Students

MECO836 – Creative Audio Techniques

2015 – S1 Day

General Information

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Unit convenor and teaching staff Unit convenor and teaching staff Unit Convenor
Virginia Madsen
virginia.madsen@mq.edu.au
Contact via virginia.madsen@mq.edu.au
Y3A191J
By appointment or Mon 12- 2pm or Tuesday 12.30-1.30pm
Radio Facilities Manager
Peter Ring
peter.ring@mq.edu.au
Contact via peter.ring@mq.edu.au
Credit points Credit points
4
Prerequisites Prerequisites
Admission to MCrMedia or PGCertCrMedia
Corequisites Corequisites
Co-badged status Co-badged status
Unit description Unit description
This unit will provide the student with an advanced understanding of the powerfully affecting sonic dimension and how the auditory can function in a variety of audiovisual productions, radiophonic and other media. On a production level this unit equips students to work with key contemporary production platforms and techniques of creative sound as used in radio, film/screen, multimedia, theatre, and for museum and other environments. Emphasis will be on students producing advanced sound design and audio rich performance projects relating to their specific specialist interests, with the opportunity to broadcast and pod/vodcast works.

Important Academic Dates

Information about important academic dates including deadlines for withdrawing from units are available at https://www.mq.edu.au/study/calendar-of-dates

Learning Outcomes

On successful completion of this unit, you will be able to:

  • Recognise and appraise audio design and composition in various media and critically analyse and engage with theories and contemporary debates in the field of creative audio in media
  • Experiment and develop proficiency with key audio production software, technologies and techniques in order to create or contribute to sophisticated media texts, design projects and performative sound based works.
  • Analyse and evaluate preparation of audio material for radio/audio and/or other media and artistic contexts which use sound.
  • Synthesise and expand knowledge of creative audio techniques and production processes through the development and production of creative audio works

Assessment Tasks

Name Weighting Due Groupwork/Individual Short Extension AI Approach
1. Studio Record and mix task 15% Week 4 No
2. 'Audio Tour'/sound postcard 25% Week 7 No
3. Written Reflection 25% Week 10 No
4. Audio work/performance 35% Week 13 No

1. Studio Record and mix task

Due: Week 4
Weighting: 15%
Groupwork/Individual:
Short extension 3: No
AI Approach:

Short studio recording and mix exercise using microphone placement techniques (optimal for music or voice), applying knowledge learnt of studio signal flow and ProTools. Will involve use of ProTools to create a basic track lay and mix.

The recording will be accompanied by a brief (300-500 word) commentary on what microphones were used, placement with diagram and how the track lay and mix was approached.

Assessment Criteria

  • Quality of source recordings: voices, music or other chosen sounds
  • Effectiveness of microphone placement for the inputs used, use of studio and mixing decisions
  • Technical quality overall of the final piece
On successful completion you will be able to:
  • Experiment and develop proficiency with key audio production software, technologies and techniques in order to create or contribute to sophisticated media texts, design projects and performative sound based works.
  • Analyse and evaluate preparation of audio material for radio/audio and/or other media and artistic contexts which use sound.
  • Synthesise and expand knowledge of creative audio techniques and production processes through the development and production of creative audio works

2. 'Audio Tour'/sound postcard

Due: Week 7
Weighting: 25%
Groupwork/Individual:
Short extension 3: No
AI Approach:

Students will propose an 'audio tour' or 'postcard' relating to any place, idea or topic they choose, and designed for a specific context and/or provider, eg as downloadable piece in segments to be listened to with headphones, and available from for eg: a radio station, website, museum, public or private institution etc. Please provide a synopsis (max 1 page) of what you wish to do (see iLearn). The student will then record and compose this audio tour of a place/subject – real or imagined using studio, location recording/s and Lab facilities. The final pieces should be created in stereo or in bin-aural sound. A commentary using voice or voices (yourself, actors, others) should be performed in the studio and 'mixed' with chosen sounds recorded in the field or sourced from collections, or using musics composed or performed/recorded by the student (and others with permission). The piece is to be constructed using appropriate audio software and from a choice of specialist microphones and in whatever style the student chooses. Examples will be played in order to model possible approaches and subjects/places. Bin-aural recording can also be used with other approaches and techniques. Final duration should be no longer than 6-7 mins. Other details: See separate class sheet.  Reflect upon the exercise drawing on literature associated with this relatively new genre, or other relevant literature.

Examples will be detailed in class and/or on ilearn and it is expected the student will listen to more of these outside of classes.

This exercise can be regarded as a prototype or example for a longer series. It is possible to build upon this assignment also so as to create a longer/expanded/more sophisticated major work or series for Assign 4, but this must be discussed with Tutor before proceeding in this direction, and approved. In this case any Assign 4 final audio tour will be substantially longer or more complex than this introductory assignment.

Assignment is graded according to a rubric.

Grading Criteria:

  • Content, approach/presentation and technical will be assessed in each audio tour.
  • application and/or originality in the three aspects assessed in this assignment: 1) content/subject/structure; 2) design, composition; and 3)technical application and presentation.
On successful completion you will be able to:
  • Recognise and appraise audio design and composition in various media and critically analyse and engage with theories and contemporary debates in the field of creative audio in media
  • Experiment and develop proficiency with key audio production software, technologies and techniques in order to create or contribute to sophisticated media texts, design projects and performative sound based works.
  • Analyse and evaluate preparation of audio material for radio/audio and/or other media and artistic contexts which use sound.
  • Synthesise and expand knowledge of creative audio techniques and production processes through the development and production of creative audio works

3. Written Reflection

Due: Week 10
Weighting: 25%
Groupwork/Individual:
Short extension 3: No
AI Approach:

Written reflection of a creative audio work or media work with the sound design a strong element of the work. Egs include a creative or experimental radio program such as a 'feature', performance or documentary or audio art work made for a radio/transmission context or download, screen production for cinema or other or major media production or audio art work made for exhibition/performance.

What you should consider in approaching this essay/reflection:

Describe the piece and reflect on how the sound design works: how engaging is the sound design? How does it work to convey story, mood, sense of place, the message/s and ideas being communicated? Use minimum three references from the readings list (see iLearn) to assist in your analysis. Tip:

It might be advantageous to analyse/discuss a sound design which relates to the form you wish to pursue for Assignment 4. If you have chosen to make an audio tour or expand/develop the first one you made as Assignment 2, then use this as an opportunity to discuss one or two good recent examples of the genre. If you are making a creative radio feature or sound/radio/screen art piece, or sound for a feature film (sound design), likewise try and choose an example of one of these forms, and the genre also. Draw on theories and critical writing, or artistic texts and writing which relate to this genre/type of work.

This assignment will be assessed according to a rubric.

Assessment Criteria:

  • presentation of arguments
  • descriptions of sound design in its context
  • evidence of original critical thinking and knowledge of the genre 
  • effective usage and understanding demonstrated of referenced material related to the chosen audio work/genre.

Individual Assignment. Questions/topics to be distributed via ilearn.
On successful completion you will be able to:
  • Recognise and appraise audio design and composition in various media and critically analyse and engage with theories and contemporary debates in the field of creative audio in media
  • Synthesise and expand knowledge of creative audio techniques and production processes through the development and production of creative audio works

4. Audio work/performance

Due: Week 13
Weighting: 35%
Groupwork/Individual:
Short extension 3: No
AI Approach:

Students will work on their choice of a creative audio work or media work with the sound design a strong element of the work. Egs include a creative or experimental radio program such as a 'feature', performance or documentary; or audio art work made for a radio/transmission context, other, or download; or sound design for a screen sound production (for cinema, web, interactive); or sound design for a media production for another platform or audio art work made for exhibition/performance.

Generally length should be no more than max 20' and is dependent on the genre, context where this work might be encountered, and its form and content. A sound design for a screen production (durational limit will depend on the film/screen piece but must also be approved before commencement. A student for eg can work on another student's screen production or other media work as the sound designer as long as this role/work is not credited for another unit. Other options may be available depending on demand/justification.

With your audio piece, please include a max 2 page reflection on the work and your experience of making it. You must account for why the piece should be of this length; also discuss briefly the processes you utilised to make the work and what you feel you have learnt, and might do differently if you were to make it again. Where might a work like this be heard? Radio, screen work, public space, theatre or museum, pby private individual, ie listening in public place, or with headphones/ipod/mobile phone, etc. (This reflection should accompany the final piece/work). 

Discussion of ideas for final projects will commence in Week 3; however you should have finalised your idea/project by Week 8.

Works for all creative assignments will usually be individual productions, but depending on numbers and the scale/scope of work envisaged, it may be possible to work in a pair (as a team but with equal responsibility/authorship). All projects will need to be agreed to by the Tutor before commencement. It is envisaged that some of these assignments may be suitable to a real broadcasting outlet.

Assessment Criteria:

  • Quality of source recordings and evidence of technical proficiency
  • Effective management of session audio files and materials to create a finished product
  • Engaging end product/sound design and content with well developed ideas in evidence and applied to this media work
  • Reflection indicates good planning, research and development of ideas and as applied using the audio tools, studio and techniques taught in the Unit.
  • Reflection indicates perceptive and creative approach to the task, with ideas and their development clearly communicated.
On successful completion you will be able to:
  • Recognise and appraise audio design and composition in various media and critically analyse and engage with theories and contemporary debates in the field of creative audio in media
  • Experiment and develop proficiency with key audio production software, technologies and techniques in order to create or contribute to sophisticated media texts, design projects and performative sound based works.
  • Analyse and evaluate preparation of audio material for radio/audio and/or other media and artistic contexts which use sound.
  • Synthesise and expand knowledge of creative audio techniques and production processes through the development and production of creative audio works

Delivery and Resources

Delivery: Day Contact: 3 hour studio seminar/practical per week held in Y3A Recording Studio 2 (144). Lecture material, listening and theoretical material will be incorporated into 3 hour format. Guest lectures will usually be held in the first hour of the class.

A Note on Content and Aims

This unit will  allow the student to develop proficency in ProTools, use of basic studio and microphone techniques and be able to accomplish professional quality recordings both in studio and field situations.The aim of the course is also to inform the student of the expanding world of audio media and creative applications of audio and sound design in diverse media contexts. This unit is aimed at students with an interest in sound and sound in media contexts; one doesn't need to have musical aptitude or specialist musical or technical skills to pass or achieve well in this unit. Taking into consideration students' interests, participants in this unit will learn about advanced forms of recording (in the field, studio), microphone techniques and usage of sound effects and musical synthesis (applicable to screen productions, radio, web and sound design).

The unit requires you to purchase:

1) ProTools101 (Textbook/Manual): Approx $30. Details available in Week 1.

2) a (min) 3 Gig Memory device to store your Audio Projects.

3) One set of reasonable quality semi-open or closed headphones (compulsory for each student, due to Health & Safety regulations).

NB: Readings (production and theoretical/historical etc) to assist you in writing reflections and essay will be distributed in Seminar/workshops, or be made available via iLearn.

The unit uses the following technology:

ilearn, ProTools Audio software on Apple computers (in Studio and Labs), a range of portable audio recorders and specialist high precision microphones, audio studio and control room facilities, other music studios where required.

Web radios and audio/radio sites of interest

These sites will be of use in research for your Assign 3, or as sites where you can access creative audio examples.

ABC 360 (formerly Radio Eye: archived ABC features and documentaries program) http://www.abc.net.au/rn/360/

ABC Wide Open Road (Music online audio doco) http://www.abc.net.au/wideopenroad/

ABC JJJ: http://www.abc.net.au/triplej/programs/

Arte-Radio (in French: radio arm of European cultural channel) http://www.arteradio.com/ (very interesting to look at and some works available not dependent on knowing French.

http://www.airmedia.org/PageInfo.php?PageID=13

American Public Radio works http://americanradioworks.publicradio.org/

http://www.batteryradio.com/

BBC (UK) radios http://www.bbc.co.uk/radio/

http://www.bbc.co.uk/radio3/betweentheears/

http://www.cbc.ca/thewire/

http://www.ears.dmu.ac.uk/

http://www.echoarchive.com/

http://www.uni-weimar.de/cms/en/media/experimentelles-radio/home.html

http://radiomentale.wordpress.com/

Flickerman project http://www.theflickerman.com/

http://www.loopoz.com/

National Public Radio (USA): http:///www.npr.org

http://new-radio.org/

http://www.phonurgia.org/

http://www.transradio.org

http://www.loud.net.au

http://www.storycorps.net/

http://soundportraits.org/deathrow/

http://www.sonicpostcards.org/

http://www.wbez.org/programs/odyssey/odyssey_senses.asp

http://www.waxsm.com.au

http://www.sonicmemorial.org/sonic/public/index.html

Third Coast Radio festival http://www.thirdcoastfestival.org/

Third Coast Archive: Resound http://www.thirdcoastfestival.org/re-sound.asp

Transom: a showcase and workshop for new public radio (useful to students):

http://www.transom.org/

http://www.museereattu.arles.fr/rencontre_avec_kaye_mortley-94-03.html

New Radio& Performing Arts Inc http://new-radio.org/

http://www.pool.org.au/users/soundculture

http://phonography.org/phonographers.htm

http://www.soundwalk.com/#/ABOUT/

http://turbulence.org/

http://www.wemfmedia.org/

http://www.ubu.com/sound/radio_radio/index.html

http://www.medienkunstnetz.de/works/wdr-studio/http://www.ubu.com/sound/

http://www.soundartradio.org.uk/

http://www.ousopo.info/

http://www.cbc.ca/ideas/index.html

American radio documentaries: Sound Portraits http://soundportraits.org/

http://www.hearingvoices.com/

Radio Lab (exciting US Science radio show) http://www.radiolab.org/

Resonance FM http://resonancefm.com/

2SER http://www.2ser.com/

Sirius satellite radio http://www.sirius.com/

This American Life show http://www.thislife.org/

http://www.cbc.ca/ideas/index.html

http://www.birst.co.uk/

http://www.wnyc.org/

http://www.sysx.org/soundsite/

http://www.youngjournalistawards.org.au/

http://www.npr.org/programs/lnfsound/

http://www.studio360.org/

http://www.soundsnap.com/

http://www.abc.net.au/innovation/sidetracks/default.htm

http://www.myspace.com/bbcradiophonicworkshop

http://archives.cbc.ca//

http://www.archive.org/details/pacifica_radio_archives

http://beta.wnyc.org/shows/fromthearchives/2007/sep/01/

http://sitesandsounds.net.au/?p=202

http://www.archivesforcreativity.com/about.aspx

http://www.isaw.info/sm/

http://radia.fm/

http://www.myspace.com/artacousmatique

http://soundlab.newmediafest.org/blog/

http://filmsound.org/

http://www.naisa.ca/RWB/#sked

UBU Web radio http://www.ubu.com/sound/radio_radio/index.html

http://www.sfu.ca/~truax/wsp.html (World Soundscape project)

http://www.bbc.co.uk/worldservice/specialreports/saveoursounds/index.shtml

http://www.oreilleverte.com/www/

http://www.wildsanctuary.com/

http://www.acousticecology.org/

http://www.soundtransit.nl/

http://accent.gmu.edu/index.php

http://www.freesound.org/

http://www.pool.org.au/blog/pool_team/welcome_to_nigel_helyer

http://www.cardiffmiller.com/artworks/walks/missing_voice.html

http://www.abc.net.au/rn/intothemusic/features/localportraits/default.htm

World Radio Network: http://www.wrn.com

 

Blogs and Sound Tools

http://audacity.sourceforge.net/download/

ABC: various http://www.abc.net.au

http://www.bbc.co.uk/blogs/radiolabs/

http://www.cityofsound.com/

http://theschooloflife.typepad.com/the_school_of_life/

http://soundpractice.blogspot.com/

http://continuo.wordpress.com/category/radio-art/

http://www.mediastorm.com/

http://www.transom.org/

 BOOKS/READINGS OF INTEREST

(Highly relevant)

Alten, Stanley. Audio in Media. Belmont CA: Wadsworth.  (library) (The bible of audio production for those really serious about sound)

Barnard, Stephen. Studying Radio. New York: Hodder Headline/Arnold. 2000

Barlett, B. (2012) Practical Recording Techniques. Oxford: Taylor and Francis

Biewen, John. Reality radio: telling true stories in sound, Durham, 2010

Burgess, R.J (2002) The Art of Music Production. London: Omnibus Press

Beaman, Jim. Programme making for radio. London & NY: Routledge,, 2006

Chion, Michel: Audio Vision: Sound on Screen, Columbia Uni. Press 1994.

Crisell, Andrew. More Than A Music Box, Berghahn 2006

Crisell, Andrew. Ed. Radio (3 Vols). Routledge, London 2009.

Crook, Tim. The Sound Handbook. London. Routledge 2012

Fleming, Carole. The Radio Handbook. London: Routledge, 2010

Greene, P. and Porcello, T (2005) Wired for Sound: Engineering and Technologies in Sonic Culture. Middletown: Wesleyan University Press

Hausman, Carl et al. Modern Radio Production. Production, Programming, and Performance. Belmont CA: Wadsworth/Thomson Learning, 2006.

Huber, D. and Runstein, R (2014) Modern Recording Techniques. Oxford: Taylor and Francis

Izhaki, R. (2012) Mixing Audio: Concepts Practices and Tools. Boston: Focal Press Katz, B. (2007) Mastering Audio: The Art and the Science. Boston: Focal Press

Kramer, Mark & Wendy Call (Eds). Telling True Stories, NY: Plume 2007Loviglio, Jason. Hilmes, Michele. (Eds) Radio's New Wave: Global Sound in the Digital Era. Routledge 2013.

Massey, H. (2000) Behind the Glass. San Francisco: Miller Freeman Books Massey, H. (2009) Behind the Glass Vol. II, Milwaukee: Backbeat Books Moylan, W. (2002) The Art of Recording: Understanding and Crafting the Mix. Amsterdam and London: Focal Press Owskinski, B. (2009) The Recording Engineer's Handbook. Delmar Cengage.

Street, Sean, The Poetry of Radio, the Colour of Sound. London, New York, 2011

Talbot-Smith, Michael. Sound Assistance. London: Focal Press, 1999.

Van Leewin, Theo. Speech, Music, Sound. London: MacMillan 1999

Further Readings/books and articles will be posted to ilearn.

 

What has changed?

Each year the Unit will respond to the specific interests and skills of the student cohort, while broadly maintaining the same overall brief and programme. 

Unit Schedule

See iLearn for details.

Policies and Procedures

Macquarie University policies and procedures are accessible from Policy Central. Students should be aware of the following policies in particular with regard to Learning and Teaching:

Academic Honesty Policy http://mq.edu.au/policy/docs/academic_honesty/policy.html

Assessment Policy  http://mq.edu.au/policy/docs/assessment/policy.html

Grading Policy http://mq.edu.au/policy/docs/grading/policy.html

Grade Appeal Policy http://mq.edu.au/policy/docs/gradeappeal/policy.html

Grievance Management Policy http://mq.edu.au/policy/docs/grievance_management/policy.html

Disruption to Studies Policy http://www.mq.edu.au/policy/docs/disruption_studies/policy.html The Disruption to Studies Policy is effective from March 3 2014 and replaces the Special Consideration Policy.

In addition, a number of other policies can be found in the Learning and Teaching Category of Policy Central.

Student Code of Conduct

Macquarie University students have a responsibility to be familiar with the Student Code of Conduct: https://students.mq.edu.au/support/student_conduct/

Results

Results shown in iLearn, or released directly by your Unit Convenor, are not confirmed as they are subject to final approval by the University. Once approved, final results will be sent to your student email address and will be made available in eStudent. For more information visit ask.mq.edu.au.

Additional information MMCCS website https://www.mq.edu.au/about_us/faculties_and_departments/faculty_of_arts/department_of_media_music_communication_and_cultural_studies/ MMCCS Session Re-mark Application http://www.mq.edu.au/pubstatic/public/download/?id=167914 Information is correct at the time of publication

Student Support

Macquarie University provides a range of support services for students. For details, visit http://students.mq.edu.au/support/

Learning Skills

Learning Skills (mq.edu.au/learningskills) provides academic writing resources and study strategies to improve your marks and take control of your study.

Student Services and Support

Students with a disability are encouraged to contact the Disability Service who can provide appropriate help with any issues that arise during their studies.

Student Enquiries

For all student enquiries, visit Student Connect at ask.mq.edu.au

IT Help

For help with University computer systems and technology, visit http://informatics.mq.edu.au/help/. 

When using the University's IT, you must adhere to the Acceptable Use Policy. The policy applies to all who connect to the MQ network including students.

Graduate Capabilities

PG - Capable of Professional and Personal Judgment and Initiative

Our postgraduates will demonstrate a high standard of discernment and common sense in their professional and personal judgment. They will have the ability to make informed choices and decisions that reflect both the nature of their professional work and their personal perspectives.

This graduate capability is supported by:

Learning outcomes

  • Recognise and appraise audio design and composition in various media and critically analyse and engage with theories and contemporary debates in the field of creative audio in media
  • Experiment and develop proficiency with key audio production software, technologies and techniques in order to create or contribute to sophisticated media texts, design projects and performative sound based works.

Assessment tasks

  • 1. Studio Record and mix task
  • 2. 'Audio Tour'/sound postcard
  • 4. Audio work/performance

PG - Discipline Knowledge and Skills

Our postgraduates will be able to demonstrate a significantly enhanced depth and breadth of knowledge, scholarly understanding, and specific subject content knowledge in their chosen fields.

This graduate capability is supported by:

Learning outcomes

  • Recognise and appraise audio design and composition in various media and critically analyse and engage with theories and contemporary debates in the field of creative audio in media
  • Experiment and develop proficiency with key audio production software, technologies and techniques in order to create or contribute to sophisticated media texts, design projects and performative sound based works.
  • Analyse and evaluate preparation of audio material for radio/audio and/or other media and artistic contexts which use sound.
  • Synthesise and expand knowledge of creative audio techniques and production processes through the development and production of creative audio works

Assessment tasks

  • 1. Studio Record and mix task
  • 2. 'Audio Tour'/sound postcard
  • 4. Audio work/performance

PG - Critical, Analytical and Integrative Thinking

Our postgraduates will be capable of utilising and reflecting on prior knowledge and experience, of applying higher level critical thinking skills, and of integrating and synthesising learning and knowledge from a range of sources and environments. A characteristic of this form of thinking is the generation of new, professionally oriented knowledge through personal or group-based critique of practice and theory.

This graduate capability is supported by:

Learning outcomes

  • Recognise and appraise audio design and composition in various media and critically analyse and engage with theories and contemporary debates in the field of creative audio in media
  • Analyse and evaluate preparation of audio material for radio/audio and/or other media and artistic contexts which use sound.
  • Synthesise and expand knowledge of creative audio techniques and production processes through the development and production of creative audio works

Assessment tasks

  • 3. Written Reflection
  • 4. Audio work/performance

PG - Research and Problem Solving Capability

Our postgraduates will be capable of systematic enquiry; able to use research skills to create new knowledge that can be applied to real world issues, or contribute to a field of study or practice to enhance society. They will be capable of creative questioning, problem finding and problem solving.

This graduate capability is supported by:

Learning outcome

  • Synthesise and expand knowledge of creative audio techniques and production processes through the development and production of creative audio works

Assessment tasks

  • 2. 'Audio Tour'/sound postcard
  • 3. Written Reflection
  • 4. Audio work/performance

PG - Effective Communication

Our postgraduates will be able to communicate effectively and convey their views to different social, cultural, and professional audiences. They will be able to use a variety of technologically supported media to communicate with empathy using a range of written, spoken or visual formats.

This graduate capability is supported by:

Learning outcomes

  • Recognise and appraise audio design and composition in various media and critically analyse and engage with theories and contemporary debates in the field of creative audio in media
  • Experiment and develop proficiency with key audio production software, technologies and techniques in order to create or contribute to sophisticated media texts, design projects and performative sound based works.
  • Analyse and evaluate preparation of audio material for radio/audio and/or other media and artistic contexts which use sound.
  • Synthesise and expand knowledge of creative audio techniques and production processes through the development and production of creative audio works

Assessment tasks

  • 2. 'Audio Tour'/sound postcard
  • 3. Written Reflection
  • 4. Audio work/performance

PG - Engaged and Responsible, Active and Ethical Citizens

Our postgraduates will be ethically aware and capable of confident transformative action in relation to their professional responsibilities and the wider community. They will have a sense of connectedness with others and country and have a sense of mutual obligation. They will be able to appreciate the impact of their professional roles for social justice and inclusion related to national and global issues

This graduate capability is supported by:

Assessment task

  • 2. 'Audio Tour'/sound postcard

Changes from Previous Offering

This unit has some changed content, and assessments/Assignments in 2015.