Software Applications 1

The Recommended Basic Knowledge are those that derive from the contents and competences of the curricular units foreseen in the study plan and previously attended by the students and with syllabus contents, competences and techniques inherent to this curricular unit, such as:

Introduction to Music Technologies;

Physical Acoustics and Psychoacoustics;

Musical Acoustics and Organology;

Hardware Applications.

This course unit is practical, enabling the acquisition of a capacity for performance and manipulation of dedicated tools. Each syllabus presented will be followed by a practical exploration, enhancing knowledge from discovery and handling. The evaluation will contemplate the performance and acquisition of knowledge, being measured from a set of proposed practical works. In addition, the performance and operational agility demonstrated in the classes will be considered, valuing not only the autonomy achieved (which results from the evaluation of performance in classes, attendance, interest) but also the weighted average of the practical work proposed and carried out by the students throughout of the semester:
average of practical work performed: 80%
attendance, punctuality, autonomy: 20%

Know and know how to use a set of computer applications that allow recording, editing, inserting different effects, mixing and mastering a phonogram. This process presupposes the mastery of the inherent techniques, from the capture to the conclusion of the process, in the form of an audio file mastered in the desired format. To this end, some reference computer applications will be made available (Digital Audio Workstation, effects plug-in and addressing software) that students should know how to use correctly.

1. THE CONTEMPORARY STUDIO
The. the contemporary studio: the computer at the center of the action;
B. computer hardware: settings, operating system(s) from the user’s perspective;
ç. the concept of DAW (Digital Audio Workstation);
d. communication and interconnection protocols (hardware and/or software: USB, Thunderbolt, MADI, Dante);
and. usage and performance criteria in recording/editing environment (introduction).

2. CAPTURE AND RECORDING
The. DAW recording: microphone signal; gain adjustment and signal flow definition; dynamic range and headroom setting;
B. editing and mixing of multitrack audio files: fade and crossfade; automation criteria;
ç. effects: compression, equalization and reverb. Associated parameters and usage criteria. Plugin concept;
d. Reference DAW: Reaper, Avid Pro Tools and Logic Pro.

• - Individual and/or Group Work - 80.0%
• - Attendance and Participation - 20.0%

NAO

BARTLETT, B., & Bartlett, J. (2017). Practical recording techniques: The step-by-step approach to professional audio recording. Routledge.

COREY, J., & Benson, D. H. (2017). Audio production and critical listening: Technical ear training. Routledge, Taylor & Francis Group.

COUSINS, M., & Hepworth-Sawyer, R. (2013). Practical mastering. Focal Press.

HUBER, D. M. (2021). The Midi manual: A practical guide to Midi within Modern Music production. Routledge, Taylor and Francis Group.

HUBER, D. M. & Runstein, R. E. (2018). Modern Recording Techniques. Focal Press.

KATZ, R. A. (2007). Mastering audio: The art and the science. Focal Press.

MOYLAN, W. (2015). Understanding and crafting the mix: The art of recording. Focal Press.

RAYBURN, R. (2019). Eargle’s microphone book: From Mono to stereo to surround. ROUTLEDGE.