Late assessment Submission Penalty

Unless a Special Consideration request has been submitted and approved, a 5% penalty (of the total possible mark) will be applied each day a written assessment is not submitted, up until the 7th day (including weekends). After the 7th day, a mark of ‘0’ (zero) will be awarded even if the assessment is submitted. Submission time for all written assessments is set at 11.55pm. A 1-hour grace period is provided to students who experience a technical issue. This late penalty will apply to written reports and recordings only. Late submission of time sensitive tasks (such as tests/exams, performance assessments/presentations, scheduled practical assessments/labs will be addressed by the unit convenor in a Special consideration application.

These are serious penalties that will substantially alter your final grade and even determine whether you pass or fail this unit. Please make every effort to submit your assignment by the due date. If you find you cannot submit your assignment on time, please apply for Special Consideration through AskMQ. Make sure you read Macquarie University's policy regarding Special Consideration requests before you apply: https://students.mq.edu.au/study/assessment-exams/special-consideration

DELIVERY METHODS

This Unit uses Lectures and Workshop/Tutorials. This Unit introduces a range of technologies/tools, digital audio softwares, and will provide instruction in these and in the craft of making and presenting audio material and programs designed for radio, podcast and other audio media dominant forms, eg for download or accessed online. Professional and crafted podcasting forms, techniques and skills are modelled and taught to students.

Lectures and Tutorials/Workshops commence in Week 2. It is essential to attend all classes (online or in person) and participate using iLearn each week. NB: Lectures will be recorded on Echo360 but it is advisable to attend online/in person in lecture room, as the lecture will have interactive elements. Face to face classes will not usually be recorded.

Technical Assistance and support is provided in usually the first hour of the Tutorial/Workshops (whether in person on campus or via Zoom link) and students need to be able to attend these throughout the semester. A member of the technical support team will assist and there is a Help line for all technical issues, provided on iLearn. We have a dedicated technical team that support classes. Other tutors may assist with technical demonstrations and give guest lectures or take tutorial classes. If possible for the student, the Face to face on campus option is strongly advised. Please contact the Convenor if you would like to know more.

CORE REQUIRED EQUIPMENT

• One set of good quality closed or semi-closed headphones (compulsory for each student for hygiene and safety reasons). Advice in class and iLearn.
• Laptop or other computer. NB: students can use computers in our tutorial rooms within access hours, plus other equipment can be booked.
• Memory device to store and transfer audio data, or other method for storage.

OTHER EQUIPMENT and relevant software (eg Pro Tools, and Adobe Audition) is available with/at our facilities or as licenses. Portable gear can be booked: egs microphones and kits, including the Zoom H5 or H6 Portable Audio Recorder or similar. For online enrollment other software options may be suggested at no, or minimal, cost, and licenses made available for Pro Tools. We may also suggest additional low cost options for useful software and/or recording, but this is not necessary to create work in this unit. Students will be able to borrow equipment if they can pick up at 10 Hadenfeld Ave, Macquarie University. See iLearn and lecture 1 (in Week 2) for most up-to-date details.

Programs to audition, or other suggested training reading materials will be communicated via iLearn and via Leganto or library links. Generally these will be all free. See iLearn for full details, and consult the following list.

USEFUL AND RELEVANT READINGS (in library) helpful for assessment reflections, building knowledge of the field and craft skills

• Abel, Jessica. Out on the wire: the storytelling secrets of the new masters of radio. Broadway Books, New York, 2015
• Ahern, Steve. (Ed) Making radio and podcasts : a practical guide to working in today's radio and audio industries. 4th edition. Abingdon, Routledge, 2022
• Alburger, James R.The art of Voice acting. Milton: Routledge, 2019
• Alten, Stanley. Audio in Media, Tenth Edition, Wadsworth, Boston: 2014 (or most recent edition: the bible of audio production)
• Biewen, John & Dilworth, Alexa. Reality Radio - Telling True Stories in Sound, Duke University Press: 2017
• Bottomley, Andrew J. Sound Streams: A Cultural History of Radio-Internet Convergence, University of Michigan Press, 2020
• Brown, Ross. Sound Effect: the theatre we hear, London: Methuen Drama, 2020
• Michael, Bull. The Routledge Companion to Sound Studies. Milton: Routledge, 2019
• Chignell H; MacDonald K (Eds). The Bloomsbury Handbook of Radio, Bloomsbury, 2023
• Chion, Michel. Audio-Vision: Sound on Screen, Columbia Uni Press, 2019
• Collins, Karen. Studying Sound: a theory and practice of sound design. MIT Press, 2020
• Cook, Frank. Audio Production Basics with Pro Tools First. Hal Leonard, 2017
• Crook, Tim. The Sound Handbook, Routledge/Taylor & Francis, 2012
• Crook, Tim. Audio Drama Modernism, Palgrave Studies in Sound, 2020
• Dorritie, Frank. The Handbook of Field Recording. Artistpro.Com Llc; Pap/Com, 2003
• Emm, Adele. Researching for Media: Researching for Television and Radio, London: Routledge 2014
• Euritt, A. Podcasting as an intimate medium, London/NewYork, Routledge 2023
• Farnell, Andy. Designing Sound. The MIT Press, 2008
• Green, CM. The Podcaster's Audio Handbook, Berkeley, CA: Apress L. P 2021
• Grimshaw, A et al. The Oxford handbook of sound and imagination, New York, NY : Oxford University Press, 2019
• Hicks, Wynford. English for Journalists. Routledge, 2013
• Hilmes. M. and Bottomly, A. The Oxford Handbook of Radio and Podcasting, Oxford, 2024
• Kern, Jonathon. Sound reporting: the NPR guide to audio journalism and production Chicago: University of Chicago Press, 2008
• Lane, Cathy. In the field: The art of field recording. Uniform books, 2013
• Llinares, Dario; Neil Fox & Richard Berry. Podcasting: New Aural Cultures and Digital Media, Cham: Springer, 2018
• Lindgren, Mia; Loviglio, Jason (Eds). Companion to Radio and Podcast Studies., Abington, Routledge, 2022
• Madsen, V., & Potts, J. Voice-cast: The Distribution of the Voice via Podcasting. In N. Neumark, R. Gibson, & T. V. Leeuwen (Eds.), The Grain of the Voice in Digital Media and Media Art (pp. 33-60). Cambridge, Mass.: MIT Press, 2010
• Madsen, Virginia. 'Your Ears are a Portal to Another World’: The New Radio Documentary Imagination and the Digital Domain In J. Loviglio & M. Hilmes (Eds.), Radio's New Wave: Global Sound in the Digital Era (pp. 126-144). London; New York: Routledge, 2013
• Madsen, Virginia. Transnational Encounters and Peregrinations of the Radio Documentary Imagination. In G. Föllmer & A. Badenoch (Eds.) Transnationalizing Radio Research: New Approaches to an Old Medium (pp. 83-100). Bielefeld, Germany: Transcript Verlag, 2018
• Madsen, Virginia. Chapter on documentaries and features in “Section I Entertainment.” The Bloomsbury Handbook of Radio,  2023
• McHugh, Siobhan. The Power of Podcasting, Sydney: UNSW Press, 2022
• McLeish, Robert.; Link, Jeff. Radio Production. Abingdon: Routledge 2016
• McMurtry, Leslie Grace. Revolution in the echo chamber: audio drama's past, present and future: Intellect, 2019
• Miles, Dean. Location Audio Simplified, Oxford: Routledge 2014
• Nuzum, Eric. Make Noise: A Creator's Guide to Podcasting and Great Audio Storytelling. Workman Publishing Company, 2020
• Ouellette, Laurie ; Gray, Jonathan. Keywords for Media Studies. New York: NYU Press, 2017
• Roginska, Agnieszka; Geluso, Paul. Immersive sound: The art and science of binaural and multichannel audio. Routledge, 2018
• Savage, Steve. The Art of Digital Audio Recording: A Practical Guide for Home and Studio. Oxford University Press, 2011
• Spinelli, Martin. Lance Dann. Podcasting: The Audio Media Revolution. Bloomsbury, 2019
• Sauls, Samuel; Stark, Craig. Audio Production Worktext, Oxford: Routledge 2016
• Verma, Neil. Theater of the Mind: Imagination, Aesthetics, and American Radio Drama. Chicago, 2012
• Winer, Ethan. Audio Expert: Everything you need to know about audio. Taylor and Francis, 2012
• RadioDoc Review: https://ro.uow.edu.au/rdr/ (journal features a range of peer reviewed and industry producer articles on radio/podcast documentary and audio nonfiction storytelling, often with audio links.
• Soundtrails: sound walks activated by custom App and GPS, made by leading producers. in Australia: https://soundtrails.com.au/
• Transom radio online site, (Showcase and Workshop for New Public Radio, USA) Atlantic Public Media: https://transom.org/

See iLearn for full schedule. This unit will cover audio production and craft skills to make programs individually and in teams, and of varying types and genres and most highly applicable to podcast, broadcast or web radio, audio fiction (eg in audio books) and other forms of audio-only or audio-dominant productions, publication and dissemination. Craft skills covered include: recording speech, actuality in the field and interviewing; editing speech and sound production or design for programs and podcasts and related media; voice presentation, performance/direction, and communication with voice/s; program content/topic research and audio journalism, reportage and broadcast forms training; production/direction/creative composition, structuring and compiling of programs and works intended for mass or niche audiences; contextual and historical understanding of audio, broadcast radio and podcast/download or streaming audio media in Australia and internationally - with foci on current and emergent forms across platforms; also the craft, industry and art, plus trends, issues; and an introduction to radio, podcast, creative sound and sound studies.

This unit has not substantially changed from 2023. It was offered externally in online mode in 2022 however. Face to face mode is advised, and preferable with all students enrolled in on-campus classes in 2023. If you are able to come to campus in 2024 (lectures can still be accessed online), this is preferable; however, the online option for tutorials will be continued if there is demand from students requiring this mode. Access to studios and equipment for assessments is still an option for online externally enrolled students if they can visit the campus, otherwise various options will be discussed, and online software licenses made available. Always consult updates and guidance in iLearn, or in early Lectures.