New Course OR Existing Course Instructor(s)/Author(s): Rick Shiner Subject Area/Course No.: RA-040 Units: 3 Course Name/Title: Recording Arts IV Discipline(s): Commercial Music Pre-Requisite(s): RA-030 Co-Requisite(s) None Advisories: Eligibility for ENGL 90 Catalog Description: This is the fourth semester course in the Recording Arts sequence. This course focuses on five primary areas of study: audio post-production for film/video, signal processors, analog storage, mixing and mastering. The details of post-production audio for film are examined with an emphasis on synchronization techniques, time code and digital audio editing. An overview of signal processors is presented. Information from previous courses in the sequence is applied when studying mixing. Course concludes with a description of the mastering process. Meets the LMC Recording Arts Associated Degree and Certificate requirements. This course is offered in the spring only. May be repeated once. Schedule Description: Have you ever watched a film and wondered how the sound track was created? Or, maybe you re curious about how to use professional signal processors, while doing an automated mix. Have you read articles about recording artists whose latest album project was created using analog tape machines? Taking this course will fill you in on these aspects of working as a professional recording engineer. This is the final course in the Recording Arts sequence, so make sure you ve taken all of the prerequisites. Hours/Mode of Instruction: Lecture 36 Lab 72 Composition Activity Total Hours 108 (Total for course) Credit Credit Degree Applicable (DA) Grading Pass/No Pass (P/NP) Repeatability 0 Credit Non-Degree (NDA) Letter (LR) 1 (If Non-Credit desired, contact Dean.) Student Choice (SC) 2 3 Please apply for: LMC General Education Requirement and/or Competency & Graduation Requirement(s): Transfer to: CSU UC IGETC LDTP Course is Baccalaureate Level: Yes No Signatures: Department Chair Librarian Dean/Sr. Dean Curriculum Committee Chair President/Designee CCCCD Approval Date (Board or Chancellor's Office) Date Date Date Date Date Date Page 1 of 29
For Curriculum Committee Use only: STAND ALONE COURSE: YES NO FOR OFFICE OF INSTRUCTION ONLY. DO NOT WRITE IN THE SECTION BELOW. Begin in Semester Catalog year 20 /20 Class Max: Dept. Code/Name: T.O.P.s Code: Crossover course 1/ 2: ESL Class: Yes / No DSPS Class: Yes / No Coop Work Exp: Yes / No Class Code A Liberal Arts & Sciences SAM Code A Apprenticeship Remediation Level B Basic Skills B Developmental Preparatory B Advanced Occupational NBS Not Basic Skills C Adult/Secondary Basic Education C Clearly Occupational D Personal Development/Survival D Possibly Occupational E For Substantially Handicapped E* Non-Occupational F Parenting/Family Support F Transfer, Non-Occupational G Community/Civic Development *Additional criteria needed H General and Cultural 1 One level below transfer I Career/Technical Education 2 Two levels below transfer J Workforce Preparation Enhanced 3 Three levels below transfer K Other non-credit enhanced Not eligible for enhanced Course approved by Curriculum Committee as Baccalaureate Level: _Yes / No_ LMC GE or Competency Requirement Approved by the Curriculum Committee: Distribution: Original: Office of Instruction Copies: Admissions Office, Department Chairperson Rev 09-17-2008 Page 2 of 29
Institutional Student Learning Outcomes Check the institutional student learning outcomes (or category of outcomes) below that are reflected in your course: General Education SLOs (Recommended by GE Committee) At the completion of the LMC general education program, a student will: 1. Read critically and communicate effectively as a writer and speaker. 2. Understand connections among disciplines and apply interdisciplinary approaches to problem solving. 3. Think critically and creatively 4. Consider the ethical implications inherent in knowledge, decision-making and action. 5. Possess a worldview informed by diverse social, multicultural and global perspectives. Occupational Education SLOs (Recommended by Occupational Education Committee) At the completion of the LMC occupational certificate or degree, a student will: 1. Be academically prepared to obtain an entry-level or a mid-level position in their industry. 2. Apply critical thinking to research, evaluate, analyze and synthesize information. 3. Demonstrate strong communication skills (written and/or oral) and interpersonal skills (customer service and team work). 4. Appropriately apply industry materials and technology. 5. Demonstrate the skills and knowledge necessary to take and pass certification exams for career advancement in their industry. Developmental Education SLOs (Recommended by Developmental Education Committee) At the completion of the LMC Developmental Education Program, a student will: 1. Demonstrate the skills necessary for the first transfer level courses in English and Math or for the English and Math competencies for the Certificate of Achievement. 2. Think critically to construct meaning and solve problems. 3. Read with comprehension. 4. Communicate effectively both in writing and orally. 5. Demonstrate the characteristics, habits, and attitudes of an effective learner. Student Services SLOs 1. LMC students will demonstrate proficiency in the use of college on-line services. 2. LMC students will demonstrate proficiency in self-advocacy. Library and Learning Support Services SLOs LMC students utilizing various Library and Learning Support Services will: 1. Access and effectively utilize available campus Library and Learning Support Services. 2. Apply knowledge learned and competencies gained from using Library and Learning Support Services to academic coursework and assignments. 3. Demonstrate information competency skills needed to meet the research demands of academic course work and life long learning. None of the Above Page 3 of 29
Program-Level Student Learning Outcomes (PSLOs) At the completion of the program, the student should: 1. Be able to transfer to a 4-year recording industry program, with advanced standing. 2. Be qualified for entry-level positions in the field. 3. Be positioned to begin entrepreneurial freelance work. Course-Level Student Learning Outcomes (CSLOs): At the end of this course students will be able to: CSLO 1: Describe each stage of the creation of a film s sound track during post-production. (PSLO 1-3) CSLO 2: Use SMPTE time code to synchronize the operation of multiple recording devices. (PSLO 1-3) CSLO 3: Operate an analog tape machines. (PSLO 1-3) CSLO 4: Interface and operate basic signal processors when recording. (PSLO 1-3) CSLO 5: Describe and explain the process of mixing a multitrack recording. (PSLO 1-3) CSLO 6: Describe and explain the mastering process. (PSLO 1-3) Page 4 of 29
Assessments: Lecture/Chapter Homework Lab Midterm Final CSLO 1 X X X X CSLO 2 X X X X CSLO 3 X X X X CSLO 4 X X X X CSLO 5 X X X X CSLO 6 X X X X CSLO 1: Homework: Lectures, handouts, reading assignments and demonstrations address issues related to the creation of sound tracks for film and videos. Homework assignments related to CSLO 1 are designed to develop a student s understanding of techniques and workflow employed during the post-production process. Examples: 1. List the various types of post-production sound that are used to augment the sounds recorded during the film shoot. 2. Describe the process of Foley recording. 3. Discuss the process of composing and recording a symphonic film score. 4. Describe the process of ADR. Rationale: It is important for students to understand there are employment opportunities for recording engineers aside from working exclusively in music production. Assignments related to CSLO 1 are intended to provide students with fundamental information they need, prior to seeking entry level work in post-production audio for film. Lab: Students work in small groups analyzing the sound tracks of various films. The goal of the assignment is to identify sections of the films where audio post-production techniques are utilized. Example Lab Experiences: 1. Students analyze a film s sound track and determine where ADR techniques are utilized. 2. Students analyze a film s sound track and determine where Foley techniques are utilized. 3. Students analyze a section of a film, with the sound turned-off, and practice spotting locations for ADR, Foley, SFX and music. Rationale: These assignments are designed to provide students with practical experience related to lectures and homework assignments. Lab work, related to CSLO 1, reinforces lectures and reading assignments and is intended to provide the students with practice identifying and determining when to use various post-production audio techniques for film and video. Midterm and Final: A section of each of these exams specifically addresses material related to CSLO 1. There are questions concerning each aspect of augmenting a film s sound track during the post-production process. There are also questions related to workflow during this stage of creating a film s sound track. Rationale: Exam questions are designed to allow students to demonstrate their understanding of the techniques employed in the creation of a film s sound track Page 5 of 29
CSLO 2: Homework: Lectures, handouts, reading assignments and demonstrations address issues related to SMPTE time code and synchronization techniques. Homework assignments related to CSLO 2 are designed to develop a student s understanding of the technology and techniques used to synchronize the operation of multiple recording devices. Examples: 1. Define the word synchronization as it is used in professional recording and audio for video post production. 2. Describe the common uses of each frame rate. 3. With respect to configuring a chase synchronizer, what is a time code offset? 4. What is the purpose of a house sync signal? Rationale: It is common practice to operate multiple recording devices in synchronism. This can only be done with a solid knowledge of SMPTE time code and synchronization techniques. Questions related to CSLO 2 are designed to introduce students to issues related to time code and its use in synchronizing multiple recording devices. Lab: Students are given practical exercises in using SMPTE time code. First, they see what a time code signal looks like when displayed in an oscilloscope. They then use course materials, such as block diagrams and patch bay drawings, to assist them while learning to distribute time code throughout the studio s interconnection system. Students also practice synchronization techniques by doing the following: Use a control synchronizer to synchronize the operation of two multi-track analog tape machines, use chase synchronization techniques to cause two digital audio workstations to function in synchronism and distribute SMPTE time code from a storage device to the console s automation computer to allow for automated mixing. Example Lab Experiences: 1. Students operate a time code generator and distribute the time code signal to the desired location. 2. Students configure a control synchronizer to allow two multi-track analog tape machines to operate synchronously. 3. Students practice setting up for automated mixing sessions by distributing time code from digital storage devices to the console s time code interface, automation computer and VCA rack. Rationale: These assignments are designed to provide students with practical experience related to lectures and homework assignments. Lab work, related to CSLO 2, reinforces lectures and reading assignments and is intended to provide practice with SMPTE time code and various synchronization techniques. Midterm and Final: A section of each of these exams specifically addresses material related to CSLO 2. There are questions concerning the details of SMPTE time code and how it is used to cause multiple devices to operate synchronously. Rationale: Exam questions are designed to allow students to demonstrate their understanding of SMPTE time code and synchronization techniques that require an understanding of time code. Page 6 of 29
CSLO 3: Homework: Lectures, handouts, reading assignments and demonstrations address issues related to analog recording technology. Homework assignments related to CSLO 3 are designed to develop a student s understanding of analog tape transports, magnetic tape, routine alignment procedures and tape machine operation. Examples: 1. Discuss the basic functions of a tape transport system. 2. Draw a block diagram of a capstan servo system. 3. Describe the routine alignment procedure for an analog tape machine. Rationale: Although digital technology is widely used in the recording industry it has not replaced analog recording. Professional recording artists often prefer to record with analog machines. This is because they experience the sound of their recordings as being warmer than the results they achieve when recording to digital systems. Because our students are being trained to work in professional studios it is important for them to understand analog technology. Homework assignments related to CSLO 3 are intended to develop a student s understanding of the fundamentals of analog recording. Lab: Students, through a variety of practical exercises, learn to align the electronics of analog tape machines and operate their tape transports. During the first lab on analog machines the instructor partially disassembles the machine, so students can see all of the components of the capstan servo system. This is done so students gain a better understanding of how tape transports are able to maintain precise tape speed. Students then practice aligning the reproduce and record electronics of analog machine. They also practice using the basic transport controls. Example Lab Experiences: 1. Students use a calibration tape and oscilloscope to check the azimuth of the repro and record heads. 2. Students use a calibration tape to adjust repro gain and repro EQ. 3. Students use the tape machine s remote control and auto locator to practice transport operation. Rationale: These assignments are designed to provide students with practical experience related to lectures and homework assignments. Lab work, related to CSLO 3, provides students with practice aligning and operating analog tape machines. Midterm and Final: A section of each of these exams specifically addresses material related to CSLO 3. There are questions concerning analog tape transports, routine alignment procedures and tape machine operation. Rationale: Exam questions are designed to allow students to demonstrate their understanding of analog recording technology. Page 7 of 29
CSLO 4: Homework: Lectures, handouts, reading assignments and demonstrations address issues related to hardware and software signal processors and signal processing techniques. Homework assignments related to CSLO 4 are designed to develop a student s understanding of the various signal processors used in the process of mixing a multitrack recording. Examples: 1. What is the basic function of a signal processor? 2. With regard to compressors, what do the following terms mean? Threshold, compression ratio, attack, release and breathing. 3. Describe the noise gate in terms of expansion. 4. What is the typical input vs. output ratio of a limiter? Rationale: Signal processors are creative tools used to modify audio signals in various ways. Before a student can learn the art of mixing they require a fundamental knowledge of commonly used signal processing devices. These can be either hardware devices or software plug-ins used in conjunction with recording software. Questions asked on these assignments are intended to aid the student in understanding the purpose and use of each signal processing device when tracking or mixing Lab: Students, in small groups, work with various hardware and software signal processors. They gain practice in interfacing signal processors with the console, through the use of inserts and aux sends. Students practice the application of plug-in processors used in computer-based digital recording. They also practice the appropriate use of various signal processors such as: reverb, delay, chorusing, compression, limiting, equalization and gating. Example Lab Experiences: 1. Students learn to use a noise gate to eliminate unwanted leakage signals. 2. Students learn to use a peak limiter to improve overall mix levels. 3. Students practice using reverb and delay to add depth to vocal tracks. Rationale: These assignments are designed to provide students with practical experience related to lectures and homework assignments. Lab work, related to CSLO 4, reinforces lectures and reading assignments and is intended to provide students with practice operating hardware and software signal processors. Midterm and Final: A section of each of these exams specifically addresses material related to CSLO 4. There are questions concerning the purpose and use of the various signal processors. Rationale: Exam questions are designed to allow students to demonstrate their understanding of signal processors. Page 8 of 29
CSLO 5: Homework: Lectures, handouts, reading assignments and demonstrations address issues related to mixing. Different approaches to mixing are covered. These include mixing on large format consoles, mixing with controllers, mixing with software mixers and differences between mixing analog and digital projects. Homework assignments related to CSLO 5 are designed to develop a student s understanding of the process of creating a final mix of a multitrack recording session. Examples: 1. How should the console s automation hardware be configured when creating the reference mix that will be used as the first automated mix pass? 2. Describe how to create a mixing project in the automation software. 3. How can mute groups be used during a mix? 4. Describe how you would configure aux sends to route multiple vocal signals to the same reverb program. Your answer should also describe how the processed vocal signals are returned to the mix you are creating. Rationale: Mixing is a common engineering task and is the final stage of a multitrack recording session. This process involves adjusting the relative levels of all of the recorded tracks and modifying these signals, as desired, through the use of various signal processors. The tracks are combined, or mixed, to the desired release format. This is commonly stereo for CD release and 5.1 surround for film sound track work. Assignments related to CSLO 5 are intended to develop a student s knowledge of this aspect of engineering technique. Lab: Students practice configuring the control room for mixing sessions. This includes interconnection of equipment and practice exercises designed to develop skills in manual and automated mixing. Students use course materials related to CSLO 5 as they gain practice in operating various recording system components, while learning the fundamentals of mixing. Example Lab Experiences: 1. Students practice interfacing the outputs of multi-track storage devices to the console, to set up for mixing. 2. Students practice configuring the console for automated mixing sessions. 3. Students practice evaluation of the relative levels and frequency content of various input signals, while structuring the architecture of a mix. Rationale: These assignments are designed to provide students with practical experience related to lectures and homework assignments. Lab work, related to CSLO 5, reinforces lectures and reading assignments and is intended to provide students with practice analyzing the structure of a musical composition, with respect to its relationship to the most appropriate steps in creating a mixed piece of music for commercial release. Midterm and Final: A section of each of these exams specifically addresses material related to CSLO 5. There are questions concerning the following: understanding the structure of the material being mixed, configuring the console for an automated mixing session, signal routing while mixing, mixing analog projects and mixing surround projects. Rationale: Exam questions are designed to allow students to demonstrate their understanding of the various aspects of creating the final mix of a multitrack recording session. Page 9 of 29
CSLO 6: Homework: Lectures, handouts, reading assignments and demonstrations address issues related to mastering. Different approaches to mastering are covered. These include considerations for mastering a vinyl release, preparing a CD master and the use of equalization and program compression during the mastering process. Homework assignments related to CSLO 6 are designed to develop a student s understanding of the process of mastering the final mixes to create the master that will be used for CD replication or vinyl pressing. 1. Describe the process of creating a lacquer master. 2. Although mastering isn t necessary for all projects, describe some of the reasons that mastering might be desirable to improve the quality of the final mix. 3. What is meant by the term competitive levels 4. What are PQ codes? Rationale: Mastering is another area of engineering where students can find employment. Assignments related to CSLO 6 are designed to develop fundamental knowledge of the mastering process. Lab: Students evaluate finished mixes to determine whether they would benefit from mastering. They use course materials, related to CSLO 6, to assess mix quality. Students also practice common mastering techniques by using dynamics processors and equalizers to prepare a final mix for CD replication. Exercises are also included to examine the necessary steps for preparing an analog project for release on vinyl. Example Lab Experiences: 1. Students practice critical listening techniques to determine if a mix would benefit by utilizing the skills of a mastering engineer. 2. Students practice using program compression to increase the overall level of the mix. 3. Students practice sequencing multiple pieces of music to determine the best order for final release. Rationale: These assignments are designed to provide students with practical experience related to lectures and homework assignments. Lab work, related to CSLO 6, reinforces lectures and reading assignments and is intended to provide students with practice determining whether mastering is necessary and, if so, the best approach to preparing the final mixes for CD replication. Midterm and Final: A section of each of these exams specifically addresses material related to CSLO 6. There are questions concerning the process of mastering for both vinyl and CD release. Rationale: Exam questions are designed to allow students to demonstrate their understanding of the various aspects of the mastering process. Page 10 of 29
Method of Evaluation/Grading: Student evaluation is based on performance, related to CSLOs, through the use of the following: homework assignments, lab assignments, midterm exam and final exam. Letter grades for each area of evaluation are based on the following percentage structure: Homework: 10% Lab Assignments: 10% Midterm: 40% Final: 40% 90% -100% = A 80% - 89% = B 70% - 79% = C 60% - 69% = D Below 60% = F A-level Student work is characterized by: Each CSLO is assessed through homework, lab assignments and the midterm and final: CSLO 1: Accurately describing in detail the process of creating a film s sound track during audio-post production including the following processes: location dialog, location sound, spotting, ADR, Foley, SFX and scoring. CSLO 2: Accurately and in detail summarizing the technical details of SMPTE time code including the binary structure of the time code word, LTC, VITC, frame rates, drop-frame and user bits and successfully synchronizes multiple transports without guidance. CSLO 3: Accurately describing the technical details of analog recording technology including each transport component, transport controls, the role of the capstan servo system, and the process of routine machine alignment which includes: demagnetizing the transport, cleaning the transport, checking & adjusting azimuth, repro gain, repro EQ, sync gain, sync EQ, bias, record gain, record EQ and recording the required calibration tones on the client s tape and uses this information to successfully operate an analog tape machine independently. CSLO 4: Accurately describing in detail the purpose of the various signal processors used when recording including the following processors: compressors, limiters, noise gates, equalizers, reverb, and delay and pitch shifters and use this information to successfully interface and operate basic signal processors when recording without guidance. CSLO 5: Accurately describing and explaining the process of manual and automated mixing of a multitrack recording, including how to analyze the structure of a musical composition with respect to decisions impacting the final mix and the process of creating an automated mix and can describe the hardware and software components used for this engineering task CSLO 6: Accurately describing and explaining in detail the mastering process and including whether mastering is necessary based on the type of product release. C-level Student work is characterized by: Each CSLO is assessed through homework, lab assignments and the midterm and final: CSLO 1: Adequately describing the process of creating a film s sound track during audio-post production including the following processes: location dialog, location sound, spotting, ADR, Foley, SFX and scoring. Page 11 of 29
CSLO 2: Adequately summarizing the technical details of SMPTE time code including the binary structure of the time code word, LTC, VITC, frame rates, drop-frame and user bits and successfully synchronizes multiple transports with guidance. CSLO 3: Adequately describing the technical details of analog recording technology including each transport component, transport controls, the role of the capstan servo system, and the process of routine machine alignment which includes: cleaning the transport, checking & adjusting azimuth, repro gain, repro EQ, sync gain, sync EQ, bias, record gain, record EQ and recording the required calibration tones on the client s tape and uses this information to successfully operate an analog tape machine with assistance CSLO 4: Adequately describing the purpose of the various signal processors used when recording including the following processors: compressors, limiters, noise gates, equalizers, reverb, and delay and pitch shifters and use this information to successfully interface and operate basic signal processors when recording with guidance. CSLO 5: Adequately describing and explaining the process of manual and automated mixing of a multitrack recording, including how to analyze the structure of a musical composition with respect to decisions impacting the final mix and the process of creating an automated mix and can describe the hardware and software components used for this engineering task CSLO 6: Adequately describing and explaining the mastering process and including whether mastering is necessary based on the type of product release. CSLO Weighting: CSLO 1: 16.66% CSLO 2: 16.66% CSLO 3: 16.66% CSLO 4: 16.66% CSLO 5: 16.66% CSLO 6: 16.66% Page 12 of 29
Course Content: Provide the detailed content of the course. All lectures are supported by PowerPoint slides. The slides include detailed photos of the equipment used in LMC s recording studios. Students are given technical drawings and other handouts to augment material from lectures and reading assignments in the text. Post-Production Audio for Film - Lecture Overview Why post-production sound is necessary. Categories of post-production sound for film. Post production sound: work flow Rationale for Post Production For various reasons, the production sound is augmented. Sounds must be either replaced or created for use in the final mix. All sounds must be synchronized to the visuals Types of Sound Production Dialog Location Sound ADR (Automated Dialog Replacement) Foley Sound Effects Music Overview of Post Production Sound Workflow Production Dialog & Location Sound Sound Spotting: ADR, Foley, Sound Effects and Music Recording: ADR, Foley, Sound EFX & Music Transferring Editing Premixing Final Mix Mastering Production Dialog Some of the production dialog is usually acceptable Sometimes budget is a determining factor Recorded on 1/4 Nagra, DAT or HD Tapes go directly to transfer room. If restoring sound tracks, may need to use a resolver in the transfer process. Location Sound Common problems with location sound Some of the location sound will be used as sound effects. Certain shots require location sound. For other shots (models) there is no useable location sound Location sound can be enhanced by post production techniques. Spotting Spotting is the process of determining where existing sound must be replaced & where new sounds are needed. These spots are then indicated on a spotting sheet with respect to location in feet and frames. ( or SMPTE time code )... This process can be software assisted This work is done by a sound editor. Spotting is done prior to recording & transferring ADR Dialog is re-recorded by actors (individual or group) Sometimes referred to as looping. Can be tedious ADR studio is small... Page 13 of 29
Foley Usually use one mic & set of headphones Minimal number of I/O modules necessary Actor usually works to picture Finished ADR recordings go to transfer room. Re-recording of sounds made by people: e.g. footsteps etc. Re-recording of sound effects: e.g. car sounds, breaking glass, water etc. This is generally done in a specialized studio Sounds recreated by Foley artist as they watch the film. The team for Foley recording consists of an engineer and someone who is referring to the sound editor s spotting sheets. Finished Foley recordings go to transfer room. Sound Effects Several categories of sound effects... Production sounds Library sounds To be recorded sounds To be designed sounds Music Music comes from various sources... Some of the sound track may consist of previously recorded hits The movie may require an original film score. Score can be performed to picture. Generally recorded in a multitrack format. Finished music recordings go to transfer room. The Transfer Room Specialized studio. Equipped to enable the transfer of sound recorded on various media. Working in the transfer room is an entry level position. Transfer operator uses paperwork provided by sound editors to prepare recorded media for mixing. Media clearly labeled and separated re: type of sound. Media delivered to sound editors for additional editing Editing Synchronizing 35 mm mag to picture... Relatively easy process because of sprockets The magnetic synchronizer Adding fill Mag reel length corresponds to length of a reel of film. Files on disk are edited with software. Finished reels available for premixing Premixing Dialog, Sound Effects and music are premixed. This is done in a premix suite. Signal from multiple dubbers is fed to a console Engineer(s) mix down to mag Final Mix This is generally done by three engineers Console divided into three sections: Dialog, Sound Effects & Music Console fed by dubbers in a central machine room or... DAWs Mix down to 35mm mag multitrack master This master is then mixed down to formats used in movie theaters. Prints are made and distributed to theaters Page 14 of 29
Post-Production Audio for Film - Lab Students analyze a film s sound track and determine where ADR techniques are utilized. Students analyze a film s sound track and determine where Foley techniques are utilized. Students analyze a section of a film, with the sound turned-off, and practice spotting locations for ADR, Foley, SFX and music. Synchronization & SMPTE Time Code - Lecture Overview What is synchronization? How it is used in film, video & music production. Various methods of synchronization. SMPTE Time Code. What is Synchronization? The simultaneous operation of multiple recording devices, such that events recorded on a slave machine(s) are coherent with respect to time, to the recorded events on a master machine. Synchronization is abbreviated as sync. Primary Uses of Synchronization: Film Audio post production for film... Sprocket synchronization still used... Video re: film post production Primary Uses of Synchronization: Video Video Editing Audio post production for video... Synchronization of VTRs to video editing systems Synchronization of VTRs & ATRs Synchronization of non-linear, computer-based video systems to audio storage devices Primary Uses of Synchronization: Music Synchronization of multiple multitrack machines re: music production. Synchronization of MIDI devices to one another and to tape machines and DAWs... Integration of this approach within current software products. Synchronization of DAWs to external devices. Console automation. Primary Methods of Synchronization Use of resolver (Pilot tone. This would only be used in restoration work)) Sprockets House Sync (black burst or composite video) Word Clock SMPTE Time Code: LTC or VITC MIDI Synchronization - FSK, SPP & MTC SMPTE Time Code Why You Need to Understand Time Code It is common practice to create systems of like or unlike recording devices... All transports in the system have to operate in a synchronous fashion You need to understand time code & time code signal flow in order to set up these systems and have them work properly. Origin Invented in 1967 to achieve accurate electronic video editing Was used in recording studios for Console automation Page 15 of 29
Synchronizing multiple analog tape machine transports Time Code Address Re: Video, the basic unit is the frame Each frame tagged with time code address.. Hours:Minutes:Seconds:Frames Time Code Word Time Code Word consists of information about one video frame... Information includes: Time Address, User Information & Sync Word TC Word divided into 80 equal bit periods... A bit is a binary digit i.e. a 1 or a 0. A binary 0 is defined as a shift up or down in voltage during a bit period A binary 1 is defined as two voltage shifts within a single bit period. This technique is called bi-phase modulation Bi-phase Modulation BCD The initials BCD represent Binary Coded Decimal With the exception of the Sync Word the TC Word is divided into 16 segments. Each segment consists of four bit periods These 4-bit segments are used to represent decimal numbers... Example Drop-frame Bit Bit 10 in the TC Word indicates whether or not the TC is drop-frame 0=Non-drop & 1=Drop-frame Color Frame Bit Bit 11 in the TC Word indicates whether or not the TC is referenced to color video 0= B&W 1=Color User Bits 32 bits available for ID information. For example, date, reel #, etc. Sync Word Indicates the end of a frame. Indicates direction of tape travel. Frame Rates 24 FPS: Film 25 FPS (Color & Black and White): EBU 29.97 FPS: NTSC Color Video 29.97 Drop Frame 30 FPS: NTSC Black & White Video and Audio only synchronization. Drop Frame Purpose: So time code used with color broadcasts agrees with clock-on-the-wall time. 2 frames dropped at the beginning of every minute... Exceptions: 00, 10, 20, 30, 40 & 50. Drop frame is almost equal to Clock Time... 75 millisecond error p/24 hour period maximum tolerated. Synchronization & SMPTE Time Code - Lab Students examine SMPTE time code using an oscilloscope. Students practice establishing time code signal paths between analog transports and a control synchronizer. Students practice routing a house sync signal to various components in a synchronized system. Students practice configuring a control synchronizer. Students practice using chase synchronization techniques with digital audio workstations. Students practice generating SMPTE time code from a linear-digital recording system. Students practice routing time code to the console s automation system. Page 16 of 29
Analog Recording Technology - Lecture Analog: Basic Definition: Continuous representation of waveforms, first existing in another medium, derived through a method of transduction, that are directly proportional to the original waveforms with respect to amplitude, frequency and time components. An analog device can handle an infinite number of values within its range. By contrast, a digital device can only manage a fixed number of possible values. (Computer Science & Networking Glossary) Basic Premise of Magnetic Storage If a material (iron oxide) can be permanently magnetized, then it should be possible to measure the residual magnetic field. This is the essence of magnetic storage and reproduction. The Essence of Analog Storage Describe basic system The Tape TransportSystem Overview A tape recorder is an example of moving storage technology. Tape machines are sophisticated electromechanical devices. Transport Controls Transport: Primary Functions Provide stable base for maintaining tape-to-head orientation Controls the linear motion of the tape at precise speeds... RE: Music - this affects pitch, rhythm, duration & ability to edit Shuttles the tape at speeds faster than play speed Provide tape tensioning features Tape guiding features Provide tape editing features Basic Definitions Servo Abbreviation of servomechanism A control system... Used to maintain accurate tape speed... Compares current tape speed to a stored reference... Generates an error signal to control the capstan s speed Microprocessor Controlled Servo System Otari s terminology for TTL Used to control the speed of the capstan and reel motors Used to control tape tensioning Tachometer A device used to measure and/or indicate rotational speed. Part of the DC servo system... Consists of a slotted disk, and optical circuitry Phase Lock Servo Osc provides precise reference Tach indicates current tape speed Phase of the two signals is compared Correction signal sent to capstan Clocked position detector Solenoid An electromagnetic device that is used in the mechanical systems of a tape machine... Used in the braking system, for tape lifters etc. Logic A logical number system consists of two numbers - it is binary... Page 17 of 29
Torque The numbers can describe On - Off or Yes - No states Logic circuits have binary inputs and outputs. Logic circuits are used to control all of the transport s motors. For our purposes you can think of torque as a rotational force Torque may be applied to a reel motor that is opposite the direction of tape travel... This is called reverse torque and... Is used to provide hold-back tension Transport Types Open-Loop Closed-Loop Zero-Loop (also sometimes called Omega Loop) Transport Components The Tape Tape is designed with the transport in mind Width of the tape is important re: proper travel through the transport Wound onto reels having standard NAB hubs and outer diameter... Hubs = 4.5 and Outer diameter = 10.5 inches... Other aspects of the tape that affect its relationship with the transport system. The Deck Is the base for the entire transport system Must be made of robust materials... Has to support the weight of the motors and tape Must withstand the torque of the reel motors & not flex or warp... Must be parallel to the tape path Houses transport controls, editing block and tape timer Must allow easy access to the machine s internal parts Tape Guiding: General Tape height relative to the heads is an issue... The transport system s tape guides maintain proper tape height Tape must fit into guide precisely Guides may be stationary or rollers Tape wraps around guide (Typ. 10 0 angle)- the guide steers the tape Guides can help minimize flutter Can also act as part of the tape tensioning system Tape Tensioning: General Tape must maintain firm contact with the heads during PLAY and RECORD Tape typically stretched.1% from normal state Tension stiffens the tape to help maintain is position Professional tape machines are able to sense the tape s tension... And make constant corrections to maintain proper tension Tension is maintained by microprocessor control of the reel motors... Tape Tensioning: Otari MTR90III The MTR90III is has a constant tension transport... Equal tension is applied from the beginning to the end of a reel The Supply Reel Motor DC servo motor Part of the microprocessor controlled servo system... In PLAY, RECORD and FF reverse torque is applied to this motor... This is necessary for proper tape tensioning In REWIND, winds tape onto the supply reel at a fast speed. The tape rests on the reel table assembly... Tape is held in place by the clamp levers. The Supply Swing Arm Roller Part of the tape guiding system and tape tensioning system Helps to maintain tape height Page 18 of 29
Page 19 of 29 Part of the microprocessor controlled servo system... Connected to the supply tension arm... The Supply Tension Arm This component is under the deck Tape stretched across the supply swing arm roller changes its position Its position is constantly read by the tension sensor PCB... Correction commands are sent to the supply motor so optimum tape tension is maintained The Tachometer Roller Acts as a tape guide Acts as a counter - primary component for tape metering... Provides tape speed information as part of the capstan servo system The Tachometer Used to measure tape speed Used to determine amount of tape on each reel...this determines motor speed... Provides information to tape timer Tach disk may be mounted on the capstan shaft Provides positional information to an external synchronizer (e.g. the Zeta-Three) The Supply Guide Roller Positioned just before the erase head in the tape path Part of the tape guiding system The Tape Lifters Pressing FF or REW causes a solenoid to change the position of the tape lifters... They lift the tape off of the heads in fast wind modes As such, they are part of the tape guiding system The tape lifters retract in cue mode The Heads Can be thought of as part of the tape tensioning system Their surface s will eventually be worn by the tape... Heads can be lapped to restore their surface... The Head Block Reason for Sel-Rep or Sync Mode Distance between heads causes a composite signal derived from the output of both heads to be out of sync Record Head in Sel-Rep Mode Used for recording... And Repro Sync maintained The Scrape Flutter Filter Scrape flutter is caused as a result of the tape vibrating... The tape can be thought of as a vibrating string The scrape flutter filter is a highly polished roller... That shortens the length of unsupported tape between the supply and take up guide rollers. The Shield The shielding plate is not part of the transport system... Its purpose is to shield the heads from electromagnetic fields such as RF Usually made of mu metal The Take-Up Guide Roller Positioned just after the repro head in the tape path Part of the tape guiding system The Capstan: General Probably gets its name from capstans used on ships Is used to drive the tape in PLAY & REC modes at a constant linear velocity On older tape machines capstan rotated in stop mode New machines accelerate to play speed in.01 seconds Capstans used to be idlers with flywheels Motor Types: Hysteresis & DC Servo Extension of the capstan motor shaft
May be metallic, ceramic, or rubber Surface must be somewhat rough... Rough surface considered to be a passive contact enhancement Can be relatively small in diameter if a pinch roller is used On professional machines, typically servo controlled Bleed Slots re: Air bearing effect The Capstan: MTR90III Pinchrollerless...this design requires a large diameter capstan Part of a servo system Note: Bleed slots The Capstan Motor The Pinch Roller Also called a capstan idler, pressure roller or puck Considered to be an active contact enhancement The Otari MX-70s design employs a pinch roller In PLAY, REC and DUMP EDIT the pinch roller is engaged... It presses the tape against the capstan This places a side-load on the capstan In FF & REW it is disengaged Initially, disengaged REW & FF, disengaged PLAY, REC and DUMP EDIT - Engaged Capstan Servo System Accuracy depends on quality of the servo circuits Typical speed variations:.05% Oscillator frequency is divided when the speed is changed from 30ips to 15ips. In VARI Mode the oscillator s reference frequency can be varied The reference clock frequency may be supplied by an external device... This is why the remote control unit has an EXT setting. The Take-Up Swing Arm Roller Part of the tape guiding system and tape tensioning system Helps to maintain tape height Part of the microprocessor controlled servo system... Connected to the take-up tension arm... The Take-Up Tension Arm This component is under the deck Tape stretched across the take-up swing arm roller changes its position Its position is constantly read by the tension sensor PCB... Correction commands are sent to the take-up motor so optimum tape tension is maintained The Take-Up Reel Motor & Reel Table DC servo motor Part of the microprocessor controlled servo system... In PLAY, REC & FF - forward torque is applied to assure optimum tape pack In REW, reverse torque is applied to this motor... This is necessary for proper tape tensioning In FF, winds tape onto the take-up reel at a fast speed. The tape reel rests on the reel table assembly... Tape reel is held in place by the clamp levers. The Safety Switch Usually part of the tape tensioning system When the machine senses a complete loss of tension it enters stop mode. The Edit Switch Disables the take-up motor... Tape is pulled across the head and spills off the deck... Engineer can listen to the section of tape to be discarded. Reel Braking Consists of an electromechanical system... Page 20 of 29
Older machines relied on mechanical brakes Modern machines achieve braking through the servo system Transport Anomalies Wow Manifests as a very low frequency modulation of pitch Generally caused by eccentric parts - pinch roller, bearings etc. Before tape formulations became uniform, amplitude wow was a problem Flutter/Scrape Flutter Manifests as high frequency distortion Usually caused by vibrations within the tape Transport s Affect on Tape If not properly demagnetized, magnetized transport components can erase high frequency material. Machines having pinch rollers cause more wear to the oxide side of the tape. Guides can cause damage to outer edges of the tape Improperly adjusted braking system can stretch tape Analog Tape Machine Alignment Overview Alignment, in general, is the process of optimizing a tape machine s performance. The machine s electromechanical systems are adjusted to factory specifications and... The audio electronics are adjusted to the desired tape formulation and speed. Analog tape machine alignment consists of three distinct procedures... Transport alignment, preliminary adjustments and routine alignment Transport Alignment - Overview Typically a maintenance procedure Adjustment of the capstan servo system Constant tension servo system Adjustment of other electromechanical components Preliminary Adjustments - Overview Calibration of vu meters Calibration of Test Signal circuit Calibration of erase voltage Routine Alignment - Overview Demagnetizing and Cleaning Checking azimuth Reproduce alignment Sync Alignment Bias Alignment Record Alignment Recording Tones on the client s tape. Audio PCB Trimmer arrangement follows sequence of routine alignment. Meters Page 21 of 29 Overview A majority of the steps in the routine alignment procedure involve measuring reference levels with vu meters... For this reason it is important to understand how vu meters work... And the difference between vu and peak-reading meters (PPM) Complex Waveforms
Complex waveforms vary constantly with respect to frequency and amplitude. Typical program material consists of complex waveforms A tape machine must be capable of measuring complex waveforms Volume Today, we tend to equate volume with loudness... Initially considered to be musical terminology of a psychoacoustic nature. Used to express information about a complex quantity of sound. In general, volume pointed to the complex nature of music Volume Indicator Instrument A specially calibrated voltmeter used to measure signal power level Called a VI instrument First used in 1921 by the phone company to prevent distortion in public address systems. Need for a Standard From 1921 until the late 1930 many different VI instruments with many different reference levels were in use. This was primarily due to the growth of radio broadcasting and networking This caused confusion In January of 1938 Bell Labs, CBS and NBC agreed to work toward a standard for measuring volume levels... As a result, they developed a new meter, new reference level and new terminology for referring to signal level. Primary Uses of the New Meter Monitor signal signal level re: distortion Checking for transmission losses and gains in broadcast networks Indicating relative loudness Developing the Standard First priority was to determine whether the new meter should peak- or rms-reading... Conducted extensive tests Determined that rms-reading type of meter would be best choice Introduced the new standard in May of 1939 Volume Unit (vu) The vu is equivalent to dbm for steady-state signals... A change of 2 vu relative to the reference 0 vu is equal to a change of 2 dbm relative to 0 dbm vu Meter vu Meter Is a special purpose Volume Indicator Instrument Designed to respond to a signal like the human ear responds to sound. Averages signal level over a period of time... Approximately 150 msec. Level you see is approximately 10-12 db below peaks. The vu is the only practical unit of measurement for complex waveforms while recording. Calibrating vu Meters All vu meters due to their circuitry reduce level by 4 dbm... For example, a 1 khz sine wave at 0 dbm would read -4 vu on the vu meter... For this reason, all vu meter circuitry includes an attenuator There are two types of level that can be read from a vu meter True level and apparent level... In alignment we are interested in true level Calibrating vu Meters True level = Meter indication + the attenuator value We use a 1 khz sine wave at +4 dbm as the reference to set the attenuator level. So, if a 1 khz sine wave at 0 dbm is present we get the following... - 4vu (meter indication) + +4 vu (the attenuator value) = 0 vu Peak-Program Meter In use in Europe for many years Actually integrate the signal over a period of about 10 msec Bar meters on the Otari 54 can be set to operate as vu meters or PPG meters. Peak lights on ATRs are typically calibrated to light at +12 dbm Page 22 of 29