Audio Crafting (UG) (MUSI10114)
Normal Year Taken
Delivery Session Year
Visiting students' eligibility for this 3rd year Music course (including any required Music background) will be assessed on a case-by-case basis, though. **Spaces on Music courses are limited in 2022/23, and so enrolment cannot be guaranteed for any visiting student** This course may incur additional costs for purchasing of sound recording media such as SD cards.
On this course you will develop familiarity with the core technologies that are used in contemporary sound production. Of particular emphasis will be a detailed exploration of the potential for sound recording, editing in the digital domain and processing sound to create new sonic structures. Imagine making Lego-like sound blocks that can be shaped and arranged into almost anything. This course will be particularly useful to composers, sound designers, sonic artists and visual designers seeking to learn more about sound and studio craft in general, and to take it much further forwards.
This course covers a range of essential knowledge for those wishing to develop their skills in audio recording and sound creation. The course is future-facing so once the universal basics are covered, we quickly move towards more advanced approaches to capturing, processing and structuring sound (such as spatial sound signatures and 3D audio). The course works through a very detailed project brief that challenges its participants to respond in daring and imaginative ways, whilst ensuring that various audio standards are met. The course therefore aims to; - help participants to develop fluency and extend existing skills in recording, editing, processing and contextualising sound; - provide opportunities to think about ways of exciting sound from objects to achieve specific results and also to look closely at the way sound can be recorded and edited so that it may serve multiple purposes; - understand the potential of sounds to be processed into new sonic forms via a range of approaches from digital signal processing, mixing, EQing, layering and cross synthesis in order to generate original works of sonic art; - foster awareness and insight about the way sounds are described and entered into databases, how they should be categorised and explained so that search engines and artists can find and use the sounds. Sound library production is a small part of the project however, the sounds themselves need to be used and participants will be expected to make extensive use of the sounds they submit to the library in a creative application for an imagined device, thing or scene. This should: - lead participants towards insight into collaborative processes with other practices, especially working with one another on gathering of complex sonic phenomona such as Impulse Responses and Ambisonic sound scenes; - push sound designers, composers and others to develop their creative and expressive voice and to challenge them to apply abstract conceptual ideas introduced in lecture and tutorial sessions to their own works of sonic art. The aim is that these may end up in their professional and/or artist portfolio.
Written Exam 0%, Coursework 100%, Practical Exam 0%
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