Sound Laboratory II

The Recommended Basic Knowledge are those resulting from the knowledge and skills acquired by students in curricular units of the study plan and previously attended by them, such as:

Multimedia Laboratory I;

Sound Lab I.

Learning will take place from an effective practice in each of the foreseen headings, so that each student (or group of students) will develop concrete actions proposed by the teacher or suggested by themselves according to their preferences or needs, always having as objective its application in concrete projects. Some subjects may be presented by the students, at the suggestion of the teacher, who will monitor the students’ research with a view to a later presentation of the results to the class. From an eminently practical perspective, all the syllabus will translate into concrete tasks to be carried out by each of the students.

Evaluation is exclusively continuous.

Quality of class participation, autonomy, interest – 20%
Simple average of practical work performed – 80%

Students are expected to be able to produce a simple audio document, using the digital editing technique, assuming the possibility of capturing audio material (by microphone or line signal). Students should be able to work in a multitrack environment, mix and insert effects, as well as establish the relationship between sound and video.

1. THE ELECTROACUSTIC CHAIN
a) The sound system: history, evolution, characteristics and usage criteria
b) Ohm’s Law
c) Hearing criteria: mono and stereo. Sound stage and dynamic range.

2. INFORMATION TECHNOLOGIES IN AUDIO
the introduction; basic computer concepts
b) Different platforms and their specifics
c) The home studio; the hardware and software

3. DIGITAL AUDIO
the introduction
b) Basic concepts: sampling frequency, A/D and D/A decoding, resolution, dithering, aliasing, Nyquist’s theorem
c) The digital signal in the audio: specifics
d) Dedicated software: the DAW (digital audio workstation): capturing, editing, mixing, inserting effects, mastering

4. APPLICATION OF AUDIO IN VIDEO
a) ADR, Sound FX, Ambient Sound and Foley.
b) Sound and music for image

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

NAO

AMENT, V. T. (2009). The Foley Grail: The Art of Performing Sound for film, games, and Animation. Focal Press an imprint of Elsevier.

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

BEAUCHAMP, R. (2017). Designing sound for animation. CRC Press.

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

FONSECA, Nuno (2012). Introdução à Engenharia de som. FCA

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

MARQUES, M. P. (2014). Sistemas e Técnicas de Produção Áudio. Ed. FCA.

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

ROSE, J. (2017). Producing great sound for film and video: Expert tips from preproduction to Final Mix. Focal Press.

SALTZMAN, S. (2015). Music editing for film and television: The art and the process. Focal Press.