Part of this Programme
Sound Science and Technology
Level of Qualification|Semesters|ECTS
Bachelor | Semestral | 5
Year | Type of course unit | Language
1 |Mandatory |Português
Total of Working Hours | Duration of Contact (hours)
126 | 60
Recommended complementary curricular units
Prerequisites and co-requisites
1. Audio Technologies 1.1Microphones and directional patterns; 1.2. Generic mono, stereo and multichannel capture techniques; 1.3.Interfaces audio: theoretical concepts associated with AD / DA conversion; 1.4. Nyquist theory; 1.5.Equipment studio: signal flow, equalizers, dynamic processors, effects and modulation. 2.Introduction to MIDI protocol; 2.1Configuration of Systems and Connections; 2.2.Messages and MIDI Controllers; 3.Sound synthesis 3.1.Brief historical contextualization: from analog to digital; 3.2.Synthetic subtraction; 3.3. VCO / DCO Hybrid Systems; 3.4.Adding Synthesis; 3.5.Synthesis FM; 3.6.Synthesis Granular; 3.7.Sampling; 3.8.Physical modeling; 4.Production Audio 4.1.Edit Audio / MIDI; 4.2.Instruments Virtual for Sound Design; 4.3.Composition of Sound Narratives for Multimedia; 4.4.Mixes and Mastering Techniques; 4.5.Automation of Sound Effects. 4.6. Dynamic Normalization Techniques; 5. Multimedia Projects. 5.1. Prod Musical and Audio
The main objective of the course is to promote the development of skills in the design of multimedia and record materials, specifically for audio production techniques in the field of sound synthesis, production and musical composition. The various methodologies of sound creation by electroacoustic means and computer applications are presented. In this way, the students will develop competences with a high degree of autonomy both in the conception of sound narratives in the audiovisual context and in the consolidation of musical soundtracks and in the production of record projects in what specifically refers to the mixing and mastering.
Knowledge, abilities and skills to be acquired
a) To understand the communicational potential of audio discourse in audiovisual communication; b) Demonstrate autonomy in the field of audio applications (software) regarding audio / midi editing, mixing, sound design and musical composition; d) Demonstrate autonomy in the consolidation of a project using audio speech (musical or sound creation) as an integral and structuring element of a multimedia document, enhancing its communicational effectiveness.
Teaching methodologies and assessment
a) Theoretical sessions of oral presentation supported by audiovisual technologies; b) Availability of supporting documentation (PowerPoint, PDF) via e-learning platforms (Moodle); c) Theoretical-practical tutorial sessions (TP) with fixed video projection and sound, assisted by individual computer stations running associated editing applications; d) Guidance sessions Tutorial of support; e) Exercise of application for autonomy of competences; Assessment: a) Written Test (35%) b) Application Exercises (25%); c) Project (40%); Attendance: 75% (except student-workers)
ALTMANN, Rick (1992), Sound Theory, Sound Practice , New York, Routledge.
BARLETT, Bruce (2009) , Pratical Recording Techniques, Burlington, Focal Press.
CASE, Alexander (2007), Sound FX: unlocking the creative potential of recording studio effects, Oxford, Focal Press-Elsevier.
FONSECA, Nuno (2006), Introdução à Engenharia do Som, Lisboa, Lidel.
GOTTLIEB, Gary (2007), Shaping Sound in the Studio and Beyond: audio aesthetics and technology, Boston, Thompson Course Technology.
HUBER, David M., RUNSTEIN, Robert E. (2005), Modern Recording Techniques, Oxford, Focal Press-Elsevier.
OWSINSKY, Bobby (1999), The Mixing Engineer¿s Handbook, Artist Pro MixBooks Intertec, Vallejo,California.
RUMSEY, Francis, McCORMICK, Tim (2009), Sound and Recording, Oxford, Focal, Press-Elsevier.
RUSS, Martin, (2009), Sound Synthesis and Sampling, Oxford, Focal Press-Elsevier.
WYATT, Hilary, AMYES, Tim (2005), Audio Post-Production for Television and Film: an introduction for technology and technique