This course covers the fundamentals of manipulating and encoding sound in a digital format. Mathematical representations of digital signals are introduced and the effects of simple filters are analyzed in the context of audio. This course further provides students with an introduction to programming in Matlab through a series of assignments exploring sound synthesis algorithms and audio effects processing.    

Location

Computer Studies Room 601 (MW 9:00AM - 10:15AM)

This course covers the fundamentals of manipulating and encoding sound in a digital format. Mathematical representations of digital signals are introduced and the effects of simple filters are analyzed in the context of audio. This course further provides students with an introduction to programming in Matlab through a series of assignments exploring sound synthesis algorithms and audio effects processing.    

Location

Computer Studies Room 601 (F 9:00AM - 10:15AM)

This course covers the fundamentals of manipulating and encoding sound in a digital format. Mathematical representations of digital signals are introduced and the effects of simple filters are analyzed in the context of audio. This course further provides students with an introduction to programming in Matlab through a series of assignments exploring sound synthesis algorithms and audio effects processing.    

Location

Computer Studies Room 601 (M 12:30PM - 1:45PM)

This course covers the fundamentals in becoming an audio engineer. Topics covered include: Acoustics, Psychoacoustics, Microphones, Signal Processing, Tape Recording, Digital Audio Theory, Signal Flow, Studio Etiquette, Digital Audio Workstations, Music Business, Recording Audio, and Mixing Audio. You do not need any previous experience in recording, however some familiarity with music and how it is created is needed.

There are four group recording projects that make up the bulk of the course, each with their own guidelines and challenges. This course requires considerable time to be spent on projects outside of the lecture and lab times. The labs are required to take this course.

First-year non-AME Major students are ineligible to take this course.

Prerequisites: None

INSTRUCTOR PERMISSION ONLY.

Location

Gavett Hall Room 305 (TR 2:00PM - 3:15PM)

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.

Location

Rettner Hall Room 303 (T 4:50PM - 6:05PM)

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.

Location

Rettner Hall Room 303 (T 6:15PM - 7:30PM)

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.

Location

Rettner Hall Room 303 (T 7:40PM - 8:55PM)

This course builds on knowledge gained in AME191. Fundamental topics covered include Advanced Mixing and Mastering Techniques, Drum Replacement, Impulse Responses and Reverb, Advanced Concepts of Signal Processing, Analog Tape Recording, Music Business Ethics and Taxes, and Hybrid Analog/Digital Mixing Techniques.

Emphasis is on the development of critical listening skills through ear training exercises and active listening assignments. These drills will develop your ability to hear width and depth in audio, mixing techniques in various musical genres, specific instruments used in a recording, and recognition of various effects including reverb, delay, compression, phasing and distortion.

There are four group recording projects that make up the bulk of the course, each with their own guidelines and challenges. This course requires considerable time to be spent on projects outside of the lecture and lab times. The labs are required to take this course.

Prerequisites: AME 191

INSTRUCTOR PERMISSION ONLY.

Location

Gavett Hall Room 305 (TR 9:40AM - 10:55AM)

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.

Location

Gavett Hall Room 305 (T 3:25PM - 4:40PM)

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.

Location

Gavett Hall Room 305 (R 3:25PM - 4:40PM)

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 and Logic Pro; 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 sound design project at the conclusion of the course.

There are no prerequisites.

Location

Computer Studies Room 616 (TR 3:25PM - 4:40PM)

This course is intended to provide students with an understanding of the process and the skills for creating MUSIC for picture. The course emphasizes hands-on experience where students gain practical knowledge in scoring to picture using provided DAWs and Virtual Instruments.

It features guest lectures by professional composers in the fields of TV, Film, Advertising, Gaming, and Animation, providing real world style assignments along with individual feedback for each student.

Topics also include MIDI, creating drumbeats, music analysis and emulation, soft synthesizers, samplers, virtual instruments, recording and editing with Logic Pro, and working to picture. Students will complete numerous projects throughout the course.

Prerequisites: AME 193, or a solid working knowledge of either Pro Tools or Logic Pro.

Strong musical ability, basic keyboard proficiency.

Location

Computer Studies Room 616 (TR 6:15PM - 7:30PM)

The course is intended to provide students a basic understanding of creating 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, Reaper, Pro Tools, and Logic Pro X. The course will also feature guest lectures by industry leading professionals, who will share their experience and insights. For a final project, students will create their own music and sound for a provided game.

Topics will include soundtrack composition for interactive; Advanced sound effect creation, foley, Dialog recording and editing, and working within a game environment. Supplementary software discussed will include FMod, Unreal, and Nuendo.

Prerequisite: AME 193 & 194, or a working knowledge of either Pro Tools, Logic Pro, or Reaper.

Location

Computer Studies Room 616 (MW 3:25PM - 4:40PM)

This course covers the design, planning, and implementation of recording studios, ranging in size from the small home studio to large format commercial studios. A successful recording studio is a living entity composed of numerous interconnected systems that must function together in harmony to facilitate both the creative process and viable business entity. Using the systems of the human body as framework each system of the living studio will be discussed including: recording equipment and amplifiers, digital and analog recorders, loudspeaker systems, wiring, computer infrastructure and digital asset management, construction, acoustic planning and treatment, HVAC, furnishings, staffing, maintenance and budgeting. The course will also include guest speakers and conversations with leading experts from studios in NYC and abroad to share real world expertise and provide virtual (or if possible in person) studio tours of successful facilities. Each student is required to complete a proposal for a large format commercial studio prepared for a client to be presented as their final project. 

Location

(TR 7:40PM - 8:55PM)

Hear UR is a history-oriented podcast that takes on a subject related to the environmental history of Rochester. Over the course of this semester, this class researches, develops, and produces one season of episodes for Hear UR. Students divide into teams of three, where they take on the roles of Producer, Lead Researcher, or Engineer. Together they develop the subject matter of the season and episodes; locate primary sources to interpret; identify a body of secondary literature; draft and re-draft podcast scripts; master the use of microphones, recording studios, and audio editing software; create a website to host each episode, where they post a written article on the same topic, provide primary source images, additional links, and script; finally they organize and execute a public roll out of the season, using social and traditional media platforms, local public radio and television, and University communications.

Location

Bausch & Lomb Room 269 (TR 12:30PM - 1:45PM)

Engineering aspects of acoustics. Review of oscillators, vibratory motion, the acoustic wave equation, reflection, transmission and absorption of sound, radiation and diffraction of acoustic waves. Resonators, hearing and speech, architectural and environmental acoustics. Prerequisites:

Linear algebra and Differential Equations (MATH 165), and Physics (PHY 121) or equivalents.

Location

Computer Studies Room 601 (TR 11:05AM - 12:20PM)

Engineering aspects of acoustics. Review of oscillators, vibratory motion, the acoustic wave equation, reflection, transmission and absorption of sound, radiation and diffraction of acoustic waves. Resonators, hearing and speech, architectural and environmental acoustics.

Location

Computer Studies Room 523 (M 3:25PM - 4:40PM)

Engineering aspects of acoustics. Review of oscillators, vibratory motion, the acoustic wave equation, reflection, transmission and absorption of sound, radiation and diffraction of acoustic waves. Resonators, hearing and speech, architectural and environmental acoustics.

Location

Computer Studies Room 601 (W 1:15PM - 2:15PM)

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, the radio, magnetic tape recording, vinyl records, multi-track recording, stereo, digital audio, surround sound, online music streaming, and 3D audio. We will discuss how technology has shaped the musical experience, and, conversely, how various genres of music have influenced the development of audio technologies. We will also explore the secrets of several legendary recordings, including those of Enrico Caruso, Bessie Smith, Les Paul, Louis Armstrong, the Beach Boys, the Beatles, ABBA, Michael Jackson, and Justin Bieber. A special topic will focus on spatial audio for VR/AR, object-based audio, binaural recording, and Ambisonics.

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

INSTRUCTOR: MING-LUN LEE

Location

Computer Studies Room 616 (MW 10:25AM - 11:40AM)

In this course, students will develop skills for designing audio/music applications and creating computer music in C and Max. We will begin with the history of computer music, a survey of audio programming languages, and a review of C. Libsndfile, a C library for reading and writing sound files, will be used to explore topics in sound synthesis, analysis, and digital signal processing. Students will use PortAudio, a C library for real-time audio input/output, to design DSP applications. Max is a visual programming language for interactive audio/music and multimedia. Students are required to watch pre-recorded lectures to learn Max and attend recitations for reviews. They will also practice their programming techniques through a series of programming assignments, a midterm drum machine project in Max, and a final research/design project.  

Prerequisite: ECE114 or instructor permission

Location

Computer Studies Room 616 (TR 12:30PM - 1:45PM)

In this course, the students will develop the ability to design applications in C and Max for audio/music research and computer music. The course will begin with an introduction to computer music and audio programming. After a quick review of C, we will use the Libsndfile, a C library for reading and writing audio files, to develop programs for peak normalization, stereo panning, envelope and waveform synthesis, additive synthesis, table-lookup oscillators, and other digital signal processing tools. We will also use Max, a visual programming language, to explore topics in sound synthesis, signal processing, sound analysis, and computer music design. The students will practice their programming techniques through a series of programming assignments, a midterm drum machine project using Max, and a final design/research project.

Prerequisite: ECE114 or instructor permission

Location

Computer Studies Room 616 (F 10:25AM - 11:40AM)

This course is a survey of audio digital signal processing fundamentals and applications. Topics include sampling and quantization, analog to digital converters, time and frequency domains, spectral analysis, vocoding, digital filters, audio effects, music audio analysis and synthesis, and other advanced topics in audio signal processing. Implementation of algorithms using Matlab and on dedicated DSP platforms is emphasized.

Location

Computer Studies Room 601 (TR 9:40AM - 10:55AM)

This course is a survey of audio digital signal processing fundamentals and applications. Topics include sampling and quantization, analog to digital converters, time and frequency domains, spectral analysis, vocoding, digital filters, audio effects, music audio analysis and synthesis, and other advanced topics in audio signal processing. Implementation of algorithms using Matlab and on dedicated DSP platforms is emphasized.

Location

Computer Studies Room 601 (M 2:00PM - 3:00PM)

This course is a survey of audio digital signal processing fundamentals and applications. Topics include sampling and quantization, analog to digital converters, time and frequency domains, spectral analysis, vocoding, digital filters, audio effects, music audio analysis and synthesis, and other advanced topics in audio signal processing. Implementation of algorithms using Matlab and on dedicated DSP platforms is emphasized.

Location

Computer Studies Room 601 (F 2:15PM - 3:15PM)

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.

Location

Computer Studies Room 523 (M 9:40AM - 10:55AM)

Audio amplification concepts and design techniques focused on the use of both solid state and vacuum tubes. Shall cover concepts related to impedance matching, preamps, op amps, class A, AB, D, H and G power amplifiers, circuit board layout, power supplies and grounding techniques.

PREREQUISITE: AME 295 or Instructor permission. INSTRUCTOR: DAN PHINNEY

Location

Computer Studies Room 601 (T 8:00AM - 9:30AM)

Audio amplification concepts and design techniques focused on the use of vacuum tubes.  Will cover some concepts related to MOSFET amplifiers as well.  A mixture of lab based projects and LTSpice simulation.  Shall cover concepts related to impedance matching, preamps, class A and class AB power amplifiers, power supplies and grounding techniques. Prerequisite: AME 295 or Instructor permission

Location

Hopeman Hall Room 202 (W 10:25AM - 1:45PM)

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.

Location

Hopeman Hall Room 202 (W 9:00AM - 10:15AM)

Senior Design Project in Audio and Music Engineering. In the second semester of the year-long AME Senior Project course students will complete their projects including final system level designs, detailed sub-system designs, prototype building, testing, evaluation and final presentation to the customer.

Location

Computer Studies Room 601 (W 6:15PM - 8:55PM)

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