Class Recording, Reproduction and Transmission Workshop

  • Presentation


    The course is an advanced training workshop in the fields of recording and mixing of musical and audiovisual projects. The varied concepts associated with digital audio will be deepened while furthering the development of skills in the use of various recording media and hardware / software system configurations both in studio context and in the context requiring external recordings. Students will be encouraged to consolidate all stages of the production process of musical and audiovisual projects and thus demonstrate complete autonomy in the design of sound materials.

  • Code


  • Syllabus



    1. Technical study of microphones and pre-amplification systems;

    2. Analog and digital summing: practical considerations;

    3. AD/DA conversion systems and DSP/HDX system configuration;

    4. Measurement systems: VU, dBFS, dBTP, dBu, dBv, LUFS, RMS;

    5. Graph analysis: spectral analysis (AVG TIME, PEAK, SUMM), vector analysis, sound field (antiphase), phase correlation;

    6. Stereo and multichannel (surround) capture techniques: Blumlein, XY, AB, MS, ORTF, Decca Tree, ORTF+AB, DoubleMS, OCT, Hamazaki, IRT Cross and Ambinonics;

    7. Specific techniques for capturing musical instruments;

    8. Suppression of phenomena associated with phasing/comb-flitering;

    9. Advanced mixing/mastering techniques in stereo and 7.1 surround;

    10. Advanced noise suppression and restoration techniques;

    11. Capture techniques for radio/cinema/television: foley, location and field recording;

    12. Introduction to mixing projects in immersive sound (Dolby Atmos to Binaural);

  • Objectives


    The general objective of the course is to favor the development of skills in the design of multimedia materials, specifically regarding audio recording techniques, production and post production of audiovisual and musical projects. The course deepens concepts previously learned in the fields of digital audio, capture and mixing / mastering techniques. However, it seeks to leverage creativity now in new contexts of music production and multi-channel (surround) playback for cinema. Thus, students should demonstrate competence and autonomy in the consolidation of: a) sound narratives from various artistic references; b) musical projects (recording of musical instruments); c) Recording and post production project in surround sound.

  • Teaching methodologies and assessment

    Teaching methodologies and assessment

    The course is organized according to theoretical oral presentation sessions in order to consolidate theoretical-practical knowledge around recording and mixing techniques. These sessions are supported through audiovisual projection equipment and sound reproduction systems. Bibliographic materials and complementary information associated with the classes are made available through the e-Learning platform Moodle. The practical sessions will mostly be taught in a recording studio context.

  • References


    CASE, Alexander (2007), Sound FX: unlocking the creative potential of recording studio effects, Oxford, Focal Press-Elsevier.

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

    KATZ, Bob (2002), Mastering Audio: the art and the science, Oxford, Focal Press.

    IZHAKI. Roey (2008), Mixing Audio: concepts, practices and tools, Burlington, MA, Focal Press-Elsevier;

    KATZ, Bob (2007), Mastering Audio: the art and the scienceI, Burlington, Focal Press.
    OWSINSKY, Bobby (2017), The Audio Mastering Handbook 4th Edition, Boston, Thompson Course Technology.

    OWSINSKY, Bobby (2017), The Recording Engineers Handbook, Boston, Thompson Course Technology.

    OWSINSKY, Bobby (2022), The Mixing Engineers Handbook 5th Edition, Vallejo, MIX Books.

    RUMSEY, Francis, McCORMICK, Tim (2009), Sound and Recording, Oxford, Focal




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