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Assignment front sheet

Qualification Music Technology Subsidiary Diploma (Year 1) Learner name Unit number and title Unit 35: Sound Creation and Manipulation Assessor name Jon Elliott Date issued W/c 09/01/12 Assignment title Deadline W/c 06/02/12 35c Synthesis and synthesizers Submitted on

In this assessment you will have opportunities to provide evidence against the following criteria. Indicate the page numbers where the evidence can be found. Criteria reference To achieve the criteria the evidence must show that the learner is able to:

Task no.

Evidence

P1

Explain the relationship between acoustic theory and the fundamentals of synthesis Illustrate the relationship between acoustic theory and the fundamentals of synthesis Analyse the relationship between acoustic theory and the fundamentals of synthesis Demonstrate the editing functions of a synthesiser competently with limited tutor support Demonstrate the editing functions of a synthesiser confidently with total independence Demonstrate the editing functions of the synthesiser showing mastery of the processes involved

M1

D1

P2

M2

D2

Learner declaration I certify that the work submitted for this assignment is my own and research sources are fully acknowledged. Learner signature: Date:

Assignment brief
Qualification Unit number and title Assessor name Music Technology Subsidiary Diploma (Year 1) Unit 35: Sound Creation and Manipulation Jon Elliott

Date issued Deadline Assignment title

W/c 09/01/12 W/c 06/02/12 35c Synthesis and synthesizers

Purpose of this assignment (Learning Outcomes)

1. Understand the relationship between acoustic theory and the fundamentals of synthesis 2. Be able to use the editing functions of a synthesiser
Scenario Write an article for a magazine, such as Sound on Sound, explaining the basics of synthesis. Demonstrate the theory by using patches you have created for an example song or soundscape, which can be put on a cover CD or downloaded from the magazines web site. Task 1 - Produce an example piece of music and 3 samples of synthesizer patches to demonstrate the links between acoustic theory and synthesis. Use Logic Pros plug-in virtual synthesizers (e.g. ESP, EFM, ES1, or ES2) to create your patches. You may use a piece of music which you are also using for another unit (e.g. for Sequencing Systems and Techniques) to demonstrate them in song form. Some editing functions you may want to demonstrate are: oscillators, amplifiers, filters, envelope generators, low-frequency oscillators, modulation, patch bays and presets. You need to demonstrate that you can re-create the sound, either in written form, or using a video of demonstration(s) supplemented by tutor observation reports. This provides evidence for [P2, M2, D2] Task 2 The basics of synthesis Approach your writing in a structured way, so start off with the sound sources, and then describe the basics each stage of the sculpturing of the sound [P1]. Start with the waveform generators (or oscillators) : Describe the relationship between frequency, wavelength and amplitude. Discuss the basics of the main waveforms used, i.e. their fundamentals and harmonics. Suggest which instruments each waveform is best used for, e.g. strings, open and closed pipes, explaining why. Then deal with sculpting the sound: Explain envelopes - attack, sustain, decay and release. Identify some of the uses of Low Frequency Oscillators. Explain how filters are used to shape timbres, using cut-off and resonance. Elaborate your article by referencing examples of patches you have created, e.g.: from nature, man made sounds, and musical instruments of your choice. [towards M1, D2] Discuss how effective basic subtractive synthesis has been for synthesizing sounds. Suggest and discuss alternative methods of creating sound, such as FM and granular synthesis. Discuss the effectiveness of virtual synthesizers in re-creating the sounds of analogue synths. [towards D1, D2] This provides evidence for [P1, M1, D1 & D2] Evidence checklist Written work Example song audio as PCM (.wav or AIFF) or MP3 3 example synthesizer patches audio as PCM (.wav or AIFF) or MP3

Video evidence and tutor report (optional) Sources of information Moodle for this unit and Unit 1: Acoustics, Apple Logic Express user manual, Sound on Sound Magazine. Books: Russ M Sound Synthesis and Sampling; Cann S How to Make a Noise: A Comprehensive Guide to Synthesizer Programming.

This brief has been verified as being fit for purpose Internal verifier Signature Assessor Signature Date Tom Comarty Date 12/01/12

Assessor's comments
Qualification Unit number and title Criteria reference Music Technology Subsidiary Diploma (Year 1) Assessor name Jon Elliott Unit 35: Sound Creation and ManipulationLearner name Achieved?

To achieve the criteria the evidence must show that the learner is able to:

P1 M1 D1 P2 M2 D2

Explain the relationship between acoustic theory and the fundamentals of synthesis Illustrate the relationship between acoustic theory and the fundamentals of synthesis Analyse the relationship between acoustic theory and the fundamentals of synthesis Demonstrate the editing functions of a synthesiser competently with limited tutor support Demonstrate the editing functions of a synthesiser confidently with total independence Demonstrate the editing functions of the synthesiser showing mastery of the processes involved
Student to add comments about the assignment / feedback / action plan

Learner feedback

Assessor feedback

Assessor to add constructive comments linked to relevant assessment and grading criteria

Action plan

Assessor to identify opportunities for the learner to improve their performance Date

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