MTEC 51A: STUDIO RECORDING I
Foothill College Course Outline of Record
|Effective Term:||Summer 2021|
|Hours:||3 lecture, 3 laboratory per week (72 total per quarter)|
|Advisory:||Not open to students with credit in MUS 80A.|
|Degree & Credit Status:||Degree-Applicable Credit Course|
|Grade Type:||Letter Grade (Request for Pass/No Pass)|
The student will be able to:
A. Interpret the specifications of mixing boards, microphones, and signal processors.
B. Memorize and explain the syntax of the audio reinforcement and recording field.
C. Discuss the implementation of sound reinforcement devices into the microphone/mixing board/amplification/speaker matrix.
D. Design a sound reinforcement system based on specifications of the audio devices available.
E. Construct, configure and operate a sound reinforcement system.
F. Describe and discuss the basic principles of acoustics and the physics of sound.
G. Discuss, compare and contrast cross-cultural sound reinforcement techniques.
A. Study and analysis of sound reinforcement equipment specifications.
1. 24/8 mixing consoles.
2. Condenser and dynamic microphones.
3. Compression, reverberation and chorus analog signal processing.
4. Cultural differences in sound reinforcement techniques.
B. Design and construction of sound reinforcement systems.
1. Connections between microphones and mixing boards using gain and equalization as a defining parameters.
2. Amplifiers and reinforcement speaker configurations for optimum room acoustics.
3. Microphone placement and direct impedance connections for acoustic and electric musical instruments.
4. Submix groups and monitor mixing/amplification.
C. Study and analysis of basic room acoustics and the physics of sound.
1. Analyzing room acoustics in both large and small scale environments.
2. Equalization settings and applications based on basic physical principles of sound.
3. Virtual and synthesized early reflection matrices.
Lab content includes topics such as:
A. Microphone selection and placement
B. Gain settings
C. Monitor system setup
D. Amplification calculations based on room size, etc.
E. Other items may include subjects such as number of plug ins per insert track, bus assignments for efficient recording operation, and mastering compression settings
Special Facilities and/or Equipment
1. 24/8 analog and digital mixing console.
2. Condenser and dynamic microphone.
3. 5 foot, 15 foot, and 30 foot XLR cables for all microphones.
4. Analog signal processors.
5. Microphone stands with boom arms for all microphones.
B. When taught via Foothill Global Access:
1. On-going access to computer with email software and capabilities.
2. Email address.
Method(s) of Evaluation
Written assignments that analyze, compare and contrast sound reinforcement device specifications, and cultural sound reinforcement considerations
Designing and assembling a sound reinforcement system for both a large and small acoustic environment
Tests on room acoustics, sound reinforcement syntax and basic physics of sound
Method(s) of Instruction
Lecture presentations that demonstrate fundamental concepts of audio recording equipment and engineering techniques
Classroom discussions that explore technical specifications and applications of analog and digital audio equipment including mixing consoles, microphones and signal processors
Group presentations followed by in-class discussion and evaluation
Representative Text(s) and Other Materials
Owsinski, Bobby. The Recording Engineer's Handbook, 4th ed.. 2017.
Types and/or Examples of Required Reading, Writing, and Outside of Class Assignments
A. Written critiques and analyses of audio production projects including albums, soundtracks, television, video games and internet multimedia.
B. Written summaries documenting technical and artistic elements for corresponding submitted assignments and audio projects.
C. Written proposals, session logs, learning outcomes and reflections supporting submitted musical works and final master recordings.