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Center for Curriculum and Transfer Articulation
Live Sound Reinforcement I
Course: MUC197

First Term: 2004 Summer I
 Lec + Lab   3 Credit(s)   3 Period(s)   3 Load  
Subject Type: Occupational
Load Formula: S


Description: Basic principles of live sound engineering. Emphasis on signal flow, acoustic, sound reinforcement set-ups and installation, signal processing, microphone selections and placement. Includes setting up sound systems and mixing live music



MCCCD Official Course Competencies
1. Describe and demonstrate elements of signal flow in a sound reinforcement console. (I)
2. Identify impedance and crossover matching for amplifiers. (II)
3. Demonstrate speaker placement, and identify load impedance. (III)
4. Explain the uses of equalizers and frequencies. (IV)
5. Identify and describe types, directional design, and considerations in the use of microphones, and demonstrate correct microphone positioning. (V)
6. Identify and demonstrate the use of common effect processors. (VI)
7. Identify and describe acoustical properties of sound. (VII)
8. Identify and describe proper electrical connections. (VIII)
9. Demonstrate a sound reinforcement production. (IX)
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. Console Signal Flow
   A. Microphone
   B. Line
   C. Instrument levels
II. Amplifiers
   A. Crossovers
   B. Impedance matching (Ohm`s Law)
III. Speaker Enclosures
   A. Impedance loads
   B. Mains
   C. Side fills
   D. Monitors and in-ear-monitors
   E. Cue, headphone, and solo amp
   F. Cables
IV. Equalizers
   A. Graphic, parametric, and shelving
   B. Frequencies
   C. High pass and low cut filters (sweepable)
   D. Bandwidth
   E. Feedback (resonating frequencies and exterminators)
V. Transducers
   A. Microphone types
      1. Dynamic
      2. Condenser
      3. Ribbon
   B. Directional designs
      1. Cardioid uni-directional
      2. Hyper-cardioid
      3. Omni-directional
   C. Use considerations
      1. Impedance
      2. Specifications
      3. Phasing (3-1)
      4. Choice
      5. Placement
      6. Instruments
   D. Direct input boxes
VI. Effect Processors
   A. Time based processors
      1. Decay
      2. Reverberation
      3. In line
   B. Dynamic processors
      1. Ratio
      2. Threshold
      3. Attack
      4. Release
      5. Range ratio
VII. Acoustical Properties of Sound
   A. Perceptions of direction
      1. Direct sound
      2. Reflected sound
   B. Delay of mains and satellites
   C. Decay
   D. Reverberation
   E. Ambiance
   F. Separation
   G. Phase
   H. Loudness levels (Flecher/Munson)
      1. Amplitude
      2. Thresholds
      3. Measurement phon
      4. Measurement sone
      5. Combination tone
      6. Beats
   I. Masking
VIII. Alternating Current
   A. Generators
   B. 3-phase power
   C. Grounding
IX. Musical Production Decisions
   A. Stage plots
   B. Neatness
 
MCCCD Governing Board Approval Date:  4/27/2004

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.