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| Module Availability |
| Semester 1 |
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| Assessment Pattern |
Coursework 1: radio advert - 20%
Coursework 2: post-production assignment - 35%
Coursework 3: edited classical studio session - 45%
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 a more detailed study of close microphone placement, running a studio recording session, as well as introducing you to the processes specific to recording and producing sound for film or TV. |
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| Prerequisites/Co-requisites |
| • HE1 Audio Engineering and Recording Techniques A & B |
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| Module Aims |
• To continue the introduction to professional audio from the first year course and develop your technical and operational abilities in preparation for PTP.
• To provide a forum for constructive criticism and discussion of your recordings and those of other 2B students in the form of a weekly seminar.
• To give experience of planning and executing the recording of live concerts and supervising assistants as part of the duty recording rota.
• To introduce the processes and tasks involved in the recording and post production of sound for picture and to give some practical experience in this field.
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| Learning Outcomes |
At the end of this module, you should be able to:
• Describe the microphone placing and studio layouts necessary to make high quality professional recordings.
• Plan and execute studio sessions of small to medium scale classical recordings so as to ensure that a high quality edited master can be made.
• Use digital editing facilities to produce a master copy to a high standard.
• Assess the technical and operational quality of recordings of any type of music.
• Describe the steps needed to ensure that a recording session is safe.
• Supervise a small team of junior students and contribute to their training.
• Describe the process of recording sound on film location, and the subsequent processes involved in adding sound to picture.
• Assess the EQ and other processing necessary to match ADR to the original location sound on a film recording.
• Plan and execute the recording of Foley FX to a film sound track, paying attention to all the artistic and technical attributes of the sounds needed to make them believable.
Transferable Skills:
• Transferrable subject knowledge
• Group work
• Leadership skills
• Time management
• Person management
• Problem solving
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| Module Content |
The following is an indication of the likely topics to be covered:
• Inline mixing consoles.
• Detailed look at the equipment and microphones available in the department.
• Running a recording session smoothly.
• Studio layouts and microphone placement for pop recording.
• Studio layouts and microphone placement for small classical ensembles.
• Editing a classical session.
• Sound recording on film location and ADR.
• Foley recording.
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| Methods of Teaching/Learning |
• One two-hour lecture per week.
• One one-hour listening seminar per week.
• Recording experience gained from duty engineer rota and self-directed recordings.
• Discussion and feedback in listening seminars.
• Coursework assignments and feedback.
• Occasional workshops given by visiting professionals.
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| Selected Texts/Journals |
Compulsory Reading:
• None.
Recommended Reading:
• Borwick, J, ed, 1996: Sound Recording Practice, (London: UOP).
• Eargle, J 1980: Sound Recording (London: Van Nostrand).
• Nisbett, A, 1993: Use of Microphones (London: Focal Press).
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| Last Updated |
| Date Last Revised: 14/01/11 |
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