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| Module Availability |
| Semester 2 |
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| Assessment Pattern |
Coursework 1: multitrack studio pop recording - 50%
Coursework 2: large scale recording made on location - 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 explore further areas of professional microphone techniques for larger ensemble recording, and post-production including the skills and knowledge needed for mastering an album. |
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| Prerequisites/Co-requisites |
| • HE1 Audio Engineering and Recording Techniques A & B |
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| Module Aims |
• To continue the exploration of professional audio from the Recording Techniques A course and further develop your technical and operational abilities in preparation for PTP.
• To provide a forum for constructive criticism and discussion of your own and commercial recordings 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 concepts and skills involved in mastering a CD for a variety of genres of music.
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| Learning Outcomes |
At the end of this module, you should be able to:
• Plan and execute studio sessions and subsequent mixing of 'pop' recordings.
• Plan and execute recordings of location and live concerts of any type or scale of 'classical' music.
• React appropriately to emergencies or difficulties encountered in a live or session recording.
• Manage all the technical equipment necessary to making professional quality recordings.
• Assess the technical and operational quality of recordings of any type of music, and offer suggestions as to how a recording might be improved.
• Use post production digital editing facilities to produce a red book CD master including appropriate choice of fades, relative levels and gaps between tracks.
• Describe the aspects of a recording that must be taken into consideration when presenting it amongst other recordings as part of a compilation or album.
• Describe the processes involved in producing a film sound track including the elements of music, dialogue, ADR, Foley, FX and sound design, and explain why these processes are necessary.
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:
• Microphone placement and other practical considerations for large scale location recordings.
• Microphone placement and studio layout for large ensemble studio sessions.
• Additional close microphone placement for pop recording.
• Audio processing and treatments including EQ, dynamics and effects.
• Audio mastering for classical and pop albums – gaps, fades, pace, structure.
• Audio mastering for classical and pop albums – processing and other changes to the audio.
• Process of recording music for picture.
• Different timecode standards and the common pitfalls that arise in post production.
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| Methods of Teaching/Learning |
• One one-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).
• Katz, B 2007: Mastering Audio The Art And The Science (London: Focal press).
• 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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