Music Technology Student Handbook

Home , Music technology

Senior Capstone Experience Music Technology Student Handbook

Gwinnett School of Mathematics, Science, a n d Technology

Table of Contents

Introduction 3

Capstone Requirements 4

Deliverables 6

Timeline 8

Important Dates 9

Mentors and Advisors 10

Studio & Lab Usage Guidelines 11

Resources 13

GSMST SCE Music Technology

Introduction This handbook will serve as a guide and resource for students choosing music technology as their focus for the Senior Capstone Experience (SCE).

The music technology SCE will be the culmination and refinement of students’ work in the music technology and music performance programs at GSMST. Students will be involved in producing an album and/or professional portfolio. During this year long process students will research and address all aspects of the music industry as it relates to their project. Students will learn about marketing music, the music business, career opportunities in the music and film industry, legal aspects of the music industry and professional standards of sound recording technology and audio post production. Students will gain specialized training using professional quality equipment housed at the GSMST recording studio and through their off campus internships. Student’s final products will meet professional level industry standards and will be submitted to trade organizations, companies and colleges.

Capstone Requirements

In addition to the requirements stipulated in the SCE student handbook, you will be required to produce deliverables for your music technology SCE. Required deliverables will vary depending on the nature of your SCE (independent, curricular or career) and your choice of option.

Options for music technology production deliverables are

• Full Length LP

• Short Length EP – coupled with short portfolio

• Extended Portfolio – coupled with industry research

• Group Project (special permission required) - coupled with a short portfolio

Full Length LP

An album consisting of no less than 8 songs of original material and licensed covers. Students must attend to all aspects of the production process; writing, recording, mixing & mastering. The goal is to produce a finished, marketable album. Album artwork (including disc face), credit text and titles should be well thought out. Students choosing the LP option must also prepare for a short live performance.

Short Length EP

Create a 4-7 song album of original material and licensed covers. Students must attend to all aspects of the production process; writing, recording, mixing & mastering. The goal is to produce a finished, marketable album. Album artwork (including disc face), credit text and titles should be well thought out. 4

Students choosing the EP option must also prepare for a short live performance.

Extended Portfolio

Students choosing this option must produce a professional portfolio of no less than 8 works, showcasing a variety of styles including but not limited to: original compositions (scores and/or produced works), scoring for film, music for advertising (television and radio), live recordings and computer programming (non-production). The goal of the extended portfolio is to obtain and showcase viable skills for a career in the industry. As such, careful research into career options in the music and film industry is required. Portfolios should be in electronic form, enclosed in a video or slideshow that presents your work in a professional, engaging way.

Group Project

Students may receive special permission to work on projects in groups. Group projects are limited to full length LPs. Two or more students will share in all aspects of the production process. Special care must be taken to allocate responsibilities and utilize the full efforts of the entire group. Students working in groups will also be required to submit individual portfolios and perform a short set of original material.

Additional Concerns

Students may receive help with songwriting, engineering and production from mentors and advisors (both faculty and non-faculty). However the majority of the work and the final product must be produced by the student. Just ask if you have questions

Deliverables

Each of the production deliverable options contains its own set of requirements necessary to produce a substantial, professional product. EPs and group projects require the addition of a short portfolio to round out the experience and provide a breadth of understanding and practice. All stipulated criteria will contribute to your final evaluation.

LPs and EPs (including group projects)

In addition to the requirements already stated, students producing LPs and EPs must attend to the following:

• Design and/or art direction of cover/booklet art • A business/marketing plan to release singles and/or the album • CD duplication and/or digital distribution • Creation of an Electronic Press Kit (EPK) • Preparation for a live performance

Extended Portfolios

In addition to the requirements already stated, students Producing an extended portfolio must attend to the following:

• Create a portfolio in line with industry standards • Exhibit a wide range of skills and styles • Create an electronic portfolio that presents your work in an engaging manner (such as a movie or slideshow) • Research careers in the music and film industry

Short Portfolios

Students working on EPs or in Groups must also prepare a short portfolio consisting of at least 4 works showcasing a variety of styles including but not limited to: original compositions (scores and/or produced works), scoring for film, music for advertising (television and radio) and live recordings. The work contained in the portfolio should be approaching professional industry standards. Portfolios should be in electronic form, enclosed in a video or slideshow that presents your work in a professional, engaging way.

SCE Research Papers

The following are suggested topics for the required SCE research paper. Check with Mr. A if you need more suggestions or to see if your idea is acceptable.

• In depth analysis of the production process

• Case Study of the creation of an influential album

• Research on a particular artist or music genre as it relates to your area of study

• Research into various aspects of the music business

• Research the current state of professional music production careers, their practices and antecedents.

Timeline

In order to complete your project on time you will need to plan your time carefully. There are many aspects to producing an album, several of which need to happen sequentially. That, coupled with the fact that several students will be vying for studio time and resources make thorough planning vital to the success of our project.

The following timeline can help you organize your project

Sep Album concept, songwriting, marketing pan, research Learn technology, initial recording sessions

Oct Songwriting, recording sessions, get ball rolling

on marketing, press kit & artwork

Nov Recording Sessions, start mixing sessions, finish songwriting

Licensing, copyright

Dec Recording sessions, mixing sessions, press kit, marketing,

research

Jan Wrap up recording sessions, mixing sessions, send out EPK and market album

Feb Finish mixing, master album, finalize artwork/packaging

Market album

March Send album to press or digital distro, promote release

Rehearse for album release performance

April Continue to promote release. Continue to market album

May Album release party, album sales

Important Dates

Your progress will be periodically checked to make sure you are on track to complete your project. The following are dates of progress checks that correspond to the timeline.

• Last week of September-present album concept & marketing plan

• Second week of November-Check on progress of songwriting and recording, evidence of research of copyright and licensing

• Second week of December-Recording check, EPK check, artwork check, evidence of marketing research

• First week of February-All songs tracked

• Second Week of February through first week of March-check on mixing sessions.

• First week of March-Evidence of marketing plan in action, final artwork/packaging check.

• Second week of March through fourth week of March-Mastering check.

• First week of April-Album to press check

• 3rd and 4th week of April-Promotion check, final product check, rehearsal check

• Beginning of May (official date TBA)-Album release party.

Mentors and Advisors

As the director of the music technology program at GSMST, Mr. Appelbaum serves as a faculty advisor for all students participating in the music technology SCE. All studio scheduling, access, guests and concerns must go through Mr. Appelbaum.

Students are required to have a mentor for their SCE. The mentor must be an expert in the field. The mentor could be the person who provides an internship. If needed, Mr. Appelbaum can recommend mentors or internship opportunities. Mr. Appelbaum can also serve as the mentor for the music technology SCE. This is a logical choice as he is always available and oversees the studio and MIDI lab. Even students with non-faculty mentors will benefit from Mr. Appelbaum’s help as an advisor and “secondary” mentor capacity.

Occasionally there will be guests scheduled to come to the school to help students with their projects. These guests will be experienced music producers who will offer a wealth of tips and tricks of the trade.

Studio & Lab Usage Guidelines

Please adhere to the following rules for studio and lab usage. Failure to do so will result in loss or suspension of studio privileges and possible administrative referral. We have very nice equipment and it is up to each one of us to keep it that way.

• Studio sessions must be booked in advance-don’t just assume that you can use the studio at anytime.

• Absolutely no food or drinks in the studio.

• Only SCE students are allowed unrestricted studio access.

• Any guests to the studio must be cleared with Mr. Appelbaum. This includes any additional personnel needed for a session whether they are a student at GSMST or not.

• All studio equipment and instruments must be treated carefully and with respect.

• The studio log must be filled out for every session

• Report any equipment problems immediately to Mr. A

• The studio and MIDI lab are places to work and create, not places to hang out or rehearse. Hang out somewhere else and have your music rehearsed before you show up for a recording session

Consequences

• First offense-written warning. Depending on severity of offense, possible loss of studio privileges for one week

• Second offense-loss of studio privilege for one week, contact parents

• Third offense-Administrative referral, loss of studio privileges for two weeks. Sessions must be directly supervised by Mr. Appelbaum for one month and will take place according to his schedule.

• Fourth offense-complete loss of studio privileges. All SCE work must be done in MIDI lab.

Resources

Books

• Modern Recording Techniques-David Humer, Robert Runstein

• All You Need to Know About the Music Business-Don Passman

Magazines- many of these magazines also have online components

• Mix Magazine

• Electronic Musician

• Performer-good industry resource for artists

Organizations/Websites

• Harry Fox Agency-music licensing and copyright www.harryfox.com

• U.S. Copyright Office www.copyright.gov

• Recordlabelresource.com - links to all kinds of good stuff

Though all of these resources are excellent, this is by no means a comprehensive list. Additional research will be required. Please share any good resources you find!