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Digital Signal Techniques - MUS00197I

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  • Department: Music
  • Module co-ordinator: Mr. Jethro Bagust
  • Credit value: 20 credits
  • Credit level: I
  • Academic year of delivery: 2023-24
    • See module specification for other years: 2024-25

Module summary

This module expands on analogue technologies from the first year to digital technologies. You will engage with contemporary and cutting-edge digital production techniques. The module builds on the concepts and historical development taught in and reinforced throughout year 1 by exploring their creative applications. In the lecture/theory content, the module will consider digital recording, A/D and D/A conversion principles, PCM formats, DSP, modelling, convolution, and sync and clocking considerations. The module will also explore the development and underpinning methodologies of effects processes, and their usage in historical and contemporary music production. In the practical sessions, you work in a visual modular programming environment (Max/MSP, Max for Live) to build digital effects that exploit the knowledge gained throughout the theory sessions and explore their possible creative uses in sound production.

Module will run

Occurrence Teaching period
A Semester 1 2023-24

Module aims

  • To introduce the contemporary digital multitrack studio, particularly the digital audio workstation (DAW), and its historical precedents.

  • To introduce high-level digital audio technologies and their role within a contemporary production environment.

  • To illustrate the key principles that underpin digital audio,

  • To demonstrate common time-domain, frequency-domain, dynamic range and spatial processing techniques and technologies for contemporary music production.

  • To produce digital effects/processors in a visual programming environment.

  • To utilise creative signal processing in contemporary music production.

Module learning outcomes

By the end of this module you will:

  • Understand how signals are typically captured, created, stored, accessed, processed and organised in digital audio systems.

  • Understand the implementation (at a system diagram level) and outcomes of audio signal processing systems including delay-based (EQ, reverberation, flanging etc.), dynamic (compression, expansion), frequency-domain (e.g. vocoding) and spatial (e.g. amplitude and time shift, panning, HRTF/crosstalk cancellation).

  • Be able to design digital audio processors using visual programming (e.g. MaxMSP).

  • Be able to employ digital audio technologies in the production of a recording.

Assessment

Task Length % of module mark
Essay/coursework
Essay : Case study		 N/A 40
Practical
Software audio processor & commentary		 N/A 60

Special assessment rules

None

Additional assessment information

Summative 1: You will prepare a short essay (1500-2000 words) presenting a case study of one effect processor technology. You should consider its historical development, technical specifications/methods, and its impact on broader music making activities. You should also discuss its role within a studio context.

Summative 2: You will produce a software audio processing patch. This patch can be created in scripting or visual programming languages. The patch must demonstrate digital processing methodologies within your patch. This can be dynamics, spectral or time effects processing (or a combination thereof). You should also provide supporting documentation that explains and evaluates your patch.

  • Your software effects/processing patch with any instructions required to operate the patch.

  • A commentary (1500 words maximum) detailing and critiquing your processes when creating your processing patch.

Reassessment

Task Length % of module mark
Essay/coursework
Essay : Case study		 N/A 40
Practical
Software audio processor & commentary		 N/A 60

Module feedback

You will receive written feedback in line with standard University turnaround times.

Indicative reading

Burgess, R. J. (2014). The history of music production. New York: Oxford University Press.

Case, A. U. (2011). Mix smart : pro audio tips for your multitrack mix. Amsterdam ; London: Focal Press/Elsevier.

Cipriani, A. & Giri, M. (2020). Electronic music and sound design: theory and practice with Max. 4th ed. ConTempoNet.

Corey, J. (2010). Audio production and critical listening: technical ear training. Burlington, MA ; Oxford: Focal Press.

Huber, D.M., & Runstein, R.E. (2017). Modern Recording Techniques, 9th ed. Routledge.

Izhaki, R. (2008). Mixing audio : concepts, practices and tools. Oxford: Focal Press.

Rumsey, Francis. (2021). Sound and Recording: Applications and Theory. Oxford: Routledge.

Rumsey, Francis, and McCormick, Tim. (2009). Sound and Recording. 6th ed. Amsterdam; London: Elsevier/Focal.

Wessel, Oltheten. (2018). Mixing with Impact. Taylor and Francis.

Zölzer, U. (2011). DAFX: digital audio effects. Chichester: Wiley.


The information on this page is indicative of the module that is currently on offer. The University is constantly exploring ways to enhance and improve its degree programmes and therefore reserves the right to make variations to the content and method of delivery of modules, and to discontinue modules, if such action is reasonably considered to be necessary by the University. Where appropriate, the University will notify and consult with affected students in advance about any changes that are required in line with the University's policy on the Approval of Modifications to Existing Taught Programmes of Study.