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PRE-CONFERENCE ON AUDIO EDUCATION

PRE-CONFERENCE ON AUDIO EDUCATION. 2006 June 28-29 Piteå Sweden. Session 4. Assessing Student Recordings and Projects. 3 courses chosen in a curriculum of 2 years duration: *Recording techniques 1 (first course) *Recording seminar (part of a course)

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PRE-CONFERENCE ON AUDIO EDUCATION

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  1. PRE-CONFERENCE ON AUDIO EDUCATION • 2006 • June 28-29 • Piteå Sweden

  2. Session 4 • Assessing Student Recordings and Projects

  3. 3 courses chosen in a curriculum of 2 years duration: • *Recording techniques 1 (first course) • *Recording seminar (part of a course) • *Live mixing 5.1 for broadcast (final course)

  4. 3 Cases of Assessment: • Recording Techn. 1 - Assessment of a recording is made by one student, (respondent/opponent), in front of the student group • Recording seminar - Assessment is made by the whole student group and teacher • Live mixing 5.1 for broadcast - Assessment of the work of 2 students is made by a jury composed of a teacher and a mixing engineer from the broadcast domain

  5. Recording Techn. 1(Case 1) • The student learns the basics of microphones and stereo techniques and has to produce a recording project with documentation of 1 piece/song where he/she makes use of 1 or several microphone-arrays for stereo. Panning of mono mics is not allowed.

  6. Recording Techn. 1 • Items to consider for the recording project: -Choice of stereo technique -Stereo width -Stereo depth -Spatial impression -Mono compatibility -Musical and Spectral balance -Distance direct / reflected sound

  7. Recording Techn. 1 -Technical problems: distorsion, noise, hum -Acoustical problems in the room: fans, bad isolation, reverberation -Content and layout of the documentation • -First general impression • -Remarks and comments on the recording • -Artistical and /or technical intentions achieved or not

  8. Recording Techn. 1 • The recording, accompanied by the documentation, is given to the opponent in due time before presentation. • Assessment of the recording is made in front of the class by the opponent who can ask questions to the respondent.

  9. Recording Seminar (Case 2) Assessment is made by the whole student group and teacher Extremely simple procedure: -Each student presents 1 recording made within these 2 years,(instrument, style, microphones, rec.situation live or studio over-dubs are items in the presentation) -After listening, the student group assesses briefly -The role of the teacher less pronounced -Could be done often, as little preparation is needed

  10. Live mixing 5.1 for broadcast (Case 3) • Assessment of the work of 2 students at the time, is made by a jury composed of a teacher and a mixing engineer from the broadcast domain • -In a simulated live situation, an acceptable 5.1 mix and a downmix have to be made, live to tape • -Musical and technical balance, sound generates from 5 speakers, LFE optional, envelopment, use of public mics in the mix. • -Ability to organise the mixing with co-pilot

  11. Live mixing 5.1 for broadcast • Content of the course: • -History • -Psychoacoustics (HRTF) • -Bass Management • -Listening to 5.1 recordings • -Listening comparison of 2 different speakersystems

  12. Live mixing 5.1 for broadcast • -Microphone arrays (OCT, Hamasaki square..) • -Mixing techniques/Philosophy,Teamwork at the console • -Observation exercise, students observe each other during 5.1 mix that has to be done within a time interval. Work under stress.

  13. Live mixing 5.1 for broadcast • Examination consists of simulated live situation before a jury. • -Track sheet, preset and track display already set. • -10 minutes preparation. After that a tune is played 3 times during 20 minutes then the rehearsal is ended. The player (MX2424) is started by jury. • -A break for 1 hour, then the tune is mixed live to tape with its downmix to stereo • -Gear: DM2000, DA-98 and MX2424 • -Assessment is made afterwards by the jury

  14. Live mixing 5.1 for broadcast Examination

  15. Remarks on the 3 ”case studies”: • -Students are asking for assessment from the teacher in the beginning • -Important to the progress, whatever is the method • ”You listen to your recording with new ears when you are not alone” • -Easy to repeat (case 2 rec. seminar) • -Hard to take critics in front of others (case 1 &2) • -Don’t forget the importance of encouragement, • A jury can be crucial!

  16. As one of our students wrote in her ”course diary” after being assessed by a jury: • ”I think it is very interesting with a jury, I appreciate it, but could you just say something that is positive with my recording I would feel great! Fortunately, I have a rich inner life!”

  17. Things to bear in mind: • -Ways and methods of assessment? • -Do we unconsciously or consciously influence the sound ideal? • Is that good or bad? • -What is high quality? What do we mean? • -Master and disciple? Is that good for learning? • -Who is assessing? Teacher or other? • -What is best for the student?

  18. Questions on this presentation?

  19. Thank you! • Let us proceed to the next speaker…

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