Syllabus for TVF 128—Principles of Audio Production 3 Credit Hours Spring 2017

I. COURSE DESCRIPTION

A comprehensive introduction to the diverse field of audio production. Covers the fundamentals of audio, both analog and digital; the processing of and equipment used in audio; responsibilities of the communicator through the medium of audio; and the diversity of audio as used in radio, television, film and recording studios. Students are encouraged to consider responsibilities that the Christian communicator has in the modern media milieu. Course fee: $40

II. COURSE GOALS

The purpose of this course is to enable the student to do the following:

A. Develop a working knowledge of the following studio equipment: mixing console, cassette deck, amplifier, microphones, Short Cut digital editor, Instant Replay unit, and computerized digital work stations with Pro Tools and Adobe Audition software. (GC 1 and SC 1)

B. Gain a working knowledge of the following: 30-second prerecorded music bed, 60-second prerecorded commercial, ten-minute "Live" interview, 20 sec Foley artist project, a minute and a half testimony project and miscellaneous board, and announcing exercises. (SC 11)

C. Gain an adequate working knowledge of sound, sound manipulation, and recording both, analog and digital. (GC 1 and SC 1)

D. Understand the Christian's role in the secular media of today. (SC 1)

E. Develop an appreciation of the capture and manipulation of sound for use in television, film production, and the recording studio. (SC 1)

III. STUDENT LEARNING OUTCOMES FOR THIS COURSE

A. As a result of successfully completing each chapter, the student will be able to do the following:

Chapter One - "Production In Modern Radio" 1. Explain how digital technology has changed the face of radio today. pp1-3 2. Explain what the text referred to as the biggest game changer in the radio industry. p3 3. Explain how mobile radio can be an advertiser's dream. pp2-3 4. List and describe the unique strengths of radio for the future. p3 5. Define the following terms as they apply to radio: production, sound of the station, formats, demographics, dayparts, syndicators, networks. pp7-11 6. Identify the time period known as the Golden Age of Radio. p8 7. Identify the two major sources of revenue for public radio. p17 8. Explain the major difference between public and commercial radio. pp17-19 9. Describe how satellite radio is redefining radio. p13 10. Explain the importance of web radio. pp14-15 11. Describe the role of the producer in modern radio. p19 12. Describe the following terms: combo, and airshift. pp20-21 13. Describe the role of the announcer in modern radio. pp22-23 Last revision: Fall 2013-ML © Copyright Oral Roberts University 2012. All rights reserved.

Chapter Two—"Sound & Microphones" 1. Define the following terms: transducer, compression, rarefaction, sine wave, cycle, hertz, frequency, waveform, and amplitude. pp26-29 2. List in frequencies the range of sound of the human ear. p29 3. Describe what a sine wave represents. p27 4. Define the term decibel and explain how it is used as a measurement of sound. p31 5. Explain the following characteristics of sound: pitch, duration, velocity, distance, decay, and timbre. pp31-32 6. Describe the basics of sound.. p32 7. List and describe the four types of microphones most common in audio. pp33-35 8. Name and describe the three types of pickup patterns of microphones. pp35-38 9. List the two components of frequency response. pp40-41 10. List and describe the five physical types of microphones listed by the text. pp42-44 11. List and describe the five factors someone needs to consider in microphone selection. pp44-47 12. Name and describe the most common microphone connector. p49 13. List and explain the microphone techniques for announcers listed by your text. p53

Chapter Three—“The Console” 1. Explain the difference between "audio" and "sound". p55 2. Define the following terms: amplification, routing, and mixing. p55 3. Describe the functions of the console. pp55-67 4. Define the following terms: preamplifier, potentiometer, routing switch, program, volume-unit meter, dead air, segue, audition and modulation, muting system, feedback, master fader, and line-level. pp56- 67 5. List the advantages of both the analog console and the digital console. pp73-74 6. Describe the purpose of a sub-mixer. p74 7. Explain the advantage of a patch-bay system in a station. pp74-76

Chapter Four—“Recording and Playback Technology” 1. Name and describe the standard audio format used for compact discs. p80 2. Describe how digital files are recorded. pp80-83 3. Explain how disk drive recording works. pp84-86 4. Explain the three types of software that can turn a computer into a Digital Audio Workstation both for Mac and Windows. pp85-86 5. Explain the importance of CDs in production. pp86-88 6. Explain how a binary code can be stored on a CD. p88 7. Describe the advantages solid state drives have over the standard hard disc drives. p91 8. Describe what a digital cart machine is and it's various uses in production. p92 9. What are the advantages of remote inputs in radio? pp93-94

Chapter Five—“Editing” 1. Define the terms "editing" and "production" and explain the difference between the two. p97 2. Define the following terms; splicing, dubbing, extracting, and editing. pp97-98 3. Explain what a "waveform" is. pp98-99 4. Explain the difference between a "sound bite" and an "actuality". p99 5. Explain the difference between "destructive editing and "nondestructive editing". pp101-104 6. List the points to remember when recording and editing talent. pp104-107 7. Explain the terms; "cutting", "pasting", and "looping". p107 8. Describe the advantages of the newer technology in regards to editing. p109 9. Describe the process of dubbing and explain the advantages of that process. p111

Chapter Six—“Recorded Program Production 1. Explain the three elements that help determine whether a production will be done live or assembled in advance. pp116-117 2. Define the following terms: multi-track, hard-wired, remote, spot, and task-oriented sequence. pp.118- 122 3. Name the two largest music licensing organizations. p122 4. Explain what a production library is and list its advantages. p123 5. Describe the characteristics of the following major styles of music: rock, country, jazz, classical, popular music, and specialty music. pp125-126 6. Explain what is meant by crossover music. p125 7. List and explain the considerations involved in getting a clean recording that accentuates the announcer's voice and delivery. pp126-127 8. Explain what phasing problems are in audio recording and how to avoid them. pp127-129 9. List and describe the standard studio hand signals: you're on, give me a level, kill my mic, wrap up, and stretch. p130 10. Explain the importance of sound effects and what is available to you in regards to production. p130 11. List the purposes for using an edit on a computer software program. p132 12. Explain the steps to creating professional podcasts. pp133-140

Chapter Seven—“Live, On-Air Production” 1. Describe the term "airshift". p143 1. List the duties of the on-air producer. p144 2. Explain the Emergency Alert System and the Amber plan pp145-146 3. Define the following terms in regard to a radio station: sound, pace, and content. pp147-149 4. Describe the differences in style of a classical music delivery verses one for a hard rock format. p149 5. Describe the recommendations listed in the text for on-air work. pp150-153 6. List the tips for avoiding "on-air irritants" given by program directors. p151 7. Explain the easiest way to eliminate false endings when dealing with music and commercials. p152 8. Define the following terms in regard to satellite feeds: uplink, geostationary, and downlink. pp153-154 9. Give examples of the types of program material available from satellites. p154-155 10. Describe the following options available in dealing with material down-linked from satellite: live broadcast, delayed broadcast, and local insertion. pp155-157 11. List and describe the suggestions given by your text for Ad-libbing. pp159-1160

Chapter Eight—“Computer Driven Technology” 1. Be familiar with the computer basics covered by your text. pp161-163 2. Define the following terms: CPU, RAM, ROM, hardware, software, midi and synthesizer. pp161-164 3. Define the terms; "multitimbral" and "sequencer". p164 4. Describe the various methods of editing digitally. pp164-165 5. Explain the process of performing an edit on a computerized system. pp167-171 6. Define the following terms: automation, live-assist and cartridge carousels. pp174-175 7. List some examples of what cutting-edge automation technology can do. pp175-179 8. Make a list of the programming that National Broadcast System can perform. p179

Chapter Nine—“Achieving An Effect” 1. Define the term "effect" in regard to radio programming. p184 2. Describe how music and sound effects can be utilized in performing the following tasks: creating excitement, creating identification, and evoking an emotion. p187 3. List the sources from which someone can obtain music as a radio producer. p187 4. List the rules for when someone can and cannot use music properly in an aesthetic context. p188 5. List the sources for sound effects. pp189-190 6. Explain the reasons for when someone should and should not use sound effects. p189 7. Define the phrase "coloration of sound" and give some examples of how to achieve it. p191 3 © Copyright Oral Roberts University 2012. All rights reserved.

8. Explain why a sound effects engineer is referred to as a Foley artist in film production today. p190 9. Explain how timing and pacing helped mold the careers of Walter Winchell and Paul Harvey. p192 10. Define "voice quality" and explain its importance in a spot. p192 11. Explain how words can evoke moods. p193 12. List the three general principles of copyrighting. p193 13. Describe the process of producing a 30 second PSA. pp196-197

Chapter Ten—“Drama & Dramatic Elements in Radio Production” 1. Describe the structure of drama. pp201-202 2. Define the following terms as they apply to the structure of drama: action, dialogue, plot, conflict, suspense, denouement, and exposition. pp202-203 3. List the two purposes served by drama in a radio commercial. p203-205 4. Describe the role of dramatic elements in news production. p205-206 5. List and describe the two most immediate considerations in producing radio drama or inserting a dramatic element. pp206-207 6. Explain how you create the illusion of place and movement in producing a radio drama. p207 7. Explain the importance of making the background of sound a fabric of believability. pp206-207

Chapter Eleven—“Writing for the Ear” 1. Describe what broadcast copy should be in regards to three basic things. p210 2. Explain why your text stated that radio copy is the most persuasive and powerful of all methods of communication. p210 3. Know the person whom your text stated was, "one of the pioneers of writing for the ear". p210 4. List and define the ten criteria for writing words and sentences that are pleasing to the ear based on Edward R. Murrow's technique. pp211-212 5. List and define the ten guidelines to help organize your sentences into a cohesive and powerful whole when writing. pp212-213

Chapter Twelve—“Commercial Production” 1. Describe the three responsibilities of a producer of radio commercials. p218 2. List the functions of a producer in putting together a radio commercial. p219 3. Explain the most important principle of radio advertising in regards to commercials. p219 4. Explain how effective sound can be more persuasive than a picture, a television screen, or a print ad. p220 5. Describe and give an example of the nine types of appeals used by advertisers. pp222-226 6. Explain the importance of music in a radio commercial. pp226-227 7. List the three sources of music described by your text, other than the station's air play library. pp226-227 8. List the four approaches available in radio advertising and describe the different styles of delivery of each. p228 9. List and explain the suggestions for producing effective commercials. pp228-233 10. List the five common mistakes of commercial production. p234 11. Describe station promotion and explain its importance. pp234-235 12. Define "flanging." p235 13. Explain the suggestions for how announcers can read copy to time. p238

Chapter Thirteen—“News Production” 1. Describe the attributes that relate to the strengths of radio and the qualities radio news can stress. p239 2. Define the following terms; actuality, wild sound, and sound bite. p240 3. Describe the difference between newspaper and radio news writing. p241 4. Explain the rules of news writing for radio in regard to the following: sentence length, verb tense, and attribution. p241 5. Define the following; voice reports, voicers, voice-actuality reports. p242 4 © Copyright Oral Roberts University 2012. All rights reserved.

6. Describe the rules associated with broadcast news writing in regard to the following: the paper and print, header, story, writing style, copy rules, story tags, tape cues, punctuation, words, jargon and technical words, active verses passive voice, present tense, numbers and abbreviations, and names. pp242-256 7. List the three things the reader of a script needs to know about tape cues. p247 8. Explain how public affairs programming differs from news. p257 9. Explain what a PSA is. p257 10. List and describe the typical mixtures and arrangements of newscasts mentioned by the text. pp257-260 11. List the suggestions given by your text for using wire services and network audio. p260 12. Describe the two most common forms of talk shows and a popular variant. pp260-262 13. Describe the techniques suggested by the text for interviewing. p262 14. Describe several ways to feed tape over a telephone. pp263-264 15. Explain the role of computerized technology in the newsroom. pp264-266 16. List and explain the techniques for effective on-air performance mentioned by your text. pp269-276

Chapter Fourteen—“Remote & Sports Production” 1. Describe the responsibility the producer has in putting together a remote broadcast. p277 2. Describe the type of equipment used for remote broadcasts. pp278-283 3. Describe the different ways of getting the signal back to the station. pp280-282 4. Describe "wind filter" and "pop filter." p284 5. List and explain the suggestions found in the announcer's guide to surviving a remote. pp287-288 6. Describe the steps to planning a remote. pp286-289 7. List and describe the inventory list for a remote broadcast. p288 8. List and describe the suggestions the text offers for the following sports remotes: baseball, hockey, football, basketball, field sports, and boxing. pp290--291

Chapter Fifteen—“Advanced Radio Production: Multichannel, Music, and Special Effects” 1. Define "multichannel." pp295-296 2. Explain the process of overdubbing. pp296-297 3. Define the following terms: input modules, vertical slide fader, input selection control, sound shaper, equalizer, filter, pan pot, solo, bus delegation, output bus, and monitor control. pp298-300 4. Differentiate between a stereo signal and a mono signal. pp302-303 5. Describe the most popular methods of orienting the mics, including coincident, spaced pair, and middle side. pp305-306 6. Describe the mic technique for the following isolated-component recordings: singers, drums, pianos, strings, brass, woodwinds, and ensembles. pp306-308 7. Define the following terms: equalizer, parametric equalizer, low-pass filter, high-pass filter, notch filter, noise gate, compressor, limiter, dynamic range, attack & release time, effects processor, spatial enhancer, and encoders and signal processors. pp309-314 8. Describe the following advanced techniques for special effects: echo, reverb, reverse boomerang effect, forward or reverse echo, pan potting, changing pitch, doubletracking, gating, stuttering, and normalizing. pp315-317

Chapter Sixteen—“Production, Programming, and the Modern Format” 1. Explain the importance of a well-defined audience to a radio station. p323 2. Identify the major player in the audience rating service. p324 3. Define the following terms: total survey area, metro survey area, rating, share, average quarter-hour persons, cume, turnover, and time spent listening. pp325-326 4. Describe several ways of calculating and expressing the effectiveness of a commercial. p326 5. Explain the three ways relative costs are expressed. pp326-328 6. List the formats devised by Billboard and Arbitron to categorize music. pp329-330 7. Explain the latest trends in format mentioned by your text. p330 8. List and describe the major formats covered by your text. pp331-333 9. List the most popular formats in radio. p334 5 © Copyright Oral Roberts University 2012. All rights reserved.

10. List the three major factors involved in eliminating turnover. pp334-336 8. Describe the on-air and off-air production suggestions for the following formats: adult contemporary, news/talk, country, top 40/CHR, and urban/churban. pp336-339 9. Describe a typical sequence for an AC sound hour. p340

Chapter Seventeen---"Radio and the New Digital Infrastructure" 1. Name the radio industry leader in audience-measurement companies. p344 2. Explain the difference between streaming and podcasting and name the most common compressed format. pp344-345 3. Explain what HD radio is and its benefits. pp345-347 4. Explain the difference between Spotify and Pandora. p346 5. Define the term "the long tail". p347 6. Explain the strength and weakness of radio. p365

Chapter Eighteen---"Mobile Radio and the Battle for the Dashboard" 1. Explain why younger listeners are critical to the radio industry. p353 2. Explain the challenges with radio and the new technology in regards to making a profit. pp351-354

Chapter Nineteen---"Entrepreneurial Radio" 1. Describe the three essential problems radio faced in the early days. p357 2. The "old" model of media was valuable for two reasons. List and describe these two reasons. p358 3. Explain the two points of what's called "monetizing content". p358 4. Describe the two programs Google has to sell advertising. p359 5. List and describe the eight models to monetize content on the Internet. pp359-360 6. Know the four firms mentioned in your text that offer hardware and software for starting an Internet radio station. p361

Chapter Twenty---"Ethics and the Modern Communication Professional" 1. Define the term "ethics". p366 2. List and describe the six misconceptions concerning ethics. pp364-366 3. Given the statement, "the end justifies the means", what are the three classical words used to frame this debate and the theories behind them. pp367-368 4. List and describe the pros and cons for each of the arguments. pp369-370 5. List and describe the seven main issues in ethics confronting radio communicators. pp371-373

B. Objectives for Students in Teacher Preparation Programs

The Teacher Preparation Program meets the competency-based requirements established by the Oklahoma Commission on Teacher Preparation. This course meets the following competencies: (General Competency 1; Subject Competencies 1 and 11.)

This course is designed to help students meet general competency: GC 1: The teacher understands the central concepts and methods of inquiry of the subject matter discipline(s) he or she teaches and can create learning experiences that make these aspects of subject matter meaningful for students.

This course is designed to help students meet subject competencies: SC 1: Maintains a current knowledge of concepts of the field of speech communication including: oral interpretation of literature, theater, the electronic media, public speaking, argumentation, and critical thinking skills. 6 © Copyright Oral Roberts University 2012. All rights reserved.

SC 11: Understands the importance of effective communication skills in the personal and professional arenas.

IV. TEXTBOOK AND OTHER LEARNING RESOURCES

Required Materials 1. Textbooks Hausman, Messere, Benoit, O’Donnell (2016). Modern radio and audio production. 10th edition. Belmont: Wadsworth Publishing. ISBN 13:978-1-305-07749-2 2. Other The following materials must be provided by the student: a. CD-R’s b. Thumb Drive

V. POLICIES AND PROCEDURES

A. University Policies and Procedures 1. Attendance at each class or laboratory is mandatory at Oral Roberts University. Excessive absences can reduce a student’s grade or deny credit for the course. 2. Students taking a late exam because of an unauthorized absence are charged a late exam fee. 3. Students and faculty at Oral Roberts University must adhere to all laws addressing the ethical use of others’ materials, whether it is in the form of print, electronic, video, multimedia, or computer software. Plagiarism and other forms of cheating involve both lying and stealing and are violations of ORU’s Honor Code: “I will not cheat or plagiarize; I will do my own academic work and will not inappropriately collaborate with other students on assignments.” Plagiarism is usually defined as copying someone else’s ideas, words, or sentence structure and submitting them as one’s own. Other forms of academic dishonesty include (but are not limited to) the following: a. Submitting another’s work as one’s own or colluding with someone else and submitting that work as though it were his or hers; b. Failing to meet group assignment or project requirements while claiming to have done so; c. Failing to cite sources used in a paper; d. Creating results for experiments, observations, interviews, or projects that were not done; e. Receiving or giving unauthorized help on assignments. By submitting an assignment in any form, the student gives permission for the assignment to be checked for plagiarism, either by submitting the work for electronic verification or by other means. Penalties for any of the above infractions may result in disciplinary action including failing the assignment or failing the course or expulsion from the University, as determined by department and University guidelines. 4. Final exams cannot be given before their scheduled times. Students need to check the final exam schedule before planning return flights or other events at the end of the semester. 5. Students are to be in compliance with University, school, and departmental policies regarding the Whole Person Assessment requirements. Students should consult the Whole Person Assessment handbooks for requirements regarding general education and the students’ major. a. The penalty for not submitting electronically or for incorrectly submitting an artifact is a zero for that assignment. b. By submitting an assignment, the student gives permission for the assignment to be assessed electronically.

B. Department Policies and Procedures

1. Attendance—At Oral Roberts University, students are expected to attend all classes. Understanding that there are sometimes unavoidable circumstances that prevent perfect attendance, each student is allowed to miss class the number of times per week a class meets. This allowance is for illness, personal business, and personal emergency. Students may consider this personal days or sick leave. If a student has absences in excess of this number, the earned grade for the course will be reduced one-third of a letter grade for each hour’s absence above those allowed. A student missing class due to illness must take an unexcused absence. Extended illnesses are handled on an individual basis and require a doctor’s excuse. 2. Administratively Excused Absences—Students who must miss class for University sponsored activities must follow these procedures: a. Inform the professor before the event. b. Arrange to complete missed work within one week. c. Not commit to class performances (oral reports, speeches, television tapings, group presentations, etc.) on a date the student will be gone. Makeup work is not permitted if the student voluntarily commits to a performance on the date of an administratively excused absence. d. Present an excuse, signed by the Dean of Arts and Cultural Studies, the day the student returns. 3. Tardies—Tardies are an inconvenience to the other class members and the professor, and they prevent the late student from obtaining maximum value from the class. Therefore, tardies are calculated in the attendance provision for this course. It is to the student’s advantage to make sure that the professor is informed immediately following the close of the class that the student was tardy and not absent. It is not the professor’s responsibility to stop the class to mark the student late; the student is the one responsible to convey that information following that class. Students should not expect to be credible the following class session concerning a late arrival on a previous day. 4. Late Work—The student is responsible for obtaining class assignments and material covered during an absence. All work must be completed as scheduled. An absence is not an excuse for turning in late work or for being unprepared with assignments for the class following the absence. If late work is accepted, a substantial penalty will be assessed. 5. Literacy—The Communication, Arts, and Media Department does not accept for credit any written assignment that contains more than an average of three grammatical and/or typographical errors per page. 6. Whole Person Assessment—Refer to the Communication, Arts, and Media WPA handbook for policies at (http://oru.edu), click on Academics, then WPA, then Department Resources, then CAM Handbook HTML.

C. Course Policies and Procedures 1. Evaluation Procedure This course is evaluated on a point system with every assignment, test, quiz, production, etc., given a point value. Students may keep up with their progress by keeping count of the number of points they have accumulated. Grades are figured based on the following scale. 90 - 100% of the total points = A = Exceptional 80 - 89% of the total points = B = Above Average 70 - 79% of the total points = C = Average 60 - 69% of the total points = D = Below Average Below 59% of the total points = F = Failing

2. Whole Person Assessment Requirements: None 3. Other Policies and/or Procedures a. Class assignments (1) Tests—are on the textbook chapters. Follow your calendars for assignments. (2) Students will also be tested on the equipment in the audio lab. Each piece of equipment will be covered, and the student will have a chance for hands-on experience before the tests are given. The student must have a working knowledge of the equipment as soon as possible. If the student doesn’t understand something, please ask the instructor. b. Projects—Projects will be explained in the lectures and demonstrated in the lab. Each student will complete a 30-second music bed, a 60-second commercial both analog and digital, a ten-minute live interview, and a number of in-class exercises. c. Attitude—The professor is here to serve the students. The professor’s purpose is to facilitate learning desiring to make the student the best possible, and be a success in the chosen field. The instructor wants to make learning in this class fun. This class will not be easy, but it will be enjoyable. d. This is an intro class so it will start slowly and gain momentum as the semester progresses. Students will be doing a lot of hands-on in the labs and practicing in front of the class, which will help students get over the fear of an audience. This class is not too difficult, but the student must be willing to take responsibility. e. Attendance in class is a requirement to pass the course. There are times however when a student cannot make a class due to sickness, funerals, school athletics, or school functions. This becomes a problem for the teacher to decide whether an absence is justified or not, and an even greater challenge to maintain a correct record of excused verses unexcused classes. In the work force, employees are normally given a set amount of time for sickness while still being paid. After that time runs out, the employee is no longer paid for his time off. To simplify attendance and prepare the student for a career after college, we will adopt a similar system. f. Students are permitted to miss three days a semester of class. It doesn’t matter why the student missed them, but any absence beyond three days will incur a penalty of 1/3 of a grade drop per absence. This includes medical, funeral, etc. These are not holidays! Use them wisely. There will be no exceptions to this rule. Administrative excuses are considered separate. Students with perfect attendance and no tardies will be given a grade lift of 1/3 at the end of the semester as a bonus. One tardy or absence nullifies this bonus. This includes administrative excuses. h. Make-up work is the student’s responsibility. The student has one week to make up a missed assignment after returning to class. After that time a zero will be entered for that assignment. Production projects that are assigned are not included in this policy. In broadcasting it is important to meet the “on-air” time. Late work is a waste of time. i. Students arriving late for class will be considered tardy. Students who leave early from class will also be assessed a penalty. The following will apply for late/early situations: 1 minute to 15 minutes = ¼ of a cut (absence). 16 minutes to 30 minutes = ½ of a cut (absence). beyond 30 minutes = an absence

VI. COURSE CALENDAR Check this schedule often for assignments and class content.

PRINCIPLES OF AUDIO, Monday, Wednesday Class SPRING 2017- Labash

DAY CLASS ACTIVITY ASSIGNMENTS DUE TODAY MODULES______

1) Wed Class Overview/Sound, Hearing Read Chapter 1 NONE 1-11 Voice, Microphones, Connectors

Mon No Class, Martin Luther King Day 1-16

2) Wed Audio Board, Levels, CD/Cassette Read Chapter 2 Quiz Ch-1 1-18 Shortcut, Analog to Digital

3) Mon Announcing/Delivery NONE Quiz Ch-2 1-23 Editing Music/Copy

4) Wed Board Exercises, Recording Spot Read Chapter 3 NONE 1-25

5) Mon 30 sec Music Bed Instructions Read Chapter 4 Quiz Ch-3 1-30 30 sec Bed

6) Wed Grade 30 sec Music Bed Read Chapter 5 Quiz Ch-4 2-1 30 sec Bed

7) Mon Pro Tools Introduction Read Chapter 6 Quiz Ch-5 2-6 Testimony Instructions Testimony Assigned

8) Wed "Stereo Videotape" Read Chapter 7 Quiz Ch-6 2-8

9) Mon Grade Pro-Tools Testimony Read Chapter 8 Quiz Ch-7 2-13

10) Wed Beatles Commercial Instructions NONE Quiz Ch-8 2-15 Interview Instructions

11) Mon Michael W. Smith Mix-down Exercise Read Chapter 9 NONE 2-20

12) Wed Grade Beatles Commercial NONE Quiz Ch-9 2-22

13) Mon Interviews Students 1-5 NONE NONE 2-27

14) Wed Interviews Students 6-10 NONE NONE 3-1

15) Mon Interviews Students 11-15 Read Chapter 10 NONE 3-6

PRINCIPLES OF AUDIO, Monday, Wednesday Class SPRING 2017- Labash

DAY CLASS ACTIVITY ASSIGNMENTS DUE TODAY MODULES______

16) Wed Open Class Read Ch-11 Quiz Ch-10 3-8

Tue Spring Break 3-14

Thu Spring Break 3-16

17) Mon Adobe Audition, Recorder Read Ch-12 Quiz Ch-11 3/20 "Roger Rabbit" Instructions

18) Wed "Roger Rabbit" Group Work Day Read Ch-13 Quiz Ch-12 3-22 Capturing Sounds

19) Mon "Roger Rabbit" Group Work Day Read Ch-14 Quiz Ch-13 3-27 Capturing Sounds

20) Wed "Roger Rabbit" Creating Sessions Read Ch-15 Quiz Ch-14 3-29

21) Mon "Roger Rabbit" Session Workday Read Ch-16 Quiz Ch-15 4-3

22) Wed "Roger Rabbit" Session Workday Read Ch-17 Quiz Ch-16 4-5

23) Mon Critique "Roger Rabbit" Read Ch-18 Quiz Ch-17 4-10

24) Wed Open Class Read Ch-19 Quiz Ch-18 4-12

25) Mon “Saving Private Ryan” 5.1 Surround Read Ch-20 Quiz Ch-19 4-17

26) Wed Radio History Videotape P-1 NONE Quiz Ch-20 4-19

27) Mon Radio History Videotape P-2 4-24

28) Wed Final Exam Review 4-26

Final Exam

PRINCIPLES OF AUDIO, Tuesday, Thursday Class SPRING 2017- Labash

DAY CLASS ACTIVITY ASSIGNMENTS DUE TODAY MODULES______

1) Thu Class Overview/Sound, Hearing Read Chapter 1 NONE 1-12 Voice, Microphones, Connectors

2) Tue 1-17

3) Thu Audio Board, Levels, CD/Cassette Read Chapter 2 Quiz Ch-1 1-19 Shortcut, Analog to Digital

3) Tue Announcing/Delivery NONE Quiz Ch-2 1-24 Editing Music/Copy

4) Thu Board Exercises, Recording Spot Read Chapter 3 NONE 1-26

5) Tue 30 sec Music Bed Instructions Read Chapter 4 Quiz Ch-3 1-31 30 sec Bed

6) Thu Grade 30 sec Music Bed Read Chapter 5 Quiz Ch-4 2-2 30 sec Bed

7) Tue Pro Tools Introduction Read Chapter 6 Quiz Ch-5 2-7 Testimony Instructions Testimony Assigned

8) Thu "Stereo Videotape" Read Chapter 7 Quiz Ch-6 2-9

9) Tue Grade Pro-Tools Testimony Read Chapter 8 Quiz Ch-7 2-14

10) Thu Beatles Commercial Instructions NONE Quiz Ch-8 2-16 Interview Instructions

11) Tue Michael W. Smith Mix-down Exercise Read Chapter 9 NONE 2-21

12) Thu Grade Beatles Commercial NONE Quiz Ch-9 2-23

13) Tue Interviews Students 1-5 NONE NONE 2-29

14) Thu Interviews Students 6-10 NONE NONE 3-2

15) Tue Interviews Students 11-15 Read Chapter 10 NONE 3-7

PRINCIPLES OF AUDIO, Tuesday, Thursday Class SPRING 2017- Labash

DAY CLASS ACTIVITY ASSIGNMENTS DUE TODAY MODULES______

16) Thu Open Class Read Ch-11 Quiz Ch-10 3-9

Tue Spring Break 3-14

Thu Spring Break 3-16

17) Mon Adobe Audition, Recorder Read Ch-12 Quiz Ch-11 3/20 "Roger Rabbit" Instructions

18) Wed "Roger Rabbit" Group Work Day Read Ch-13 Quiz Ch-12 3-22 Capturing Sounds

19) Mon "Roger Rabbit" Group Work Day Read Ch-14 Quiz Ch-13 3-27 Capturing Sounds

20) Wed "Roger Rabbit" Creating Sessions Read Ch-15 Quiz Ch-14 3-29

21) Mon "Roger Rabbit" Session Workday Read Ch-16 Quiz Ch-15 4-3

22) Wed "Roger Rabbit" Session Workday Read Ch-17 Quiz Ch-16 4-5

23) Mon Critique "Roger Rabbit" Read Ch-18 Quiz Ch-17 4-10

24) Wed Open Class Read Ch-19 Quiz Ch-18 4-12

25) Mon “Saving Private Ryan” 5.1 Surround Read Ch-20 Quiz Ch-19 4-17

26) Wed Radio History Videotape P-1 NONE Quiz Ch-20 4-19

27) Mon Radio History Videotape P-2 4-24

28) Wed Final Exam Review 4-26

Final Exam

Course Inventory for ORU’s Student Learning Outcomes

TVF 128—Principles of Audio Production SPRING 2017

This course contributes to the ORU student learning outcomes as indicated below: Significant Contribution – Addresses the outcome directly and includes targeted assessment. Moderate Contribution – Addresses the outcome directly or indirectly and includes some assessment. Minimal Contribution – Addresses the outcome indirectly and includes little or no assessment. No Contribution – Does not address the outcome.

The Student Learning Glossary at http://ir.oru.edu/doc/glossary.pdf defines each outcome and each of the proficiencies/capacities.

Significant Moderate Minimal No OUTCOMES & Proficiencies/Capacities Contribution Contribution Contribution Contribution

1 Outcome #1 – Spiritually Alive Proficiencies/Capacities 1A Biblical knowledge X 1B Sensitivity to the Holy Spirit X 1C Evangelistic capability X 1D Ethical behavior X

2 Outcome #2 – Intellectually Alert Proficiencies/Capacities 2A Critical thinking X 2B Information literacy X 2C Global & historical perspectives X 2D Aesthetic appreciation X 2E Intellectual creativity X

3 Outcome #3 – Physically Disciplined Proficiencies/Capacities 3A Healthy lifestyle X 3B Physically disciplined lifestyle X

4 Outcome #4 – Socially Adept Proficiencies/Capacities 4A Communication skills X 4B Interpersonal skills X 4C Appreciation of cultural & linguistic differences X 4D Responsible citizenship X 4E Leadership capacity X