Postgraduate Course: Sound Design Media (ARCH11008)
|School||Edinburgh College of Art
||College||College of Humanities and Social Science
||Availability||Available to all students
|Credit level (Normal year taken)||SCQF Level 11 (Postgraduate)
|Home subject area||Architecture and Landscape Architecture
||Other subject area||None
||Taught in Gaelic?||No
|Course description||In this course students will become acquainted with the technologies that are used in digital sound design. Of particular emphasis will be the possibilities of sound production in the recording studio and editing in the digital domain. This course will be workshop based and hands on in its teaching approach.
Entry Requirements (not applicable to Visiting Students)
||Other requirements|| None
|Additional Costs|| None
Information for Visiting Students
|Displayed in Visiting Students Prospectus?||Yes
Course Delivery Information
|Delivery period: 2013/14 Semester 1, Available to all students (SV1)
||Learn enabled: No
|Class Delivery Information
||Tuesday afternoon 2pm-4pm (occasional tutorials, Wednesday mornings, to be advised).
Most lectures and tutorials will take place in the Graduate School Sound Lab, School of Arts Culture and Environment, Alison House, 12 Nicolson Square, Edinburgh, EH8 9DF.
Students advance through a series of lectures, demonstrations, practical project work, exercises and critique in a group context. Full attendance and punctual arrival is expected of all students whether auditing the course or taking it for credit.
|Course Start Date
|Breakdown of Learning and Teaching activities (Further Info)
Lecture Hours 24,
Seminar/Tutorial Hours 12,
Supervised Practical/Workshop/Studio Hours 3,
Online Activities 12,
Feedback/Feedforward Hours 1,
Other Study Hours 24,
Programme Level Learning and Teaching Hours 4,
Directed Learning and Independent Learning Hours
|Breakdown of Assessment Methods (Further Info)
|No Exam Information
Summary of Intended Learning Outcomes
| * Ability to work with professional sound design software tools.
* Experience of recording sound in a controlled recording environment.
* Ability to work in a collaborative context of group review and critique.
* Ability to engage in a creative task within tightly constrained bounds and to present the outcome to conform to precise specifications.
* Ability to interpret and apply a set of requirements pertaining to a sound design task.
|Two projects, each worth 50%. Project 1: Develop a library of sounds recorded in the studio environment, implementing microphone technique and editing skills. Use of this library in a creative sound design context.|
Project 2: Using digital audio manipulation techniques develop a parallel library of digitally altered sounds by modifying the sound library created in project 1. Use of your entire library and the libraries of others in a creative sound design context.
||The following are subject to change each year, the lecture titles below are a guide only.
1. The Sound Designer's tool-kit
2. Bling! What is Sound Design? Building a library
3. Digital Audio: Recording and Editing
4. Exploring Foley
5. Seminar - Hearing and Listening
6. Digital Audio: Signal Processing: Logic Audio, Plugin Processing
7. Digital Audio : Sound Synthesis Methods
8. Seminar - Form and structure in Sound Design
9. Real-time signal processing: Performing your edits
10. Realtime Signal Processing: Spectral Processing and FFT
11. Introducing Video and Sound Synchronisation
12. Project Development and consultation
||Ability to work with professional sound design software tools.
Experience of recording sound in a controlled recording environment.
Ability to work in a collaborative context of group review and critique.
Ability to engage in a creative task within tightly constrained bounds and to present the outcome to conform to precise specifications.
Ability to interpret and apply a set of requirements pertaining to a sound design task.
||1. Chadabe, J., Electric sound: the past and promise of electronic music. 1997, Upper Saddle River, N.J.: Prentice Hall. xiv, 370 p.
2. Chion, M., C. Gorbman, and W. Murch, Audio-vision: sound on screen. 1994, New York: Columbia University Press. xxvii, 239 p.
3. Cook, P.R., Music, cognition, and computerized sound: an introduction to psychoacoustics. 1999, Cambridge, Mass.: MIT Press. xi, 372 p.
4. Gibson, B., The AudioPro home recording course: a comprehensive multimedia audio recording text. Mix pro audio series. 1996, Emeryville, CA: MixBooks.
5. Gibson, B., Sound Advice on Compressors, Limiters, Expanders and Gates. 2002, Vallejo, CALIFORNIA: Pro-Audio Press. 79.
6. Gibson, B., Sound Advice on Equalizers, Reverbs and Delays. 2002, Vallejo: California. 77.
7. Helmholtz, H.v., On the sensations of tone as a physiological basis for the theory of music with a new introd. (1954) by Henry Margenau. 2. english ed. Dover classics of science and mathematics. 1954, New York: Dover Publications. xix, 576 s.
8. Howard, D.M. and J.A.S. Angus, Acoustics and psychoacoustics. 2nd ed. Music technology series. 2001, Oxford; Boston: Focal Press. x, 385 p.
9. Miranda, E.R., Composing music with computers. 1st ed. Music technology series. 2001, Oxford; Boston: Focal Press. xviii, 238 p.
10. Miranda, E.R., Computer sound synthesis for the electronic musician. 1998, Focal Press: Oxford, [England]; Boston. p. xi, 208 p.
11. Miranda, E.R. and E.R. Miranda, Computer sound design: synthesis techniques and programming. 2nd ed. 2002, Boston, Mass.: Focal Press.
12. Owsinski, B., The Mixing Engineer's Handbook. 1999: Mix Books, California, USA.
13. Rumsey, F. and T. McCormick, Sound and recording: an introduction. 3rd ed. Music technology series. 1997, Oxford; Boston: Focal Press. 384 p.
14. Schafer, R.M., The soundscape: our sonic environment and the tuning of the world. 1994, Rochester, Vt.: Destiny Books. xii,301p.
15. Sider, L., D. Freeman, and J. Sider, Soundscape: the school of sound lectures 1998-2001. 2003, London: Wallflower Press. vii, 242 p.
16. Sonnenschein, D., Sound design: the expressive power of music, voice, and sound effects in cinema. 2001, Studio City, CA: Michael Wiese Productions. xxiii, 245 p.
17. Roads, C., The computer music tutorial. 1995, Cambridge, Mass.: MIT Press. xx, 1234 p.
|Keywords||Sound Design, Digital Media, Sound Editing, Production Techniques, Sound Categorisation, Sound Libra
|Course organiser||Mr Martin Parker
Tel: (0131 6)50 2333
|Course secretary||Miss Emma Binks
Tel: (0131 6)51 5740
© Copyright 2013 The University of Edinburgh - 13 January 2014 3:19 am