Audio 1

Being a discipline that aims to offer both the theoretical bases and the introduction to their practical applications, the methodology to be used will be based on a process of “explanation-exemplification” in which all subjects will culminate in practical work, individual or in groups, in which it will be part of the evaluation process. In this way, students will be able to apply the knowledge acquired immediately after exposure and be assessed continuously and individually for each content presented.

A final test will also be carried out in which the content will be evaluated in a more general way.

Rating criteria

– 40% Continuous assessment (attendance, punctuality, class performance) – 15% Final Test

– 20% Individual work (Sound Library)

-25% Group Work (Practical

The learnig outcomes of this curricular unit are:

a) Know, understand and know how to assemble, maintain and disassemble the sound equipment for an event.

b) Know the characteristics of the audio signal, analog and digital, principles and characteristics of diffusion.

c) Analyze and evaluate aspects related to audio signal routing.

d) Know how to choose and use the appropriate material for a given audio capture situation. e)Know and apply the various mono and multipoint audio capture techniques, applied to instruments, voices and sound environments. 

1. Sinal de Audio: Características e tipos de sinal

Áudio enquanto ondas sonoras, sinal analógico e sinal digital

Variações de tipologia de sinal conforme conforme os pontos no sistema. Introdução à gravação de áudio em plataformas digitais (Reaper).

2. Microfones e os seus diversos tipos.

3. Microfones direcionais e omnidirecionais (Padrões polares). 4. Técnicas de Captação (Mono, stereo, Multiponto).

5. Sistema de Sonorização e seus elementos constituintes. 

• - Exam - 15.0%
• - Group Work (Pratical) - 25.0%
• - Attendance and Participation - 40.0%
• - Individual work (Sound Library) - 20.0%

NAO

Biederman, R., & Pattison, P. (2014). Basic live sound reinforcement: A practical guide for starting live audio.

Focal Press, Taylor & Francis Group. Corey, J. (2010). Audio production and critical listening: Technical ear training.

Focal Press. Davis, G., & Jones, R. (1988). The sound reinforcement handbook (2nd ed.). Yamaha. Eargle, J. (2002). Audio engineering for sound reinforcement. JBL publications.

Everest, F. A., & Pohlmann, K. C. (2021). Master handbook of acoustics (7th ed.).

McGraw-Hill Education. Kaye, D., & Lebrecht, J. (2000). Sound and music for the theatre: The art and technique of design.

Focal Press. McCarthy, B. (2016). Sound systems: Design and optimization (3rd ed.).

Focal Press. Rayburn, R., & Eargle, J. (2012). Eargle’s microphone book: From mono to stereo to surround: a guide to microphone design and application.

Focal Press. Self, D. (2009). Audio engineering.

Newnes/Elsevier. Toole, F. (2017). Sound reproduction: The acoustics and psychoacoustics of loudspeake