learning: the Parsons Center for Audio Studies: Syllabi

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	COURSE SYLLABI (in alphabetical order; partial listing) Acoustics for Audio Professionals Critical Listening for Audio Professionals Critical Listening Weekend Microphones & Mic Technique Principles of Audio for Professionals Pro Tools: Intermediate Signal Processing for Audio Professionals, I&II Acoustics for Audio Professionals Taught by David Moulton First three classes at Parsons Audio in Wellesley, MA, and the last two at Moulton Laboratories in Groton, MA. Class 1 Intro nature of sound. The variation of air pressure. The concepts of frequency and amplitude. The speed of sound. The concept of wavelength, and its relationship to frequency. Waveshape. The concept of timbre. Noise. Impulsive sounds. Periodic, sustained sounds. The relationship of music to sound. The nature of the hearing mechanism. The outer and middle ear. The cochlea and basilar membrane. The auditory nerve(s) and the auditory cortex. The relationship of physical sound to perceived sound. The subjective properties of pitch, loudness and timbre, and their relationship to physical magnitudes. Class 2 Sound Pressure Level. Sound Intensity. The relationship of power and pressure. The decibel. Simple decibel expressions. Decibel references. Measuring sound pressure. The relationship of sound pressure levels to audio amplitudes. Noise floors. Hearing limits. Spectra. The phenomenon of overtones. Complex periodic waves. The audible spectrum. Resonance. Detailed consideration of pitch detection. The place theory. Critical bands. Oto-acoustic emissions. The role of beating, phase shift and phase-locked spectra in perception. Perception of loudness. Considerations of spectrum and time. Equal Loudness contours. Masking. Perception of timbre. Class 3 Sound in spaces. The concept of the standing wave. Nodes and antinodes. Sound absorption. Sound transmission. Diffraction. Diffusion. Specular reflections. Resonance. The concept of reverberance. The concept of early reflections. Localization. Amplitude and time differences at the ears. The Precedence effect. The 7-path model of reverberant spaces. Localization with a single ear. The nature of the stereophonic pair of loudspeakers. The phantom image. The relationship between real sound sources in space and phantom sources. The sense of envelopment. Class 4 (in Groton studio) Sound measurements. Noise level analysis. Real Time analysis of spectra. Time Delay Spectrometry (TDS) and Maximum Length Sequence (MLS) measurements, and their relationship to reverberance analysis (the Energy Time Curve). Quasi-anechoic measurements of loudspeakers and microphones. The benchmark test. The learning effect. Magnitudes of Just Noticeable Differences for a variety of auditory phenomena. Demos of delay, masking, beating, etc. Class 5 (in Groton studio) Principles of stereophonic and surround listening systems. Principles of room design, for studios, control rooms and performing spaces. Problem-solving. Noise floors. Transmission problems. More about trapping and absorption. The perception of music. The nature of music and it’s relation to sound. Perception of change. Aesthetic organizing principles. Surprises and preparation of surprises. Virtual loudness. Temporal loudness. Spectral loudness. The crest factor in music. The musical implications of the overtone structure. Phase-locking, beats, chorusing, doubling, etc. The multitrack problem and the development of complexity from psychologically simple tracks. Evaluations and Certificates. Directions to Groton Route 2 to I-495 I-495 North to Exit 31, Littleton, Route 119. Go west 5 miles on 119 toward Groton, passing Gay Road (on right) and then MRM Associates (on left). Turn Right onto Ames Rd. (It comes up quite suddenly - be on lookout after MRM Associates). If you come to Johnson’s Drive-In (on L) you’ve missed Ames Road, and need to turn around. We’re the first house (#39) on left you can see. Park in driveway. Studio entrance is behind the house to the left of the garage doors. Ring the doorbell by the studio door and come on in. Critical Listening for Audio Professionals (5-week version; also see weekend version, below) Taught by David Moulton First three classes at the Parsons Center for Audio Studies in Wellesley, MA, and the last two at Moulton Laboratories in Groton, MA. Class 1, in Wellesley Introductions Who We Are Why We’re Here Definition of Critical Listening Critical Listening As An Objective Analysis Skill Recognizing and naming frequencies, spectra, amplitudes, times and distortions. A discussion of octaves of the audible spectrum. Learning to integrate audio behaviors with “sonic signatures.” Critical Listening As Subjective Production Skill Evaluating and understanding styles The relationship between technology and style (form follows function) Correlation of production style, engineering style and musical style Imagining (“auralizing”) sounds and styles The Audio Window Frequency Amplitude Time The primary audio map: frequencies at amplitudes changing over time. The Physical and Perceptual Bases Of Stereo The Phantom Image The Median Plane Localization by Amplitude, Time and Early Reflection Assorted Golden Ears Drills? Class 2, in Wellesley Listening to recordings Musical message vs. surface message The role of lyrics Analysis of style Song Analysis Sheets A+B/A-B listening A+B/A-B as an analysis tool A+B/A-B as a production style in multitrack recordings The monitoring problem Listening back to the source recording Listening ahead to the end user’s world End-user environments Monitoring environments Typical small production room Live End Dead End Quasi-anechoic environments Other Assorted Golden Ears Drills? Class 3, in Wellesley More Song Analysis Level Management and Loudness in Recording and Production Acoustical and Electrical Signal Levels Acoustical and Electrical Noise Floors Sound-source-to-listener’s-ear-via-audio gain structures An analysis of levels in commercial recordings How many bits is enough? How big a dynamic range do we really need? Assorted Golden Ears Drills? Class 4, in Groton More Song Analysis Spectral and Levels Management Using different monitors. Near-field and far-field/big vs. small,. etc. Stereophonic manipulations and concerns. Assorted Golden Ears Drills? Class 5, in Groton More Song Analysis Surround Sound Demonstration Discussion of future concerns The various surround modalities. Surround production of music recordings Questions, answers and discussion. Special measurements Evaluations and certificates. Critical Listening Weekend Taught by David Moulton & Tom Bates First three classes at the Parsons Center for Audio Studies in Wellesley, MA, and the last two at Moulton Laboratories in Groton, MA. Saturday, January 17 9-10 AM, in Wellesley, Registration 10 AM – 1 PM, presented by Dave Moulton Introductions Who We Are Why We’re Here Definition of Critical Listening Critical Listening As An Objective Analysis Skill Recognizing and naming frequencies, spectra, amplitudes, times and distortions. A discussion of octaves of the audible spectrum. Learning to integrate audio behaviors with “sonic signatures.” Critical Listening As Subjective Production Skill Evaluating and understanding styles The relationship between technology and style (form follows function) Correlation of production style, engineering style and musical style Imagining (“auralizing”) sounds and styles The Audio Window Frequency Amplitude Time The primary audio map: frequencies at amplitudes changing over time. The Physical and Perceptual Bases Of Stereo The Phantom Image The Median Plane Localization by Amplitude, Time and Early Reflection 1 PM: Lunch 2 - 5 PM: presented by Dave Moulton and Tom Bates The monitoring problem Listening back to the source recording Listening ahead to the end user’s world Production Monitoring Tom Bates’ monitoring practices Dave Moulton’s monitoring practices On location, in an unknown control room, in a known control room, in end-user environments, etc. Kentucky Voicing Level Management and Loudness in Recording and Production Acoustical and Electrical Signal Levels Acoustical and Electrical Noise Floors Sound-source-to-listener’s-ear-via-audio gain structures An analysis of levels in commercial recordings How many bits is enough? How big a dynamic range do we really need? “Sum and Difference” listening “Sum and Difference Listening” as an analysis tool “Sum and Difference” thinking as a production style in multitrack recordings 5 PM: Drive to Moulton Labs 5:45 – 7:30 PM: Dinner at Moulton Labs 7:30 – 10:30 PM: presented by Dave Moulton and Tom Bates Listening to recordings with a producer’s ear Musical message vs. surface message The role of lyrics Analysis of style Song Analysis Sheets A Presentation of End-user environments Discussion of Monitoring Issues, Listening to Recordings, etc. Sunday, January 18, at Moulton Labs, in Groton, MA 9:30 – 10 AM: Coffee, Bagels and Donuts 10 AM – 1 PM: presented by Dave Moulton and Tom Bates Hearing Out Spectral and Levels Management Issues Levels Control techniques. Assessing Loudness Dealing with Low Frequency Problems Dealing with fatigue. Using different monitors. Near-field and far-field Large vs. small Headphones Dealing with automobiles Stereophonic manipulations and concerns. A Song Analysis 1 PM: Lunch 2 – 5 PM: Working with and Listening to Surround Sound Demonstration Discussion of bass management Discussion of the center channel Resolving “movies” vs. “music” Management of envelopment Management of surround channels Productions styles of surround sound Surround production of music recordings Questions, answers and discussion. Evaluations and certificates. Microphones & Mic Technique Taught by Tom Bates This is a course in mic choice and placement technique. It consists of 5 lessons, each a week apart, each lasting for three hours, and each in a recording studio. The sixth class will take place at Ozawa Hall (Tanglewood,Lenox, MA), and the seventh at a listening room (such as Moulton Laboratories in Groton). First Class: This class is an introduction to various approaches to mic placement in a multitrack mono studio environment, including discussions of different styles and technologies of currently available microphones, and techniques for determining correct choices and placements. Approaches to all of the major musical instrument groups will be discussed. A method is explored by students for insuring optimal placement when placing microphones with unfamiliar instruments. Second Class: This class is a concentration on mic placement for the recording of pianos. This would include variations for differing musical genres, and an examination of the issues of choice, health, and maintenance of the instrument to be recorded. A piano will be recorded using different methods simultaneously which are then compared for quality and appropriateness at playback. Third Class: This class is an exploration of vocal recording techniques (mostly lead pop/commercial vocals, but some discussion of other musical genres, including classical, and the recording of background vocals) with many tools and tricks for handling the vocal sessions and the vocalists. Male and female vocalists will record (overdub to tracks) using several mic techniques which will then be compared for results. Fourth Class: This class is an exploration of microphone techniques for recording drums and some hand percussion. An in-depth discussion of techniques and recording style variations with different musical genres, and a discussion of drum tuning and setup for recording (which is different from setup for live playing). A drum kit will be recorded (overdubbed to tracks) and the results evaluated at playback. There will be some discussion of MIDI tools and track supplementation and the use of compression and EQ to modify or to change the recorded response. Fifth Class: This class consists of a discussion of recording techniques for recording ensembles in stereo, or surround sound, imaging. The 8 - 10 named techniques for stereo recording will be explained, with live experiments performed to expose their various advantages and disadvantages. A recording will be made by the class (of the class) of many of the techniques simultaneously, and played back and compared for optimal results. All of the classes will include live recording exercises, so the piano, drum and vocal sessions, for example, will record actual performances of those instruments by accomplished, professional musicians. After the conclusion of the classes, Tom will bring the students to a Tanglewood concert at Ozawa Hall where they and he will set up perhaps five of the various stereo recording mic placement techniques discussed in class on three tall mic stands across the front of the hall. The concert will be recorded in all of these chosen techniques simultaneously while the students listen to the concert as members of the audience, sitting in the row closest to the mic stands. The conclusion of this educational exercise will occur a few days later when we have the students go to a studio environment and hear the recordings played back and the various mic techniques compared with each other and with the students’ remembrances of the sound of the concert in the hall. Principles of Audio for Professionals Taught by David Moulton First three classes at the Parsons Center for Audio Studies in Wellesley, MA, and the last two at Moulton Laboratories in Groton, MA. Class 1 Introduction. The audio signal. Concepts of frequency, amplitude and phase. Relationship to music, to sound. Range of hearing. The audio window. Concept of a sine wave, complex waves. Concept of timbre Concept of frequency response The nature of transducers. The conversion of energy between media. Audio transducers Microphones Loudspeakers Pickups, accelerometers Tape heads Analog-to-digital, digital-to-analog converters Signal flow, in a playback system, in a studio, etc. Concept of a signal flow An audio playback system A small recording studio Principles of digital audio. The analog audio signal Sampling and Quantification Bandwidth: sampling rate Signal resolution – word-length in bits Timing and Synchronization: the Word Clock Digital Audio Languages AES-EBU, S/PDIF, ADAT, TDIF, etc. Reading for class: Total Recording: review Part II, read Part III: Processing Realms and Electroacoustic Devices. Also Part IV: Critical Listening Class 2 Loudspeakers. Overview, as a lab tool, as a musical instrument How loudspeakers work. The direct radiator The compression driver/horn The electrostatic element, the ribbon element The enclosure Concepts of multiple drivers, crossovers, directionality, sensitivity. Power requirements. The amplifier The load The powered loudspeaker Microphones. Types dynamic, condenser, ribbon. Sensitivity. Directionality. Usage: placement, applications, levels, etc. Working with microphones and loudspeakers in rooms Basic craft Direct vs. reverberant sound Proximity and near field effects Levels Principles of monitoring Reading for class: Part III, Consoles and Time Domain Devices. Also Part IV: Principles of Multitrack Recording Production. Class 3 Consoles. Principles of signal flow Console functions. Level management in a console. The patch bay. Recorders. Analog, digital Digital Audio Workstations (DAWs). The production process: preproduction, tracking, overdubbing mixing, editing, mastering. Reading for class: Part III, Amplitude and Frequency Domain Devices and Part IV, Multitrack Mixing Class 4 (in studio) Signal processing devices: equalizers, compressors, delays, reverb. Principles and applications. Working with tracks Working with mixes Reading for class: The rest of Part IV and Part V Class 5 (in studio) Principles of mixing. Principles of editing. Principles of mastering. Q&A, evaluations. Pro Tools: Intermediate Class 1: Review of Basic terms and Principles -lets make sure we’re all one the same page a. Edit and Mix Windows b. Plug in architecture c. File management Class 2: Editing techniques a. Cleaning the project b. Using the smart tool c. Repeat paste to fill Class 3: Mixing Techniques a. Assembling the mixer b. Using Aux/Master tracks to their advantage c. Routing to External Processing Class 4: Plug-ins a. Finding the right method Audiosuite, RTAS, TDM b. The hidden parts Class 5: Control Surfaces a. Using them to speed the process b. The “How and Why” c. Wrap up Signal Processing for Audio Professionals, I & II Signal Processing I Class 1 Introduction. An overview and exploration of analog and digital audio signals with a concentration on principles, parameters, and specifications and their relationship to issues of audio quality. Class 2 Signal Acquisition. Types of production systems (Discreet digital, analog, and DAW). Signal sources (synths, computer synthesis, microphones) Class 3 Mics and Pres. Exploration of microphones and placement techniques. Mic pres, other preamplifier issues, input stages, digitizers, principles of acquiring clean, attractive sound. Class 4 (in studio) Methods of manipulating audio through signal processing. Introduction to methods and principles in the professional application of equalization. Start of two class EQ study and exercise, including equalizing drums, bass and vocals. Equalizing mixes (mastering). Spectral management. Problem-solving. Tricks. Class 5 (in studio) Equalization in practice. Continuation of previous lesson. More hands on equalization with emphasis on improved practical application. Review. Q and A. Signal Processing II Class 1 Compression. An in-depth exploration of the principles and practices of compression. Includes all the intended uses and settings and some of the unintended ones. Class 2 Compression continued. Comparison of real-world analog and digital compressors and practice session with compression, gating, expansion, limiting on drums, vocals, and lead instruments. Application of stereo compression in mastering. Class 3 Reverberation Thorough discussion of reverb devices and their respective sounds, and the application of different reverbs to different instruments in contemporary use. Creation of real and unreal spaces and effects. Also an exploration of other digital processes including delays, pitch shifting, Autotune-type pitch correction, phase/flange/guitar effects, etc. Class 4 (in studio) Mixing. Setting the soundstage. Panning, EQing, compressing, applying reverb, using automation, etc. How to listen and to survive long workdays. Scheduling mixing workloads. Class 5 (in studio) Overview of surround mixing. Principles of mastering utilizing what we have learned. Review. Q & A. Copyright 2004, Parsons Audio. We welcome your questions, comments, and contributions >>> Webmeister@paudio.com.