AES New York 2019
Paper Session P15
P15 - Audio Education
Saturday, October 19, 9:00 am — 11:30 am
Amandine Pras, Digital Audio Arts - University of Lethbridge - Lethbridge, Alberta, Canada; School for Advanced Studies in the Social Sciences - Paris, France
P15-1 Production Processes of Pop Music Arrangers in Bamako, Mali—Amandine Pras, Digital Audio Arts - University of Lethbridge - Lethbridge, Alberta, Canada; School for Advanced Studies in the Social Sciences - Paris, France; Kierian Turner, University of Lethbridge - Lethbridge, AB, Canada; Toby Bol, University of Lethbridge - Lethbridge, Canada; Emmanuelle Olivier, CNRS Centre Georg Simmel (EHESS) - Paris, France
Bamako, economic capital of Mali in West Africa, saw the recent multiplication of digital studios based on Cubase 5, FL Studio, cracked plugins, a MIDI keyboard, and a small cabin with a cheap condenser microphone and a pop-filter. From videos and screen captures of recording sessions in three of these studios, we analyzed the creative process of four DAW practitioners from the beginning of the beat production to the mastering of the track. We also examined their interaction with the singers and rappers. Our analyses showed that young Malian DAW practitioners constantly revisit their MIDI arrangement and vocal recordings with advanced editing techniques. Locally successful, they have quickly developed a notoriety that enables them to be directive with their clients.
Convention Paper 10296
P15-2 Towards a Pedagogy of Multitrack Audio Resources for Sound Recording Education—Kirk McNally, University of Victoria, School of Music - Victoria, BC, Canada; Paul Thompson, Leeds Beckett University - Leeds, West Yorkshire, UK; Ken Scott, Leeds Beckett University - Leeds, UK
This paper describes preliminary research into pedagogical approaches to teach and train sound recording students using multitrack audio recordings. Two recording sessions are described and used to illustrate where there is evidence of technical, musical, and socio-cultural knowledge in multitrack audio holdings. Approaches for identifying, analyzing, and integrating this into audio education are outlined. This work responds to the recent AESTD 1002.2.15-02 recommendation for delivery of recorded music projects and calls from within the field to address the advantages, challenges, and opportunities of including multitrack recordings in higher education teaching and research programs.
Convention Paper 10297
P15-3 The History of Record Production as a Learning Element for Audio Education—The Particular Case of the Recording Arts Program at the ITM in Medellín Colombia—Daniel Marin Jaramillo, Instituto Tecnológico Metropolitano - Medellin, Colombia; Carlos Andrés Caballero Parra, Instituto Tecnológico Metropolitano - Medellín, Antioquia, Colombia; Universidad Politécnica de Valencia - València, Spain
Most of the academic curricula of the programs in recording arts, audio technology, and music production should, as complementary training, have a module that includes the history of audio and recording, either in general or specific terms. Sometimes, however, this module is but another course to complete the academic curriculum and, therefore, has neither the attractiveness nor the significance sufficient to appeal the interest of the students. The proposal of this article intends, then, to draw their attention to the importance of the history of audio and recording, starting from the 1950s and the golden age of vinyl, through the analysis of recordings, albums, and the technology of each era studied, showing its particular processes and techniques and differentiating the timbres, dynamics, and processes and effects of each style, moment or key producer.
Convention Paper 10298
P15-4 Mental Representations in Critical Listening Education: A Preliminary Study—Stephane Elmosnino, University of Technology Sydney - Sydney, New South Wales, Australia; SAE Institute - Brisbane, Queensland, Australia
This paper reports on a survey of critical listening training offered at tertiary education providers in the USA, UK, Australia, and Canada. The purpose of the investigation is to explore the concept of mental representations in educational contexts, as instructional materials do not always consider this aspect despite a rich research terrain in the field. The analysis shows a wide diversity of instructional methods used, seemingly influenced by course subject matter and institution business model. It also reveals a need to accurately define the concept of critical listening, depending on the context of its use. This study provides the background to a proposed evaluation of the effectiveness of mental representation models applied to new instructional designs.
Convention Paper 10299
P15-5 The Generation Gap—Perception and Workflow of Analog vs. Digital Mixing—Ryland Chambers-Moranz, University of Lethbridge - Lethbridge, AB, Canada; Amandine Pras, Digital Audio Arts - University of Lethbridge - Lethbridge, Alberta, Canada; School for Advanced Studies in the Social Sciences - Paris, France; Nate Thomas, University of Lethbridge - Lethbridge, AB, Canada
Are sound engineers showing preference for the mixing technology of their generation? We interviewed producer Ezequiel Morfi who owns TITANIO in Buenos Aires and contrasted his opinions with those of four mixers based in Western Canada who were required to use analog-only or digital-only mixing tools when preparing stimuli for this study. To ascertain the myths about which technology sounds superior, 19 trained listeners of ages 17–37 compared analog and digital mixing versions of 8 pop-rock tracks in a double-blind listening test. The main results showed that the analog version of one track was significantly preferred by 79% of the listeners (p=.02), and we observed a slight trend towards the significance of age on preference for the analog format (p=.09).
Convention Paper 10300