Short Title:Digital Audio Post Production
Full Title:Digital Audio Post Production
Module Code:AUDO H4002
 
Credits: 7
NFQ Level:8
Field of Study:Audio-visual techniques and media production
Module Delivered in 1 programme(s)
Reviewed By:DAVID IRWIN
Module Author:BRIAN HANNA
Module Description:This module aims to further consolidate students’ practical experience and theoretical knowledge of digital audio post production and its application across a range of media platforms.
Learning Outcomes
On successful completion of this module the learner will be able to:
LO1 Be competent in Advanced Digital Audio Post-Production Techniques.
LO2 Be able to creatively use the potential of Digital Non-Linear Audio Technologies.
LO3 Practically demonstrate understanding of the operation and usage of Audio Dynamics Technology.
LO4 Utilise frequency modulation and processing procedures.
LO5 Be able to produce to a professional standard audio for multiple platforms; radio, video, web-based and multimedia applications.
Pre-requisite learning
Co-requisite Modules
No Co-requisite modules listed
 

Module Content & Assessment

Content (The percentage workload breakdown is inidcative and subject to change) %
Recording Environments
Recording Environment, acoustic signature and signal manipulation, frequency response, modulation and reconfiguring for post-production recreation of alternative acoustic signatures and environment simulation.
15.00%
Post-Production Editing and Mixing Techniques.
Audio Post-Production Techniques utilising analogue, digital and analogue/digital combinations Multi-bus routing, theory and application in studio post-production environments; Non-Linear Audio recording, editing, mixing and multitracking.
30.00%
Post-production Processing.
Post-Production Techniques; graphic and parametric equalisation; 3D spatialisation and surround sound modes; FX processing, reverberation; specific frequency modulation in plate, hall, chamber, chorus, phase FX; flange, pitch, detune, delay; echo, modulation, enhancers, vocal processing; MIDI sample manipulation techniques and practices; Foley recording and production.
30.00%
Dynamics Processing.
Audio Dynamics; sound envelope, dynamic range and attributes, expansion, “downward expansion”, gating, compression, ducking, limiting; analogue and digital Audio Dynamics technologies and creative applications in recording and Post-Production; Mastering techniques.
15.00%
Production for other media.
Multiple platform porting of audio productions; SMPTE and MTC synchronisation, sign and musical signature; integration of MIDI and audio signals; conversion to audio file formats for digital video, web-based and multimedia applications for integration of creative audio productions and soundtracks into other media.
10.00%
Assessment Breakdown%
Course Work100.00%
Course Work
Assessment Type Assessment Description Outcome addressed % of total Assessment Date
Continuous Assessment Personal Production Assignment. The student is required to prepare and produce an original, personally chosen audio production of up to 15 minutes’ length, the exact nature of which must be agreed individually with the lecturer. While engaging skills and competencies acquired in the audio modules, it represents a chance for the student to begin to exercise their specialist interests within the course content and to develop individual production styles. 1,2 30.00 n/a
Continuous Assessment Comic Adaptation. The student is required with a group to script and post-produce one episode of a radio serial adaptation of a serialised comic, and in a separate production group to prepare, record, source, produce and post-produce either all dialogue, SFX (incorporating Foley), music or location FX according to their specialisation interests. All scripts and notes must also be submitted with this large scale project which must be produced in accordance with industry-level professional practices and standards at all stages. 1,2,4,5 40.00 n/a
Continuous Assessment Audioscape. The student is required to produce an original short creative audio composition to evoke and explore, rather than tell or narrate an individually-chosen theme. It may incorporate any form of audio or set of production techniques acquired during the module, clearly displaying a conceptual and technical rigour and exhibiting a definite progression from the introduction of the theme to exploration of at least two aspects, and a definite conclusion. All notes, running orders or scripts must be included upon submission with an explanatory document detailing all due accreditation of included audio and the creative process undergone. 1,2,3,4,5 30.00 n/a
No End of Module Formal Examination
Reassessment Requirement
Repeat the module
The assessment of this module is inextricably linked to the delivery. The student must reattend the module in its entirety in order to be reassessed.

IT Tallaght reserves the right to alter the nature and timings of assessment

 

Module Workload

Workload: Full Time
Workload Type Workload Description Hours Frequency Average Weekly Learner Workload
Lecturer/Lab Students will attend in-class lectures, lecturer-led demonstrations, practical workshops and practice sessions, tutorials, seminars and critique sessions. 6.00 Every Week 6.00
Independent Learning Time The student will study recommended reading or other media as directed, and practise technical competencies as acquired during class time. 3.00 Every Week 3.00
Total Weekly Learner Workload 9.00
Total Weekly Contact Hours 6.00
This module has no Part Time workload.
 

Module Resources

Required Book Resources
  • Ethan Winer 2012, The Audio Expert, Focal Press [ISBN: 9780240821009]
  • David Miles Huber, Robert E. Runstein 2009, Modern recording techniques, 7 Ed., Focal Press [ISBN: 9780240810690]
Recommended Book Resources
  • Glen Ballou, 2008, Handbook for Sound Engineers, Fourth Edition, 4 Ed., Focal Press [ISBN: 0240809696]
  • Whitaker,G. 2002, Master Handbook of Audio Production, McGraw Hill
  • Daniel J. Levitin 2006, This is your brain on music, Dutton New York, N.Y. [ISBN: 0525949690]
  • Bob Katz 2007, Mastering audio, 2 Ed., Focal Press [ISBN: 0240808371]
  • Chris Middleton 2006, Creating digital music and sound, Focal Press/Elsevier St. Louis, MO [ISBN: 9780240808321]
  • Robert McLeish 2005, Radio production, 5 Ed., Focal Press [ISBN: 0240519728]
This module does not have any article/paper resources
Other Resources
 

Module Delivered in

Programme Code Programme Semester Delivery
TA_HAVAB_B Bachelor of Arts (Honours) in Creative Digital Media 8 Elective