "Classical" piano recording.
• Compare the relative advantages and disadvantages of close and distant microphones.
• Identify and describe the subjective effects of selected frequency domain features in reproduced sound.
• Identify and describe the subjective effects of selected forms of distortion, noise and interference in reproduced sound.
Transferable Skills:
• Transferrable subject knowledge
• Critical listening skills
• Group work
• Problem solving
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| Module Content |
The following is an indication of the likely topics to be covered:
• The decibel.
• Balanced, unbalanced and co-axial circuits.
• Jackfield wiring schemes.
• Modulation.
• Microphone operation.
• Stereophonic microphone techniques.
• Classical piano recording.
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| Methods of Teaching/Learning |
• One two-hour lecture and one one-hour lecture per week.
• One two-hour seminar every other week.
• Guided reading.
• Coursework assignments and feedback.
• Because attendance at the seminars is compulsory, four marks may be deducted from the Coursework 2 mark for each absence (or late arrival or early leaving). It is your responsibility to ensure that you sign the attendance register and to provide suitable evidence if you are absent for medical reasons.
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| Selected Texts/Journals |
Compulsory Reading:
• None.
Recommended Reading:
• Borwick, J, 1996: Sound Recording Practice (London: OUP).
• Connor, F.R, 1982: Modulation (London: Edward Arnold).
• Eargle, J, 1980: Sound Recording (London: Van Nostrand).
• Eargle, J, 2004: The Microphone Book – Second Edition (London: Focal Press)
• ITU-R Rec 574-3, 1990: Use of the Decibel and the Neper in Telecommunications (Geneva: International Telecommunications Union) [volume XIII].
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| Last Updated |
| Date Last Revised: 14/01/11 |
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