Unit Guide

Course:
Bachelor of Audio Production
(BAP)
Unit No:
SAP 21
Unit Name: Signal Processing & Aural
Perception

Contents
1. UNIT OVERVIEW

2. AIMS

3. LEARNING OUTCOMES

4. ASSESSMENT ITEMS

Unit Guide - BAP120: Signal Processing & Aural Perception

5. CORE TEXTS

6. ACADEMIC STAFF

7. LESSON OVERVIEW

8. SCHEDULE

9. ASSESSMENT GUIDELINES

10.

EXERCISES

11.

ACADEMIC MISCONDUCT

12.

READINGS

12.1

BAP100 Reading 1

13.

DUE DATES

14.

RESOURCES AND EQUIPMENT

14.1
14.2

15.

Studios and Lab Facilities

Equipment

RECOMMENDED AND FURTHER READING

15.1
15.2
15.3

Books
Journals and Other Publications
Websites and Other Online Sources

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Unit Guide - BAP120: Signal Processing & Aural Perception

1.

Unit Overview

Unit Number:
Unit Name:
Credit Points:
Pre-requisites:

BAP120
Signal Processing and Aural Perception
10
BAP100: Principles of Sound & Sound Production
BAP180: Introduction to Audio Technology

2. Aims
This unit examines common signal processing techniques that are commonly
applied using both hardware equipment and software emulations and DAW plug-ins.
The different types of processing are explored, and basic use and proper application
of each are considered. Students will deconstruct a variety of musical performances,
analysing the various kinds of processing used to add depth, and definition within a
mix. Students are encouraged to explore creative uses of these technologies when
recording or mixing a musical performance.

3. Learning Outcomes
Upon successful completion of this unit students will be able to:

Analyse music recordings in terms of frequency balance, levels and spatial

image

Identify the common types of filters and equalisers

Describe common applications of filters and equalisation

Define common types and applications of effects processing

Describe the concepts underlying different types of metering

Define the processes and use of compression and gating

Describe features of dynamics processors

Calculate the values of common effects processing parameters

Distinguish between different types of effects processing applied to various

source signals.

Implement complementary signal processing techniques in sound production

4. Assessment Items
The following assessment items must be completed for this unit:
BAP120.1 Practical Assignment
40%
BAP120.2 Exam
50%
BAP120.3 Exercises
10%
Note: All assessment items must be attempted.

5. Core Texts
Huber, D.M., Runstein, R.E., 2010, Modern Recording Techniques, 7th Edition,
Focal Press. Oxford

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6. Academic Staff
Head of Audio/ Academic Coordinator: Mark A. Kneer
Email: m.kneer@sae.edu
Tel: +62 (0)21 2555 4540
Unit Lecturer: Sam Kavin
Email: m.kneer@sae.edu
Tel: +62 (0)21 2555 4540
Studio Supervisor: Yandha Krishna
Email:
Tel: +62 (0)21 2555 4540

7. Lesson Overview
Trimester
Week
1

Content

Unit overview
Assignment review

Equalisation 1
Define equalizers
EQ Applications
Revise the audible spectrum
Shelving EQs
Sweep EQs
Equalisation 2
Parametric EQs
Filters
HPFs & LPFs, band-pass,
notch, band stop
Graphic EQs
Paragraphic EQs
Frequency Ranges
EQ's in practice
Analog EQs, Digital EQs,
Console EQ, Plug-ins
Equalisation 3
Reasons for EQ
When to EQ
EQ Hints & Tips
EQ for Specific Signals
Spectrum Analysis
Spectral Management
Masking
Equalisation 4
Practical Examples
Critical Listening

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Session
Type
Lecture

Lecturer
Sam Kavin

Lecture

Sam Kavin

Lecture/
Tutorial

Sam Kavin

Lecture/
Tutorial

Sam Kavin

Unit Guide - BAP120: Signal Processing & Aural Perception

Study
Week 1
5

Study
Week 1
9

Ear Training

Study Week
(No Formal Classes)
Dynamics Processing 1
Dynamic Range
Headroom
Signal to Noise Ratio
Importance of dynamics &
level control
Level metering Vu, PPM &
history, calibrated meters
Dynamics Processing 2
Compressor Overview
Audio Examples of
Compression
Compressor Parameters
Threshold, Ratio, Attack,
Release, Gain
Side chain
Compression
Multi band Compression
Creative Compression
Sibilance & De-essing
Pumping & Breathing
Limiters
Expanders
Dynamics Processing 3
Compressor Parameters
(cont'd)
Side chain
Compression
Multi band Compression
Creative Compression
Sibilance & De-essing
Pumping & Breathing
Limiters
Expanders
Dynamics Processing 3
Practical Examples
Critical Listening
Ear Training
Study Week
(No Formal Classes)
Exam 1 (Midterm) (1 hour)

Lecture

Sam Kavin

Lecture

Sam Kavin

Lecture

Sam Kavin

Lecture

Sam Kavin

Lecture

Sam Kavin

Effects 1
Types of processing
Time-based,
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Unit Guide - BAP120: Signal Processing & Aural Perception

10

11

Excursion
Week 1
12

13

14

15
16

frequency-based, amplitudebased, waveform-based

Effects 2
Reverb
Direct sounds, E/R, Reverb
tail, Types, Parameters
Reverb Tips & Tricks Direct
sounds, E/R, Reverb tail,
Types, Parameters
Reverb Tips & Tricks
Effects 3
Delay Parameters, Delay time
calculation
Phasers
Flangers
Excursion Week
(No Formal Classes)
Effects 4
Chorus
Vocoders
Pitch Shifters
Harmonizers
Other FX Types
Effects 5
Practical Examples
Critical Listening
Ear Training
Effects 6
Practical session
Practical demonstration of
processing and FX
Revision and preparation for final
exam
Exam 2 (Final) (2 hours)

Lecture

Sam Kavin

Lecture

Sam Kavin

Lecture

Sam Kavin

Lecture

Sam Kavin

Tutorial/
Lecture

Sam Kavin

Tutorial

Sam Kavin

Exam

Sam Kavin

8. Schedule
Students are required to attend all classes for the unit. Refer to the student
handbook for further details regarding attendance requirements for the course.

9. Assessment Guidelines
All assignments must be submitted formally in accordance with the assignment
submission guidelines that are outlined in the Student Handbook. Further policies in
relation to assignment submissions are also outlined in the SAE policies and

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Unit Guide - BAP120: Signal Processing & Aural Perception

procedures. All queries regarding the assessment items for this unit should be
addressed to the Unit Coordinator or the Campus Academic Coordinator.
It is important to note that all assignments, unless explicitly noted as group work in
the unit guide, must be completed on an individual basis. When you submit work for
assessment you undertake that the work submitted is your own original work.
Assessment
Submission Format
Weighting
Overview

Requirements

BAP120.1 Practical Assignment

Mixdown With Effects/Dynamic Processing
CD
40%
The mixdown with effects/dynamics processing
requires you to demonstrate the use of analog and
digital audio equipment and to demonstrate basic
multi-track mixdown techniques. It also requires you
to develop the listening skills required of an
engineer during mixdown.

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You must load one of the mixdown sessions /

projects located on the Studios DAW.
Using the level, pan and EQ features on the
studios mixing console, create a balanced stereo
mix of the session / project.
Using the options available in the studio, apply
your choice of FX processing and dynamics
processing to the mix. The FX/ dynamics
processing that you apply should compliment your
mix.
Record the mix to the studios 2 track master
machine and transfer the mix to and audio CD
(Red Book).
The submitted audio CD should be correctly
labelled and packaged
The submission should be free of any
distortion, poor levels or extraneous noise. Any
clicks, pops or overload will result in marks being
deducted.
There should be no extraneous sounds or
unnecessary silences before or after the audio
track.
Individual instruments should be balanced
relative to each other to create a composite mix.
Instruments should be realistically or creatively
positioned in the overall stereo field. Aim to create
a convincing sound stage that suits the music.
This refers to the overall frequency spectrum of
the mix. There should be an even distribution of
energy throughout the frequency spectrum.
This refers to the audibility and clarity of

Unit Guide - BAP120: Signal Processing & Aural Perception

individual instruments. This is largely determined

by the equalisation of these instruments within the
stereo mix.
The audio CD and packaging should be
professionally labelled with your name, student
number, class code, assignment code and contact
details.
You must make use of both dynamics
processing and frequency/time based effects. The
use of this processing should compliment your mix
and its musical style.

Assessment
Assessment Criteria

Graded / Criterion -referenced

Fulfilment of all requirements

Quality of the mix-down

Topping & tailing

Balance of relative levels

Stereo imaging

Frequency balance

Definition

Use of effects and dynamics processing

Packing & labeling

Assessment

BAP120.2 Exam
Theory Exam
Written Exam
50%
The exam is a theory-based exam completed in the
classroom. The exam may cover subjects and information
derived from class lectures, designated class readings,
practical work and exercises that are associated with this unit.

Submission Format
Weighting
Overview

Requirements

Exam duration: 2 hours

Exam format:
Multiple-choice questions and/or
Short answer questions
This exam is closed book exam. No lecture notes or
textbooks may be brought into the examination room.
Students are required to bring paper, pens and a
calculator to all exams

Assessment
Assessment Criteria

Graded / Criterion -referenced

All questions must be attempted
Select/write the most appropriate answer for each
question

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Unit Guide - BAP120: Signal Processing & Aural Perception

10.

Exercises

10.1 BAP120 Exercise 1

Practical EQ Exercise
This exercise is to be carried out in the studio.
Students are to do the following:

Locate and copy the BAP120 EQ Exercise folder on the

SOURCE drive of their campus intranet.

Paste this folder into their class temp folder on the local Harddrive of their computer workstation.

Open the BAP120 EQ Exercise session within this folder.

(Note the I/O of this session should be configured so that each
track flows through the corresponding channel of the studios
console)

Track 1 of this session contains 7 equalised audio samples.

Tracks 2-8 contain unequalised versions of these samples. You
must use the EQ features of the appropriate Studio to make the
unequalised versions of the samples sound like the equalised
versions.
Once you have done the above, your work must be checked and verified in the
studio by a campus supervisor who will fill out the appropriate form.

10.2 BAP120 Exercise 2

Practical Dynamics Processing Exercise
This exercise is to be carried out in the studio.
Students are to do the following:
Locate and copy the BAP120 Dynamics Exercise folder on the
SOURCE drive of their campus intranet.
Paste this folder into their class temp folder on the local DATA drive of
their computer workstation.
Open the BAP120 Dynamics Exercise session within this folder.
(Note the I/O of this session should be configured so that each
track flows through the corresponding channel of the studios
console)
Using the studios outboard equipment or the DAW, apply a gate to
track 1 of the session. Aim to reduce the spill as much as possible
without degrading the desired signal.
Repeat the above process for track 2 of the session.
Tracks 3-4 of this session contain a stereo mix of a song. Using the
studios outboard equipment or DAW, apply a stereo compressor to
the stereo mix and use your choice of settings.
Using the studios outboard equipment or DAW apply a gate to track
5 of the session and trigger it to open using track 6.

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Using the studios outboard equipment or the DAW apply a

compressor to track 7 of the session and then use track 8 as a key
input to duck the signal from track 7.
Once you have completed the above steps, your work must be
checked and verified in the studio by a campus supervisor who will fill
out the appropriate form.

10.3 BAP120 Exercise 3

Practical FX Processing Exercise
This exercise is to be carried out in the studio.
Students are to do the following:
Locate and copy the BAP120 FX Exercise folder on the SOURCE
drive of their campus intranet.
Paste this folder into their class temp folder on the local DATA drive of
their computer workstation.
Open the BAP120 FX Exercise session within this folder. (Note
the I/O of this session should be configured so that each track flows
through the corresponding channel of the studios console)
Using the studios outboard equipment or DAW, apply a Room
Reverb effect to a split (copy) track 1 with the following parameter
settings:
o Reverb/Decay Time 1.2 seconds
o Pre-Delay 10 milliseconds
o A HPF @ 10 kHz
Balance the wet & dry signals so that both can be heard
Using the studios outboard equipment or DAW, apply an artificial
double-tracking effect (ADT) to track 2. Balance the wet & dry
signals so that both can be heard.
Using the studios outboard equipment or DAW, apply a chorusing
effect of your choice to track 3. Balance the wet & dry signals so
that both can be heard.
Using the studios outboard equipment or DAW, apply a tempo delay
effect to track 4. Balance the wet & dry signals so that both can be
heard.
Track 5 of the session contains a processed track. Use the studios
outboard equipment or DAW to recreate the effect heard on track 5
using track 6 as the dry signal. (NOTE the effect is made up of a
combination of effects.)
Once you have completed the above steps, your work must be
checked and verified in the studio by a campus supervisor who will fill
out the appropriate form.

11.

Academic Misconduct

Academic misconduct is behaviour that contravenes the values of academic

integrity, which breaches rules, policies, direction and guidelines at SAE Institute in
relation to assignments and assessment, and which normally includes action taken
with the intention of gaining an unfair advantage for self or others. It includes, but is
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Unit Guide - BAP120: Signal Processing & Aural Perception

not limited to, plagiarism, collusion, cheating and fraud.

Students are expected to adhere to the academic honesty policy and procedures at
all times. If you are unsure about the use of other peoples works or ideas within
your own work you should discuss this with your lecturer at the earliest opportunity.
You should also ensure that you read the Formatting and Referencing guide that
provides an overview of the American Psychological Association (APA 6th Edition)
referencing style and examples of how to reference most of the kinds of works that
you will cite. Be meticulous with referencing and citation (includes credits) in all
exercises, practical and written assignments submitted during your studies.
Note that SAE may use screening software to check authorship and originality of
submitted assignments.
Please refer to the Academic Honesty Policy for further details or contact your unit
coordinator if you have any questions in relation to academic honesty.

12.

Readings

12.1 BAP130 Reading 1

Huber, D.M., Runstein, R.E., 2010, Modern Recording Techniques, 7th Edition,
Focal Press, Oxford. C. 6 Pages 469 484
Owsinski, B., 2006, The Mixing Engineer's Handbook, Thomson, Boston. Pages 2537.
12.2 BAP120 Reading 2
Huber, D.M., Runstein, R.E., 2010, Modern Recording Techniques, 7th Edition,
Focal Press, Oxford. Pages 487-501
Owsinski, B., 2006, The Mixing Engineer's Handbook, Thomson, Boston. Pages 5267.
12.3 BAP120 Reading 3
Huber, D.M., Runstein, R.E., 2010, Modern Recording Techniques, 7th Edition,
Focal Press, Oxford. Pages 503- 512
Owsinski, B., 1999, The Mixing Engineer's Handbook, ArtistPro Pages 35-46.

13.

Due Dates
Task
BAP120 Reading 1
BAP120 Reading 2
BAP120 Exercise 1
BAP120 Exercise 2

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Week Due
Week 3
Week 5
Week 5
Week 9

Date
02.04.012
23.04.2012
23.04.2012
28.05.2012

Unit Guide - BAP120: Signal Processing & Aural Perception

BAP120 Reading 3
BAP120 Exercise 3
BAP120.1 Practical Assignment
BAP120.2 Exam

14.

Week 9
Week 15
Week 15
Week 16

28.05.2012
23.07.2012
23.07.2012
30.07.2012

Resources and Equipment

14.1 Studios and Lab Facilities

Studios 2-4

Computer lab

14.2 Equipment
Nil

14.3 Intranet/Network Resources

Further course notes and materials may be downloaded from the internet
or intranet.

15.

Recommended and Further Reading

15.1 Books
Davis, G., Jones, R. 1989, Sound Reinforcement Handbook, Hal Leonard
Corporation.
Crich, Tim, Assistant Engineers Handbook, Black Ink Publishing.
Moylan, W., 2006, Understanding and Crafting the Mix, Focal Press.
Owsinski, B., 2006, The Mixing Engineer's Handbook, ArtistPro.
Stavrou, M. 2003, Mixing With Your Mind, Flux Research.
15.2 Journals and Other Publications
Audio Engineering Society (AES) Journal
Sound on Sound, SOS Publications [Online]
Available from:
http://www.soundonsound.com/
[Accessed: 03.07.2007]
15.3 Websites and Other Online Sources
Sound on Sound, SOS Publications, Effects: All You Need to Know and a Little Bit
More [Online]
Available from:
http://www.soundonsound.com/sos/may07/articles/effects.htm
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[Accessed: 22.02.2011]
Sound on Sound, SOS Publications, Using Equalisation [Online]
Available from:
http://www.soundonsound.com/sos/Aug01/articles/usingeq.asp
[Accessed: 22.02.2011]
Sound on Sound, SOS Publications, Advanced Reverberation Part 1 [Online]
Available from:
http://www.soundonsound.com/sos/Oct01/articles/advancedreverb1.asp
[Accessed: 22.02.2011]
Sound on Sound, SOS Publications, Advanced Reverberation Part 2 [Online]
Available from:
http://www.soundonsound.com/sos/Nov01/articles/advancedreverb2.asp
[Accessed: 22.02.2011]
Sound on Sound, SOS Publications, Advanced Compression Techniques Part 1
[Online]
Available from:
http://www.soundonsound.com/sos/dec00/articles/adcompression.htm
[Accessed: 22.02.2011]
Sound on Sound, SOS Publications, Advanced Compression Techniques Part 2
[Online]
Available from:
http://www.soundonsound.com/sos/jan01/articles/advanced.asp
[Accessed: 22.02.2011]
Sound on Sound, SOS Publications, Advanced Gating Techniques Part 1
[Online]
Available from:
http://www.soundonsound.com/sos/apr01/articles/advanced.asp
[Accessed 16-06-08]
Sound on Sound, SOS Publications, Advanced Gating Techniques Part 2
[Online]
Available from:
http://www.soundonsound.com/sos/may01/articles/advancedgating.pt2.asp
[Accessed 16-06-08]

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