PERFORMING ARTS OCR LEVEL 3 CAMBRIDGE TECHNICAL. Cambridge TECHNICALS MUSIC PRODUCTION TECHNIQUES CERTIFICATE/DIPLOMA IN M/600/6972 LEVEL 3 UNIT 66

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1 Cambridge TECHNICALS OCR LEVEL 3 CAMBRIDGE TECHNICAL CERTIFICATE/DIPLOMA IN PERFORMING ARTS MUSIC PRODUCTION TECHNIQUES M/600/6972 LEVEL 3 UNIT 66 GUIDED LEARNING HOURS: 60 UNIT CREDIT VALUE: 10

2 MUSIC PRODUCTION TECHNIQUES M/600/6972 LEVEL 3 UNIT 66 AIM OF UNIT This unit aims to provide the student with the theoretical and practical working knowledge required when producing an audio recording utilising a variety of studio-based equipment. Learners will be able to familiarise themselves with the main components of a recording studio and gain a comprehensive understanding of how they operate and are used to produce a professional recording in response to a specified brief. 2

3 Music Production Techniques Level 3 Unit 66 ASSESSMENT AND GRADING CRITERIA Learning Outcome (LO) Pass Merit Distinction The learner will: The assessment criteria are the pass requirements for this unit. The learner can: To achieve a merit the evidence must show that, in addition to the pass criteria, the learner is able to: To achieve a distinction the evidence must show that, in addition to the pass and merit criteria, the learner is able to: 1 Understand manufacturers specifications for a range of audio recording equipment P1 explain manufacturers specifications for a range of audio recording equipment 2 Be able to set up the equipment required for a recording session 3 Be able to capture audio sources using multi-track recording techniques 4 Be able to mix multitrack recordings P2 set up the equipment required for a recording session competently with limited tutor support P3 capture audio sources using multi-track recording techniques P4 mix multi-track recordings M1 following a client brief, select appropriate equipment and set up a recording session to achieve client objectives M2 following a client consultation conduct an overdub recording and mixing session to achieve client objectives D1 advise performers on how to make best use of equipment selected D2 complete and file a pre-final mix studio log sheet 3

4 TEACHING CONTENT The unit content describes what has to be taught to ensure that learners are able to access the highest grade. Anything which follows an i.e. details what must be taught as part of that area of content. Anything which follows an e.g. is illustrative. It should be noted that where e.g. is used, learners must know and be able to apply relevant examples to their work although these do not need to be the same ones specified in the unit content. Understand manufacturers specifications for a range of audio-recording equipment Sound recording studio layout, essential equipment (mixing console, DAW, recording medium, channel strip, multi-track recorder/computer based recorder microphones etc.) Be able to set up the equipment required for a recording session Choice of microphones, placement decisions, recording conditions and environment and selection of equipment in order to improve, enhance or alter original recordings. Response to specific requirements as may be contained in a client brief. To be able to advise users of the most effective ways of getting the best from their equipment within the context of the given set-up. Be able to capture audio sources using multi-track recording techniques Application of dry recording techniques to record a variety of individual sound sources such as: vocals, electric and acoustic guitar, bass guitar, drums and piano. Mixing technique, application of EQ, panning, balance of levels. Response to specific requirements as may be contained in a client brief. Be able to mix multi-track recordings Within the context of a traditional recording studio. Use of dynamic processors, compression, expanders, gating, limiting. Use of signal processors such as reverb, delay, chorus, and how they can be applied practically during the mix down. 4

5 Music Production Techniques Level 3 Unit 66 DELIVERY GUIDANCE NB The unit specification considers that an equipped recording studio is a basic requirement for fulfilling the assessment criteria. This does not preclude the use of laptop/pc based recording on systems by learners as part as their formative process but the assessment criteria are orientated towards a studio context. Understand manufacturers specifications for a range of audio recording equipment The approach taken will depend partly upon the range of equipment available to learners and partly upon their prior learning and experience. Given a reasonably well-equipped studio facility, it is advisable to stick to the equipment available rather than providing a lot of information about hardware to which learners will have no access. Understanding emerges through practical application and therefore it is recommended that learners are introduced to the idea of technical specification through task-orientated activities, i.e. using the equipment in a realistic recording environment. The earlier learners can arrive at a hands on position, the better and so it may prove beneficial for them to be introduced to the range and limitations of the equipment available via exercises developed around specific individual recording targets. Be able to set up the equipment required for a recording session It is expected that learners will benefit from some guidance until they are fully proficient. It is important however that they do not adopt a one size fits all approach to studio set up. They should be encouraged to think about the optimal configuration for each task or job that comes into the studio and be especially aware of the distinction between the selection and set up for a live recording in the studio as opposed to recording each member of a group responding to a basic guide track. As part of their role, learners should be able to use their knowledge and understanding to assist performers to maximise the efficiency and quality of their equipment. This is all done within the context of each individual set-up and the unique parameters pertaining thereto. Consequently, it would be helpful for learners to be encouraged to explain the benefits of each adjustment or calibration as they go, thereby embedding their own understanding and inculcating an ability to explain and justify technical issues. Be able to capture audio sources using multi-track recording techniques. Again, some guidance may be necessary, especially when adjusting levels but it is also good for learners to be able to utilise a trial and error approach where the impact of common trouble spots such as over-driven recording levels or incorrect settings may be appreciated. It is important to stress the importance of maintaining a studio log sheet. Keeping a studio log is a crucial record not only of recording work in progress but also retrospectively (much vital and highly sought after information has been lost to history because so often proper records were not maintained at the time). Be able to mix multi-track recordings This is the point at which learners may experiment with processors and effects and it is likely that early on they may be somewhat overzealous until the creative novelty begins to wear off. Again, it is probably better that they are allowed to experiment and then are given the opportunity to review the final mix in class. At this stage the teacher can invite comment from the learning group and encourage them to analyse the output, setting the result in a professional context. The bottom line should be questions such as is the final product fit for purpose? or has the integrity of the mix been compromised and for what reasons? The introduction of a client brief at the M level will introduce a sense of commercial responsibility and the notion of working towards the satisfaction of the needs of a third party. 5

6 SUGGESTED ASSESSMENT SCENARIOS AND GUIDANCE ON ASSESSMENT Assessment and Grading Criterion P1 Following direction from the teacher, explain the function and basic technical profile of key items of studio equipment. This may be evidenced by a video recording. Assessment and Grading Criterion P2 With limited guidance learners will: set up the individual items of equipment required for a recording session competently. interconnect each component to form a recording system Troubleshoot for problems and ensure the system is working correctly. This may be evidenced by teacher observation. Assessment and Grading Criterion M1 Following the client brief, select appropriate equipment and set up a recording session to capture a range of contrasting live sources to achieve client-specified aims and objectives. This should be evidenced by an annotated equipment list with the choice of each item being fully justified in the context of the system aim and purpose. Assessment and Grading Criterion D1 As part of the set-up process learners will: explain the set-up and its parameters to performers and other users advise performers on how to make best use of equipment selected. This may be evidenced through a video recording. Assessment and Grading Criterion P3 With limited guidance learners will: capture a range of individual live audio sources using multi-track recording techniques. Sources may include vocals, musical instruments and ambient sounds. Recordings should be retained for future reference. Assessment and Grading Criterion M2 Following a client consultation relating to the brief at M1, learners will: conduct an overdub recording and mixing session to achieve client objectives produce a mixed and mastered audio file (CD/MP3 etc.) of a recording session for delivery to the client use effects, compression and EQ to process and mix each track to produce a finished collection of recordings which fulfil the client requirement. This may be evidenced by teacher observation. 6

7 Music Production Techniques Level 3 Unit 66 Assessment and Grading Criterion D2 Complete and file a studio log sheet giving precise details of equipment used, problems encountered and solutions achieved (see resources below for a link to a sample of a log template). Assessment and Grading Criterion P4 With limited guidance learners will: mix a range of individual audio multi-track recordings to form a fully integrated audio track. Recordings should be retained for future reference. 7

8 RESOURCES Well-equipped recording studio containing mixing consoles, multi-track recording medium/daw, studio monitors, a selection of microphones, dynamic processors and a range of effects. Computer software such as: Pro Tools, Cubase, Logic, Sonar, Reason. There are many useful making of DVDs now available on re-issues of classic CD s together with other boxed sets that contain CD s with separate breakdowns of vocals only and/or specific instruments which explicitly or otherwise convey much information about recording techniques. Alton Everest, F. Critical Listening Skills for Audio Professionals. Har/Cdr edition. Course Technology Inc, Borwick, J. Sound Recording Practice. Oxford University Press, Collins, M. Pro Tools for Music Production: Recording, Editing and Mixing. Focal Press, Katz, B. Mastering Audio: The Art and the Science. 2nd ed. Focal Press, Massey, H. C. Behind the Glass: Top Record Producers Tell How They Craft the Hits. Backbeat Books, 2000 Owsinski, B. The Recording Engineers Handbook. 2nd ed. Thompson Course Tech, Runstein, R. E. & Huber, D. M. Modern Recording Techniques. Focal Press, 2005 Rumsey, F. and McCormick, T. Sound and Recording: An Introduction. Focal Press, 2005 White, P. Basic Mixing Techniques. SMT Books, 2002 George Martin, Making Music; the guide to writing, RECORDING and Performing Magazine: Recording published by Thomas Hawley Websites Link for example of a studio log template: 8

9 Music Production Techniques Level 3 Unit 66 LINKS TO NOS Suite Ref National Occupational Standards Live Events and Promotion; Sound Recording and Music Technology CCSMT34 Prepare and operate live sound and performance technology Sound Recording and Music Technology CCSMT42 Use audio mix automation and control surfaces 9

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