Term Schedule
Fall 2022
| Number | Title | Instructor | Time |
|---|
|
AME 140-1
Sarah Smith
TR 12:30PM - 1:45PM
|
|
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. AME140 is recommended as an introduction to the Audio and Music Engineering major, but it is accessible to students of music or other non-technical disciplines who wish to learn the fundamentals of music technology and enjoy building projects. Prerequisites: High School Algebra and Trigonometry
|
|
AME 140-2
Sarah Smith
W 2:00PM - 4:40PM
|
|
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.
|
|
AME 140-3
Sarah Smith
W 4:50PM - 7:30PM
|
|
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.
|
|
AME 140-4
Sarah Smith
F 9:40AM - 12:20PM
|
|
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.
|
|
AME 191-1
Stephen Roessner
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. Prerequisite: AME 140, INSTRUCTOR APPROVAL ONLY
|
|
AME 191-2
Stephen Roessner
T 5:00PM - 6:00PM
|
|
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. INSTRUCTOR APPROVAL ONLY. NOT OPEN TO FIRST YEAR STUDENTS
|
|
AME 191-3
Stephen Roessner
T 6:00PM - 7:00PM
|
|
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. INSTRUCTOR APPROVAL ONLY. NOT OPEN TO FIRST YEAR STUDENTS
|
|
AME 191-4
Stephen Roessner
T 7:00PM - 8:00PM
|
|
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. INSTRUCTOR APPROVAL ONLY. NOT OPEN TO FIRST YEAR STUDENTS
|
|
AME 192-1
Stephen Roessner
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. Prerequisite: AME 191
|
|
AME 192-2
Stephen Roessner
F 10:25AM - 11:25AM
|
|
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.
|
|
AME 192-3
Stephen Roessner
F 11:30AM - 12:30PM
|
|
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.
|
|
AME 193-1
Robert LaVaque
TR 3:25PM - 4:40PM
|
|
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. Instructor’s permission required.
|
|
AME 194-1
Robert LaVaque
TR 6:15PM - 7:30PM
|
|
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. Students will complete a number of projects throughout the course. Prerequisites: AME 193 or high degree of competency with Pro Tools or Logic Pro X; Strong musical ability, basic piano keyboard proficiency.
|
|
AME 197-1
Robert LaVaque
MW 3:25PM - 4:40PM
|
|
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, and Nuendo. The course will also feature guest lectures by industry leading professionals, who will share their experience and insights.
|
|
AME 223-1
Daniel Phinney
MW 12:30PM - 1:45PM
|
|
The devices, circuits, and techniques of audio electronics are covered in this course. Included is a survey of small signal amplifier designs and small-signal analysis and characterization, operational amplifiers and audio applications of opamps, large-signal design and analysis methods including an overview of linear and switching power amplifiers. The course also covers the design of vacuum tube circuits, nonlinearity and distortion. Other important audio devices are also covered including microphones, loudspeakers, analog to digital and digital to analog converters, and low-noise audio equipment design principles.
|
|
AME 223-2
Daniel Phinney
W 9:00AM - 12:00PM
|
|
The devices, circuits, and techniques of audio electronics are covered in this course. Included is a survey of small signal amplifier designs and small-signal analysis and characterization, operational amplifiers and audio applications of opamps, large-signal design and analysis methods including an overview of linear and switching power amplifiers. The course also covers the design of vacuum tube circuits, nonlinearity and distortion. Other important audio devices are also covered including microphones, loudspeakers, analog to digital and digital to analog converters, and low-noise audio equipment design principles.
|
|
AME 227-1
Thomas Fleischman; Stephen Roessner (Private)
MW 10:25AM - 11:40AM
|
|
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.
|
|
AME 240-2
Ming Lun Lee
MW 10:25AM - 11:40AM
|
|
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. All students, including technology and music majors, are welcome.
|
|
AME 264-1
Ming Lun Lee
TR 10:25AM - 11:40AM
|
|
This course is a sequel to Audio Software Design I. Students will learn how to create audio applications and plug-ins with Faust and C++. Faust is a high-level functional programming language designed for real-time digital signal processing (DSP), sound synthesis, and sound analysis. The Faust compiler can translate the same source code into other programming languages and export to audio applications or plug-ins running on various platforms, including Windows, MacOS, and Linux, iOS, and Android. JUCE is a cross-platform C++ application framework used to design audio applications, audio plug-ins, animated applications, and OpenGL applications. Many professional audio applications and plug-ins have been built with JUCE, mainly used for its GUI, plug-in, and DSP libraries. At the end of the semester, we will have an Audio Software Show demonstrating the audio applications or plug-ins designed by the students. Prerequisite: AME262 or ECE475 Audio Software Design I
|
|
AME 264-2
Ming Lun Lee
F 10:25AM - 11:40AM
|
|
This course is a sequel to Audio Software Design I. Students will learn how to create audio applications and plug-ins with Faust and C++. Faust is a high-level functional programming language designed for real-time digital signal processing (DSP), sound synthesis, and sound analysis. The Faust compiler can translate the same source code into other programming languages and export to audio applications or plug-ins running on various platforms, including Windows, MacOS, and Linux, iOS, and Android. JUCE is a cross-platform C++ application framework used to design audio applications, audio plug-ins, animated applications, and OpenGL applications. Many professional audio applications and plug-ins have been built with JUCE, mainly used for its GUI, plug-in, and DSP libraries. At the end of the semester, we will have an Audio Software Show demonstrating the audio applications or plug-ins designed by the students. Prerequisite: AME262 or ECE475 Audio Software Design I
|
|
AME 277-2
Zhiyao Duan
TR 12:30PM - 1:45PM
|
|
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). Prerequisites: ECE 246/446 or ECE 272/472 or other equivalent signal processing courses, and Matlab programming. Knowledge of machine learning techniques such as Markov models, support vector machines is also helpful, but not required.
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|
AME 294-1
Michael Heilemann
R 3:25PM - 6:05PM
|
|
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. Prerequisites: AME 272 strong MATLAB expertise, and C/C++ programming familiarity ECE 210
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|
AME 386-1
Michael Heilemann
MW 10:25AM - 11:15AM
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|
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. Prerequisites: AME 223, AME 233 and AME 272
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|
AME 391-1
–
–
|
|
Registration for Independent Study courses needs to be completed thru the instructions for online independent study registration. |
|
AME 395-1
–
–
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|
Registration for Independent Study courses needs to be completed thru the instructions for online independent study registration. |
|
AME 398-1
Stephen Roessner; Andrew Cavaciuti
MW 4:30PM - 6:00PM
|
|
This course is a hands-on, workshop style course devoted to the technology and art of spatial sound recording with a focus on stereo methods. The concept of audio stereophony and the practice of using microphone techniques to produce stereophonic sound recordings will be discussed and analyzed in detail, with an emphasis on critical listening. For the majority of the semester, one of the bi-weekly meetings will be on-site in the Strong Auditorium to explore the various techniques by making recordings of River Campus ensemble rehearsals. Students will be required to complete a final recording project utilizing at least 3 of the techniques discussed in class. Prerequisties: AME 192
|
Fall 2022
| Number | Title | Instructor | Time |
|---|---|
| Monday and Wednesday | |
|
AME 227-1
Thomas Fleischman; Stephen Roessner (Private)
|
|
|
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. |
|
|
AME 240-2
Ming Lun Lee
|
|
|
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. All students, including technology and music majors, are welcome. |
|
|
AME 386-1
Michael Heilemann
|
|
|
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. Prerequisites: AME 223, AME 233 and AME 272 |
|
|
AME 223-1
Daniel Phinney
|
|
|
The devices, circuits, and techniques of audio electronics are covered in this course. Included is a survey of small signal amplifier designs and small-signal analysis and characterization, operational amplifiers and audio applications of opamps, large-signal design and analysis methods including an overview of linear and switching power amplifiers. The course also covers the design of vacuum tube circuits, nonlinearity and distortion. Other important audio devices are also covered including microphones, loudspeakers, analog to digital and digital to analog converters, and low-noise audio equipment design principles. |
|
|
AME 197-1
Robert LaVaque
|
|
|
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, and Nuendo. The course will also feature guest lectures by industry leading professionals, who will share their experience and insights. |
|
|
AME 398-1
Stephen Roessner; Andrew Cavaciuti
|
|
|
This course is a hands-on, workshop style course devoted to the technology and art of spatial sound recording with a focus on stereo methods. The concept of audio stereophony and the practice of using microphone techniques to produce stereophonic sound recordings will be discussed and analyzed in detail, with an emphasis on critical listening. For the majority of the semester, one of the bi-weekly meetings will be on-site in the Strong Auditorium to explore the various techniques by making recordings of River Campus ensemble rehearsals. Students will be required to complete a final recording project utilizing at least 3 of the techniques discussed in class. Prerequisties: AME 192 |
|
| Tuesday | |
|
AME 191-2
Stephen Roessner
|
|
|
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. INSTRUCTOR APPROVAL ONLY. NOT OPEN TO FIRST YEAR STUDENTS |
|
|
AME 191-3
Stephen Roessner
|
|
|
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. INSTRUCTOR APPROVAL ONLY. NOT OPEN TO FIRST YEAR STUDENTS |
|
|
AME 191-4
Stephen Roessner
|
|
|
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. INSTRUCTOR APPROVAL ONLY. NOT OPEN TO FIRST YEAR STUDENTS |
|
| Tuesday and Thursday | |
|
AME 192-1
Stephen Roessner
|
|
|
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. Prerequisite: AME 191 |
|
|
AME 264-1
Ming Lun Lee
|
|
|
This course is a sequel to Audio Software Design I. Students will learn how to create audio applications and plug-ins with Faust and C++. Faust is a high-level functional programming language designed for real-time digital signal processing (DSP), sound synthesis, and sound analysis. The Faust compiler can translate the same source code into other programming languages and export to audio applications or plug-ins running on various platforms, including Windows, MacOS, and Linux, iOS, and Android. JUCE is a cross-platform C++ application framework used to design audio applications, audio plug-ins, animated applications, and OpenGL applications. Many professional audio applications and plug-ins have been built with JUCE, mainly used for its GUI, plug-in, and DSP libraries. At the end of the semester, we will have an Audio Software Show demonstrating the audio applications or plug-ins designed by the students. Prerequisite: AME262 or ECE475 Audio Software Design I |
|
|
AME 140-1
Sarah Smith
|
|
|
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. AME140 is recommended as an introduction to the Audio and Music Engineering major, but it is accessible to students of music or other non-technical disciplines who wish to learn the fundamentals of music technology and enjoy building projects. Prerequisites: High School Algebra and Trigonometry |
|
|
AME 277-2
Zhiyao Duan
|
|
|
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). Prerequisites: ECE 246/446 or ECE 272/472 or other equivalent signal processing courses, and Matlab programming. Knowledge of machine learning techniques such as Markov models, support vector machines is also helpful, but not required. |
|
|
AME 191-1
Stephen Roessner
|
|
|
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. Prerequisite: AME 140, INSTRUCTOR APPROVAL ONLY |
|
|
AME 193-1
Robert LaVaque
|
|
|
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. Instructor’s permission required. |
|
|
AME 194-1
Robert LaVaque
|
|
|
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. Students will complete a number of projects throughout the course. Prerequisites: AME 193 or high degree of competency with Pro Tools or Logic Pro X; Strong musical ability, basic piano keyboard proficiency. |
|
| Wednesday | |
|
AME 223-2
Daniel Phinney
|
|
|
The devices, circuits, and techniques of audio electronics are covered in this course. Included is a survey of small signal amplifier designs and small-signal analysis and characterization, operational amplifiers and audio applications of opamps, large-signal design and analysis methods including an overview of linear and switching power amplifiers. The course also covers the design of vacuum tube circuits, nonlinearity and distortion. Other important audio devices are also covered including microphones, loudspeakers, analog to digital and digital to analog converters, and low-noise audio equipment design principles. |
|
|
AME 140-2
Sarah Smith
|
|
|
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. |
|
|
AME 140-3
Sarah Smith
|
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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. |
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AME 294-1
Michael Heilemann
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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. Prerequisites: AME 272 strong MATLAB expertise, and C/C++ programming familiarity ECE 210 |
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AME 140-4
Sarah Smith
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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. |
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AME 192-2
Stephen Roessner
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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. |
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AME 264-2
Ming Lun Lee
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This course is a sequel to Audio Software Design I. Students will learn how to create audio applications and plug-ins with Faust and C++. Faust is a high-level functional programming language designed for real-time digital signal processing (DSP), sound synthesis, and sound analysis. The Faust compiler can translate the same source code into other programming languages and export to audio applications or plug-ins running on various platforms, including Windows, MacOS, and Linux, iOS, and Android. JUCE is a cross-platform C++ application framework used to design audio applications, audio plug-ins, animated applications, and OpenGL applications. Many professional audio applications and plug-ins have been built with JUCE, mainly used for its GUI, plug-in, and DSP libraries. At the end of the semester, we will have an Audio Software Show demonstrating the audio applications or plug-ins designed by the students. Prerequisite: AME262 or ECE475 Audio Software Design I |
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AME 192-3
Stephen Roessner
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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. |
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