- Department: Electronic Engineering
- Credit value: 20 credits
- Credit level: I
- Academic year of delivery: 2024-25
This module covers the theory and practicalities of sound and music recording. This will start with an introduction to the fundamentals of sound, and build to an understanding of room acoustics. This theory will be supported by a series of practical sessions devoted to the handling and analysis of audio signals. The module will also introduce the art and science of recording audio, covering the technical and creative aspects of recording and producing music from microphone to master. The module’s sessions will therefore include lab-based sessions covering key software skills, and studio-based practical support.
Occurrence | Teaching period |
---|---|
A | Semester 1 2024-25 |
Subject content aims:
To introduce the fundamentals of acoustics.
To develop from these fundamentals an understanding of the measurement and analysis of room acoustics.
To enable the students to develop skills in the handling and analysis of digital audio signals.
To introduce the students to the recording studio environment and a range of recording production techniques.
To enable the students to develop proficiency in the use of recording technologies.
Graduate skills aims:
To establish fundamental skills in technical report writing.
To develop effective time and project management skills through the completion of a complex recording task
Subject content learning outcomes
After successful completion of this module, students will:
Describe the recording studio environment, recording formats, and the associated signals and systems involved
Be able to use a software based Digital Audio Workstation environment together with a range of mixing and processing options for recording, editing and production work
Be able to select and use microphones appropriate for recording live and studio-based scenarios
Be able to mix individual component audio tracks into a two track stereo master
Discuss the fundamentals of acoustics
Explain acoustic impulse responses, the analysis of acoustic impulse responses, and the use of acoustic impulse responses in auralisation
Describe the practical use of digital signal processing techniques including convolution and the fourier transform
Be able to use MATLAB to handle and analyse digital audio signals.
Graduate skills learning outcomes
After successful completion of this module, students will:
Be able to write a technical report
Be able to produce technical documentation to support their creative output
Have developed the ability to self-reflect on their work
Be able to demonstrate their ability to work individually to complete creative and technical studio-based tasks
Have developed skills in technical analysis and problem solving.
Introduction to acoustics:
Fundamental properties of sound waves
Speed of sound
Frequency and wavelength
Decibels and SPL measurement
Sound in spaces: reflection, absorption, and diffusion
Standing waves and room modes
Sabine reverberation time estimation
Acoustic impulse responses (IRs)
Introduction to the acoustics of musical instruments
IR analysis: the Schroeder curve, RT60, EDT, clarity, definition etc.
Convolution and auralisation
Time- and frequency- domain audio analysis (the fourier transform, spectral analysis, spectrograms)
Audio signals in MATLAB:
Handling
Synthesis
Analysis
Resampling
Convolution
Playback
Digital and analogue audio signal types
Comb filtering and phase in audio signals
Microphone types, function and applications
Stereo microphone techniques
Recording instruments
Dynamic range processing of audio signals
Studio effects processing
Multitrack audio workflow and mixing
Task | % of module mark |
---|---|
Essay/coursework | 50 |
Essay/coursework | 50 |
None
There are 2 assessments for this module, which will be issued towards the start of the teaching sessions.
Studio Recording Exercise: Students will produce a multitrack musical recording using a variety of microphone and mixing techniques. The mix will incorporate at least one element recorded using a stereo microphone pair of a type covered on the course. Students will be required to deliver their finished mix, as well as isolated stems from the stereo pair. An accompanying report will describe their stereo recording work, how this was incorporated into their mix, and any additional recording, mixing or mastering work performed on their mix.
Acoustic Analysis Exercise: Students will create an example of auralisation by making use of an anechoic recording of a musical instrument and an acoustic impulse response. The student should record the anechoic material themselves and make use of an acoustic impulse response from OpenAIR (although they will be provided with the tools required for acoustic impulse response measurement). The students will conduct an analysis of the musical recording, the impulse response, and the auralisation result and will relate these analyses to the acoustic properties of the chosen musical instrument and the acoustic features of the impulse response measurement space. The results will be presented in a technical report (making suitable use of time- and frequency-domain analysis), submitted along with the audio files and MATLAB analysis code
Task | % of module mark |
---|---|
Essay/coursework | 50 |
Essay/coursework | 50 |
Formative Feedback
Regular labs will allow students to engage with the module material and receive help with, and feedback on, their practical work.
Emails to the Module Staff with Questions / Comments will be answered as soon as possible.
The studio drop-in sessions will allow students to receive further support for their work on the recording studio exercise.
Summative Feedback
For each summative assessment students will receive a customised feedback sheet, showing the mark breakdown in each of the key areas being assessed along with personalised feedback and suggestions for improvement. The comments explain how well you have met the learning objectives, and also give you feedback about the things you could improve in future assignments).
Howard DM and Angus JAS, (2009). Acoustics and psychoacoustics, 4th Ed., Oxford: Focal Press.
Sound recording practice’ edited by John Borwick for the Association of Professional Recording Services, 4th Edition, Oxford University Press 1996. ISBN 0 198 166087
Ballou, G,‘editor, ‘Handbook for sound engineers’, Focal Press, 2005, ISBN 0 240 807588 Bartlett, G, and Bartlett J,
‘Practical Recording Techniques’, Focal Press, 2005. ISBN 0 240 80685 9
Francis Rumsey, and Tim McCormick ‘Sound & Recording – An Introduction’ 5th Edition, 2005, Focal Press. ISBN: 0 240 51996 5
Moylan, William, 'The Art of Recording' Focal Press, 2002. ISBN: 0 240 80483X