MUS 274 - Advanced Studio Techniques I

1. Demonstrate how to get a headphone mix from a workstation session working in the headphones.

2. Demonstrate correct signal flow between the recording console and a workstation session.

3. Demonstrate what is meant by proper gain structure.

4. Demonstrate side-chain signal processing.

5. Describe what is meant by phase distortion.

6. Identify the best solution to a problem or issue. 

7. Use creativity and alternative thinking to brainstorm new ideas and possible solutions to problems or issues. 

8. Manage time effectively.

I. Students must be able to get microphone signals into and out of Pro Tools monitoring in stereo from layer 2 (25 & 26) on the Yamaha and be familiar with the routing of the monitor signal through the D-Command.

II. Students should be aware of the Fader vs. Aux send function of the faders, and know how to use compression and EQ on the mic channels of the Yamaha.

III. They should be aware that the aux 1 & 2 outputs of the Yamaha are normalled into the Behringer headphone amp, and they should be able to set up a stereo headphone signal.

IV. Students should be able to also set up an alternate or custom headphone mix using sends in Pro Tools, two outputs other than the stereo output of PT and route it to a headphone amp by using the patch bay.

V. Students should know why the outputs of layer 1 (1 – 24) are direct out and outputs of layer 2 (25 – 48) go out the 2 mix (stereo output)

VI. Students should be able to do some signal routing exercises where a mic pre (AD) can come up a different fader i.e. preamp 1 comes up channel 5) and then to Pro Tools and out a specific slot out of PT and to a different input on the Yamaha.

VII. Students should be familiar with the concept of gain structure along the signal path and why it is important.

VIII. Students should know the difference between half normalled patch bay and a fully normalled patch bay.

IX. Students should know about hardware inserts in PT and be able to set one up using one of the Lexicons digitally through the Yamaha.

X. Students should know how to set up an MS encoder in PT – also demo how MS gets L/R image info.

XI. Students should know what a trigger track is and when and how to use it.  i.e. using a trigger track to remove snare bleed from a kick track.

XII. Students should know exactly what phase distortion is.  I like to use the 220hz/660hz phase distortion demo.

XIII. Students should become familiar with Pro Tools Import Session Data operations. 

XIV. Students should be able to use Yamaha automation using time code from Pro Tools. 

XV. Students should know how to correctly set up the following stereo microphone pair:

XY cardioid,  XY Hypercardioid, Blumlein, ORTF and DIN, MS (and be able to make a MS encoder in Pro Tools) AB, Faulkner Phase array, Binaural, Decca Tree, Baffled Omni/Cardioid, and Multiple cardioids panned to stereo.

XVI. The students should know stereo mic theory and be able to rank each of the above set-ups from narrowest image to widest. 

XVII. Student should complete the Beat Detective exercise (PT Lesson #6)

XVIII. Student should participate in a complete drum set miking.

Score a C or better based on the course scoring rubric.
Equivalent Courses:
None

The Grand Rapids Community College Music Department faculty has specified essential abilities critical to the success of students in any GRCC Music Department program. Students must demonstrate these essential abilities and technical standards to succeed in their program of study. Qualified applicants are expected to meet all admission criteria and matriculating students are expected to meet all progression criteria, as well as these essential abilities and technical standards with or without reasonable accommodations.

1. Essential judgment skills to include:
* Time management – Students are expected to schedule no less than two hours each day in applied music private practice. Additional hours of individual practice toward proficiency in piano, aural skills and theoretical concepts will require daily practice.
* Respect for other music majors, faculty and staff – Students are expected to hold all members of the Music Department Community in the highest regard. Music majors are a unique cohort who must rely on the support and cooperation of all other members of the community.
* Creative Problem Solving – Students are expected to resolve issues of practice room and lab scheduling, accompanist rehearsal schedule, additional sectional rehearsals and performances.

2. Essential physical/neurological functions to include: ability to use the senses of seeing, hearing, and touch to make correct judgments regarding performance. Behaviors that demonstrate essential neurological and physical functions include, but are not limited to observation, listening, understanding relationships, writing, and psychomotor abilities consistent with course and program expectations. Specifically this includes:

* Keyboard competency.
* Ability to hear the notes on the page
* Hear, identify, and work conceptually with the elements of music such as rhythm, melody, harmony, structure, timbre, and texture
* Ability to read (musical literacy) at sight with fluency demonstrating both general musicianship and, in the major performance area, a level of skill relevant to undergraduate standards appropriate for the particular concentration.
* An understanding of the common elements and organizational patterns of music and their interaction, the ability to employ this understanding in aural, verbal, and visual analyses, and the ability to take aural dictation.

3. Essential communication skills to include: ability to communicate effectively with fellow students, and all members of the music department. Skills include verbal, written, and nonverbal abilities as well as information technology skills consistent with effective communication. Specifically this would include:
* Knowledge and skills sufficient to work as a leader and in collaboration on matters of musical interpretation and performance.
* Knowledge and skills sufficient to work as a leader and in collaboration on matters of research and class presentation.

4. Essential emotional coping skills: ability to demonstrate the mental health necessary to safely and effectively engage in live musical performance. Specifically this would include:
* Mental and emotional preparation for artistic self-expression in at least one major performance area at a level appropriate for the particular music concentration.
* Mental and emotional stability to demonstrate an ability to perform at a level that is appropriate to performance class or department recital.

5. Essential intellectual/conceptual skills to include: ability to measure, analyze, synthesize, and evaluate competently in the study of music theory, music history and repertory. Specifically, students must demonstrate a basic knowledge of music history and repertories through the present time. Students must also demonstrate a rudimentary capacity to create original or derivative music. This may include but is not limited to:
* An overview understanding of the repertory in their major performance area.
* The creation of original compositions or improvisations and variations or improvisations on existing materials.
* Imitation of musical styles, and manipulating common musical elements in non-traditional ways.
* Growth in artistry, technical skills, collaborative competence and knowledge of repertory through regular ensemble experiences
* Ability to comprehend musical forms, processes, and structures. To use this knowledge and skill in compositional, performance, analytical, scholarly, andragogical and pedagogical applications.
* The ability to place music in historical, cultural, and stylistic contexts.

6. Other essential behavioral attributes: ability to engage in group rehearsals and/or individual and small group practice without demonstrated behaviors of addiction to, abuse of, or dependence on alcohol or other drugs that may impair behavior or judgment. The student must demonstrate responsibility and accountability for actions as a student in the music department and as a developing professional in the music field consistent with accepted standards of practice.

Grand Rapids Community College strives to be more than ADA compliant. We strive to be accessible and welcoming to all students of all abilities. After reviewing the Essential Abilities/Technical Standards for this program; your responsibilities as a student entail determining if you can complete all associated coursework either:
A. With Accommodation. I am otherwise qualified to meet the same academic standards as any other student entering the program. However, based on a medically documented condition or diagnosis, I would qualify for reasonable accommodation under the Americans with Disabilities Act (1990). I will meet with Disability Support Services on campus to arrange those accommodations in an interactive process with the department of music.

B. Without Accommodation. I am able to complete the program without need for reasonable accommodation or modification. In the event my medical documentation reveals otherwise or a condition manifests that would necessitate an accommodation; it is my responsibility to inform a responsible authority figure within the department of music and work with Disability Support Services to see if a reasonable accommodation or modification can be made.
If you have a medically documented condition or diagnosis, please contact the Music office, or contact Disability Support Services (DSS) at disability@grcc.edu or by phone at 616.234.4140 to arrange accommodations through our interactive process.