Music technology contexts
Candidates gain experience in using music technology skills to capture and manipulate audio and sequenced data, and mix down to an audio master in appropriate file format, in a range of contexts such as live performance, radio broadcast, composing and/or sound design for film, audiobooks and computer gaming.
Candidates gain experience in using music technology skills to capture and manipulate audio and sequenced data, and mix down to an audio master in appropriate file format, in a range of contexts such as live performance, radio broadcast, composing and/or sound design for film, audiobooks and computer gaming.
Music technology contexts topic
The focus of this topic is developing candidates’ ability to produce audio masters in different contexts. Candidates are expected to do this by:
- applying a range of skills in audio capture
- applying a range of skills to manipulate audio and sequenced data
- mixing down to an audio master in appropriate file format(s)
Candidates could produce several short pieces of work, in a range of contexts, to develop their ability to capture sound, manipulate it, and then mix it down to an audio master.
Suitable contexts could include:
- recording a live rock band including at least one overdub
- multi-tracking a musical ensemble (rock band, folk group etc)
- recording a choir or ensemble
- creating a short soundtrack for a film
- producing a short radio broadcast
- arranging or composing using a MIDI program
- producing sound effects for drama
- recording narration of a story or poem, and adding music
- creating an advertising jingle
- making use of samples and loops for remixing
Candidates must complete two pieces from different contexts for the assignment, but they will benefit from investigating a wide a range of contexts, then choosing two to work on.
Candidates may find it helpful if they are given realistic examples of acceptable and achievable creative projects. Teachers or lecturers could select and describe short sequences from some of the following media: film, television, radio, animation and computer games. Teachers or lecturers could also lead class or group discussions to analyse possible reasons for the choice of sounds and music, eg to set the mood, establish environment, support narrative, establish character, convey emotions, create and support transition.
Through discussion, the teacher or lecturer could involve the candidates in creating a sound design map which clearly identifies the sound and music placed in the sequence viewed. This could be in a linear depiction, timeline, or storyboard. This process would allow candidates to develop their understanding of how various sounds and music supports the narrative/image, sets the mood, establishes environment, convey emotions, and how it can establish character. This can also provide an example framework for candidates to use in the planning stages of the assignment.
Candidates could be divided into small groups and given a short sequence from a film. Through collaboration they could decide what form of sound design map they will produce for this task, then present and discuss their findings. Individual candidates are prepared to then plan and execute a sound design map for their selected creative production.
Candidates could analyse audio clips to explore production techniques used in 20th and 21st century music and incorporate these approaches into their projects. Candidates can explore genres of personal interest, but teachers or lecturers should have some input at this level.
Candidates must ensure that all intellectual copyright for music produced and selected for their project has not been infringed.
Through well-chosen examples, teachers or lecturers could demonstrate the manipulation of loops and samples. Building up beats, bass parts and programming filter sweeps and other virtual instrument controllers would provide candidates with new perspectives on the scope and use of sequencing within larger DAW software.
Candidates are expected to use skills developed throughout the course to set up and dismantle equipment, and to observe industry conventions and standards on health and safety at all times. For example, when using microphones, candidates should be aware that microphone polar patterns, techniques and placement are critical to the capture/recording quality and that the exact placement and application is dependent on factors such as acoustic environment, instrumentation and performer.
Teachers or lecturers can informally steer candidates towards good practice in using microphones, recording and mixing techniques through encouraging access to web-based resources, and developing links with other candidates through, for example, GLOW groups and blogs and by following up individual interests in the techniques used by notable practitioners.
The appropriate use of equalisation and panning, developed earlier in the course, should be applied in a variety of contexts. Candidates could be given an audio session and tasked with setting the EQ on each track; the teacher or lecturer would observe, giving support and guidance. Candidates could then bounce tracks to an audio master as part of their e-portfolio.
Candidates should be taught how to use dynamic processors, such as compressors and limiters, through demonstrations explaining the purpose and application of the controls. Candidates can apply compression appropriately to tracks within their audio session.
Candidates could listen to and analyse short clips from a variety of sources which exemplify typical and creative application of time domain effects. Teachers or lecturers could supplement this by demonstrating different effects on selected tracks. Candidates could then apply an effect(s) to the tracks within their audio session and bounce down to an audio master.
Journal of progress and reflection
Teachers or lecturers should encourage candidates to maintain a journal which could be in the form of a written journal, blog, or diary. This should include:
- a timeline of progress through planning, creating, and producing the end product
- reflections on their accomplishments
This journal is good preparation and practice for the assignment.
The focus of this topic is developing candidates’ ability to produce audio masters in different contexts. Candidates are expected to do this by:
- applying a range of skills in audio capture
- applying a range of skills to manipulate audio and sequenced data
- mixing down to an audio master in appropriate file format(s)
Candidates could produce several short pieces of work, in a range of contexts, to develop their ability to capture sound, manipulate it, and then mix it down to an audio master.
Suitable contexts could include:
- recording a live rock band including at least one overdub
- multi-tracking a musical ensemble (rock band, folk group etc)
- recording a choir or ensemble
- creating a short soundtrack for a film
- producing a short radio broadcast
- arranging or composing using a MIDI program
- producing sound effects for drama
- recording narration of a story or poem, and adding music
- creating an advertising jingle
- making use of samples and loops for remixing
Candidates must complete two pieces from different contexts for the assignment, but they will benefit from investigating a wide a range of contexts, then choosing two to work on.
Candidates may find it helpful if they are given realistic examples of acceptable and achievable creative projects. Teachers or lecturers could select and describe short sequences from some of the following media: film, television, radio, animation and computer games. Teachers or lecturers could also lead class or group discussions to analyse possible reasons for the choice of sounds and music, eg to set the mood, establish environment, support narrative, establish character, convey emotions, create and support transition.
Through discussion, the teacher or lecturer could involve the candidates in creating a sound design map which clearly identifies the sound and music placed in the sequence viewed. This could be in a linear depiction, timeline, or storyboard. This process would allow candidates to develop their understanding of how various sounds and music supports the narrative/image, sets the mood, establishes environment, convey emotions, and how it can establish character. This can also provide an example framework for candidates to use in the planning stages of the assignment.
Candidates could be divided into small groups and given a short sequence from a film. Through collaboration they could decide what form of sound design map they will produce for this task, then present and discuss their findings. Individual candidates are prepared to then plan and execute a sound design map for their selected creative production.
Candidates could analyse audio clips to explore production techniques used in 20th and 21st century music and incorporate these approaches into their projects. Candidates can explore genres of personal interest, but teachers or lecturers should have some input at this level.
Candidates must ensure that all intellectual copyright for music produced and selected for their project has not been infringed.
Through well-chosen examples, teachers or lecturers could demonstrate the manipulation of loops and samples. Building up beats, bass parts and programming filter sweeps and other virtual instrument controllers would provide candidates with new perspectives on the scope and use of sequencing within larger DAW software.
Candidates are expected to use skills developed throughout the course to set up and dismantle equipment, and to observe industry conventions and standards on health and safety at all times. For example, when using microphones, candidates should be aware that microphone polar patterns, techniques and placement are critical to the capture/recording quality and that the exact placement and application is dependent on factors such as acoustic environment, instrumentation and performer.
Teachers or lecturers can informally steer candidates towards good practice in using microphones, recording and mixing techniques through encouraging access to web-based resources, and developing links with other candidates through, for example, GLOW groups and blogs and by following up individual interests in the techniques used by notable practitioners.
The appropriate use of equalisation and panning, developed earlier in the course, should be applied in a variety of contexts. Candidates could be given an audio session and tasked with setting the EQ on each track; the teacher or lecturer would observe, giving support and guidance. Candidates could then bounce tracks to an audio master as part of their e-portfolio.
Candidates should be taught how to use dynamic processors, such as compressors and limiters, through demonstrations explaining the purpose and application of the controls. Candidates can apply compression appropriately to tracks within their audio session.
Candidates could listen to and analyse short clips from a variety of sources which exemplify typical and creative application of time domain effects. Teachers or lecturers could supplement this by demonstrating different effects on selected tracks. Candidates could then apply an effect(s) to the tracks within their audio session and bounce down to an audio master.
Journal of progress and reflection
Teachers or lecturers should encourage candidates to maintain a journal which could be in the form of a written journal, blog, or diary. This should include:
- a timeline of progress through planning, creating, and producing the end product
- reflections on their accomplishments
This journal is good preparation and practice for the assignment.