BAHÇEŞEHİR UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
| SOUND TECHNOLOGIES (TURKISH, NON-THESIS) | |||||
| Master | TR-NQF-HE: Level 7 | QF-EHEA: Second Cycle | EQF-LLL: Level 7 | ||
Course Introduction and Application Information
| Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
| STT5031 | Multi-Channel Mixing | Fall | 3 | 0 | 3 | 8 |
Basic information
| Language of instruction: | Turkish |
| Type of course: | Must Course |
| Course Level: | |
| Mode of Delivery: | Face to face |
| Course Coordinator : | Dr. Öğr. Üyesi YAHYA BURAK TAMER |
| Course Lecturer(s): |
Dr. Öğr. Üyesi CEMAL BARKIN ENGİN |
| Recommended Optional Program Components: | None |
| Course Objectives: | This course examines the concept of multi-track mixing, an essential phase of musical post-production, from aesthetical and technical perspectives. In addition to necessary hardware and software training, the course will also focus on audio oriented ear training, genre appreciation and creative technical strategies. Students will be encouraged to develop analytical yet individual approaches to mixing. |
Learning Outcomes
|
The students who have succeeded in this course; I. Familiarize with historical and current mixing styles / techniques. II. Advance audio hardware and software skills. III. Analyze a mix from spectral, dynamic and dimensional perspectives. IV. Improve audio correction and restoration skills. V. Develop target based production strategies. VI. Attune to different technical conditions. VII. Adjust to collective and individual workflows / schedules. |
Course Content
| Introduction to mixing: A historical overview, Set-up, signal flow & organization, Spectral signal processing: Filters & equalization techniques, Dynamic signal processing: Compressors, limiters, expanders, gates and de-essing, Time-based signal processing: Reverbs, delays and modulation effects, Other signal processing tools & DAW automation, Advanced processing techniques: Parallel & side chain compression, harmonic enhancement, re-amping & audio replacement, Vocal mixing, Drum mixing, Other instrumental mixing approaches, Genre specific mixing concepts, Monitoring, meters & delivery formats, Surround mixing. |
Weekly Detailed Course Contents
| Week | Subject | Related Preparation |
| 1) | Introduction to mixing: A historical overview | |
| 2) | Set-up, signal flow & organization | |
| 3) | Spectral signal processing: Filters& equalization techniques | |
| 4) | Dynamic signal processing: Compressors, limiters, expanders, gates and de-essing | |
| 5) | Time-based signal processing: Reverbs, delays and modulation effects | |
| 6) | Other signal processing tools & DAW automation | |
| 7) | Advanced processing techniques: Parallel & side chain compression, harmonic enhancement, re-amping & audio replacement | |
| 8) | Midterm, audio restoration tools | |
| 9) | Vocal mixing | |
| 10) | Drum mixing | |
| 11) | Other instrumental mixing approaches | |
| 12) | Genre specific mixing concepts | |
| 13) | Monitoring, meters & delivery formats | |
| 14) | Surround mixing |
Sources
| Course Notes / Textbooks: | |
| References: | Mixing Audio: Concepts, Practices and Tools, Ray Izhaki ISBN: 0240520688 The Mixing Engineer's Handbook, Bobby Owsinski ISBN: 1598632515 F.Alton Everest, Critical Listening Skills for Audio Professionals ISBN-13: 978-1598630237 |
Evaluation System
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 15 | % 10 |
| Homework Assignments | 1 | % 15 |
| Project | 1 | % 20 |
| Midterms | 1 | % 15 |
| Final | 1 | % 40 |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 40 | |
| PERCENTAGE OF FINAL WORK | % 60 | |
| Total | % 100 | |
ECTS / Workload Table
| Activities | Number of Activities | Workload |
| Course Hours | 14 | 42 |
| Laboratory | 15 | 53 |
| Application | 7 | 28 |
| Study Hours Out of Class | 14 | 72 |
| Total Workload | 195 | |
Contribution of Learning Outcomes to Programme Outcomes
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Have sufficient background and an ability to apply knowledge of music production and engineering to identify, formulate, and solve problems of sound technology. | 3 |
| 2) | Be able to define, formulate and solve problems by choosing and applying appropriate analysis and modelling techniques. | 4 |
| 3) | Have an ability to design or implement an existing design of a system, component, or process to meet desired needs within realistic constraints (realistic constraints may include economic, environmental, social, artistic, health and safety issues depending on the nature of specific design). | 2 |
| 4) | Be able to develop, choose, adapt and use innovative and up-to-date techniques, skills, information technologies, modern tools in the sound engineering domain. | 4 |
| 5) | Be able to design and conduct experiments, as well as to collect, analyse, and interpret relevant data, and use this information to improve designs. | 4 |
| 6) | Be able to function individually as well as to collaborate with others in multidisciplinary teams. | 3 |
| 7) | Be able to recognise the need for, and to engage in the life-long learning as well as a capacity to adapt to changes in the technological environment. | 3 |
| 8) | Have a consciousness of professional and ethical responsibilities as well as workers' health, environment and work safety. | 2 |
| 9) | Have the knowledge of business practices such as project, risk, management and an awareness of entrepreneurship, innovativeness, and sustainable development. | 2 |