Class Sound Production

  • Presentation


    The Sound Production discipline aims to promote the consolidation of knowledge and skills around studio equipment, audio / MIDI editing techniques, sound synthesis and mixing in the contexts of audiovisual and musical production.

  • Code


  • Syllabus


    1.1 Microphones and directional patterns;

    1.2. Generic mono, stereo and multichannel capture techniques;

    1.3. Audio interfaces: theoretical concepts associated with AD / DA conversion;

    1.4. Nyquist theorem;

    1.5. Studio equipment: mixer (signal flow), equalizers, dynamic processors, effects and modulation.

    2. Introduction to the MIDI protocol;

    2.1 Systems and Connections Configuration;

    2.2. MIDI messages and controllers;

    3. Sound Synthesis

    3.1. Brief historical contextualization: from analog to digital;

    3.2. Subractive Synthesis;

    3.3. VCO / DCO Hybrid Systems;

    3.4. Additive Synthesis;

    3.5. FM synthesis;

    3.6. Granular Synthesis;

    3.7. Sampling;

    3.8. Physical Modeling;

    4. Audio production

    4.1. Introduction to AVID Pro tools;

    4.2. Audio / MIDI editing;

    4.3. Virtual Instruments for Sound Design;

    4.4. Mixing and Mastering Techniques;

    4.5. Sound Effects Automation.

    4.6. Dynamic Normalization Techniques;

    5. Multimedia Projects

    5.1. Musical and Audiovisual Production;

  • Objectives


    The discipline has as its general objective to favor the development of skills in the design of multimedia and discographic materials, with specific reference to audio production techniques within the scope of sound synthesis, MIDI musical production and composition. The various sound creation methodologies using electroacoustic means and computer applications are presented. In this way, students will develop skills with a high degree of autonomy, whether in the design of sound narratives in an audiovisual context or in the consolidation of musical soundtracks or in the production of discographic projects with regard to mixing and mastering.

  • Teaching methodologies and assessment

    Teaching methodologies and assessment

    The course is organized according to theoretical oral presentation sessions to consolidate theoretical-practical knowledge around the concepts associated with digital audio, synthesis, sound recording and reproduction equipment in a studio context. These sessions are supported through audiovisual projection equipment, sound reproduction systems, individual computer stations, production software and MIDI keyboards. Bibliographic materials to support the study and complementary information associated with the operation of classes are made available through the e-Learning platform Moodle.

  • References


    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.

    HUBER, David M., RUNSTEIN, Robert E. (2017), Modern Recording Techniques, Oxford, Focal Press-Elsevier.

    RUMSEY, Francis, McCORMICK, Tim (2009), Sound and Recording, Oxford, Focal, Press-Elsevier. 

    RUSS, Martin, (2009), Sound Synthesis and Sampling, Oxford, Focal Press-Elsevier.




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