Teaching a Lesson⌗

Teach a 25 minute lesson on a topic related to audio production. You can go deeper on something we have covered in class, or explore something entirely new. If you choose a topic we have already covered, present it in a new way so we learn something new about it — for example, apply a technique to a different style of music, demonstrate a different workflow, or show how different plugins handle the same task. It can be a lecture style presentation with musical examples, or a discussion led by you, or a more hands on project based lesson. We will leave 5 minutes for questions and to switch between lessons.

Proposal⌗

Explain what you will cover in your lesson and how you will present this material. Turn in your proposal to D2L by April 3rd.

Possible Topics⌗

• Drum quantization and editing with multi-tracks
• Tuning vocals with ReaTune (manual and automatic)
• Vocal alignment techniques
• Takes, comping, and punching in
• Tempo mapping
• Pre-mixing checklist and project organization
• Panning and stereo imaging
• Mix referencing and critical listening
• Compression (when, why, and how to compress)
• Buss and glue compression
• Gating and removing spill
• Transient design
• Frequency-selective dynamics (multiband compression, dynamic EQ)
• Using EQ for corrective and creative purposes
• Harmonic distortion, exciters, and saturation

Presentation Formats⌗

• Live demo - walk through a technique in Reaper with before/after examples
• Lecture with musical examples - use slides and audio clips to explain a concept
• Hands-on workshop - have classmates follow along in Reaper on their own sessions
• A/B comparison - compare different approaches, plugins, or settings on the same material
• Discussion - lead a conversation around a topic using listening examples

Mixing 2: Class Song Mix⌗

Complete a full mix of our class song. This project brings together all the techniques we have covered this semester. You are responsible for creating an arrangement from the parts we recorded — it is up to you how long each part goes on for and how many parts are happening at once. Feel free to loop sections or time stretch them. The project files are a little bit loose, but it’s your responsibility to turn them into a cohesive production. The arrangement should be at least 3 minutes long.

Tasks⌗

1. Project organization — label and color-code tracks, set up folders and routing
2. Regions and markers — add regions delineating song sections (Tempo mapping)
3. Rhythmic quantization — quantize drums and any other tracks that need tightening (Drum quantization)
4. Pitch correction — tune vocals and any pitched instruments that need it (Tuning with ReaTune)
5. Gating on drums — clean up spill between drum mics
6. Balance — use item gain to remove clipping, then set an initial fader balance (Building raw balance)
7. Panning — place tracks in the stereo field
8. EQ — high-pass filter every track and use corrective/creative EQ (Using EQ)
9. Dynamics processing — compression, buss compression, and transient design (Compression, Buss compression)
10. Reverb and delay — add space and depth to the mix (Mixing with reverb, Reverb, Delays)

Additional Guidelines⌗

• Synthetic material, including synth keyboard lines, can only be added if it reinforces or adds depth to something already recorded in the mix, such as a kick enhancement or drum trigger.
• You may record additional elements if you think they’re necessary, e.g. vocals.
• If you use plugins that are not stock Reaper plugins they must be free and cross platform (Windows and Mac).
• Listen to your mix on the studio mains, the Behritone, and headphones. Write a short paragraph about what differences you heard between the speakers and how you accounted for them.

Turn in a consolidated version of the mix file and your listening notes to D2L by March 30th.

Rubric⌗

Final Project⌗

Create a final production with at least 15 audio tracks recorded in Charm Studios. Use more than 15 tracks when the arrangement or recording method requires it. Some instruments are best recorded with multiple microphones, so thoughtful multi-miking can increase your track count in a meaningful way. Acoustic guitar, piano, and drums are obvious examples, but record them that way only when it serves the song.

The focus of this project is to make something of your own and be creative. Whereas the Class Song Mix asked you to collaborate with your classmates on a shared song, this project should be built around your own musical ideas. You may write and produce an original song, or you may record and produce a cover if you prefer.

This project should bring together the same workflow we have practiced all semester: solid source recording, careful editing, and a finished mix that shows intention.

You may use your project from Recording Sessions if you are in that class, as long as you complete the production and mix to the standards of this course.

Due Date⌗

Turn in your project to D2L by May 1st.

Deliverables⌗

• A consolidated Reaper project file
• A final stereo mix bounce
• Short production notes describing your recording setup, major editing decisions, and mix approach

Requirements⌗

1. Track count and recording
   • Record at least 15 audio tracks in Charm Studios (unless special permission given).
   • The 15-track minimum refers to recorded audio tracks, not MIDI or virtual instruments.
   • Use the recording process intentionally: mic choice, placement, gain staging, and performance capture all matter.
   • If a part needs a better take, use techniques from Takes and comping and Punching in.
2. Session organization
   • Label and color-code tracks.
   • Use folders, bussing, and clear routing where needed.
   • Add markers or regions for song sections as in Tempo mapping in Reaper.
3. Editing and cleanup
   • Remove unnecessary audio and clean up starts, endings, and noise between phrases.
   • Use high-pass filtering where it improves clarity, as described in Building the Raw Balance.
   • Tighten timing where needed with the same judgment used in our editing projects, including Drum quantization when relevant.
   • Use pitch correction when it improves the performance, drawing on Tuning and vocal aligning.
4. Mix balance and tone shaping
   • Build a balanced mix with careful fader placement before reaching for heavy processing.
   • Use panning to give each part a place in the stereo field (Panning).
   • Use EQ for both cleanup and tone shaping (Using EQ).
   • Use compression when it solves a real problem or improves the musical feel (Compression, Buss compression).
5. Depth, space, and movement
   • Create a sense of depth and space with reverb and delay sends (Mixing with reverb, Reverb, Delays).
   • If the arrangement benefits from it, use automation to shape energy, transitions, and emphasis (Envelopes & Automation).

Guidance⌗

• Your grade will reflect the quality of the recording, editing, mix, and overall production choices.
• Your project does not need to use every single tool we covered this semester. Part of the assignment is deciding what the song actually needs.
• Multi-mic recording should be purposeful, not just a way to inflate the track count.
• Focus first on getting strong sounds during recording. Mixing cannot fully rescue weak source material.
• Listen on multiple systems before turning in your final version, just as you did in earlier mixing work.