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Lecturer(s)
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Grečnár Ján, prof. Ing. ArtD.
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Course content
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Course content: - The history roots of a multi-channel sound - Multi-channel audio monitoring, overhead requirements, requirements for listening monitors - Microphone techniques of sound recording for stereo and multi-channel applications - Multi-channel audio mixing - Multichannel production formats, analog, digital - Dolby E
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Learning activities and teaching methods
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Monologic (Exposition, lecture, briefing), Demonstration, Projection (static, dynamic)
- Home preparation for classes
- 21 hours per semester
- Preparation for examination
- 15 hours per semester
- Participation in classes
- 39 hours per semester
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| prerequisite |
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| Knowledge |
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| Prerequisites not specified |
| Prerequisites not specified |
| Skills |
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| Prerequisites not specified |
| Prerequisites not specified |
| learning outcomes |
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| Knowledge |
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| Students can describe and characterize: - define various technical-dramaturgical possibilities associated with the sound recording of larger musical ensembles |
| Students can describe and characterize: - define various technical-dramaturgical possibilities associated with the sound recording of larger musical ensembles |
| - characterise their advantages/disadvantages in recording these musical ensembles |
| - characterise their advantages/disadvantages in recording these musical ensembles |
| - students can describe the different categories of group musical ensembles |
| - students can describe the different categories of group musical ensembles |
| - explain the processing of recording musical groups (ensembles) in studio and live environments |
| - explain the processing of recording musical groups (ensembles) in studio and live environments |
| - explain the possibilities/advantages/disadvantages of post-processing in audio post-production |
| - explain the possibilities/advantages/disadvantages of post-processing in audio post-production |
| Skills |
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| Students can use and apply correctly: - apply various technical-dramaturgical options associated with the sound recording of larger musical ensembles |
| Students can use and apply correctly: - apply various technical-dramaturgical options associated with the sound recording of larger musical ensembles |
| - analyse and select adequate methods of recording the sound of larger musical ensembles |
| - analyse and select adequate methods of recording the sound of larger musical ensembles |
| - students can list the important categories of group musical ensembles |
| - students can list the important categories of group musical ensembles |
| - apply appropriate and suitably chosen methods of processing the recording of musical groups (ensembles) in studio and live environments (including the choice of appropriate software) |
| - apply appropriate and suitably chosen methods of processing the recording of musical groups (ensembles) in studio and live environments (including the choice of appropriate software) |
| - practical post-processing in audio post-production |
| - practical post-processing in audio post-production |
| teaching methods |
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| Knowledge |
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| Monologic (Exposition, lecture, briefing) |
| Demonstration |
| Demonstration |
| Projection (static, dynamic) |
| Monologic (Exposition, lecture, briefing) |
| Projection (static, dynamic) |
| assessment methods |
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| Oral examination |
| Oral examination |
| Analysis of the student's performance |
| Analysis of the student's performance |
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Recommended literature
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BARLET, Bruce. BARLETT, JennY. On-Location Recording Techniques.. Focal Press. 1999. ISBN 0-240-80379-5.
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COLLINS, Mike. Pro Tools for Music Production. Focal Press. 2002. ISBN 0-240-51640-0.
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HOLMAN, Tomlinson. Sound for Film and Television.. Focal Press. 2002. ISBN 0-240-80453-8.
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MILLERSON, Gerald. Television Production.. Focal Press. 2007. ISBN 0-240-51492-0.
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RAYBURN, Ray A. Eargle´s Microphone Book.. Focal Press. 2013. ISBN 978-0-240-82075.
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YEWDALL, David Lewis. Practical Art of Motio Picture Sound.. Focal Press, 2003. ISBN 0-240-80525-9.
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