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| Module Availability |
| Semester 2 |
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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 advance your understanding of 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 |
| • HE1 Audio Engineering and Recording Techniques A |
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| Module Aims |
• To advance your understanding of the theory of professional audio systems engineering.
• To advance your understanding of professional recording operations and equipment.
• To prepare you for the HE2 Recording Techniques modules.
• To advance your understanding of the operation of a range of professional recording equipment.
• To further develop your skills in critical listening.
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| Learning Outcomes |
On successful completion of this module you should be able to:
• List the requirements of a professional analogue tape recorder.
• Explain the need for each stage of equalisation in an analogue tape machine.
• Describe the action of HF bias.
• Describe the alignment procedure for the signal chains of an analogue quarter inch tape machine to IEC or NAB professional standards.
• Describe the principles of PCM digital audio.
• Sketch the signal chain of typical high quality, in-line and stereo mixing desks, explaining the action and use of each operational control.
• Describe the technical specifications needed for frequency response, noise, and distortion in a professional mixing desk.
• Describe the technical and operational characteristics of PPMs and VU meters.
• Draw the systems diagram of a complex technical installation (e.g. a studio control room or sound mixing desk) using BS EN 60617 (or BS 3939) symbols.
• List the requirements of a professional analogue tape recorder.
• Explain the need for each stage of equalisation in an analogue tape machine.
• Describe the action of HF bias.
• Describe the alignment procedure for the signal chains of an analogue quarter inch tape machine to IEC or NAB professional standards.
• Describe the principles of PCM digital audio, including Sample and Hold, PCM Spectrum and the Nyquist Criterion.
• Explain how aliasing can be prevented.
• List common sampling rates.
• Explain how samples are quantized.
• Derive formulae for the Signal to Quantising Noise Ratio.
• Explain the need for, and action of, Dither.
• Describe RZ, NRZ, NRZI, and Manchester Bi-Phase mark channel codes.
• Explain the use of Eye Patterns.
• Describe a range of conventional A to D and D to A converters.
• Use an SSL 9000K Series desk to mix down a pre-recorded "Pop" session tape.
• Control the levels of individual sources to acceptable artistic and technical levels.
• Select aesthetically suitable frequency and reverberation effects processing.
• Describe how to "mic-up" a drum kit.
• Mix down a drum kit to acceptable artistic standards.
• Identify and describe the subjective effects of selected basic features of recorded balance.
• Identify and describe selected spatial features of reproduced sound.
• Identify and describe the subjective effects of selected digital audio sampling and quantisation artefacts.
• Work in a small team to make an acceptable recording of a live concert.
• Behave in a professional manner during a recording session.
• Rig and derig the microphones and other facilities under direction.
• Move or change microphones under live concert conditions.
• React appropriately, under direction, to a recording emergency during a live concert.
• Align a recorder to agreed Departmental standards.
• Keep a log of a recording session.
• Transfer a DAW session file to CD to Departmental norms and standards.
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:
• Analogue recording and reproduction.
• PCM digital audio.
• Mixing desk signal paths.
• Audio metering.
• Pop recording.
• Drum kit microphone techniques.
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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).
• BS EN 6061, 1996: Graphical symbols for diagrams (London: British Standards Institute).
• Eargle, J, 1980: Sound Recording (London: Van Nostrand).
• EBU Tech. 3205-E, 1979: The EBU Standard Peak-Programme Meter for the Control of International Transmissions (Geneva: European Broadcasting Union).
• Jorgensen, F, 1980: The Complete Handbook of Magnetic Recording (Blue Ridge Summit: TAB).
• Watkinson, J, 2001: The Art of Digital Audio (London: Focal Press).
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| Last Updated |
| Date Last Revised: 14/01/11 |
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