104214 - AUDIO AND SOUND

Subject type: Mandatory

Coordinator: Rafael Suarez Gómez

Trimester: First term

Credits: 4

Theoretical sessions include the audio-visualization of materials in English as well as some exercises based on written material (articles, manuals, technical specifications) also in English.

The subject represents an introduction to the world of audio, presenting the main tools of capture, amplification and sound treatment. We work from a theoretical perspective (large group), practice from a DAW (large group) and practice in a studio environment (small group).

At the end of the course the student must be able to:

1. Explain the basic principles of sound, the forms of capture and the amplification chain.
2. Use sound recording techniques in a wide range of situations.
3. Use the equalization and compression parameters.
4. Identify and correct the noise generated by the recording systems
5. Apply sound analysis tools.
6. Work with Digital Audio Workstation (DAW) 

The subject consists of two different parts:

- Theory sessions with large group (2 hours per week)

- Practical sessions with a small group (2 hours per week)

Audio chain

Basic principles of sound

Introduction to DAWs

Introduction to recording   

Input and output transducers

Table of mixtures

Audio processors and editing techniques

Activity 1. Introduction to DAW systems

Work in a virtual environment (using Reason, Pro Tools and free software) in order to have a first contact with Digital Audio Workstation systems.

Learning outcomes: At the end of the activity the student must be able to:
LO3 Use equalization and compression parameters.
LO5 Apply sound analysis tools.
LO6 Work with Digital Audio Workstation (DAW) and Virtual Studio.
Skills to be worked on: E9, E10, G2

Activity 2. Audio chain in DAW and hardware environments

Signal path exercise in two entrances: DAW (taking advantage of the work of activity 1) and hardware (with the study material) where in small groups various configurations will be mounted to understand the audio chain.

This activity involves between one and two practice sessions.

Learning outcomes: At the end of the activity the student must be able to:
LO1 Explain the basic principles of sound, the ways of picking up and the amplification chain.
LO3 Use equalization and compression parameters.
LO4 Identify and correct the noise generated by recording systems
LO5 Apply sound analysis tools.
Skills to be worked on: E9, E10, G2

Activity 3. Capture and processing

Exercise of recording a voice in off, analysis of the processing through the table channel and introduction to editing within the DAW. This activity involves two practice sessions. 

Learning outcomes: At the end of the activity the student must be able to:
LO1 Explain the basic principles of sound, the ways of picking up and the amplification chain.

This activity involves between one and two practice sessions. 

LO2 Use sound recording techniques in a wide range of situations.
LO3 Use equalization and compression parameters.
LO4 Identify and correct the noise generated by recording systems
LO5 Apply sound analysis tools.
Skills to be worked on: E9, E10, G2, G3

Activity 4: Follow-up tests

5 tests distributed throughout the term where theoretical contents and aspects related to the contents worked on in the practical activities will be evaluated. These tests will be done through an online system and their total value will be 50% of the overall grade.

Activity 5: Final test

Final test that will include all the contents of the subject. It is a written test with a test part and a question to be developed. Its weight on the final grade will be 50%.

The subject presents the assessment in two blocks: 

Activity 4 (five tests of theoretical-practical content): 50% of the final mark.

Activity 5 (final test): 50% of the final grade.

To take the average, you must have passed the final test with more than a 5 out of 10. Those students who obtain a grade lower than 5 will have to take a recovery test. The recovery test is passed with a 5. The remaining marks of the partial tests will be kept. In no case will it be possible to opt for recovery to raise a grade. Partial tests and work have no recovery.

Grades may be reviewed at a date and place posted by the teacher through the eCampus.

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TAGG, Philp (2013): Music’s Meanings: A Modern Musicology for Non-Muses. New York: The Mass Madia Music Scholars Press

GUSTEMS, Josep (Ed) (2014) Music and listening in the audiovisual genres. Barcelona: University of Barcelona

NEUMEYER, David (2015): Meaning and Interpretation of Music in Cinema. Bloomington: Indiana University Press

ALTEN, Stanley R. (2008). The sound in the audiovisual media. Andoain: Film and Video School.

MILES, Huber David (2014): Modern Recording Techniques. Abingdon: Focal Press.

SUPPER, Martin (2012) Electronic music and music with computer: History, aesthetics, methods, systems. Madrid: Alianza Ed.

CHION, Michel. (1993). Audiovisual: Introduction to a joint analysis of image and sound. Barcelona: Paidós.

PALOMO, Miguel (1995): The personal recording studio, Madrid: Ed. Amusic.

WHITE, Glenn; LOUIE, GJ (2005): The Audio Dictionary (3rd ed.). Seattle: Washington Press.

RICHARDSON, John., GORBMAN, Claudia., & VERNALLIS, Carol. (Eds.). (2013). The Oxford Handbook of New Audiovisual Aesthetics. New York: Oxford University Press.

CUNNINGHAM, Mark (1996): Good Vibrations. London: Sanctuary Productions.

KATZ, Mark. (2004): Capturing Sound: How Technology Has Changed Music. Berkeley: University of California Press.

MARTIN, George (1979): All you need is ears. New York: St. Martin's Griffin.

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BUTLER, Tom (1994): Fender Audio Manual. Trad. by Alberto Gutiérrez Marín. Fender Musical Instruments Corporation.

MARTIN, George (1997): Summer of love. The making of Sgt. Peppers. London: Macmillan

AVID. Protools 101, v12. AVID

Equality Unit. (2018). Guide to non-sexist use of language. Technocampus