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Introduction to Sound Recording - MUS00105C

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  • Department: Music
  • Module co-ordinator: Dr. Jack McNeill
  • Credit value: 20 credits
  • Credit level: C
  • Academic year of delivery: 2024-25

Module summary

This module prepares learners with the theoretical understanding and practical skills needed to make recordings of acoustic sources. Topics in acoustics, psychoacoustics and electroacoustics are covered in lectures and readings tasks. Regular practical sessions introduce the Department's studios and procedures for working effectively within them for recording and editing tasks.

Module will run

Occurrence Teaching period
A Semester 1 2024-25

Module aims

  • To introduce the key aspects of acoustics, psychoacoustics and electroacoustics that are required for a comprehensive and transferable understanding of microphone techniques.
  • To present approaches to microphone selection and placement for individual and stereo (e.g. coincident, near-coincident, spaced, baffled, binaural) capture
  • To provide practical experience in the conception, planning, execution and post-production of recordings of acoustic instruments in real spaces.

Module learning outcomes

By the end of this module, you should:

  • Understand the acoustic, psychoacoustic and electroacoustic bases for contemporary microphone techniques.

  • Be able to make a recording of an acoustic ensemble in an acoustically ‘live’ space.

  • Be able to make judgements about the quality of such a recording and to make relevant adjustments to effect improvements.

  • Be able to create, and work from, an edit map marked onto a musical score

  • Be able to employ techniques and technologies to render inaudible edit points.

  • Be able to describe, justify recording processes and reflect on outcomes in written work

Assessment

Task Length % of module mark
Essay/coursework
Practical & Essay : Recording and mix		 N/A 60
Practical
Proficiency Test : Basic recording and signal flow proficiency		 N/A 40

Special assessment rules

None

Additional assessment information

Summative 1: The first summative assessment is a short practical proficiency test that explores your understanding of equipment, connections, and standard recording set-ups. You will be asked to set up a limited collection of equipment and cables to perform a specific task in a specific manner. The assessment will test student’s ability to understand signal flow, routing, microphone technique, and problem solving in a studio environment.

Summative 2: The second summative assessment is a group recording of a departmental ensemble or soloist. You will be assigned a small group, musician(s) to record, and a time slot in which to record. You will then be asked to individually mix and finalise the recording normally between 7 and 10 minutes in length. You may not use any dynamics or effects processing except reverberation and EQ if required. You will submit an individual essay (c. 1500 words) detailing your process and justifying your rationale, and a critique of your outputs. You should submit:

  • Your finalised/mastered .wav file(s) at CD standard with appropriate labelling.

  • A Reaper or Wavelab session of your mix/edit/montage with all source files and additional files included

  • A Reaper session of your recording with all source files and additional files included

  • A commentary (c. 1500 words) detailing and critiquing your processes when creating the recorded artefact.

  • A digital copy of the score the ensemble or soloist used with your markups

Reassessment

Task Length % of module mark
Essay/coursework
Practical & Essay : Recording and mix		 N/A 60
Practical
Proficiency Test : Basic recording and signal flow proficiency		 N/A 40

Module feedback

You will receive written feedback in line with standard University turnaround times.

Indicative reading

Bartlett, Bruce, and Jenny Bartlett. Practical Recording Techniques. Oxford: Routledge, 2013

Borwick, John. 1990. Microphones: Technology and Technique. London ; Boston: Focal Press.

Everest, F. Alton. 2007. Critical Listening Skills for Audio Professionals. Boston, MA: Course Technology/ Cengage Learning.

Howard, David, and Angus, Jamie. 2009. Acoustics and Psychoacoustics. Oxford: Routledge.

Plack, Christopher J. 2013. The Sense of Hearing. Psychology Press.

Rumsey, Francis. 2021. Sound and Recording: Applications and Theory. Oxford: Routledge.

Rumsey, Francis, and McCormick, Tim. 2009. Sound and Recording. 6th ed. Amsterdam; London: Elsevier/Focal.


The information on this page is indicative of the module that is currently on offer. The University is constantly exploring ways to enhance and improve its degree programmes and therefore reserves the right to make variations to the content and method of delivery of modules, and to discontinue modules, if such action is reasonably considered to be necessary by the University. Where appropriate, the University will notify and consult with affected students in advance about any changes that are required in line with the University's policy on the Approval of Modifications to Existing Taught Programmes of Study.