Base Knowledge
N/A
Teaching Methodologies
Being a subject of an essentially practical nature, its teaching methodologies will also be in this sense and all subjects covered will be presented as a real exercise explained and solved in class followed by a similar exercise to be solved individually by each student. In this way, students will not only be able to apply the knowledge acquired immediately after exposure and be assessed continuously and individually for each content presented.
Rating criteria
– 30% Continuous assessment (attendance, punctuality, class performance)
– 50% Individual work:
– Design of a Rider.
– Creation of a session for front mixing.
– Creating a session for mixing monitors.
– Creation of a session to mix Front and Monitors simultaneously.
-20% Group Work – Capturing an ensemble
Learning Results
The learnig outcomes of this curricular unit are:
a) Analyze, manage and resolve the technical needs presented in a technical rider.
b) Mastery of digital audio editing platforms (Digital Audio Workstations).
c) Know how to interpret the needs of a project in order to be able to design a technical Rider for it.
d) Understand the entire assembly of a stage and the sound systems that belong to it.
e) Preparation of systems for FOH and MON.
f) Assembly and calibration of a sound system.
Program
1. Technical Riders: Reading, analysis and implementation of technical riders. Understanding the needs of a project and creating riders that cover these needs.
2. DAW’s: Deepening knowledge and skills in handling DAW’s and their practical applications in the show environment. Introduction to the incorporation of systems with external DSPs on the mixing surface in digital and analogue consoles.
3. Sound systems on a Stage: Mastery over the various components of one (PA, Subs, Frontfill, Outfill, Delays, Sidefill, Drumfill, monitors and IEMs). Introduction to configuring microphone systems and radio frequency listening.
4. FOH/MON Systems: Configuration of the work platform to perform mixes for “Front of House” or monitors
Grading Methods
- - Attendance, punctuality, class performance - 30.0%
- - Individual works - 50.0%
- - Group Work - 20.0%
Internship(s)
NAO
Bibliography
Bartlett, B., & Bartlett, J. (2013). Practical recording techniques. Elsevier. Biederman, R., & Pattison, P. (2014). Basic live sound reinforcement: A practical guide for starting live audio. Focal Press, Taylor &
Francis Group.
Collins, M. (2014). Pro tools 11: Music production, recording, editing, and mixing. Focal Press.
Corey, J. (2010). Audio production and critical listening: Technical ear training. Focal Press.
David Miles Huber, & Runstein, R. E. (2014). Modern recording techniques. Focal Press.
Everest, F. A., & Pohlmann, K. (2021). Master handbook of acoustics (7th ed). McGraw-Hill.
Moylan, W. (2015). Understanding and crafting the mix: The art of recording. Focal Fress, Taylor & Francis Group.
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. Newness/Elsevier.
Fonseca, N. (2007). Introdução à Engenharia de Som. Ed FCA