AUDIO ENGINEERING AND RECORDING TECHNIQUES B - 2019/0
Module code: TON1017
Music and Media
HAIGH C Mrs (Music & Med)
Number of Credits
FHEQ Level 4
Module cap (Maximum number of students)
Overall student workload
Independent Study Hours: 94
Lecture Hours: 48
Seminar Hours: 8
|Assessment type||Unit of assessment||Weighting|
|Coursework||COURSEWORK 1 - TWO ASSIGNMENTS||35|
|Coursework||COURSEWORK 2 - LISTENING ASSIGNMENT||15|
|Examination||EXAMINATION (2 HOURS)||50|
Prerequisites / Co-requisites
• Year 1 Audio Engineering and Recording Techniques A
This module is intended to advance your understanding of the theory of professional audio systems engineering, professional recording operations and equipment, the practical operation of a range of recording equipment, and critical listening skills.
To advance your understanding of the theory of professional audio systems engineering.
To advance your understanding of professional recording operations and equipment.
To prepare you for the HE5 Recording Techniques modules.
To advance your understanding of the operation of a range of professional recording equipment.
To further develop your skills in critical listening.
|001||Describe the principles of PCM digital audio, including sample and hold, PCM spectrum, aliasing, dither, and the Nyquist Criterion||KC|
|002||Describe a range of A to D and D to A converters suitable for audio use||KC|
|003||Explain the principles of parity, weighted parity, Hamming codes, and CRCs as used in digital audio system||KC|
|004||Describe the CD system, including frame format, channel coding, EFM, and subcode formats||KC|
|005||Describe the technical features of a wide range of digital audio interfaces, including AES-3, MADI SDIF-2, ADI and TDIF||KCP|
|006||Describe the principles of operation and operational characteristics of omnidirectional, bi- directional, cardioid, variable directivity pattern, and "gun" microphones||KC|
|007||Describe the principles of operation of moving-coil, electrostatic, and ribbon microphones||KC|
|008||Recognise a wide range of professional microphones||KCP|
|009||Relate hearing mechanisms to stereo recording techniques||KC|
|010||Explain the requirements of a professional stereo system||KCP|
|011||Discuss the requirements of mono compatibility, and quality monitoring||KCP|
|012||Discuss the relative merits and disadvantages of co-incident pair, Decca tree, spot, and multi microphone techniques for commercial and broadcast recording of "classical" music and speech using both X/Y and M/S techniques||KCP|
|013||Identify and describe the subjective effects of selected basic features of recorded balance||KCPT|
|014||Identify and describe selected spatial features of reproduced sound||KCPT|
|015||Identify and describe the subjective effects of selected digital audio sampling and quantisation artefacts)||KCPT|
|016||Critical listening skills||PT|
C - Cognitive/analytical
K - Subject knowledge
T - Transferable skills
P - Professional/Practical skills
Indicative content includes:
• Digital audio principles
• Digital audio interfaces
• Microphone operation
• Stereophonic microphone techniques
Methods of Teaching / Learning
The learning and teaching strategy is designed to: further develop your skills and knowledge in fundamental audio engineering, allowing modules in later years to build on this knowledge. Practical and critical listening skills are taught in small seminar groups allowing multiple feedback and interaction points. Techniques and style in academic writing and citation are further developed.
The learning and teaching methods include:
• Two two-hour lectures per week
• Five two-hour seminars on critical listening
• Five two-hour practical workshops on equipment knowledge and operation
• Guided reading
• Coursework assignments and feedback
The assessment strategy is designed to provide you with the opportunity to demonstrate and
develop knowledge and understanding of audio engineering principles (Coursework 1 and exam). Your ability to apply this knowledge and understanding depends upon your Critical Listening skills, which are assessed in Coursework 2.
Thus, the summative assessment for this module consists of:
• Coursework 1 – one written assignment and one recorded assignment (addresses learning outcomes 1-2 & 6-12).
• Coursework 2 – listening assignment: a class test to assess the identification of faults in audio (addresses learning outcomes 13-15).
• 2hr exam – written paper given under exam conditions (addresses learning outcomes 1- 12).
There are no formal formative assessment components for this module, but formative feedback will be given to you in tutorials and throughout seminar and practical workshops, and in the form of regular revision questions in lectures.
Written feedback will be given on both assignments in Coursework 1. You will receive verbal feedback on your practical work throughout the module, particularly in seminars and practical workshops.
Reading list for AUDIO ENGINEERING AND RECORDING TECHNIQUES B : http://aspire.surrey.ac.uk/modules/ton1017
Programmes this module appears in
|Music and Sound Recording (Tonmeister) BSc (Hons)(CORE)||2||Core||Each unit of assessment must be passed at 40% to pass the module|
|Music and Sound Recording (Tonmeister) BMus (Hons)(CORE)||2||Core||Each unit of assessment must be passed at 40% to pass the module|
Please note that the information detailed within this record is accurate at the time of publishing and may be subject to change. This record contains information for the most up to date version of the programme / module for the 2019/0 academic year.