Basic Sound Reinforcement and Recording:
Configuring a basic P.A. system, recording a live concert, and planning a personal home studio.

A basic P.A. (Public Address) system includes a microphone, cables, amplifier, and speaker. The following concepts will be covered:

• Cables: low Z (impedance) or XLR, high Z, RCA, mini (1/8 mono and stereo), and speaker (1/4, banana, 3 lead, and raw)
• Ground loops, feedback, shock hazards, 60 cycle hum, and Pink noise.
• Microphones: wireless versus wired, cables, placement, pop guards, DI (direct input) boxes, and mic stands.
• Component placement: amplifiers, speakers, microphones, and mixing boards.
• Mixing board basics: equalizers auxiliary sends, subgroups, line-in/line-out, line level, mic level, phantom power, faders, and ambient effects (compression, reverb, delay, and chorus).
• Speaker basics: mains and monitors, crossovers, wiring, phase cancellation, basic diagnosis, and positioning.
• Required:
  • Print and Study Yorkville's excellent article on P.A. basics.
  • Read, consider and refer to Harmony-Central's collection of P.A. pages.
  • Supplemental links:

A basic concert recording configuration includes a microphone, cables, and a recording device. The following aspects will be covered.

• Recording mics versus P.A. mics.
• Clipping, signal path, and signal level.
• Mic placement, room noise, and performance noise.
• Recording devices: D.A.T., minidisc, computer, analogue (cassette tape).
• Many issues covered in the P.A. section also relate to studio and concert recording.
• Harmony Central's recording links can help answer many questions and many of the links are for novices. Other links provide helpful tips and tricks or address specific topics.
• As you learn about sound reinforcement and recording consider:
  • How room characteristics affect recordings.
  • How mic placement differs according to instrument, venue, and situation.
  • How to deal with recording problems.
  • Differences between studios (controlled environments and concert venues.

A basic personal recording studio includes many elements previously covered in the P.A. and concert recording sections. The main differences are:

• Your personal goals, needs, and budget.
• Software, hardware, peripheral devices, and related components.
• When to buy, rent, or contract equipment and services.
• Read, study, and consider the following resources:
  • Web Monkey's personal studio overview.
  • eHow's personal studio overview. Look at the related videos and articles on the right.
  • Tweak Headz personal studio overview.

Assignment:
Many of these issues are taken for granted. Even though some students may already know about these processes, it is still a good idea to review them. The quiz will cover the basics and be taken from the following:

• Be able to explain basic configurations for a concert P.A. system, concert recording system, and personal home studio:
  • Where should the equipment be placed?
  • When should amps be turned on and should the speakers already be connected?
  • Basic problem solving.
• Know the follow terms and be able to identify the equipment:
  • Mic
  • Cables (1/4, 1/8, XLR, RCA, various commonly used speaker cables.
  • Mixer
  • Fader
  • Auxiliary Send
  • Amplifier
  • Equalizer
• Explain how to tell the difference between speaker cables and shielded cables.
• Explain why speaker cables and shielded cables should not be interchanged.
• Explain Ground loops (hum), feedback, shock hazards, and 60 cycle hum.
• Explain microphone fundamentals: wireless versus wired, cables, placement, pop guards, DI boxes, and mic stands.
• Explain mixing board basics: equalizers auxiliary sends, subgroups, line-in/line-out, line level, mic level, phantom power, faders, and ambient effects (compression, reverb, delay, and chorus).
• Explain speaker basics: mains and monitors, crossovers, wiring, phase cancellation, basic diagnosis, and positioning.
• How do recording mics and P.A. mics differ.
• Define clipping, distortion, and signal level.
• Headphone pros and cons.
• Understand basic recording studio design goals and problems: artifacts, reflections, noise diffusion, and so forth.
• Explain mic placement basics, and ways to lessen room/performance noise.
• Have a basic understanding of recording devices: D.A.T., minidisc, computer, analogue (cassette tape).
• How to balance buying, renting, or contracting equipment and services.

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Macintosh Operating System:
Macs are really easy to use once you learn the basics.

• The desktop is click sensitive. Students will open an application and mistakenly click on the desktop background. If you click on the background you activate the system software (Mac OS) and deactivate your music software (Garageband, etc.). Just click on an open window that belongs to the music software to reactivate it.
• Get familiar with basic keyboard macros; they save time and frustration:
  • apple+z = undo
  • apple+c = copy
  • apple+v = paste
  • The space bars starts/stops playback in most applications.
• The menu bar is at the top of the screen. Other application specific macros can be found there.
• Understand the Apple Audio/MIDI utility and sound controls in the system preferences.
• The DOCK is menu at the bottom of the screen. It contains icons for software and the system preferences (white button with a light switch).
• If an application fails to respond after an extended period of time, you can force quit it by pressing Apple+option+escape. Select the appropriate application. Do not force quit the Finder.
• You will have a computer login and password. Do not share it with anyone and log out after you finish. Do not shut down the computer or unplug it.

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Hard Disk Digital Recording:
HDDR places music on a computer hard drive. It can be as simple as a minidisc/DAT playing a recorded concert into the computer's mic input, or as elaborate as a computer in a professional recording studio connected to a multichannel audio interface recording an entire band or orchestra. Other possibilities include digitizing cassettes/LPs.

A basic HDDR system requires a computer, software, audio interface, MIDI interface, cables, and mic. We will focus on Garageband, Digital Performer, and Audacity for HDDR.

• Garageband:
  • Garageband Window basics: Track header, Track mixer, Timeline, Zoom slider, New track button (+), Track info button (i), Loop browser button, Track editor button, Transport controls, Time display, and Master volume.
  • Timeline Window basics: Beat ruler, Tracks, Playhead (top of scroll bar), Timeline grid button, Regions, Volume curves, Master track, Playhead lock button, and Scroll bar.
  • Real versus Software instruments.
  • Real instrument track editor: Zoom slider, Transpose slider, Beat ruler, Playhead, Scroll bar, and Wave form display,
  • Software instruments: Zoom slider, Fix Timing button, Display menu, Transpose slider, Velocity slider, Notes/Controller display, Beat ruler, Playhead, and Scroll bar.
  • Loop Browser: View Buttons (column vs. grid), Scale type menu, Search text field, Preview volume slider, Columns, and results list.
  • Track info window: instrument menu, input, and details menu (effects).
• Quiz Terms and Concepts:
  • Window components
  • Setting meter, tempo, and key.
  • Loop
  • MIDI: General MIDI (GM Patches), Percussion Map, Audio/MIDI interface, MIDI cable, Controller, and Sound Module.
  • What does MIDI record?
  • Controllers (volume-7, panning-10, expression-11, sustain pedal-64, modulation-1, bank selects-0 or 32, and pitch bend).
  • Wave form
  • Export
  • Region
  • Transport controls
• Tips:
  • The master track sets time signature, tempo, and key.
  • Observe how the cursor's function changes as you move it over a track/region. It can move, select, resize, or loop a region depending upon where it is when you click it.
  • Click the playhead to snap the scroll bar for editing/playback (track or editing window).
  • The scroll bar decides the editing point for splitting loops.
  • Click/drag to select areas for editing.
  • The undo macro is the apple key + Z.
  • Use the zoom tool to quantize MIDI rhythms. Changing the zoom level decides the level of quantization (1/4, 1/8, 1/16, or 1/32).
  • Re-title regions (be careful not to re-title the entire track) to organize your loop edits.
  • Try to use loops with the same tempo to avoid numerous splitting and splicing edits.
  • The cycle feature can help you rehearse/audition a segment of the tune without using the transport controls
  • You can use loops with different keys and transpose them.
  • Keep your project relatively simple and be sure to discuss it with me first.

Audacity is freeware for digital editing and recording. It serves the needs of most users and provides an inexpensive avenue for learning the basics of audio editing.

Assignments:

• Read the "Garageband at a glance" document under the Help menu and gain familiarity with the above topics.
• Complete lessons 1 (basic operations), 2 (real instruments), and 3 (software instruments. Be sure to save your work.
• Projects:
  • Garageband:
• Complete a 30 second sound wipe with voice overlay.
• Complete a 3 minute podcast (must include images).
• Complete an original song in a standard song form: AABA, ABA, Rondo, Theme/Variations, or Pop form (AAB). The song needs to have at least one MIDI track, and two or more real instrument/loop tracks. It does not need to be long, but it does need to be complete.
• It can be as simple as a several grooves that alternate to effect the form.
• Try to have 2 minutes of music, but less is fine if the form works.
• Tip: work with symmetrical phrase lengths (i.e. 8 bars).
• Be sure to add some effects, mix the volumes, and use controllers on the MIDI track.
• Audacity:
• Complete the two mini-Audacity projects (Round Project and Editing, Effects, and Processing Project).
• Present your project on the due date with a two page, double spaced, paper describing your project (word document-blackboard), what you learned, and any difficulties you experienced.

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MOTU: Digital Performer (DP)
DP and Garageband have similarities, but DP is much more sophisticated and its possibilities seem endless. Many film composers use it. The soundtrack for Lord of the Rings was recorded and edited on it (over separate 500 tracks).

Assignment:

• MIDI Quiz Aritcles:
  Please read the articles on reserve in the library in the 2000 and 2001 Digital Piano Buyer's Guides:

  1) The Computer Connection (2000)
  2) MIDI for Dummies (2001)
  3) Who is General MIDI (2001)
  4) Collaborating with you computer (2001)

• Read MIDI Basics and MIDI Tutorials (actively read the articles and be prepared to discuss them in class).
• Watch the quicktime DP tutorial on the hard drive in the Motu DP folder.
• Read and work the required selections from the DP Getting Started Manual: 1) Chapter 11 (Recording MIDI); 2) Chapter 12 (Recording Audio); Chapter 13 (Building a Sequence).
• Take the quiz and present your project on the due date with a two page double spaced paper describing your project, what you learned, and any difficulties you experienced.
• Quiz Terms/Concepts:
  • Be able to identify elements in the Tracks window: inputs, outputs, MIDI or audio, play/record, solo, patch, metronome/count-off, meter, tempo, punch in/out, memory cycle/stop, and overdub.
  • Transport controls
  • Event window (MIDI)
  • Soundbite window (audio)
  • PPQ (parts per quarter note)
  • Quantize
  • Audio input and level check (Mac input and MOTU MAS)
  • Polyphonic versus Polytimbral (MIDI)
  • Drawers (extensions of the Main console)
  • MIDI graphic window (piano roll)
  • Step Record
  • Drum Editor
  • Controllers (see Garageband)
• Project:
  • Sequence and arrange the assigned piece or a jury level piece in DP. You must get approval to use a jury piece.
  • Popular music aficionados can create an original work with at least 10 tracks (not necessarily simultaneously).
  • Loops can be used with any project, but are not required.
  • Performing with your piece is optional, but encouraged. Be sure the part is sequenced if you choose not to perform with it.

Tips:

• Pick a complete piece that is not very long (short sonata, theme/variations), but does have a separate and continuous bass and accompaniment.
• Enter each voice on a separate track and enter the bass or percussion first.
• Consider input quantizing and use the conductor track for rubato.
• Enter difficult parts in step record mode. Enter easy parts at a slow tempo and use the memory record features to loop the region.
• Use the "take" option to evaluate different takes (instead of always erasing and re-recording).
• Don't worry about a few wrong notes in a MIDI recording. They can be found and changed quickly. Audio mistakes are almost as easy to fix.

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Notational Software:
Symphonic excepts will be entered using Sibelius and Finale. Each application will also explore separate assignments (in class as a group) to investigate special notation issues.

Assignments:

Sibelius:

• Watch the Sibelius help videos.
• Understand the hot mouse concept.
• Learn about the keypad.

Finale:

• Learn each element in the tool pallet.
• Memorize the numeric pad/rhythm connection (speedy note entry)
• Terms/Concepts:
  • Entry methods (simple, speedy, hyperscribe, transcribe, and scan).
  • MIDI assignments and instruments.
  • MIDI setup
  • Audio MIDI setup
  • Voices/Layers.
  • Scroll/Page view.
  • Internal Speaker assignment (quicktime/smart music/reason).
  • The 5 main windows in the window menu.
  • Instrument list and playback controls in the window menu.
• Enter the assignments and attend class.
• No paper is required for this segment.

Tips:

Sibelius:

• Type the following letters and watch what happens:
• Q, K, S (note selected, then space bar), I, T, X, and so forth. Hold down shift and do the same.
• Pick other letters and just experiment.

Finale:

• Use hyperscribe and speedy note entry to enter most of the notes. Do not stop when you make a mistake - you can fix it later.
• Let the Wizard put instruments in score order.
• Stay away from simple entry as much as possible.
• Entry articulations en masse when possible.
• Copy and paste often.
• Even though Finale shows you a whole rest, you must erase it and enter one to place fermata over it.
• Study the Speedy Note Drop Down Menu:
  • 9 flips the enharmonic.
  • Forward slash breaks/makes a beam.
  • Change rhythms by numeric pad.
  • Correct rhythms by clicking note and using numeric pad.
  • F lowers 1/2 step and S raises 1/2 step
  • Apple + f flips ties.
• Mass Mover:
  • click to select, drag to copy.
  • Select multiple measure and drag to copy.
• Slur Tool - apple+f flips the slur.
• Finale attaches everything to a note, system, or measure. Where you click can determine what is selected as in a mid-measure movable clef.
• The initial Tempo marking can be entered when the document is created or using the expression plug-in.
• The cross staff command is a TG Tools plug-in.
• Do not worry if notes, lyrics, elements, and articulation overlap. The mass mover tool can respace these items.

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HTML
Music Specific Web design:
The possibilities available via the internet are endless. Educators use it to post assignments. Professionals advertise products and services. New technologies are introduced and explained. We are only limited by our imagination. Our projects will be music specific. We will learn how to use basic HTML programming tags, sound files, image files, and other aspects as time permits.

Assignments:

• Using NVU, a free web design application (mac and pc), you will create the following projects:
  1) An evaluation page that focuses on a music specific topics (see below). Use tables to organize your content and grade 20 sites on content, navigability, graphic design, and load speed. Your evaluation projects can focus on music topics and technology: clarinet studios, percussion studios, music departments, midi tutorial sites, software training site, graphics sites (clip art, etc.), recording sites, web design sites, and notation topics. You may also explore music theory, history, and other related sites.

  Now that you have a better understanding of the qualities needed for a great webpage you can begin your other pages:

  2) An MUS 384 Projects Page that features embeds for your midi (DP), garageband, and notation projects (pdfs).

  3) A personal professional page (your private studio, bio, performance availability, and so forth).

• If you want to learn more about web design look at the many helpful links and tutorials at the NVU help site.
• Work through the Case Western Web tutorials to gain an understanding of html codes and the nature of tags. Save these as PDFs and submit on BB.
• View the powerpoint presentation on basic web design by Melanie Bentley (web administrator for the CAS).
• Read the articles on reserve and the links below.
• Create a professional development page.
• Create an evaluation page.
• Write a two page double-spaced paper describing the project.