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Center for Curriculum and Transfer Articulation
Studio Music Recording I
Course: MUC195

First Term: 2020 Fall
Lec + Lab   3.0 Credit(s)   5.0 Period(s)   5.0 Load  
Subject Type: Occupational
Load Formula: T - Lab Load

Description: Basic principles of studio sound recording. Emphasis on musical acoustics, operation of recording equipment, studio setups, and multitrack recording. Includes studio session process and musical production decisions.

MCCCD Official Course Competencies
1. Recognize the key developments from the history of recording. (I)
2. Identify the characteristics of acoustic waveforms. (II)
3. Explain the principal concepts of the human perception of sound including localization, loudness, and pitch. (III, IV)
4. Recognize the role of the Decibel in audio and its relationship to intensity, power, and sound pressure levels. (IV)
5. Identify and discuss the component parts of an audio signal chain. (V)
6. Understand and demonstrate basic signal flow principals in the analog and digital domains. (V)
7. Identify and describe microphone types, their directional design, and considerations for their application and positioning. (V)
8. Demonstrate the ability to manage levels at all points of an audio signal chain in the analog and digital domains. (VI)
9. Apply typical processes used in an audio recording session. (VII)
MCCCD Official Course Competencies must be coordinated with the content outline so that each major point in the outline serves one or more competencies. MCCCD faculty retains authority in determining the pedagogical approach, methodology, content sequencing, and assessment metrics for student work. Please see individual course syllabi for additional information, including specific course requirements.
MCCCD Official Course Outline
I. Introduction to audio recording
   A. History
   B. Technological developments
   C. Analog systems
   E. Digital systems
   F. Delivery mediums
II. Characteristics of acoustic waveforms
   A. Frequency
   B. Amplitude
   C. Velocity
   D. Wavelength
   E. Phase
   F. Overtones
   G. Envelope
III. Auditory perception of direction
   A. Relative intensity
   B. Time of incidence of sound
   C. Frequency profile
IV. Decibel
   A. Sound pressure level
   B. Loudness
      1. Fletcher-Munson curves
      2. Thresholds of hearing, feeling, pain
      3. Beats
      4. Combination tones
      5. Masking
V. Recording chain
   A. Microphones
      1. Types
         a. Dynamic
         b. Ribbon
         c. Condenser
      2. Directional characteristics
         a. Omnidirectional
         b. Bi-directional
         c. Cardioid
      3. Placement considerations
      4. Ambience, leakage, separation
   B. Pre-amps
   C. Audio processors
   D. Recording medium
      1. Tape
      2. Interface/computer
VI. Gain staging
   A. Signal-to-noise ratio
   B. Nominal levels
   C. Metering
   D. Digital domain
VII. Studio music recording session
   A. Multi-track recording
   B. Monitoring
   C. Timing references
   D. Talkback and headphone systems
   E. Musical production decisions
MCCCD Governing Board Approval Date: December 10, 2019

All information published is subject to change without notice. Every effort has been made to ensure the accuracy of information presented, but based on the dynamic nature of the curricular process, course and program information is subject to change in order to reflect the most current information available.