Master of Arts in Recording & Music Production | Information CESAG's Master's Degree in Recording & Music Production
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TYPE

Blended Learning
Specific Master’s Degree of Comillas Pontifical University

CREDITS

60 ECTS

DURATION

11 months (Oct 2018-Sep 2019)

Start date: October 22, 2018

MAIN LANGUAGE

English

HOW TO ENROL?

ADMISSION:

Open until October 19, 2018

ENROLMENT:

New dates to be announced soon

PLACES

8 (MINIMUM) – 20(MAXIMUM)

Description

It is evident that we have more and more auditoriums, theaters and music festivals with the need to reliably spread sound from their artists through online television and radio channels, satellites and specialized record labels.

 

Hence the need to have specialists with artistic sensitivity and technical skills to carry out these projects in its various stages of sound production and postproduction.  The MA-RMP will offer a specialization where both the technical and the artistic part will prevail.
MORE INFO
Higher level training of sound engineers and technicians has been projected in recent years from two points of view. In the case of sound engineering as a branch of broadcast engineering and in the case of technicians as specific professional training. Both options have something in common and that is that the artistic part is not required or included in these curricula or as a speciality.

 

We find an increase in auditoriums, theaters and music festivals with the need of reliable sound recording & broadcast for their artists through online television and radio channels, satellites and specialized record labels. On the other hand, a large volume of production in the film industry, tv series and videogames during the last decade has been monitored. Hence the need to have specialists with artistic sensitivity and technical skills to carry out these projects in its various stages of sound production and postproduction.

 

The recording and production of acoustic music requires the knowledge of the mechanical and musical interpretation of the different families of instruments to make recordings in accordance with the expectations of the interpreter and evaluations of the state of the instruments with which we work, whether baroque, romantic, contemporary etc … That is why the coordination with tuners of key instruments and instrument luthiers becomes very important in this profession.

 

Since 1978, analog recordings with post digital conversion have been produced and earlier on direct analog-to-digital recordings. The improvement in analog to digital conversion systems of the late twentieth century and early twenty-first century has opened us to a new dimension and new challenges.
On the other hand, multichannel recording and mixing systems move the listener to a point of greater realism with respect to the original reproduction. We have access to recordings with greater definition and detail, therefore, performers must demand more and the engineers and producers are more precise.

 

All of the above leads us to the next phase that is ear training. It is evident that there are people born gifted with acquired qualities, such as perfect pitch, but there are also methodologies to train them in the two categories of musical ear and acoustic ear. Any engineers and producers should have these qualities very developed.

 

Digital editing is the blank canvas of the music producer and where he can draw the script of the recording and add the right musical narrative. There are different methods which help us develop the right music storytelling for a given piece.

 

There are two ingredients requested in the industry of high end festivals, opera productions, symphonic music, jazz, film, cultural broadcasts etc… these are:
-The high level of musical artistry
-The highly demanding technical expertise.
Both equally important and worked thoroughly through this MA-RMP Masters course.

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Admission

Places are limited and are awarded in strict order of application. Candidates interested in this MA must hold an university degree to access these studies. Experience and knowledge of an instrument will be required as well as musical language, and basic knowledge of mathematics and physics. Oral and written level of English proovable by interview.
MORE INFO

PROFILE AND ENTRY REQUIREMENTS

It’s required:
-A university degree.

 

-Experience and knowledge of an instrument, as well as musical language.

 

-Basic knowledge of mathematics and physics consolidated.

 

-Oral and written level of English verifiable by interview.

 

-This specific award is aimed preferably at students and professionals who want to specialize in the art of sound and music production.

 

-The aim is to train masters of sound with the technical and artistic tools necessary to tackle successfully projects in the future.

ADMISSION CRITERIA

Places are limited and are awarded in strict order of application.

 

Every 5 students will form a group for remote follow-up with a tutor.

Aims

  1. Provide graduates with the tools to produce and record acoustic music in all its phases and at the highest level.
  2. Achieve the skills to design recording and mixing systems for different environments: Cinema, video games, TV, Radio, streaming etc …
  3. Provide graduates with the necessary acoustics tools for the evaluation of rooms and recording spaces.

  1. Reach a high level of digital postproduction applying the most avant-garde technologies of the moment.
  2. Provide graduates with the tools to educate the ear in its acoustic and musical part continuously.
  3. Reach skills and abilities for the direction of musical productions with artists.

Calendar, program and evaluation

The master’s degree is composed of four modules: Music, Sound and Acoustics, Recording, Production and Postproduction, as well as a Final Master Thesis (FMT). The first three modules will end with a practical project.

MODULE I: Music, Sound and Acoustics

ContentDateType
Musical acoustics I10/22/18-11/20/18Presential
PsychoacousticsPresential
Room acoustics IIOnline
Ear training for recording engineers IPresential
Project 01Online
MORE INFO

MODULE II: Recording

ContentsDateType
Microphone technology11/20/18-3/10/19Presential
Recording techniques I: mono & stereoPresential
Recording techniques II: multichannelPresential
High resolution recording systems
Audio networking protocols
Online
Location recordingPresential
Project 02
Online

 

MODULE III: Production

ContentsDateType
Musical & Artistic Production3/10/19-5/15/19Presential
Instruments & TuningPresential
Source destination Editing S/DPresential
Musical forms for CinemaPresential
Project 03
Online

 

MODULE IV: Postproduction

ContentsDateType
The Mix5/15/19-6/10/19Presential
MasteringOnline

 

MODULE V: Final Master Thesis (FMT)

ContentDate of DeliveryType
Final Master Thesis-Recording Project (FMT)9/15/19Online

Evaluation

  1. Assistance to the face-to-face part: obligatory.
  2. Participation in the online part: Minimum of 80% of the total time
  3. Activities of each module

  1. Tasks and assignments.
  2. Final master thesis (FMT).

MORE INFO
The virtual classroom will be the key place for the dissemination of all the aspects and incidents of the course, as well as for the repository of materials and, above all, for monitoring of students.

 

The students will have in the digital platform the chronograms of the follow-up activities that may be of different types depending on the case. Videos, forums, webinars, audios, links, questionnaires, presentations & articles will be used. The professors responsible for each module will be in charge of monitoring and evaluating the students with PASS or NO PASS.

 

The tutors of the Final Master’s Project (TFM) will monitor the students, in person and or online.

Contents

Detail of the contents of each of the subjects and modules of the master’s degree in Recording Arts and Musical Production.
MORE INFO

1. MUSICAL ACOUSTICS I
Simple and compound vibration
The vibration and its parameters
The Helmholtz resonator
Standing waves
Instumental frequency range

 

2. PSYCHOACOUSTICS
Auditory perception
Perceptual scales: psychoacoustic
Perceptual attributes

 

3. ROOM ACOUSTICS II
Reverberation and delay time
Sabine equation
Reverb radius
Acoustic materials
Acoustic architecture
Algorithmic Reverberation
Convolution reverberation

 

4. EAR TRAINING FOR RECORDING ENGINEERS
The human ear
Loudness curves: Fletcher and Mundson
Scales and tonality
Frequency and harmonics
Recognizing intervals
Complex listening: polyphonic harmony

 

 5. MICROPHONE TECHNOLOGY
Classes of microphones
Electronics and construction of microphones
The big and small diaphragm
Definition of the polar pattern

 

6. RECORDING TECHNIQUES I
Mono and stereo sound
Introduction to mono and stereo recording techniques
Fields of application
Advanced stereo recording techniques
Decorrelation FDSC
Time delay alignment in orchestral recordings
The culture of sound I

 

 7. RECORDING TECHNIQUES II
Advanced stereo recording techniques
The binaural sound: binaural recordings
Recording techniques for 5.1 and 7.1 surround sound
3D recording techniques AURO 3d / Dolby Atmos
Ambisonic recording techniques 360
The culture of sound II

 

8. HIGH RESOLUTION RECORDING SYSTEMS
A/D and D/A Converters
PCM recording systems
Recording systems in DSD and DXD
Publishing and authoring stations in PCM, DXD and DSD
Audio network protocols

9. RECORDING ON LOCATION
Location Recording designs:
Session 1: Recording music group camera
Sesión 2: Solo recording
Session 3: Orchestral recording
Sesión 4: Choral music recording

 

10. MUSICAL & ARTISTIC PRODUCTION

 

11. INSTRUMENTS AND TUNING (Steinway masterclass)
The fretboard
Families of instruments
Tuning of key instruments
Tuning of wind instruments
Tuning percussion instruments

 

12. SOURCE DESTINATION EDITING S/D
Non-linear audio editing styles
The digital edition with score S/D

 

13. MUSICAL FORMS FOR CINEMA

 

14.THE MIX
Sound mixing workshop I
Advanced sound mixing workshop II

 

15. MASTERIZATION
Mastering workshop I
Advanced mastering workshop II

 

16. FINAL MASTER THESIS-RECORDING PROJECT (FMT)

Timetable

Detail of the timetables and distribution of sessions between face-to-face and online.
MORE INFO

TYPE: Face-to-face at CESAG (Palma de Mallorca) and recording locations to be defined. Online : Virtual Campus site

 

PRESENTIALS:
100 hours: constitute 55% of the total presence of ECTS.
5 weeks: from Monday to Thursday (5h each day) between the months of October and May

 

ONLINE:
45% online of the total of ECTS, from October 22, 2018 to September 20, 2019.

 

HOURS PRESENTIAL SESSIONS:
From Monday to Thursday: from 9:00 a.m. to 2:30 p.m.

Academic Staff

DR. ENG. IKER OLABE

DR. ENG. IKER OLABE

CV

DR. ENG. EDWIN PFANZAGL

DR. ENG. EDWIN PFANZAGL

CV

IVÁN MARTÍN

IVÁN MARTÍN

CV

MICHAEL DOHERTY

MICHAEL DOHERTY

CV

MA Director

Iker Olabe: iolabe@cesag.org

Phone: +34 971 79 28 18
www.cesag.org