Lecture: 3 hours/week
In this course, students will participate in a number of learning activities, including lectures, fieldtrips and practical group work. Students will work alongside the instructor in the theatre to gain experience of an industry-standard in-house system and to learn how to deal with sound reinforcement in medium-to-large-sized acoustic environments for diverse applications, including theatre and music.
This course builds on the basic concepts introduced in MUSC 2173 and introduces large installations and sound for theatre, larger ensembles and venues.
- Console operation, mixer architecture, signal flow and equalization
- Appropriate use of corrective EQ (equalization): ringing the system, using appropriate reference material and graphic equalizers to remove feedback, software analysis and room response plots
- Advanced dynamic and effects processing, including compressors, exciters and enhancers, delay effects and reverb, and anti-feedback systems
- Theory and practice in the design of sound systems: making decisions about loudspeakers, crossovers, power amps, bi-amp, tri-amp, loudness, multiple driver cabinets, sub-bass considerations, active vs passive speakers, flown systems, delay towers, onstage monitors (wedge, side fill, in-ear)
- Advanced signal flow and processing, including operation of outboard equipment (reverb, delay, chorus, graphic equalization, spectrum analyzers, limiters, compressors, gates)
- Communication and professional skills: interpreting instructions such as stage plan, performer’s brief, promoter’s brief, venue requirements, running orders, cue lists and visual clues
- The Musical Engineer: ear training, mixing hierarchies, creating an onstage sound suitable to performers’ needs, creating a FOH sound suitable to the style of music or theatre
- Troubleshooting
- Recording live performances (audio/video), DJ/band setups
- Working with Indigenous Elders, Knowledge Holders and community partners in live performance settings
- MIDI (musical instrument digital interface) connections and MIDI clock
Upon successful completion of the course, students will be able to:
- Use an industry-standard large live console and become aware of the range of sound reinforcement systems available;
- Sound-check and run sound for a variety of theatrical and musical events, with a full understanding of FOH (front of house) signal flow and monitor systems;
- Communicate effectively with performers and make appropriate stylistic and technical decisions in the live production of a variety of musical genres, spoken word and music playback;
- Specify sound system requirements for a wide range of medium and large-scale performance circumstances, and be aware of large-scale live sound equipment specifications;
- Appropriately use corrective EQ (equalization): ring out the system, use appropriate reference material and graphic equalizers to remove feedback, interpret software analysis and room response plots;
- Integrate the 4R’s (Reciprocity, Respect, Relevance and Responsibility) and Indigenous cultural safety practices when working with Indigenous Elders, Knowledge Holders and community partners in live performance settings.
Assessment will be based on course objectives and will be in accordance with the Douglas College Evaluation Policy.
The following is an example evaluation scheme:
| Assignments | 40% |
| Midterm Practical Exam | 10% |
| Final Practical Exam | 20% |
| Professionalism | 20% |
| Attendance | 10% |
| Total | 100% |
Professionalism is assessed on consistent attendance, punctuality, taking responsibility for deadlines, constructive and considerate interpersonal communication and contribution to class discussion and group work.
Instructors may use a student's record of attendance and/or level of active participation as part of the student's graded performance. Expectations and grade calculations regarding class attendance and participation will be clearly defined in the Instructor Course Outline.
This is a graded course.
Textbooks will be assigned at the discretion of the instructor. The following texts serve as examples:
Yamaha Sound Reinforcement Handbook (Hal Leonard Publishing, Current Edition)
White, P., Live Sound for the Performing Musician (Sanctuary Publishing, Current Edition)
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