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Effective: Summer 2015
MUS 66BREASON & PRO TOOLS4 Unit(s)

Grade Type: Letter Grade, the student may select Pass/No Pass
Not Repeatable.
FHGE: Non-GE Transferable: CSU
3 hours lecture, 3 hours laboratory. (72 hours total per quarter)

Student Learning Outcomes -
  • A successful student will write original compositions using a midi/audio workstation with Reason software.
  • A successful student will create unique programming/sequencing that includes the linking of patterns into a musical composition, the inclusion of audio files as an integral element, and Reason as a Rewire application.
Description -
Creating and editing digital audio with Pro Tools and Reason. Introduction to Reason's virtual instruments including Dr. Rex, Subtractor, Malstrom, Thor, Redrum and NN-XT. Songwriting, musical composition, and the basic elements of music (pitch, rhythm, harmony, style and form) as they relate to contemporary music. Introduction to synthesis and digital sampling techniques. Integrate Reason and Pro Tools using ReWire, Pro Tools MIDI Editor and the Pro Tools Mixer.

Course Objectives -
The student will be able to:
  1. Describe and discuss the principles of digital sampling and signal processing.
  2. Evaluate and interpret musical sound as a guide to the creation and editing of samples.
  3. Explain the principles of, and apply signal processing to original samples.
  4. Organize a digital music ensemble integrating synthesizers, drum machines,samplers and signal processors using a Macintosh computer as a control device.
Special Facilities and/or Equipment -
  1. When taught on campus:
    1. 31 Macintosh computers, MIDI keyboards and MIDI interfaces.
    2. 31 Avid Pro Tools systems.
    3. Video projector and screen.
    4. 31 Pro Tools software installs.
    5. 31 Reason software installs.
  2. When taught via Foothill Global Access:
    1. on-going access to computer with Email software and capabilities.
    2. Email address.
    3. Java-script enabled internet browsing software.

Course Content (Body of knowledge) -
  1. Study and analysis of sampling.
    1. Digital sampling.
      1. Sampling thresholds and the Nyquist frequency. (Lec, Lab)
      2. Looping. (Lec, Lab)
      3. Layering and multisampling. (Lec, Lab)
  2. Study of signal processors.
    1. Equalization. (Lec, Lab)
    2. Reverb and delay. (Lec, Lab)
    3. Chorusing and Flanging. (Lec, Lab)
    4. Pitch following. (Lec, Lab)
  3. Intermediate MIDI applications.
    1. Software based sequencers. (Lec, Lab)
Methods of Evaluation -
  1. Graded lab assignments in the operation of samplers, signal processors and MIDI sequencers.
  2. Tests on creating, looping, editing and mixing samples of acoustic and digital devices to an industry standard.
  3. Preparing digital sequences from a set of specifications for application in a MIDI environment, and evaluated from those specifications.
  4. Written assignments on the principles of sampling.
Representative Text(s) -
Parsons, Alan. Art & Science Of Sound Recording. Hal Leonard Books, 2014.
Other written materials provided by the instructor and delivered online.

Disciplines -
Commercial Music
Music
 
Method of Instruction -
  1. Lecture presentations that demonstrate the integration of Reason software to enhance Pro Tools software capabilities.
  2. Classroom discussions that address the history of hardware synthesizers and the evolution of hardware emulation with Reason software.
  3. Group presentations followed by in-class discussion and evaluation.
 
Lab Content -
  1. MIDI
    1. Implementation and drivers.
    2. Velocity and aftertouch.
    3. Multiple routing assignments
  2. Virtual Instruments
    1. Layering.
    2. Volume matching.
    3. Panning.
  3. Audio
    1. Tempo matching via time compression expansion.
    2. Elastic Audio.
  4. ReWire
    1. ReWiring secondary applications via insert tracks and bus assignments.
    2. Plug in applications using internal busses affecting external applications.
 
Types and/or Examples of Required Reading, Writing and Outside of Class Assignments -
  1. Written critiques and analyses of audio production projects including albums, soundtracks, television, video games and Internet multi-media.
  2. Written summaries documenting technical and artistic elements for corresponding submitted assignments and audio projects.
  3. Written proposals, session logs, learning outcomes and reflections supporting submitted musical works and final master recordings.