FS-303 SCORING TECHNOLOGY 2 Fall 2017

Instructors:

Andreas Bjorck [email protected]

Claes Nystrom [email protected]

Duncan Watt [email protected]

Office hours: Posted in dept. and at http://www.berklee.edu/film-scoring

Course Chair: Alison Plante

Course Description: A technical course designed to teach basic in-the-box mixing and
production techniques for film-/game composers. Class instruction focuses on in-depth
discussion and demonstration of the fundamental tools and techniques of mixing, as well
as extensive listening and analysis of music in a wide variety of genres. Weekly
assignments based on excerpt from the faculty members own professional work focus on
specific mixing tools and concepts. The students also complete two full mix projects,
working on both their own pieces and a real-world full orchestral cue. Additional topics
include digital audio theory, session interchange procedures and industry standard
delivery protocols. Online quizzes are used to review and strengthen the understanding
of class topics.

Course Objective: Upon successful completion of this course, the student will have developed a
solid understanding of the essential tools of mixing, as it applies to music for visual
media in particular, and will be able to produce satisfactory mixes of their own scoring
projects.

Required Textbook: None. Suggested reading Bobby Owsinski, The Mixing Engineers
Handbook, and Dave Moulton, Total Recording. Handouts will be distributed as necessary.

Homework, Projects, Out-of-class Preparation: In order to maintain satisfactory standing in this

Laboratory: Weekly lab time will be provided on an as-needed sign up (or walk-in) basis with
supervision available. Two hours of dedicated studio time will be provided for each of
the mix projects.

Important Dates:
Midterm exam week: October 23-27
 Final exam: week of December 11-15
Final project due: week of December 11-15

Grading Criteria:
A (90-100) Superior, Exceptional; control of course material enables excellent production.
B (80-89) Good; grasp of material enables above-average production.
C (70-79) Average; assimilation of material enables acceptable production.
D (60-69) Below Average; exposure to material enables poor, but passable production.
F (below 60) Not Passing; assimilation of material insufficient to demonstrate acceptable productive capacity.

Attendance Policy: It is the policy of the Film Scoring Department that attendance in all classes is
mandatory and that unexcused absences and tardiness are to be factored negatively into course grades.
See Dept. policy handout at http://www.berklee.edu/film-scoring/fs-policiesprocedures

Academic Dishonesty: The Film Scoring Department has a zero-tolerance policy.

Deadline for Course Withdrawal: 5:00 pm Thursday, Nov. 9, 2017.

Berklee Withdrawal policy: You may withdraw from this class by completing a Student-Initiated
Withdrawal from a Class form at the Office of the Registrar. The withdrawal form must be
submitted to the Office of the Registrar before the end of the 9th week of classes in Fall and
Spring semesters, or the end of the 8th week in the 12-week Summer Session. If you submit the
withdrawal form by the deadline, you will receive a grade of W for the class. Withdrawing
from a class cannot be done after the deadline.

The instructor is not permitted to withdraw you from the class for any reason (including
absence) or submit the form for you. It is your responsibility to withdraw from the course.
If you withdraw from this class, you continue to be nancially responsible for the class and are
not eligible for a tuition refund or replacement course. Please be aware that withdrawing from
a class may affect scholarship, nancial aid, and/or international student visa status. If you
receive nancial aid or veterans benets, your eligibility for aid may be reduced by
withdrawing. If you are an international student, you may jeopardize your F-1 visa status.

Note: If you fail to officially withdraw from a class that you stop attending or never attend,
you will automatically receive a grade of F.

Disability Accommodation: The leadership and members of the Film Scoring Department are anxious to
help ensure that the educational needs of all Berklee students are being met. Any student who feels s/he
may need an accommodation based on the impact of a disability is urged to contact Disability Services in
the Counseling and Advising Center (CAC) to privately discuss his/her specific needs. For more
information please visit: http://www.berklee.edu/counseling/specialservices.html, visit the greeting
counter in the CAC located in 939 Boylston Street building, or call 617-747-2310.

Berklee College of Music is a diverse community composed of individuals with different life experiences,
viewpoints, belief systems, and identities. A welcoming and inclusive culture is essential to maintaining
the colleges role as a leader in music education and Berklee highly values the dynamic environment that
results when students, faculty, administrators, and staff from diverse backgrounds come together to learn,
live, and work. The Equity Policy and Process prohibits and addresses sexual misconduct, as well as other
forms of discrimination and/or harassment based on legally protected characteristics and provisions
covered under Title IX of federal law. If you have concerns about a possible violation of the colleges
Equity Policy, please contact Dr. Christopher Kandus-Fisher at [email protected]. For
additional information regarding the Unified Equity Policy and Process, please consult the Unified Equity
Policy Website, which has the most up to date information and resources at www.berklee.edu/equity.
 Topical Course Outline

1. Mixing fundamentals and aesthetics; mix objectives for film-/game media.

2. Session interchange from DP to Pro Tools in preparation of scoring sessions, following industry
standard procedures.

3. Digital audio basics: A/D & D/A-conversion, sample rate, bit-depth, industry specs.

4. Reverb: convolution vs. algorithmic, true stereo vs. mono-to-stereo, emulation of the typical
Hollywood orchestral reverb sound, positioning multi-impulse response setups, non-orchestral
reverb concepts.

5. Panning & the stereo image: true panning vs. stereo balance; stereo sound and the phantom
image.

6. EQ: basic types of EQ and their application; corrective and creative EQ techniques.

7. Compression: compressor types and their application; compression techniques and objectives; bus
compression, multi-band compression and limiters.

8. Pro Tools: PT basics, session setup, routing & signal flow, plugins, grouping and track
management.

9. Mixing with orchestral sample libraries: techniques for solving common problems with sample
libraries, mixing different sample libraries, mixing samples with live instruments.

10. Mixing live orchestra sessions: room vs. close mics, instrument placement and image, track
management and organization, routing.

11. Delivery protocols: stems, industry conventions, naming, formats.

12. Mastering basics; mix bus EQ, compression and limiting; dither.

Final Grade Determination: (approximate % weighting)

60% Projects
30% Assignments
10% Quizzes