Electronic Music Studio

Studio Policies, Recording Procedures for Riley Stage, Syllabus, Reading Assignments, Lesson Outlines, Messages, Jack Jenny Home Page

STUDIO POLICIES

1. Use of the Electronic Music Studio (EMS) is limited to students who are enrolled in or have completed MUSC 2050 (Electro-Acoustic Music), MUSC 3050 (Advanced Electro-Acoustic Music) and faculty.

2. No food, drink or smoking in the studio.

3. Following each session the studio should be returned to its standard configuration:
     a. Restore all factory presets
     b. Return all instruments to their EMS standard settings (see Appendix A)
     c. Return analog and MIDI cables to the standard configuration (see Appendix B)
     d. Turn off power to all instruments and power strips
     e. Rearm security device, turn off lights & lock the door

4. Lab time should be reserved in the following hierarchy:
     a. Scheduled Classes
     b. Current MUSC 2050 or 3050 students individual lab time
     c. Other lab use.

5. To reserve lab times (including recording from Riley) post a schedule on the bulletin board outside of the EMS
indicating the week, day and time.

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Recording From Riley Auditorium (Currently there is no connection)
Check List

I. Recording Digital Audio
          A. Tascam M-216
                    1. Standard EMS Configuration
                             a. Riley Mics connected to mixer channels 15 & 16
                             b. Trim Pad: UP
                             c. Trim: 3:00 (check for overload) - may not be standard
                             d. Equalizer: All @ 12:00
                             e. EFF: OFF
                             f. Pan: Channel 15 -> 3; Channel 16 -> 4 (depress Pan buttons)
                             g. PGM Pan: Group 3 Pan Left; Group 4 Pan Right
II. To Create a New Cubase Project
          A. Launch Cubase
          B. File/New Project (the templates dialog box will open)
                    1. Choose: Empty
          C. Create a folder for this project (each project file and all its related files must be in one dedicated folder).
                    1. Navigate in the directory window to the desired new folder location.
                              a. Click: Create
                    2. Give your folder a name.
                              a. Click: OK
                    3. Click "OK" in the Select Directory window.
          D. File/Save As
                    1. Give your file a name.
                              a. Click: OK
III. To Record Audio
          A. Project/Add Track/Audio
                    1. Choose: Stereo
                    2. Select number of tracks "Count" (choose "1")
          B. Track Inspector (Click on track to display)
                    1. Select Input
                              a. Stereo In (L or R)
                              b. Mono In (1-4)
                    2. Select Output
                              a. Stereo Out (Mixed, L or R)
                              b. Mono Out (1-4)
                    3. Monitor: On
                              a. Click icon to activate VU meter and for Cubase to "hear" audio input.
                    4. Record Enable: On
                              a. Click icon to enable record (on this track only).
                    5. Open "Channel" tab to display channel fader.
                              a. adjust mixing console so that this record level does not go into red (exceed line).
          D. Record
                    1. Position cursor at the beginning of project.
                    2. Click Record button (Transport Panel).
                    3. Stop (Hitting Stop 2nd time will Rewind)
                    4. Rewind [|<]
          E. Playback
                    1. Cubase Track Inspector
                              a. Monitor: Off (click icon to deactivate)
                    2. Tascam Console
                              a. Channel Faders (to reflect Cubase Track Inspector Output choice): Up (7-8)
                              b. Stereo Master Faders L & R: Up (7-8)
                    3. Cubase Transport Panel
                              a. Play [>]
IV. Exporting Audio
          A. Set L & R locator bars on Transport panel to encompass music to be Exported
          B. File/Export/Audio Mixdown
                    1. File location
                              a. Name File
                              b. Choose Path or select "Use Project Audio Folder"
                    2. File format: probably Wave
                    3. Audio Engine Output: probably Stereo Out
                              a. Sample Rate: 44.100 kHz is common for CD burning
                              b. Bit Depth: 16 is common for CD burning
                              c. Real Time Export:
                    4. Input into Project (this will put a copy of the mixed-down audio track into the current project): No
                              a. Pool: activate
                              b. Audio Track: activate
                    5. Close dialog after export: activate
                    6. Click on <Export>

II. Burn CD from WAVE file
          A. Launch IBM Recording Program
                    1. Start/All Programs/IBM RecordNow/RecordNow
                    2. Choose: "Make a Music Disc"
                    3. Choose: "Make a Music Disc from Audio Files"
                    4. Follow directions on screen. You will probably want to browse.

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MUSC 2050 - Electro-Acoustic Music
Syllabus

Dr. Jack Jenny
Office: 134, BFAC
jjenny@otterbein.edu
http://faculty.otterbein.edu/JJenny/index.htm

Description: An introduction to the history and literature of electro-acoustic music, with hands-on application of some of the most commonly used practices. Topics include basic acoustics, MIDI sequencing, digital audio recording and editing, digital signal processing, and working in a digital audio workstation environment .

Objectives: At the completion of this course, the student will have an overview of the genre of electro-acoustic music. The student will also have the ability to critically listen to and discuss electro-acoustic music. Through the application programs of Audacity, Garage Band, Cubase, MetaSynth and Max/MSP, the student will gain knowledge of basic techniques of digital audio and MIDI sequencing, signal processing and programming and be able to apply that understanding to create engaging pieces of electronic music.

Text: Hugill, Andrew. The Digital Musician. New York: Routledge Taylor & Francis, 2008. ISBN 0-415-96216-1, companion website: http://www.digitalmusician.org.

Other Required Materials
Headphones
Large-capacity Flash Drive (? 4GB [8GB should give you plenty of capacity also for the Advanced Electro-Acoustic course]) for saving and transporting files.

Grading:
Class Participation ...................................................................................................... 10%
Listening Journal ........................................................................................................ 10%
Project 1 (Garage Band-Audacity) ............................................................................. 15%
Project 2 (MetaSynth-Audacity) ................................................................................ 15%
Project 3 (Cubase-MetaSynth) ................................................................................... 15%
Final Project (Max/MSP) ........................................................................................... 30%
Archive Projects and Upload them to an ePortfolio .................................................... 5%

Assignments are due in class as assigned. In the event of absence, prior arrangements should be made with the instructor or work should be sent in with a colleague. Late assignments, not previously excused, will be accepted only with documented justification and are then due no later than the second meeting upon return to class. Digital assignments should generally be submitted via the Instructor Dropbox (access on the Music Lab Macs through Applications/Connect to Instructor Dropbox or via the dock)

Assignments and grade progress may be accessed at http://otterbein.blackboard.com.

University Policy on Academic Integrity
All academic work should be your own. Academic dishonesty (plagiarism and cheating) may result in automatic failure of the assignment or the course itself, and you will be referred to the Academic Affairs Office for suspension or expulsion proceedings. You are plagiarizing when you:
1. Copy material from a source without using quotation marks and proper citation.
2. Follow the movement of the source, substituting words and sentences but keeping its meaning, without citing it.
3. Lift phrases or terms from a source and embed them in your own prose without using quotation marks and proper citation.
4. Borrow ideas (that are not common knowledge) from a source without proper citation.
5. Turn in a paper wholly or partially written by someone else.
The complete statement on Plagiarism, Cheating and Dishonesty can be found in the Campus Life Handbook, page 33, at the following web link: http://www.otterbein.edu/public/CampusLife/HealthAnd Safety/StudentConduct.aspx.

Statement on Disability Services
If you have a documented learning difference please contact Kera McClain Manley, the Disability Services Coordinator, to arrange for whatever assistance you need. The Disability Services is located in Room #2 on the second floor of the Library in the Academic Support Center. You are welcome to consult with me privately to discuss your specific needs. For more information, contact Kera at kmanley@otterbein.edu, 614-823-1618 or visit the Disability Services at the following web link: http://www.otterbein.edu/public/AcademicAffairsDivision/AcademicSupportCenter/Disability Services.aspx.

Statement on Credit Hour Definition/expectation for student work
For each credit hour of classroom or direct faculty instruction, students are expected to engage in two hours of out-of-class course-related work (readings, homework, studying, project preparation, etc.). A four credit hour course requires eight hours per week of out-of-class work.

Tentative Schedule
Week 1 Mon.: Introduction to the class. Overview of the work station.
Introduction to Audacity
Wed.: Reading assignment - Chapter 1: New technologies, new musicians (pp. 1-14)
Audacity/2
Fri.: MIDI
Introduction to Garage Band: Loops

Week 2 Mon.: Labor Day - No Class
Wed.: Reading assignment - Chapter 2: Aural awareness; Listening, Hearing (pp. 15-32)
GB/2: Loop development; Arrangement Markers; Tempo/Key; Recording Software Instruments; Assign Project 1.
Fri.: GB/3: Recording Real Instruments

Week 3 Mon.: Reading assignment - Chapter 3: Understanding Sound; Properties of sound (pp. 33-46)
GB/4: Mixing; Mastering; Sharing
Wed.: GB: Work day.
Fri.: GB: Work day.

Week 4 Mon.: Reading assignment - Chapter 3 (cont'd): Understanding sound; Recording sound, Representing sound, Digitising sound (pp. 47-67)
Project 1 Due - Class Concert. Introduction to MetaSynth.
Wed.: MetaSynth/2; Assign Project 2
Fri.: MetaSynth /3

Week 5 Mon.: Reading assignment - Chapter 4: Organising sound; Sound-art, Sound in space, Sound through time (pp. 68-84)
MetaSynth /4
Wed.: MetaSynth /5
Fri.: MetaSynth /6

Week 6 Mon.: Reading assignment - Chapter 4 (cont'd): Organising sound; Sound manipulation, form and structure (pp. 85-97)
MetaSynth /7
Wed.: MetaSynth /8
Fri.: MetaSynth /9

Week 7 Mon.: Reading assignment - Chapter 5: Creating music; The composer, Non-linear music (pp. 98-112)
Project 2 Due - Class Concert
Wed.:
Fri.:

Week 8 Mon.: Fall Break - No Class
Wed.: Fall Break - No Class
Fri.: Introduction to Cubase: recording MIDI.

Week 9 Mon.: Reading assignment - Chapter 6: Performing; The performer, 'Musicianship' (pp. 113-12)
Cubase/2: VST Instruments, editing; Plug-ins.
Wed.: Cubase/ 3: recording audio, editing; recording as audio.; Assign Project 3.
Fri.: Cubase/4

Week 10 Mon.: Reading assignment - Chapter 6 (cont'd): Performing; Instruments, Improvisation (pp. 128-139)
Cubase/5
Wed.: Work day (no class)
Fri.: Work day (no class)

Week 11 Mon.: Reading assignment - Chapter 7: Cultural context; Digital culture, Culture diversity (pp. 140-155)
Cubase/6
Wed.: Project 3 Due - Class Concert. Introduction to Max/MSP.
Fri.: Work day (no class)

Week 12 Mon.: Reading assignment - Chapter 7 (cont'd): Cultural context; Digital music (pp. 155-162)
Max/MSP/2
Wed.: Max/MSP/3
Fri.: Max/MSP/4; Assign Final Project.

Week 13 Mon.: Reading assignment - Chapter 8: Critical engagement; Popular music-art music, Critical theory (pp. 163-172)
Max/MSP/5
Wed.: Max/MSP/6
Fi.: Max/MSP/7

Week 14 Mon.: Reading assignment - Chapter 8(cont'd): Critical engagement; Critical judgement, Analysis (pp. 172-186)
Max/MSP/8
Wed.: Thanksgiving Break - No Class
Fri.: Thanksgiving Break - No Class

Week 15 Mon.: Reading assignment - Chapter 9: The digital musician; The changing workplace, Careers, Social networking, Business, Production, Education (pp. 187-198); Selected Case studies
Max/MSP/9.
Wed.: Archive procedures: burn CD, upload to ePortfolio.
Fri.: Review; Work day

Final Exam (Wednesday of exam week, 8:00-10:00):
Final Project Due - Class Concert; Archived CD due; upload to ePortfolio due.

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Lesson Outlines

Hardware	Software
Yamaha DX7s Roland D-50 Emu Emax Emu Proteus2 Yamaha TX81Z Roland TD-8 DigiTech DSP128 Kurzweil PC88 Kurzweil K2000 Kurzweil K2000 Mark of the Unicorn MIDI Time Piece AV	Cubase 4 Finale 2000 Sibelius 2 Max/MSP/Jitter MIDI Quest v. 9 FractMus 2000 A Musical Generator

Messages:

Final Exam: Monday, June 5, 1:30-3:30 p.m.

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