Provides an introduction to the science and technology of audio. Students will learn about the vibration of strings, musical tuning systems, overtones and timbre, modes of oscillation through the concept of a guitar. Fourier analysis, transducers and passive electrical components and circuits will be introduced when discussing amps and audio components. Hands on projects introduce the fundamental concepts of electronics, including voltage, current, resistance and impedance, basic circuit analysis, ac circuits, impedance matching, and analog signals. The course then introduces basic digital signal processing concepts, where they will use Arduinos and Pure Data to learn about conversion of sound to digital format, frequency analysis, digital filtering and signal processing and musical sound synthesis. AME140 is recommended as an introduction to the Audio and Music Engineering major but is accessible to students of music or other non-technical disciplines who wish to learn the fundamentals of music technology.

BUILDING: CSB | ROOM: 601

PREREQUISITES: HIGH SCHOOL ALGEBRA AND TRIGONOMETRY

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BUILDING: HOPE | ROOM: 202

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BUILDING: HOPE | ROOM: 202

This course covers the acoustical and psychoacoustic fundamentals of audio recording including the nature of sound, sound pressure level, frequency and pitch, hearing and sound perception, reflection, absorption and diffusion of sound, sound diffraction, room acoustics, reverberation, and studio design principles. The course also provides practical experience in audio recording including an introduction to recording studio equipment, microphones and microphone placement techniques, signal flow, amplification, analog and digital recording, analog to digital conversion, digital processing of sound, multi-track recording and an introduction to mixing and mastering. Each student is required to complete a substantive recording project at the end of the course.

BUILDING: CSB | ROOM: 412

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BUILDING: CSB | ROOM: 412

This course is a continuation of AME191. Emphasis is on the development of critical listening skills and proficiency in audio mixing and mastering. Fundamental topics covered include the human auditory system, theories of hearing and audio perception, perception of loudness and pitch, critical bands and auditory masking, beats and roughness, temporal and pitch acuity, binaural hearing. Listening skills development include hearing “width” and “depth” in audio, mixing techniques in various musical genres, recognition of various effects including reverb, delay, compression, phasing and distortion. Production skills development includes equalization and achieving spectral balance, the use of compression and dynamic range control, achieving depth and dimension in recordings, panning and auditory scene control. Students will complete an extensive mixing and mastering project at the end of the course.

BUILDING: RETT | ROOM: 303

PREREQUISITES: AME 191and Instructors permission

This course is a continuation of AME191. Emphasis is on the development of critical listening skills and proficiency in audio mixing and mastering. Fundamental topics covered include the human auditory system, theories of hearing and audio perception, perception of loudness and pitch, critical bands and auditory masking, beats and roughness, temporal and pitch acuity, binaural hearing. Listening skills development include hearing “width” and “depth” in audio, mixing techniques in various musical genres, recognition of various effects including reverb, delay, compression, phasing and distortion. Production skills development includes equalization and achieving spectral balance, the use of compression and dynamic range control, achieving depth and dimension in recordings, panning and auditory scene control. Students will complete an extensive mixing and mastering project at the end of the course.

BUILDING: RETT | ROOM: 303

PREREQUISITES: AME 191and Instructors permission

The course is intended to provide students a basic understanding of sound design, audio recording, and working with sound for picture. The emphasis is on demonstrations and hands-on The course is intended to provide students a basic understanding of sound design, and working with sound for picture. The emphasis is on demonstrations and hands-on experience to enable students to gain a practical knowledge of sound and music production using computers. Topics include synthesizers & samplers; recording and editing with Pro Tools; sound effect creation; foley & automatic dialog replacement; basic soundtrack composition; and working to picture. Many techniques are explored employing software and hardware based sound creation tools throughout the course. Students will complete a major project at the conclusion of the course.

BUILDING: CSB | ROOM: 423

PREREQUISITES: Instructor permission only

The course is intended to provide students a basic understanding of sound design, audio recording, and working with sound for picture. The emphasis is on demonstrations and hands-on The course is intended to provide students a basic understanding of sound design, and working with sound for picture. The emphasis is on demonstrations and hands-on experience to enable students to gain a practical knowledge of sound and music production using computers. Topics include synthesizers & samplers; recording and editing with Pro Tools; sound effect creation; foley & automatic dialog replacement; basic soundtrack composition; and working to picture. Many techniques are explored employing software and hardware based sound creation tools throughout the course. Students will complete a major project at the conclusion of the course.

BUILDING: CSB | ROOM: 423

PREREQUISITES: Instructor permission only

This course is intended to provide students with a basic understanding of the process and the skills for creating music for picture. The course emphasizes hands-on experience where students gain practical skills in scoring to picture using computers and it features guest lectures by industry leading professionals, who will share their insights on creating music for TV Shows, Advertising, Movies, Gaming, Animation, and Industrial Work. Topics also include soft synthesizers, samplers and virtual instruments; recording and editing with Pro Tools and Logic; and sound design on audio workstations. Students will complete a number of projects throughout the course.

BUILDING: CSB | ROOM: 423

PREREQUISITES: Strong musical ability, basic piano keyboard proficiency, AME 193 or familiarity with either Pro Tools, Logic Pro, or Ableton are highly recommended for this course. Instructor’s permission required.

The course is intended to provide students a basic understanding of audio for gaming. The emphasis is on demonstrations and hands-on experience to enable students to gain a practical knowledge of the integration of sound and music into video games using middleware. Students will primarily work with Wwise, Unity, Reaper, Pro Tools and Logic Pro X; Topics will include basic soundtrack composition for interactive; Advanced sound effect creation; foley; Dialog recording and editing; Working directly within a game environment; and audio for virtual reality.  Supplementary software discussed will include FMod, Unreal, Fabric, Nuendo, and Elias.  The course  will also feature guest lectures by industry leading professionals, who will share their experience and insights.

BUILDING: CSB | ROOM: 423

PREREQUISITES: Instructor’s permission required

This course provides a multifaceted account of the evolution of sound technologies, starting with Edison’s invention of the phonograph in 1877 through the development of microphones, radio, magnetic tape recording, vinyl records, multi-track recording, digital audio, compact discs, the MP3 format, surround sound, online music streaming, and 3D audio. We will discuss how technology has shaped the musical experience, and, conversely, how the performance of various genres of music, including classical, rock, jazz, hip-hop, and country, has influenced the development of audio technologies. We will also investigate, drawing from a variety of primary and secondary sources, how certain legendary recordings were produced, including those of Enrico Caruso, Bessie Smith, Les Paul, Louis Armstrong, Elvis Presley, The Beatles, Michael Jackson, and Madonna. A special topic focuses on spatial audio for virtual reality (VR) and augmented reality (AR), binaural recording, and ambisonics.

BUILDING: CSB | ROOM: 601

PREREQUISITES: All students, including technology and music majors, are welcome.

In this course, students will develop the ability to design programs in C, Python, Max, and Pure Data for audio/music research, computer music, and interactive performance. We will begin with an introduction to computer music and audio programming. After a quick review of C, we will use the PortSF library to generate and process basic envelopes and waveforms, and to explore the development of the table-lookup oscillator and other DSP tools. Max and Pure Data are similar visual programming languages for music and multimedia. We will use Max to explore topics in sound synthesis, signal processing, and sound analysis, as well as computer music. Python is a general-purpose programming language used in many application domains. We will use JythonMusic, a special version of Python, for music making, building graphical user interfaces, and for connecting external human interface devices. Students will practice their programming techniques through a series of programming assignments and a final project.

BUILDING: CSB | ROOM: 523

PREREQUISITES: ECE114 or instructor permission

Computer audition is the study of how to design a computational system that can analyze and process auditory scenes. Problems in this field include source separation (splitting audio mixtures into individual source tracks), pitch estimation (estimating the pitches played by each instrument), streaming (finding which sounds belong to a single event/source), source localization (finding where the sound comes from) and source identification (labeling a sound source).

BUILDING: MEL | ROOM: 224

This is a follow on course to AME233, Musical Acoustics. In this course students will complete a major project in acoustics, such as the acoustical characterization of an architectural space, design or re-design of an architectural or studio space, development of acoustical computer simulation tools, design or characterization of acoustic musical instruments, design and fabrication of loudspeakers, design and implementation of a live sound or sound reinforcement system, or any other project in acoustics with the agreement of the instructor. Weekly meetings and progress reports are required.

BUILDING: CSB | ROOM: 523

PREREQUISITES: AME 233

This is a follow on course to AME272, Audio Digital Signal Processing. Students will complete a major design/build project in the area of audio digital signal processing in this course. Examples include a real-time audio effects processor, music synthesizer or sound analyzer or other projects of student interest. Weekly meetings and progress reports are required.

BUILDING: HOPE | ROOM: 202

PREREQUISITES: ECE 241; strong MATLAB expertise, and C/C++ programing familiarity (ECE 111 and ECE 113 recommended)

This is a follow on course to AME 223, Audio Electronics. In this course students will complete a major design/build project in the area of audio electronics. Examples include a solid state or tube-based instrument amplifier, audio power amplifier, audio effects processor, audio analog/digital interface or any other audio electronic project with the agreement of the instructor. Weekly meetings and progress reports are required.

BUILDING: HOPE | ROOM: 202

PREREQUISITES: AME 223

Senior Design Project in Audio and Music Engineering. In this first semester of the year-long AME Senior Project course students will define their product, possibly in collaboration with an outside customer, and then develop product concept documentation, detailed requirements specifications, system level designs, detailed sub-system designs and hopefully build demonstration prototypes.

BUILDING: CSB | ROOM: 523

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