General information


Subject type: Mandatory

Coordinator: Rafael Suarez Gómez

Trimester: First term

Credits: 4

Teaching staff: 

Jordi Roquer González
Santos Martínez Labor 

Skills


Specific skills
  • E5_Design and make an audiovisual product (consisting of still or moving images), taking into account both its technical and artistic aspects, in all its components

  • E9_Apply the mechanical, electronic and digital principles of sound capture, amplification and recording for application to different platforms: shows, radio, television, audiovisual and multimedia. Postproduce the audio and add the sound effects of an audiovisual production

  • E10_Apply processes, methods and techniques to develop creativity and innovation in audiovisual production, multimedia development and video game programming

  • E14_Acquire knowledge of the history, aesthetics, evolution and dynamics of cinema, television, radio, press, Internet and video games, how to recognize aesthetics through viewing and analysis

Description


The subject represents an introduction to the world of audio not only from its practical side but also from an analytical and reflective perspective.

It works from two large blocks: one dedicated to the knowledge of the same tools of capture, amplification and sound treatment and the other in the acquisition of tools for the discursive analysis of sound in the audiovisual.

 

This subject has methodological and digital resources to make possible its continuity in non-contact mode in the case of being necessary for reasons related to the Covid-19.

In this way, the achievement of the same knowledge and skills that are specified in this teaching plan will be ensured.

 

Learning outcomes


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) and Virtual Studio

In addition, the student will also achieve the following learning outcomes:

7. Demonstrate a solid knowledge of the role of sound in audiovisual media.
8. Have strategies for relating technical elements to the discursive elements of the social sciences and humanities.
9. To be able to analyze the role of sound in the audiovisual media beyond strictly technical issues.
10. Have the appropriate communicative tools to convey the importance of sound in audiovisual narrative.

Working methodology


The subject consists of two different parts:

- Theory sessions with large group (3h / week)

- Practical sessions (small group) (2h fortnightly)

 

This course, due to the situation generated by COVID, some of the large group sessions will be held in hybrid format: face-to-face and online (via streaming). This will allow students to rotate to face-to-face classes, respecting the maximum number of students per classroom imposed by the distance measures. When they are not in contact, they will be able to follow the class online from home.

With regard to internship sessions in smaller spaces (such as laboratories, studios or sets), where appropriate, work will be carried out simultaneously in several spaces in order to ensure that the conditions established by the safety protocols are met.

Contents


BLOCK 1. Theoretical-practical approach

Basic principles of sound

Introduction to recording   

Audio processors and editing techniques


BLOCK 2: Theoretical-discursive approach

Theories of sound in the audiovisual

The functions of film music

Sound analysis in the audiovisual

 

Learning activities



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: Analysis work

Video where the role of the sound and music of a film is analyzed. This activity is shared with the subject of Film Analysis.

The work will be done in groups and will be presented in class.

Deliverable and links to the evaluation:

A pdf file must be delivered to the eCampus-enabled mailbox. The pdf will contain the presentation and an explanatory script that must include a cue list for the analysis part. This activity will account for 30% of the final grade of the course.

Learning outcomes: At the end of the activity the student must be able to:

LO2 Use sound recording techniques in a wide range of situations.
LO3Use the equalization and compression parameters.
LO4 Identify and correct the noise generated by recording systems
LO6 Work with Digital Audio Workstation (DAW) and Virtual Studio
LO7 Demonstrate solid knowledge about the role of sound in audiovisual media.
LO8 Have strategies for relating technical elements to the discursive elements of the social sciences and humanities.
LO9 Be able to analyze the role of sound in audiovisual media beyond strictly technical issues.
LO10 Have the appropriate communicative tools to convey the importance of sound in audiovisual narrative.

Skills to be worked on: E5, E9, E10, E14, G2, G3

 

Activity 5: Follow-up tests

4 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 20% of the overall grade.

 

Activity 6: 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%.

 

In case of confinement, the following changes will be applied:

The hardware devices of Activity 2 will be worked from the virtual simulations offered by Reason in its free version.

Activity 3 tasks that involve the use of specific microphones can be performed perfectly with capture devices available at home such as computers, tablets, and cell phones. 

 

Evaluation system


The subject proposes the evaluation in three blocks: 

Activity 4 (analysis work): 30% of the final grade.

Activity 5 (four tests of theoretical-practical contents): 20% of the final mark.

Activity 6 (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.

 

In case of confinement, the final test of the subject will also be done through a telematic system.

REFERENCES


Basic

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.

COOK, Nicholas (1998): Analyzing Musical Multimedia. Oxford: Oxford University Press.

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

Complementary

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.

TRYNKA, Paul (Ed) (1996): Rock hardware: 40 years of rock instrumentation. London: Balafon Books.

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