50817 Audio and Music Production

Warning: The information on this page is indicative. The subject outline for a particular session, location and mode of offering is the authoritative source of all information about the subject for that offering. Required texts, recommended texts and references in particular are likely to change. Students will be provided with a subject outline once they enrol in the subject.

Subject handbook information prior to 2024 is available in the Archives.

Description

This subject provides an introduction to the creative concepts, histories, philosophies and production techniques involved in professional audio and music production. The subject aims to develop students' conceptual and technical skills including musical and technical listening, specialised location recording, as well as voice and instrument recording. Editing and mixing are addressed with a particular focus on digital audio music production techniques. Specific topics included are: the history and theory of sound recording and production, studio recording processes and post production workflows, microphone choices and techniques, digital editing, surround sound, signal processing, acoustics and psychoacoustics.

Subject learning objectives (SLOs)

Course intended learning outcomes (CILOs)

This subject engages with the following Course Intended Learning Outcomes (CILOs), which are tailored to the Graduate Attributes set for all graduates of the Faculty of Arts and Social Sciences:

• Graduates possess a well-developed awareness of culture and professional practice of music and sound in the context of the technological and creative industries (1.1)
• Graduates are able to present, explain and evaluate their own and others' work in independent and collaborative contexts (1.2)
• Graduates are reflexive critical thinkers and creative practitioners who are intellectually curious, imaginative and innovative (2.1)
• Graduates are able to engage responsibly and respectfully with the musics and sound practices of a wide range of cultures (3.1)
• Graduates possess reflective and analytical skills enabling them to synthesise ideas from a diverse range of sources and communicate effectively to different audiences using appropriate media and modes (6.1)
• Graduates possess the technical and creative skills to express themselves in multi-platform contexts (6.2)

Teaching and learning strategies

The subject is delivered in lecture/tutorial mode through blended learning that combines on campus sessions and engagement with online materials. Classes will incorporate a range of teaching and learning strategies including short presentations, videos, demonstrations, discussion of readings and listening lists, case studies and student group work. These will be complemented by independent student activities, and studio based mentoring, work-in-progress discussions including formative feedback and presentation of assessment tasks. Students will also engage with online, learning materials accessed via UTSOnline. A staged approach to submission is applied where students are required to present their work in progress to the class in advance of the final due date with the opportunity to respond to feedback before final submission.

Content (topics)

The content in this subject contributes to a thorough and comprehensive introduction to the creative concepts, histories, philosophies and production techniques involved in professional audio and music production. Key theoretical and conceptual topics include the physics and perception of sound, acoustics of spaces, analysis of genre specific production techniques and technical and critical listening skills. The subject will further cover a range of technical and production concerns relating to audio and music production that include, the application of microphone techniques for multi-track production, audio editing skills, balancing of tracks, track panning consideration, equalisation approaches for various acoustics and electric instruments, dynamic processing approaches, sub-group processing and auxiliary channels, automation techniques (level, pan and effects), effects processing (include reverberation, delay, chorus, phase, flange, and multi-effects), and, master fader processing. Technical and aesthetic approaches for the mastering of music is covered as is genre specific production techniques.

Assessment

Assessment task 1: Mix Project

Assessment task 2: Multi-track Recording, Editing, Mixing and Basic Mastering Project

Minimum requirements

Classes are based on a collaborative approach that involves essential work-shopping and interchange of ideas with other students and the tutor.

In this subject assessment tasks are cumulative so that each task builds understanding and/or skills, informed by formative feedback. Consequently, all assessments must be submitted in order for you to receive feedback. Students who do not submit all assessments will not pass the subject.

Attendance at classes is essential in this subject. Classes are based on a collaborative approach that involves essential work-shopping and interchange of ideas with other students and the tutor. A roll will be taken at each class. Students who have more than two absences from class will be refused final assessment (see Rule 3.8).

Required texts

Huber, David Miles, Modern Recording Techniques, 9th ed. (Focal Press ISBN 978-1-138-95437-3, Oxford, UK, 2013).

All other required references and required listening will be accessible via the UTS library and links to external sites on UTS online.

References

Bartlett, B. & J. (2012): Practical Recording Techniques: The Step-By-Step Approach to Professional Audio Recording, 6th ed., Focal Press Oxford, UK

Blauert, J. (1997): Spatial Hearing; The Psychophysics of Human Sound Localization; Revised Edition, MIT Press, Cambridge, USA

Blesser, B. & Ruth-Salter, L (2007): Spaces Speak, Are You Listening?: Experiencing Aural Architecture, MIT Press, Cambridge, USA

Eargle, J (update by Rayburn, R. A.) (2011): The Microphone Book, 3rd Ed. Oxford, UK

Everest, A. F., & Pohlmann, K. C. (2009): Master Handbook of Acoustics, 5th ed., McGraw Hill, New York, USA

Holman, T. (2008): Surround Sound: Up and Running, 2nd Edition, Focal Press, Boston, UK

Izhaki, R. (2008): Mixing Audio: Concepts, Practices and Tools, Focal Press, Oxford, UK

Moore, B. C. (2012): An Introduction to the Psychology of Hearing, 6th ed., Emerald, UK, 2012

Katz, B. (2007): Mastering Audio: The Art and the Science, 2nd ed., Focal Press, Oxford, UK

Rumsey, F (2012): Spatial Audio, Focal Press, Oxford, UK

Rumsey, F. & McCormick, T. (2014), Sound and Recording: Applications and Theory, 7th Edition, Focal Press, Oxford, UK

Thompson, D. M. (2005): Understanding Audio: Getting the Most Out of Your Project or Professional Recording Studio, Berklee Press, Boston, USA