Music 2736b Introduction To Desktop Music Production Lecturer - Daniel Rosen (Office: TC 334, drosen4@uwo.ca)

Transcription

1 Music 2736b Introduction To Desktop Music Production Lecturer - Daniel Rosen (Office: TC 334, drosen4@uwo.ca) Mondays 7 10pm, IMC Lab, North Campus Building 125 Course Overview: This course gives an introduction to digital audio production and the project paradigm of record production, using Logic Pro 9. Students who complete course work should expect to learn methods and techniques for conceiving, creating and optimizing professional productions using only their computers, an extremely limited inventory of outboard technology, and their educated imaginations. Coursework culminates in the creation of shop- ready demonstration recordings. Students are not expected to have any experience making records at the beginning of class any expertise (beginner to advanced), and all musical backgrounds, welcome! Required Materials: 1. Nahmani, David. Logic Pro 9 and Logic Express 9: Professional Audio Production. Berkeley, Peach Pit Press, Hodgson, Jay. Understanding Records: A Field Guide To Recording Practice. New York, Continuum, Supplementary Materials: 1. Snoman, Rick. Dance Music Manual, 2 nd ed. Burlington: Focal Press, 2011.

2 Evaluation: 1. Attendance & Satisfactory Completion of Course Assignments (50%) 2. Final Project: Multi- track Project Files & Hard- Copy Bounce (50%) Submission Policy: I do not accept late assignments nor do I grant extensions. If students miss a deadline (or in class evaluations such as a pop quiz) without prior approval and documentation or, in the case of an emergency, without documentation and approval obtained from me within one week of the initial due date a failing grade is automatically applied. To be fair to everyone in this class, and to ensure that your final grade accurately represents the level of studentship displayed in my class, I make absolutely no exceptions to this policy Expectations For Final Grades: Students should have realistic expectations for final grades. Given the cumulative nature of this class, and the labour intensive nature of course work, class averages for a typical offering of this course range from 65% to 73% at the very highest. A final grade of 80%+ is difficult to achieve but not entirely uncommon. A final grade of 90%+ is extremely rare and can account for anywhere from 0% to 5% of total grades. Letter Grades and Percentage Points: At the University of Western Ontario, letter grades correspond to the following percentages: A % + A % B % C % D % F... 49% and below Missed Classes: I am available, during posted office hours, to answer questions about course materials from students who have missed a lecture for legitimate and documented reasons. However, I do not give private lessons. Students should rely on their peers to gather, and acquire, information from the lessons they miss. Part of the workstation paradigm is creating personalized solutions to general problems. See me only to clarify what you cannot grasp on your own! Student Demos: I am always interested in hearing student work. Please feel free to pass on demos, et cetera!

3 Using Dropbox: Weekly assignments and readings may contain supplemental materials and readings, which will be posted for download on Dropbox in a folder labeled DESKTOP MUSIC PRODUCTION 2736b. All students must become familiar with this service, which has become a standard for contemporary file sharing. In order to become part of the class dropbox, sign up for an account at using your UWO . Assignment Submission: All assignments must be submitted online to my Yousendit dropbox before the class they are due. When submitting Logic sessions, please ensure you go to File Save copy as and check Copy external audio files to project folder. If using samples from outside Logic, copy the EXS/Ultrabeat samples and EXS sampler instruments to the project folder..zip files are preferred. The URL of my dropbox is: UNIT ONE: TRACKING Week 1 January 7 (iv) (v) (vi) (vii) Introduction to the Course Concept Explanation of Evaluation Scheme & Submission Protocols Introduction to Logic Pro Building An Arrangement Mixing (Panning & Leveling) in the Mixer Window Dialing in Plug- Ins Bouncing Down to.mp3,.aiff and.wav - Digital Audio Workstation - Opening Logic - Saving A Project - Exploring the Interface - Using Apple Loops - Transport Bar - Looping Functions - Types of Tracks Audio & MIDI - Saving Work - Looping Regions - Resizing Regions - Signal Processing - Noise Shaping - Undoing Actions - Moving Regions - Mixer Window - Plug- Ins - Audio Region - Copying Regions - Panning & Levelling - Bouncing & Dithering - Using track colours - Organizing your session - Key commands 1. Explore the provided Logic Multi- track project

4 2. Nahmani: Lessons 1, 2, and part of Lesson 7 (p ) 3. Assignment: Create a 1-2 minute track using Apple Loops and MIDI Week 2 January 14 Recording Audio: How Computers Hear Recording Audio: Practice Microphones & Tracking, pt. 1 (basic) - Sample Rate - Arming Tracks - Audio Bin - Multiple Tracks - Auto- Punching - Setting the Count- In - Bit Depth - Levelling Takes - Punching - Metronome - Buffer Size - Recording Audio - Loop Record - Punching On The Fly - Setting the File Type - Transduction - Transducer - Frequency Response - Amplitude - Proximity Effect - On- Axis - Sound Source - Operations Principle - Frequency Response - Directional Response - Off- Axis - Soundwave - Proximity Effect - Dynamics - Cardioid - Line/Mic level 1. Assignment: Make a list of 10 dynamic microphones 2. Hodgson Chapter 1: Tracking (until direct- injection) 3. Nahmani: Lesson 3 and 4 Week 3 January 21 (iv) Post- Production & Editing Audio Introduction to Audio Quantizing & the Flex Time Tool Using the Sample Editor Recording MIDI - Take Folders - Quick Swipe Comping - Cutting Regions - Audio Quantize - Normalizing - Setting Anchors - Previewing Takes - Assigning Mouse Tools

5 - Copying Regions - Flex Editing - Reverse Waveforms - Comping Takes - Adding Fades - Deleting Unused Takes - Changing Gain - Sample Editor - Audio Instrument - Recording MIDI Takes - Input Filtering - Quantizing MIDI - Merging MIDI Regions - Step Input Recording 1. Assignment 1: Construct a comp of various takes 2. Assignment 2: Flex time editing and the Sample Editor (TBD) 3. Create a 2 minute track using only MIDI 4. Review & Finish Hodgson, Chapter One 5. Nahmani Lesson 5 (pp & ) Week 4 January 28 (iv) (v) Microphones & Tracking, pt. 2 (advanced) Recording Vocals Direct- Injection common uses and techniques Finish Up Audio Post- Production Programming & Editing MIDI - Capacitor - Plosives - DI Box - Tandem - Ribbon - Pop Screen - Pad - Room Mic - Sibilance - Phantom Power - Impedance - MIDI Grid - Creating Ticks - Hyper Draw - Velocity - Exporting MIDI sequences - Sequencing - Manipulating Ticks - Editing Controller Event 1. Nahmani Lesson 6 (pp & ) 2. Nahmani Lesson 7 (pp & ) 3. Assignment 1: make a list of 5 large diaphragm condenser, 5 small diaphragm condenser, and 5 ribbon mirophones 4. Become familiar with Kevin Doyle s discography (available at: Week 5 Feb 4

6 Kevin Doyle: Guest Lecture on Microphone Selection & Technique Programming Drum Tracks & Creating Samples: Ultrabeat & EXS24 Manipulating Tempo, Time Stretching Samples & Tempo Matching Using Flex Time - Ultrabeat - Programming Groove Settings - MIDI to Audio - Detect Tempo - Acidizing Samples - Sample Library - Sequencing - Groove Template Conversion - Tempo Change - Varispeeding - Step Sequencer - Velocity & Accents - Creating Feel - Creating Samples (EXS24) - Creating Curves - Transients - Time Stretching - Flex Edit - Anchors - Turntable Effect 1. Assignment 1: Create an EXS24 or Ultrabeat instrument using the provided samples 2. Assignment 2: Explore the basic synthesizers in Logic ESM, ESP, ES1, ES2, EFM 3. Snoman p The Science of Synthesis Week 6 Feb 11 Introduction to Synthesis Exploring Logic s software synthesizers Examining third- party software synthesizers: Native Instruments Massive and FM8, Lennar Digital Sylenth1, refx Vanguard and Nexus - Waveform - Filter - Subtractive, FM, Additive Synthesis - Oscillator - Amplifier - Envelope (ADSR) - Modifiers - Low frequency oscillator (LFO) - Presets (using and creating) 1. Assignment 1: Create 5 of your own synthesizer presets for any Logic synthesizer discussed in class. There must be at least one bass, one lead, and one effect sound. 2. Hodgson Chapter Two (EQ/Dynamics/Distortion) 3. Assignment 2: Find at least 3 examples for at least 5 techniques noted in

7 Hodgson readings (must be in written form) 4. Nahmani Lesson 9 (pp. 330, 344, & ) WEEK 7: READING WEEK (FEB 18-22) NO CLASS! UNIT TWO: SIGNAL PROCESSING Week 8 Feb 25 (iv) Explanation of Signal Processing Equalization: Theory & Technique Dynamics Processing: Theory & Technique Distortion: types and uses - Parametric EQ - Q- Value - Compression - Side- Chain - Peak - Trance Gating - Graphic EQ - Spectral Profile - Limiting - Key - RMS - Envelope Following - Band - Mirrored EQ - Gating - Knee (Hard/Soft) - Ducking - Distortion - Slash & Burn - Stomp- Box - Reinforcement - Amplitude Distortion - Overdrive - Sectional - Clipping (Hard/Soft) - Fuzz Lift 1. Finish Hodgson Chapter Two 2. Nahmani Lesson 9 (pp ) 3. Assignment: Create a 2 or 3 minute track which uses signal processing techniques examined in class. Week 9 March 4 Feedback Delay types and techniques Reverb types and techniques (iv) Modulation types and techniques

8 - Feedback - Feedback Fade- In - Delay Line - Reverberation - Doubling - Synced Echoes - Phase Interference - Feedback Fade- Out - Delay Time - Tape Delay - ADT - Pitched Feedback - Transitional Feedback - Feedback - Slapback - Multitap - Rate - Comb Filter - Wet/Dry Mix - Phase/Phasing - Low Frequency Oscillator - Intensity - Notches - Chorus - Modulation Shape - Intensity Flange 1. Assignment 1: Use reverb, delay, and modulation techniques examined in class on a provided multi- track session 2. Assignment 2: Explore the arsenal of Logic s plug- ins Week 10 March 11 Signal processing in practice: examining creative ways to process your sounds Using third party plug- ins for signal processing Review of signal processing N/A 1. Read Hodgson Chapter 3 2. Review Nahmani Lesson 9 3. Read Nahmani Lesson 10 (pp & ) 4. Assignment: Demonstrate one signal processing technique described in this class on your final project or a new track UNIT THREE: MIXING Week 11 March 18 Mixing: Theory & Techniques Using plug- ins for mixing: when you need them and why Automation & Automating the Mix

9 (iv) (v) Bussing Tracks & Auxiliary Sends Bouncing Down, Dithering & Noise Shaping - Grouping: Drums - Haas Effect - Early Reflections - Diffusion - Levelling - Reverberation Profiles - Late Reflections - Anchor Points - Panning - Pre- Delay - Decay Rate - Automation - Touch Automation - Dithering & Noise Shaping - Gain Staging - Inputting Nodes - Convex Curve - Virtual Formats - Daisy Chaining - Latch Automation - Bouncing/Exporting - Bussing & Aux. Sends 1. Assignment 1: Create a Rough Mix for the Provided Multi- Track File 2. Assignment 2: Create Rough Sketch of Mix for Personal Track UNIT FOUR: MASTERING Week 12 March 25 Explanation of the Project Mastering Process Setting up the Project Mastering Session Common Practices & Conventions - Spacing - De- Noising - Loudness Race - Physical Formats - Fading - Surgical EQ - Peak Normalization - Virtual Formats - Harmonic Balance - Global EQ - Red Book Standards - Dithering & Noise Shaping - Using the Multi- meter - Monitoring Peak and RMS levels 1. Assignment 1: Set up the Mastering Session For Your Project 2. Assignment 2: Begin Basic Mastering For Your Final Project Week 13 April 1

10 Finishing up with Project Mastering Final Q & A For Final Projects 1- on- 1 Meetings For Final Questions Description of Final Project (50%) Due: Monday 15 April 2013, 7 PM, TC 334 (my office) Your final project will consist of an original recording of a single track, using all of the techniques we studied in MUS 2736b as is appropriate. You will present a CDR, which contains a final bounce for your track, with your name and student ID clearly written on it. You will also submit multitrack files on a separate CDR or DVD- R. Though I will examine your multitrack files for evidence of workflow elegance and skillfull project recording practice, the primary component of this project is the final bounce. Required Materials: - 1 CDR containing the final bounce of your song in.wav of.aiff format - 1 CDR or DVD- R containing the multi- track session file for your project. This session folder must include all audio files and if applicable: EXS instruments and samples, Ultrabeat samples, and SpaceDesigner impulse responses. An easy way to ensure this is to use the File Save a Copy As function and check off the applicable boxes. Student Meetings During the course of this semester I require no less than TWO (2) individual student meetings with me to discuss progress in the course and the final project. These must be conducted outside of class time. To set up a meeting please e- mail drosen4@uwo.ca or come and see me before or after class. These meetings count towards your weekly assignments & participation grade and are extremely important for me to see how each student is progressing in the course and with their final project. The first meeting must be conducted no later than Friday February 8 th The second meeting must be conducted no later than Friday April 12 th