Welcome To Recording Studio Techniques! MUGN-M355 Section 001 Instructor: Jake Eckert ​ Contact: [email protected] Course Term: Spring 2021 ​ Class Meetings: Mon. & Wed. 3:30pm-4:45pm Location: CM426/427 or CM428A-F Catalog Description Recording Studio Techniques is an in-depth study of the techniques and methods used to produce recordings in the studio. A special emphasis will be placed on recording methods and microphone techniques in the modern recording studio environment. Prerequisites MUGN-M115 - Intro to Music Technology MUGN-M225 - Digital Audio Production Textbooks and Other Materials to be Purchased by Student Optional Textbooks: ​ Modern Recording Techniques, 9th Edition Author: David Miles Huber Release date: 2018 ISBN-10: 0240821572 ISBN-13: 978-0240821573 Publisher: Focal Press Cost Estimate: $40 Instructor will provide other texts as needed. Students will need the following technical materials: - USB Flash memory sticks as needed - 1 USB 3.0 or compatible hard drive (SSD encouraged). At least 300 gigabytes of capacity. - 1 Functional pair of headphones This course requires a course fee of $75 which will be assessed on the students tuition for all Non-Music Industry majors. College of Music and Media majors will not be charged this course fee. Additional fees may be incurred during final project recording sessions as indicated below. Course Requirements and expectations Students are expected to attend all class meetings, online meetings, Canvas assignments and participate in discussions. Assignments will be assigned at regular intervals, and as needed by the instructor. A mid-term and final examination will be given on discussed class topics. A final project will be assigned and is due on the final day of class. Course Objectives This course is an advanced look at the techniques and methods required to be an effective audio engineer in a recording studio environment and builds upon tracking, mixing, editing, and effects usage knowledge learned in MUGN-M115 and MUGN-M225. This course seeks to enable the student to be able to plan, record, and mix a studio recording to professional quality standards using common practices. This course seeks to make the student knowledgeable in the history of recording studio development and future industry trends. Expected Student Learning Outcomes ● The student will be fully competent in common modern studio techniques. ● The student will be able to produce professional-quality audio recordings. ● The student will be familiar with contemporary audio technology and its uses. ● The student will have theoretical foundations suitable for further advanced study. Course Outline Weeks #1-3 Recording Studio Overview, Microphone Types, Preamp Basics, Overdubbing basics: ​ ● What a recording studio is, different types of studios, an overview of the recording process and its place in the music industry. ● Recording studio equipment, terminology, cable wrapping and care and handling of equipment. ● Connection Types, Cable Types: XLR, ¼ Inch, TRS, Balanced and Unbalanced. ● Microphone Types: Dynamic, Ribbon, Large and Small Diaphragm Condensers. Phantom Power. Popular microphone brands and models. ● Microphone polar patterns, and pattern characteristics. -Cardioid, Omnidirectional, Supercardioid, Hypercardioid, Figure Eight (Bidirectional). ● Basics of overdubbing, preamp operation, preamp selection, and optimal input level settings. ● Mic Level, Instrument Level, Line Level, Speaker Level. Assignment #1 (Lab): Record a short 4-channel song by overdubbing using various sounds created in the Loyola studio or home studio, either with instruments or objects. Playback for class (or instructor) and discuss during Week 4. Weeks #4-6 Microphone Techniques, Live Tracking Techniques, Overdubbing Techniques: ● Microphone Selection and Placement. ● Distant, Close, Ambient and Accent Miking. ● Phase, 3:1 Rule ● Proximity Effect Stereo and Multi-Channel microphone techniques: ● Coincident Pair: XY, Blumlein, Mid/Side + Matrix ● Near-Coincident Pair: NOS, ORTF ● Spaced Pair: Decca Tree, AB Other Recording Techniques: ● Direct Inputs ● Direct Boxes ● Re-amping ● High-pass and Low-pass filters. ● Pads ● Tracking "Live" vs. Overdubbing ● playlists/comping ● Direct signal vs. miked signal Lab Assignment #2 (Lab): Record a singer/songwriter musician in stereo using 3 different microphone techniques. Play back the session for class ( or instructor) during Week 6. (Assignment #2b ) Write a brief explanation of what microphone techniques you used and explain how you used them. Send to instructor via Canvas. Weeks #7-8 Recording Techniques of Specific Instruments: Recording Techniques: Drums, Bass, Acoustic/Electric Guitar, Acoustic/Electric keyboards, Hammond Organ/Leslie, Horns, Vocals, and other instruments and situations upon student's request. ● Common microphone types and choices specific to each instrument. ● Common miking techniques and choices specific to each instrument. ● Common preamp, channel strip, outboard gear, and signal chain choices specific to each instrument and situation. Studio signal flow: ● What is a "signal chain"? Written Mid-term Examination Assignment #3 (Individual): Begin recording of Final Project. Meet with the instructor to show progress and ask questions. Weeks #9-12 Continue Recording Techniques of Specific Instruments. Outboard gear types, use and integration to the DAW: ● Common classic outboard preamps (API, Neve, Grace, Etc.) ● Common classic outboard compressors (LA-2A, 1176, Dbx 160, Etc.) ● Common outboard EQ ● Other common outboard processors and effects. ● Common order of connection of outboard gear in the signal chain. Other recording studio subjects and techniques: ● Headphone monitoring and routing ● Click tracks, scratch vocal tracks ● Talkback mic operation ● Patch bay set up (thru, normal, half-normal). ● Tips for providing the artist with a rough mix. ● Cleaning and preparing tracks for the mixing engineer. ● How to maximize your home recording setup. Begin Final Project: ● Pre-Production ● Project timelines -Watch Tom Dowd & The Language of Music documentary -Typical plug-in usage and outboard gear integration -Playlists/Comping Tracks Weeks #13-14 Individual meetings with instructor about the Final Project: ● Sign up for a time slot to meet with the instructor in the studio during class time. ● Discuss progress on the final project. ● Ask the instructor any specific questions about the final project or topics covered in class. Assignment #4 (Individual): Complete the tracking of your final project. Do a rough mix of ​ ​ your song, play mixes for class (or instructor) during last class of Week 14. Begin discussion on overview of mixing. WEEK 15-16 (ONLINE ONLY) Overview of a putting together presentable mix (This is not a class about mixing specifics). ● Gain Structure ● Panning ● EQ ● Compression/Bus Compression ● Reverb/Delay ● Plugins Overview of what Mastering is (This is not a class about mastering specifics). ​ ● Overall Level ● Song to song level ● Commercially comparable level ● Metadata & ISRC Codes ● EQ ● Multi-band Compression (L2, L3 Plugin) ● Presenting Masters for distribution and manufacturing (Hi-Def, 16/44.1, DDP, MP3) ● Mastering for Vinyl Final Exam to be completed on last day of class on Canvas. The FINAL PROJECT is due by last day of class week 16. ​ For Final Project Please include: 1) The multi-tracked session in ProTools or Logic as it would be prepared for a mixing engineer. 2) A presentable bounced stereo master track, which uses at least one mastering plugin. Include a brief written description of the process used and which plugin(s) you used. ​ ​ (Word Document or PDF for written portion) **(You WILL NOT be graded on the mix quality, but WILL be graded on the ability to execute the process of capturing the content, and applying the techniques covered in this course). 3) Deliver above content in one of the following ways: Leave a usb memory stick with the instructor OR share a zip file on the instructors ​ ​ Google Drive [email protected]) Evaluation Final Grading will be determined by the following component areas: Assignments, Labs & Quizzes, Attendance 30% Mid-term Examination 20% Final Examination 20% Final Project 30% Grading Scale 96-100%=A 90-95%=A- 87-89%=B+ 83-86%=B 80-82= B- 77-79%=C+ 73-76%=C 70-72=C- 67-69%=D+ 61-66%=D 0-60%=F Assignments: Assignments are due on the due-dates as assigned by the instructor. Assignments are not accepted after the due date and will be given zero credit if late. Electronic submission of assignments is accepted when allowed by the parameters of the assignment. Canvas will be used per instruction by the instructor. Studio Labs (May change this semester due to Covid, per instructions from the instructor) A bi-weekly 2-hour meeting with an assigned Teaching Assistant is required while enrolled in the course. Objectives and goals will be assigned for each lab meeting. Students ​ ​ can use the Monroe Library Mac Lab (room 113), recording studios, or other similar facilities for completing class assignments. ​ Assisted Labs Students can work with Teaching Assistants to schedule lab times in the school studios as needed. The teaching assistant will enable access to the Recording Studio and schedule studio usage. Final Project Specifications: ● The final project must be a single song consisting of a minimum of 8 recorded channels of audio, with at least four unique rhythmic or melodic elements, and lasting no longer than 5 minutes. Instruments like a drum set will only count as 1 unique element