BRISTOL INSTITUTE OF TECHNOLOGY

MODULAR PROGRAMME

ASSESSED COURSEWORK SPECIFICATION

UFIEK4-20-2: Computers, Audio and Music 2009-20010

Coursework Component B:2

Aims

You will work in a group of 2 people to create in Cubase* a soundscape of exactly 3 minutes in duration, incorporating field recording(s) and other elements. You will deliver an MP3 version of a stereo mixdown of your soundscape, a screenshot of your soundscape sequence, a summary document and a laminated A3 poster describing your soundscape.

* Note that we run computers with Cubase installed so we teach and support work in Cubase - if you choose to use another sequencing package, we may not be able to advise you in detail as to how to work on this assignment.

Instructions

1. Choose a partner and register your group by the deadline below.
2. Working with your partners, use Cubase to produce a soundscape comprised of at least 8 audio tracks, which plays for exactly 3 minutes and 0 seconds. You should use audio elements only. You may also use audio instruments in Cubase. If you work from home, you may use any sequencer that can produce a stereo MP3 mixdown , playable using iTunes in 1N95. Whether you use Cubase or another sequencer package, you should supply a screenshot of your soundscape sequence before export for inspection by tutors at your presentation .
3. Prepare a document describing your sequence. This must include
   
   • the names and student numbers of all group members
   • the name of the soundscape you have assembled. Note that your soundscape can be of any type - your soundscape does not have to contain any "musical" elements at all, or it could be a song with field recordings incorporated. The choice of focus is yours, but please discuss with your tutors. Please name your file as something other than "Soundscape" or "Untitled" - try to choose an unambiguous name by which it can easily be identified during and after the presentations (group member surnames for example).
   • tracks used and content of each track
   • the sources of, and transformations applied to, every piece of audio used in your soundscape
   • copyright details of every piece of audio used in your soundscape. It is important that you detail this, since only soundscapes that have every audio element cleared for copyright may be offered to radio stations in consideration for broadcast
   • details of any of the plus points detailed below that you have used
   • details of any other operations you have performed on your sequence that demonstrate your technical competence
4. Prepare a poster (one side of A3 and laminated) describing your soundscape, and including for all group members:-
   - photographs
   - email addresses/website URLs.
   This poster may be used in displays of work on Open Days and similar events. If you do not want your poster to be considered for use,you should make this clear on the poster itself.
5. You will perform your sequence from the MP3 stereo mixdown, copied onto the central machine in 1N95 as directed by your tutor before your presentation timeslot.
   
6. Submit your summary document (as described above), demonstrate and playback your sequenced soundscape in the Multimedia lab,1N95, at a specific time (to be notified) on 27th April or May 3rd. Nearer the date of the assessment, you will be allocated a specific 10 minute-long presentation slot. This information will be posted on UWE Online.
   
7. Be prepared to answer questions about your soundscape at this time
   
8. Each member of the group will get equal marks unless written evidence of widely varying contributions is provided to Marcus Lynch at least three (3) days before the day of your presentation.
9. You should be prepared to make your source soundscape sequence and all associated files (audio, MIDI etc.) available for inspection at a mutually convenient time within the following 7 days, if requested so to do by your assessing tutors.

Deadlines

• Friday March 26th, 20010. All groups must be registered by email with Marcsu Lynch ( at marcus.lynch@uwe.ac.uk).
• 29th April / May 6th. All partners must attend in 1N95 to present the soundscape to module tutors and fellow students.

Your Soundscape

1. You may present a musically-based piece or a more abstract piece, but your presentation must include at least 20 seconds of field recording. There are several examples of soundscapes in the Music + Audio Resources (accesssible only from inside UWE firewall, or by using Remote Access.app using a Macintosh - and registering via BIT HelpDesk - or myXA on a PC).
   
2. Your soundscape does not need to be a piece of music. Lyrics or vocals are not obligatory, although they can be very effective at conveying a sense of your soundscape. VST instruments or equivalent may be used, as long as their outputs are recorded into an audio track.
   
3. The playing time of your soundscape should be exactly 3 minutes and 0 seconds
   
4. Your soundscape must have at least four discrete sections, which should be clearly indicated on a screenshot of your sequence.
   
5. Your soundscape sequence should contain at least 8 tracks - you can add as many extra tracks as you like (as long as the sequence plays on the equipment in 1N95) without having to ask for prior clearance from your module tutor.
   
6. Your soundscape must contain only material for which you have copyright permission. This may include your own compositions and recordings, as well as material available from sources such as Creative Commons or The Freesound Project.
   
7. You should mix your soundscape down to a stereo output in MP3 format

About Your Soundscape

Plus Points

You can improve your sequence by optionally including some or all of the following plus points.

• Using filters and effects to emphasize the structure of the soundscape.
• Timestretching
• Pitchshifting
• Active pan positioning each instrument at the start of each track.
• Using controllers, such as portamento, sustain, reverb, chorus and others.
• Changing the tempo (if appropriate) of your soundscape.
• Cross-fading - morphing from one track to another.
• Otherwise demonstrating your use of transformative filters and effects within Cubase

Soundscape Progression

A soundscape consisting of nothing more than repeated elements can quickly become boring. You should make some attempt to prevent this from happening by using some of the following techniques as the soundscape unfolds:

• Adding more tracks.
• "Layering" tracks.
• Muting some sections or parts of sections.
• Changing rhythms between sections
• Changing effects used between sections
• Successively transforming audio elements throughout the course of the soundscape

Marking

Your soundscape will normally be marked during the assessment session but your MP3 file will be retained for possible further analysis.

After demonstrating your soundscape, you may be asked to answer questions. You should also be prepared to demonstrate your complete soundscape sequence, including source audio files, to tutors at a mutually convenient time and place before the end of the examination season - you will be told at the end of your presentation slot if thisis required of you.. If you use a programme other than Cubase to prepare your soundscape, it is your reponsibility to ensure that you are able to meet this condition, should you be asked to.

It is difficult to give precise marking criteria for such a wide ranging assignment; however, the following guide-lines will be used when marking your work:

• Minimum Pass (40%-50%)

  For a minimum pass, the sequence must meet all of the following criteria:

  • Between 2'50"" and 3'10" in length
  • At least the minimum number of tracks.
  • At least have the minimum amount of "original" sequencing, whilst incorporating at least four discrete sections in the soundscape

  However:

  • The sequence may not flow smoothly and there may be obvious transitions between sections.
  • There may be a number of unintended hiatuses in the sequence (for example playing back of transformed audio samples in real time may cause unintended "stuttering").
  • There may be no attempt at progression during the soundscape.

• Lower Second Class (50%-60%)

  As for minimum pass, plus:

  • There will be some attempt at including some of the plus points above.
  • At least one of the progression techniques given above will be used during the sequence.

• Upper Second Class (60%-70%)
  • The sequence will probably have more than the minimum amount of "original" sequencing or use more than the minimum number of tracks.
  • There will be some attempt at variation - e.g. rhythms and/or effects used
  • The sequence will flow smoothly from section to section, but with perhaps one obvious transition between sections.
  • There will be no more than one unintended hiatus in the sequence
  • At least one of the plus points above will be implemented correctly.
  • At least two of the progression techniques given above will be used during the sequence.

• First Class (70+%)
  • The sequence will use at least two of the plus points above.
  • The sequence will probably have much more than the minimum amount of "original" sequencing
  • The sequence will probably use more than the minimum number of tracks.
  • There will be an obvious effort to vary the rhythms and/or effects as the soundscape progresses.
  • The sequence will flow very smoothly from section to section.
  • There will be no unintended hiatuses in the soundscape
  • There will be a distinct progression as the soundscape plays and it will engage the listener without being boring.

Note that you won't be marked on your taste or your choice of soundscape.

Audiences For Your Soundscape

After the presentations have been assessed, your soundscape may be offered to two different radio stations to consider for broadcast:- "framework" on resonance fm and the Hub, UWE's student radio station.

"framework" seeks raw field recordings, field recording based composition or introduction submissions

The Hub is particularly (but not exclusively) interested in speech-based content

Responsibility for Group Work

Every student who is part of a group undertaking an assignment or other piece of assessed group work is required to take, and will be deemed to have taken, individual as well as joint responsibility for all the work submitted by the group. In particular, this includes individual as well as group responsibility for any assessment offence committed, whether by the student or any other student in the group. Any penalty applied in the event of an assessment offence will normally be applied to all members of the group.

1. where a member of a group acknowledges, in writing to the Dean of the faculty owning the module, that s/he has committed an assessment offence
2. where an offence can be shown to have been committed by (a) specific member(s) of the group responsible for those sections of the work that are the subject of the assessment offence.

In the case of these exceptions the penalty will only be applied to the member(s) of the group who have committed the assessment offence.

Advice

It is good practice in academic writing to reference correctly the work of others that you may draw upon for your own. Please help us to clearly distinguish your original efforts by so doing. The usual university strictures about plagiarism apply to this assignment. There is a very good description of plagiarism, and of good practice, in the CEMS student handbook if you are uncertain of the regulations.

UFIEK4-20-2: Computing, Audio and Music Presentation, Summer 2010
Checklist for content

(N.B. This checklist will be used by marking tutors as a guide to assessment)

Group Surnames

Soundscape Title:

• Written evidence of widely varying contributions to ML by date specified
• Mix soundscape down to stereo output
• at least 8 audio tracks
• exactly 3 minutes and 00 seconds
• audio elements only
• may use audio instruments
• >= 20 seconds field recording
• >=4 discrete sections
• Copyright details for every piece of audio used

Plus Points

• Using filters + effects to emphasize structure

• Timestretching
• Pitchshifting
• Active pan positioning each instrument at the start of each track
• Using controllers, such as portamento, sustain, reverb, chorus etc.
• Changing the tempo (if appropriate) of your soundscape
• Cross-fading - morphing from one track to another using velocities.
• Other use of transformative filters/effects

Soundscape Progression

• Adding more tracks.

• Layering tracks.
• Muting some sections or parts of sections.
• Changing rhythms between sections
• Changing effects used between sections
• Successively transforming audio elements throughout soundscape

Document describing sequence. This must include

• the names/Stud Nos of group members
• the name + composer(s)
• tracks used and content of each track
• sources +transformations applied to every piece of audio
• copyright details of every piece of audio
• details any plus points used
• detail ops demonstrating tech competence
• Poster with photos, emails, URLs

Marcus Lynch

Module Leader

Last updated : February 1, 2010