Dieser Kurs bietet eine Einführung in die Welt der Audiotechnik und richtet sich an alle, die ein solides technisches und künstlerisches Fundament im Bereich der Studiotechnik erwerben möchten. Im Kurs werden sowohl theoretische als auch praktische Grundlagen behandelt, um ein tiefgreifendes Verständnis für die Möglichkeiten der Audiotechnik zu entwickeln.
Themenbereiche 1. Grundlagen der Akustik: Entstehung, Ausbreitung und Überlagerung von Schall, Schallquellen, Raumakustik, Elektroakustik (Schallwandlung) sowie Psychoakustik & Wahrnehmungspsychologie. 2. Tontechnik: Studio- und Liveanwendungen verstehen. Dieser Bereich beinhaltet unter anderem die Themen:
Mikrofontechnik & Mikrofonierung, Signalketten, Lautheit & Pegel, Klangbearbeitung,
Channel- & Busstrukturen in Mischpulten & Digital Audio Workstations (DAWs). 3. Technisch‐künstlerisches Hören (Critical Listening): Hier sollen Techniken und Konzepte zur Beschreibung und Beurteilung von Klang vermittelt werden die ein künstlerisch-technisch geschultes Hörvermögen fördern. 4. Projektplanung: Tontechnische Anwendungen verstehen, planen und kommunizieren. In gemeinsamer Arbeit sollen Anwendungsbeispiele aus der studentischen Praxis besprochen, strukturiert und geplant werden.
Teilnahmevoraussetzung:
- Keine
Kursziele
Am Ende des Kurses verfügen die Teilnehmenden über ein grundlegendes Verständnis der technischen und künstlerischen Möglichkeiten der Audiotechnik. Sie sind in der Lage, audiotechnische Zusammenhänge zu durchdringen, diese professionell zu kommunizieren und eigene Projekte eigenständig und kompetent umzusetzen. Es wird kein Vorwissen vorausgesetzt.
In this course, recordings will be discussed not in terms of their musical events, but in terms of their tech-nical realization. Through comparative listening, we will develop methods and vocabulary for identifying and describing technically shaped sonic characteristics, while exploring commonalities and conventions across different genres and historical periods. Taking the recording as the sole source, we will analyze everything that can be discovered about sound, technology, the recording process and effect.
The course does not distinguish between “high” and “low” musical culture (“E-” and “U-Musik”). The musi-cal content will be shaped by the interests and initiative of the participants. This course is not lecture-based but will take place through open discussion and relies heavily on active participation. Participants should plan for approximately one hour of preparation or follow-up work per week.
Prerequisites: No prior knowledge is required. The group will benefit from the diverse range of experience brought by participants from fields including instrumentation, music history, organology, sound synthesis, audio en-gineering, technical ear training, acoustics, and all instrumental disciplines. Due to the technical setup, the course is limited to seven participants. I kindly ask for commited enrollment.
Course objectives
The aim of the course is to expand listening experience with regard to technical parameters and forms of technical sound shaping, as well as to develop a broader vocabulary for describing sonic events in virtual sound environments. The primary aim is not to enable participants to shape sounds themselves, but ra-ther to train the ear to recognize possibilities of sonic design and to communicate them professionally—and, to no little degree, to enrich their individual listening experience.
Weitere Angebote, wie Lötkurse & Pult- & Raumeinführungen (StEM), finden sich am schwarzen Brett (STEM, 8.Ebene).
Music for Rotary Telephone
An exploration of a limited technical environment for musical interaction
Any attempt to squeeze a live occurrence on a recording medium (visual, sonic, analog, digital…) comes with restrictions in the technical realm. Take an analog black-and-white photo, for example. It lacks the full color spectrum, is bound by square borders, cannot capture time (or does it?) and is heavily depend-ent on a very specific lighting situation. Still, no one would deny that this limited medium can be used to great effect, capturing a mood or situation in a way that might otherwise remain unseen. A plausible as-sumption would be, that the strength of this medium is its limitations – when used deliberately. But does that also work for, let’s say… a 1950s rotary-dial telephone?
The goal:
Realization of an analogue telephone as a medium for musical interaction
The plan:
As a group:
research the technical parameters & boundaries
explore the artistic possibilities
decide for a “frame” for the compositions & user experience
plan and implement the technical preparation
compose / record / produce (this part is to be done individually by each group member)
present and evaluate the result
Requirements:
Although the seminar is rather technical in nature, it does not require a strong technical background. It does, however, require a basic technical aptitude, as well as willingness to conduct the necessary research, and to be persistent when confronted with technical challenges. The project is intentionally open-ended and therefore relies heavily on the commitment of each participant.
Since the course does not provide guidance on composition, both responsibility and creative direction lie with each participant.
ECTS / Grades: 2 ECTS. As a group project, the course will be graded together.
