104234 - SOUND PRODUCTION

Subject type: Mandatory

Coordinator: Rafael Suarez Gómez

Trimester: Third term

Credits: 4

The main focus of the course is sound production (recording, editing and mixing) outdoors, set and studio.

Concepts worked on in Audio and Sound and also in Musical Creation are consolidated through both praxis and analysis.

At the end of the course the student will take on the sound production of an audiovisual work in order to consolidate the concepts, techniques and tools of the course.

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. 

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

1. Explain the basic principles of sound reproduction and its real application in professional use.
2. Identify the various formats for recording analog and digital sound.
3. Manipulate the various formats of recording and sound support and make the corresponding format changes.
4. Know how to sound an audiovisual product (video clip, short, advertisement, etc.)
5. Use sound recording techniques in a wide range of situations.
6. Use the equalization and compression parameters.
7. Identify and correct the noise generated by the recording systems
8. Apply sound analysis tools.
9. Creatively look for the sound elements needed for your goal and apply creativity.
10. Work with Digital Audio Workstation (DAW) and Virtual Studio

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

11. Capture and create sounds to complement audiovisual productions such as commercials, films, short films, television spaces, video games.
12. Organize and direct a recording of sound effects in the studio and on set.
13. Identify quality problems and know how to solve them, before or after registration
14. Have a generic view of the possibilities of application of technologies linked to sound production.
 

The subject combines theoretical sessions with practical sessions. The work methodology involves two different parts:

- Large group sessions (3h / week) where theoretical knowledge is taught. 

- Practical sessions in small groups (2h fortnightly), where activities focused on sound capture (exterior, foley and dubbing), editing and mixing are developed.

Attendance at internships is mandatory.

All materials will be published on the virtual campus. Notices to students will also be made by this means; it is the student's responsibility to consult this virtual space regularly.

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.

1. Review of audio basics

Intensity, tone and timbre

Mono / stereo

Decibels. Isophonic curves and their application

Audio technology in audiovisual production

2. Microphone and capture during filming

Cannon microphones

Lavalier microphones

Wireless systems

Hanger techniques

Recording systems

Mono vs stereo recording

Wildtracks, wildlines, room tone and related concepts

3. Introduction to digital audio

Fundamentals of AD / DA conversion

Analog Vs. digital

Interfaces

Routing and transmission formats

Digital recording formats

Common problems: distortion, aliasing, levels

4. DAW systems

Common features in DAW systems

File management

Edicio

Routing

Mixer

Plug-ins: audio processing and virtual instruments

Audio tracks, MIDI, auxiliaries, Master.

Interfaces and drivers

Synchronization

5. Production analysis

During the course, the sound of various audiovisual productions will be analyzed.

Activity 1. Follow-up tests

4 tests distributed throughout the term where theoretical contents and aspects related to the contents worked in the practical activities will be evaluated. These tests will be performed through an online system and their total value will be 10% of the overall grade.

Activity 2. Dubbing exercise

Recording of the voices of an advertising spot. Group work, not evaluable.

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

R1. Explain the basic principles of sound reproduction and its real application in professional use.
R3. Manipulate the various formats of recording and sound support and make the corresponding format changes.
R4. Know how to sound an audiovisual product (video clip, short, advertisement, etc.)
R5. Use sound recording techniques in a wide range of situations.
R6. Use equalization and compression parameters.
R7. Identify and correct noise generated by recording systems
R10. Work with Digital Audio Workstation (DAW) and Virtual Studio
R12. Organize and direct a recording of sound effects in the studio and on set.
R13. Identify quality problems and know how to solve them, before or after recording

Skills to be worked on: E9, E10, G5, T2

Activity 3. Foley exercise

Recording Foley effects for a short film. Group work, not evaluable.

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

R1. Explain the basic principles of sound reproduction and its real application in professional use.
R3. Manipulate the various formats of recording and sound support and make the corresponding format changes.
R4. Know how to sound an audiovisual product (video clip, short, advertisement, etc.)
R5. Use sound recording techniques in a wide range of situations.
R6. Use equalization and compression parameters.
R7. Identify and correct noise generated by recording systems
R10. Work with Digital Audio Workstation (DAW) and Virtual Studio
R12. Organize and direct a recording of sound effects in the studio and on set.
R13. Identify quality problems and know how to solve them, before or after recording

Skills to be worked on: E9, E10, G5, T2

Activity 4. Sound capture outdoors

Shooting of a small sequence, using all the necessary equipment for a correct capture of the sound. Group work, evaluable by means of delivery in audio format and written memory.

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

R1. Explain the basic principles of sound reproduction and its real application in professional use.
R3. Manipulate the various formats of recording and sound support and make the corresponding format changes.
R4. Know how to sound an audiovisual product (video clip, short, advertisement, etc.)
R5. Use sound recording techniques in a wide range of situations.
R6. Use equalization and compression parameters.
R7. Identify and correct noise generated by recording systems
R10. Work with Digital Audio Workstation (DAW) and Virtual Studio
R12. Organize and direct a recording of sound effects in the studio and on set.
R13. Identify quality problems and know how to solve them, before or after recording

Skills to be worked on: E9, E10, G5, T2

Activity 5. Editing and mixing audio

Continuation of the previous practice, focused on the editing and mixing part of the project. Group work, evaluable by means of delivery in audio format and written memory. 

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

R1. Explain the basic principles of sound reproduction and its real application in professional use.
R3. Manipulate the various formats of recording and sound support and make the corresponding format changes.
R4. Know how to sound an audiovisual product (video clip, short, advertisement, etc.)
R5. Use sound recording techniques in a wide range of situations.
R6. Use equalization and compression parameters.
R7. Identify and correct noise generated by recording systems
R10. Work with Digital Audio Workstation (DAW) and Virtual Studio
R12. Organize and direct a recording of sound effects in the studio and on set.
R13. Identify quality problems and know how to solve them, before or after recording

Skills to be worked on: E9, E10, G5, T2

Activity 6. Final project: production of a small audiovisual work

Recording, editing and mixing of the sound part (dialogues, dubbing, ambient sound and music)

Group work, with evaluation of the part related to sound. 

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.

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

R1. Explain the basic principles of sound reproduction and its real application in professional use.
R3. Manipulate the various formats of recording and sound support and make the corresponding format changes.
R4. Know how to sound an audiovisual product (video clip, short, advertisement, etc.)
R5. Use sound recording techniques in a wide range of situations.
R6. Use equalization and compression parameters.
R7. Identify and correct noise generated by recording systems
R8. Apply sound analysis tools.
R9. Creatively look for the sound elements needed for your goal and apply creativity.
R10. Work with Digital Audio Workstation (DAW) and Virtual Studio
R11. Capture and create sounds to complement audiovisual productions such as commercials, films, short films, television spaces, video games.
R12. Organize and direct a recording of sound effects in the studio and on set.
R13. Identify quality problems and know how to solve them, before or after recording
R14. Have a generic view of the possibilities of applying technologies related to sound production.

Skills to be worked on: E9, E10, E11, E13, E14, G3, G5, T2

Activity 7. Final test

Final test of all the theoretical and practical contents of the subject.

In the event of confinement, the practical activities will be adapted in order to preserve the acquisition of all the procedural competencies set out in this teaching plan.

The subject raises the evaluation from the following blocks:

Activity 1: 4 partial tests distributed throughout the term. These tests will be done through an online system and their total value (the sum of the four) will be 10% on the overall grade of the subject.

Activity 4: project based on outdoor capture, editing and mixing of recorded material. It will be delivered following the indications published in the Moodle of the subject (eCampus). Its weight on the final grade will be 10%.

Activity 6: final project to be delivered following the instructions published in the Moodle of the subject (eCampus). Its weight on the final grade will be 30%.

Activity 7: final exam that will include all the contents of the subject, its weight on the final grade will be 50%.

To take the average, you must have passed the final exam. Those students who obtain a grade lower than 5 in the final exam will have to take a resit exam which will also have to be passed with a 5; the rest of the marks of the partial examinations and the practices will be maintained. In no case will it be possible to opt for recovery to raise a grade. Internships, midterms and final work have no recovery.

The exams and grades on the practices may be reviewed at a date and place advertised by the teacher through the Moodle of the subject.

BARTLETT, Bruce (1995) “Techniques of microphones in stereo” Official Institute of Spanish Radio Television

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

MAS, Carles P. (2002) “Manual of live sound”. Barcelona: A publication

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

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

AVID. "Protools 101 v12". AVID

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.

AVID. "Protools 110 v12". AVID