The Technology of Music Production

Start Date: 02/23/2020

Course Type: Common Course

Course Link:

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About Course

Learn about the music production process—including recording, editing, and mixing—and the tools available to you to create contemporary music on your computer. With the recent introduction of high-quality-low-cost software and hardware, the tools of music production are now available to the masses. Albums are made in bedrooms as well as studios. On the surface this is liberating. Anyone can make an album for the low cost of a couple pieces of gear and a software package. But, if you dig deeper, you will find that it is not so easy. Producing music requires knowledge, dedication, and creativity. Knowledge is where this course comes in. No matter what kind of music you are making, there is a large set of tools that you will need to use. Each lesson of this course will demonstrate a different set of music production tools, loosely following along the music production process of recording, editing, and mixing. We will start with some background on the nature of sound and how we perceive it. We will then examine the components necessary to record audio into a computer, so that you understand the devices that sound must travel through in a music production process. Once recorded, sound must be organized along a timeline, a process known as editing. It allows us to give the impression of perfect performances and create many of the sounds we hear in contemporary music. The contemporary editing tool is the Digital Audio Workstation (DAW), a piece of software that stores and organizes all the assets of a musical project. We will focus on the editing tools that are essential in contemporary music production and that all DAWs provide. After editing, sounds must be combined or mixed together, so we look to the mixing board—a very creative place if you know how to use it. We will explore the basic functionality of both hardware and software mixing boards, including volume, pan, mute, solo, busses, inserts, sends, and submixes. The mixing process, however, includes more tools than the mixing board provides on its own. Sound must also be processed, modified from its recorded state to fit the context of the music. We will look at compression, equalization, and delay, and examine the many audio effects that are offshoots of these devices and how they are used in a musical context. In the end, the music production process relies on your creativity. Creativity is a product of the mind and will stay there, unexpressed, until the right tools are used in the right way to share it with the world. If you have an idea in your head, it will take numerous steps, each with an important tool, to reach your audience. You bring the dedication and creativity, and this course will bring you the knowledge to make that happen.

Course Syllabus

The contemporary editing tool is the Digital Audio Workstation (DAW), a piece of software that stores and organizes all the assets of a musical project. We will focus on the editing tools that are essential in contemporary music production and that all DAWs provide.

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Course Introduction

The Technology of Music Production This course introduces the technology of sound production, with a focus on the microphone and audio interface. We'll learn about the fundamentals of sound processing and equalization, and how they can be applied to make your music production process easier. We’ll cover the different ways to record and mix vocals, as well as the use of digital effects and virtual instruments. You’ll also learn about the different aspects of the microphone, mic preamplifier, and mic preamp that you’ll need to consider. You’ll also learn about common mic preamps, and common issues that can arise from using a mic preamplifier incorrectly. Learning Objectives This course teaches the technical skills needed to record and mix vocals, as well as the common audio equipment used in the audio interface. It also teaches how to put everything together in the mix, and how to make sure the audio is clear and crisp. This is the third course in the Logic Design for Musicians specialization. The course will focus on the actual design and implementation of the Logic Design for Music Production system. The goal of the course is to have a full and accurate visual representation of the system, so that when I’m designing the system, I’re not just making a design for a specific application, I’m also thinking about the audio and visual aspects of the system. Recommended Background To be successful in this

Course Tag

Audio Production Audio Recording Music Sound Design Audio Editing

Related Wiki Topic

Article Example
Music technology (electronic and digital) Music technology is taught at many different educational levels, including college diplomas and university degrees at the undergraduate and graduate level. The study of music technology is usually concerned with the creative use of technology for creating new sounds, performing, recording, programming sequencers or other music-related electronic devices, and manipulating, mixing and reproducing music. Music technology programs train students for careers in "...sound engineering, computer music, audio-visual production and post-production, mastering, scoring for film and multimedia, audio for games, software development, and multimedia production." Those wishing to develop new music technologies often train to become an audio engineer working in R&D. Due to the increasing role of interdisciplinary work in music technology, individuals developing new music technologies may also have backgrounds or training in computer programming, computer hardware design, acoustics, record producing or other fields.
Production music The production music market is dominated by libraries affiliated with the large record and publishing companies: KPM is owned by EMI; Universal Music Publishing Group library music has the music libraries Chappell, Bruton and Atmosphere under their own name as well as others owned by them such as FirstCom and Killer Tracks; Imagem Production Music (formerly Boosey & Hawkes Production Music and including the Cavendish, Abaco and Strip Sounds labels) is owned by the Imagem Music Group; Extreme Music is owned by Sony/ATV Music Publishing; and Warner/Chappell (a division of Warner Music Group) owns Warner/Chappell Production Music. Established in 1965 Sonoton is the largest independent production music library in the world. There are numerous independent libraries that include Vanacore Music and West One Music Group.
Production music The business model of production music libraries is based on two income streams:
Production music This method of licensing combines the creation of original, custom music with a catalog of traditional "library" music under one license agreement. The goal is to suit the needs of a budget conscious production but still provide that production with a unique and original show theme or audio brand. In this scenario, show producer identifies those scenes she/he feels are most important to the success of the show, and those scenes are scored to picture by the composer. Those less important scenes will utilize the library also provided by the same publisher/composer. Upon completion, the custom music and the library tracks are licensed together under one production blanket, the ownership of the custom music remains with the publisher who produced it, and the publisher can (after a term of exclusivity negotiated between the parties) re-license the custom music as part of its library to recoup production costs.
Production music Production music libraries typically offer a broad range of musical styles and genres, enabling producers and editors to find what they need in the same library. Music libraries vary in size from a few hundred tracks up to many thousands. The first production music library was set up by De Wolfe Music in 1927 with the advent of sound in film. The company originally scored music for use in silent film.
Timeline of music technology The timeline of music technology provides the major dates in the history of electric music technologies inventions from the 1800s to the early 1900s and electronic and digital music technologies from 1917 (the date of the Theremin's development) and electric music technologies to the 2010s.
The Academy of Music and Sound The courses available at the Academy are in Music Practice, Performance, Technology and Production.
Production music Production music (also known as stock music or library music) is the name given to recorded music that can be licensed to customers for use in film, television, radio and other media. Oftentimes, the music is produced and owned by production music libraries.
Production music Unlike popular and classical music publishers, who typically own less than 50 percent of the copyright in a composition, production music libraries own all of the copyrights of their music. Thus, it can be licensed without the composer's permission, as is necessary in licensing music from normal publishers. This is because virtually all music created for music libraries is done on a work for hire basis. Production music is a convenient solution for media producers—they can be assured that they will be able to license any piece of music in the library at a reasonable rate, whereas a specially-commissioned work could be prohibitively expensive. Similarly, licensing a well-known piece of popular music could cost anywhere from tens to hundreds of thousands of dollars, depending on the prominence of the performer(s).
Integrative Production Technology for High-Wage Countries The Cluster of Excellence “Integrative Production Technology for High-Wage Countries” is aiming to maintain the competitive ability of German Production Technology.
Production music American TV has also utilized production music, most notably with the themes for "Monday Night Football" ("Heavy Action" by Johnny Pearson) and "The People's Court" ("The Big One" by Alan Tew). Other notable examples are the Nickelodeon animated series "The Ren and Stimpy Show" and "SpongeBob SquarePants", which use well-known classical music excerpts and a wide range of pre-1960s production music cues—including many pieces familiar from their use in earlier cartoons—which were chosen for their ironic and humorous effect.
Bachelor of Music The degree may be awarded for music performance, music education, composition, music theory, musicology / music history (musicology degrees may be a Bachelor of Arts (BA) rather than a BMus) music technology, music therapy, music ministry/sacred music, music business/music industry, music entertainment, music production or jazz studies. In the 2010s, some universities have begun offering degrees in Music Composition with Technology, which includes traditional theory and musicology courses and sound recording and composition courses using digital technologies.
Music informatics Music informatics is an emerging interdisciplinary research area dealing with the production, distribution, consumption, and analysis of music through technology (especially in digital formats).
Music technology (electronic and digital) Computer and synthesizer technology joining together changed the way music is made, and is one of the fastest changing aspects of music technology today. Dr. Max Matthews, a telecommunications engineer at Bell Telephone Laboratories' Acoustic and Behavioural Research Department, is responsible for some of the first digital music technology in the 50s. Dr. Matthews also pioneered a cornerstone of music technology; analog to digital conversion.
Production music This allows the music composer/producer to quote lower rates because they are retaining ownership of the custom music, and will have the ability to make money with the same recording in a different production later on. It also allows the program or film producer to deliver content of very high quality, ensures that the most important scenes have the perfect music, and those less important scenes are addressed with an affordable solution.
Music technology Electronic or digital music technology is any device, such as a computer, an electronic effects unit or software, that is used by a musician or composer to help make or perform music. The term usually refers to the use of electronic devices, computer hardware and computer software that is used in the performance, playback, recording, composition, sound recording and reproduction, mixing, analysis and editing of music. Electronic or digital music technology is connected to both artistic and technological creativity. Musicians and music technology experts are constantly striving to devise new forms of expression through music, and they are physically creating new devices and software to enable them to do so. Although in the 2010s, the term is most commonly used in reference to modern electronic devices and computer software such as digital audio workstations and Protools digital sound recording software, electronic and digital musical technologies have precursors in the electric music technologies of the early 20th century, such as the electromechanical Hammond organ, which was invented in 1929. In the 2010s, the ontological range of music technology has greatly increased, and it may now be electronic, digital, software-based or indeed even purely conceptual.
French electronic music French electronic music, a panorama of French music that employs electronic musical instruments and electronic music technology in its production.
Capellen Music Production Founder and President of Capellen Music Production is Czech conductor, orchestrator and music producer, Petr Pololanik.
The Technology of Tears On "The Technology of Tears", Fred Frith continues his exploration of world dance music he began on "Gravity" and "Speechless", this time supplementing traditional instrumentation with digital technology to generate patterns, pulses and noise. Samples are used throughout, accompanied by horns, sporadic percussion and wordless vocals. The album is a mix of musique concrète, folk music and improvisation.
Music technology (electronic and digital) One of the biggest uses of sampling technology was by hip-hop music DJs and performers in the early 1980s. Before affordable sampling technology was readily available, DJs