MUSPR 383 | Using Equalisation and Filters
Unit Title: Using Equalisation and Filters
Credit Value: 10
Context
Equalisation is one of the most used tools within music production. It is implemented in all production settings from live sound, in a recording studio, to audio production for the visual image. An understanding of the theory and implementation will aide individuals in their ability to function within the area of production. It is also beneficial for musicians when setting up their instruments or defining the tone of an amplifier.
Aims/Purpose
This unit has 1 aim:
to develop the learner’s understanding and skills at applying EQ and Filters in a multi-track recording.
The purpose of this unit is to: use EQ and Filters as applied to a multi-track recording to alter their sound in a creative and corrective way.
Skills Development
Learning in this area will support the development of the following specialist and transferable skills:
Specialist Knowledge and Skills
The principles of equalisation and filtering
The purpose of equalisation and filtering
The parameters of equalisation and filtering
The practical application of equalisation and filtering
Frequency ranges of instrumentation
Critical listening skills
Physics of a waveform
Mixing
Personal Learning and Thinking Skills (PLTS)
Independent Enquirers
Learners will explore equalisation and filtering, its uses in different environments, and the issues or problems involved.
Creative Thinkers
Through discussion and questioning learners will extend their thinking, enabling them to approach the practical application of equalisation and filtering in different ways.
Reflective Learners
Learners will peer and self-assess during the practical element of multi-effects. They will set themselves goals to aide their development.
Team Workers
Learners will work together, practically implementing equalisation and filter theory. They will offer their peers support through the process of using equalisation.
Self-Managers
Learners will work towards the brief of using equalisation and filters using initiative and dedication to the subject matter.
Effective Participators
Learners will identify and discuss concerns. They will also seek out the tutor to resolve these for them.
Functional Skills @ Level 2
English/Maths/ICT: the FS element(s) to which this unit may contribute
English: 1.1, 1.2, 1.3, 1.4, 2.1, 2.2, 2.3, 3.1, 3.2, 3.4, 3.5, 3.6
ICT: 1.1
Employability Skills
Presentation
Decision making
Problem solving
Time management
Commercial awareness
Comms (non-verbal)
Creative thinking
Own skills awareness
Study Skills
Critical thinking skills and analysis
Synthesizing information
Research skills
IT skills
Contextual awareness
Assimilating information
Learning Outcomes
The learner will be able to:
1.Understand sound in relation to equalisation and filtering.
2.Demonstrate skills to apply corrective equalisation and filtering to recorded sounds.
Unit Content
Using the learning outcomes as the main point of reference, a scheme of work for this unit will include opportunities for learners to develop the following:
Principle of Equalisation & Filters
Physics of a Waveform
Frequency (Measurement (Hz), Relationship to Pitch (Octaves))
Frequency Bands
Frequency Range
Fundamental Frequencies
Harmonic Frequencies
Key instrumentation and their ranges
Terminology and their ranges (dull, bright, muddy etc)
Critical Listening
Identification of specific frequencies
Purpose of Equalisation & Filtering
Different Types of Equalisation & Filter
Graphic Equaliser
Parametric Equaliser
Low Pass Filter
High Pass Filter
Band Pass Filter
Analogue Equalisers (Hardware)
Software Equaliser (Plug-Ins)
Parameters of Equalisers and Filters
Mixing
Practical application of equalisation and filtering
Application of creative and corrective equalisation and filtering
Suggested Delivery Ideas
There is a need within this unit to have lecture-based delivery discussing the theoretical content of the subject matter. Tutors should balance this delivery with visual and auditory stimulus to aide multiple learning styles, while attempting to engage learners in theory heavy concepts.
It is recommended that tutor demonstrate the use of equalisers and filters throughout as well as demonstrating the frequency range of instrumentation and the ability to discern different frequencies. Demonstration should take place in multiple environments (if possible) such as a recording studio as well as a traditional classroom.
The tutor should facilitate group discussion and group tasks within this subject field. The tutor should encourage peer assessment throughout facilitating this process throughout completion of the unit.
It is recommended that the tutor formatively assess the learners throughout completion of this unit, offering feedback throughout, informing learners decisions making and aiding progressing.
The tutor should offer practical approaches at bettering critical listening and equalising ability through the use of simple tools as well as web apps, smartphone apps and Internet forums.
Suggested Activity Ideas
Learners should undertake research tasks to solidify tutors delivery on key concepts.
It is recommended that learners carry out critical listening activities and tests to aide development of critical listening skills. This will develop ability to discern specific frequencies.
Learners should practical implement theory (equalisation and filtering of audio) with the opportunity for tutor, peer and self-assessment throughout the process to aide development.
Where possible learners should gain an opportunity to operate both analogue and digital equalisers and filters, acquiring experience of using the different types of equalisers and filters as stated in the unit content.
It is recommended that learners undertake equalisation and filtering of an entire multi-track recording, referencing an equalised and filtered mix against a dry mix, identifying the benefits of doing so within the mixing process. Throughout this process tutor, peer and self-assessment should take place.
Learners should complete a terminology worksheet citing commonly used phrases within equalisation (dull, bright, muddy etc) and the frequency range associated with these terms.
After tutor demonstration of key concepts learners should be given the opportunity to implement these.
Summative Assessment Methods
Tutors should look to measure how comprehensive the learner has discussed equalisation and filtering. Through listening to unequalised sounds, tutors should measure the level of analysis undertaken by the learner when referring to frequency range, separation, and fundamental and harmonic frequencies.
Tutor should measure the correctively applied equalisation and filtering applied to unequalised sounds. The tutor should measure how appropriately eq and filtering has been applied. The same applies for creative use of eq and filters. The tutor should measure how comprehensive the learner has described the processes undertaken when applying creative and corrective eq and filtering. This should include how detailed the analysis, reasoning and screenshots are in write-up. The tutor should measure how detailed and applicable the learners strengths and areas for development.
Recommended Evidence
Written assignment including screenshots/pictures (1.1)
Written assignment (including diagrams/screenshots/pictures where appropriate) and unequalised sounds in appropriate format (mp3/wav)(1.2)
Audio files correctly labelled (1.3 & 1.4)
Written assignment including screenshots (1.5)
Links to other areas of the MUSPRA qualifications
Knowledge and skills developed in this area may be utilised to underpin activities relating to:
Studio Sound Mixing
Studio Sound Recording
Live Sound Recording
Digital Recording & Production
Using Dynamic Processors
Links to National Occupational Standards
This unit is derived from elements of the following NOS for Music Practitioners:
Map to the NOS for Music Composers, Performers and Music Technologists
Grading Criteria
Unclassified
A learner not on course to achieve this unit might evidence a significant number of the following:
1.Display little or no knowledge a of EQ and filtering showing little or no reference to corrective and creative usage that may not evaluate one or more of the following: EQ/Band types explaining correct usage; high & low shelving; high and low pass filters; parameteric/Swept EQ.
2.Display inaccurate analysis of unequalised sounds demonstrating a lack of awareness of the construction of the sounds, which may not assess one or more of the following: frequency ranges of the selected sounds and how they create the audio spectrum; sounds with overlapping frequencies which require separation; frequency ranges which are essential to the characteristics of the overall sound.
3.Apply EQ which does not enhance individual sounds displaying a lack of awareness of how the applied EQ affects the sounds, which may be missing one or more of the following: high shelving; low shelving; low pass filter; high pass filter; band pass filter; parametric/swept EQ
4.Using the sounds analysed in 2.1 apply EQ which does not enhance individual sounds displaying a lack of awareness of how the applied EQ affects the sounds, which may be missing one or more of the following types: low pass filter; high pass filter;?band pass filter; parametric/swept EQ.
5.Display little or no evaluation of the process undertaken offering no strengths or areas for development.
Pass
To achieve a pass, all learners must:
1.Give a basic discussion on EQ and filtering showing a basic reference to corrective and creative usage based on elemental knowledge and basic research skills clearly identifying the symbols that represent the following: EQ/Band types explaining correct usage; high & low shelving; high and low pass filters; parameteric/Swept EQ.
2.Analyse at least six unequalised sounds within a given multi-track recording demonstrating simple assessment skills and a basic underpinning appreciation of the construction of the sounds assessing: frequency ranges of the selected sounds and how they create the audio spectrum; sounds with overlapping frequencies which require separation; frequency ranges which are essential to the characteristics of the overall sound.
3.Using the sounds analysed in 2.1 apply corrective EQ to enhance individual sounds displaying a basic awareness of how the applied EQ affects and enhances the sounds with at least one example of each of the following: high shelving; low shelving; low pass filter; high pass filter; band pass filter; parametric/swept EQ.
4.Using the sounds analysed in 2.1 apply creative EQ / filters to alter the tonal/harmonic characteristics of individual sounds displaying a basic underlying awareness of how the applied EQ affects and enhances the sounds with at least one example of each of the following: low pass filter; high pass filter; band pass filter; parametric/swept EQ.
5.Include a basic discussion which evaluates the process undertaken in 2.2 and 2.3 to include a simple analysis of the reasons for the EQ types used, with basic assessment own personal strengths and areas for development
Merit
To achieve a merit, learners should:
1.Give a detailed discussion on EQ and filtering displaying informed reference to corrective and creative usage based on proficient knowledge and good research skills, which clearly identifies the symbols that represent the following: EQ/Band types explaining correct usage; high & low shelving; high and low pass filters;?parameteric/Swept EQ.
2.Analyse at least six unequalised sounds within a given multi-track recording demonstrating good assessment skills and an underpinning appreciation of the harmonic construction of the sounds assessing the following: frequency ranges of the selected sounds and how they create the audio spectrum; sounds with overlapping frequencies which require separation; frequency ranges which are essential to the characteristics of the overall sound.
3.Using the sounds analysed in 2.1, apply corrective EQ to enhance individual sounds displaying a sound awareness of how the applied EQ affects and enhances the sounds with at least one example of each of the following: high shelving; low shelving; low pass filter; high pass filter; band pass filter; parametric/swept EQ
4.Using the sounds analysed in 2.1 apply creative EQ / filters to alter the tonal/harmonic characteristics of individual sounds, displaying a good underlying awareness of how the applied EQ affects and enhances the sounds with at least one example of each of the following: low pass filter; high pass filter; band pass filter; parametric/swept EQ.
5.Give a detailed discussion and evaluation of the process undertaken in 2.2 and 2.3 to include a good analysis of the reasons for the EQ types used, assessing own personal strengths and areas for development offering some suggestions for improvement.
Distinction
To achieve a distinction, learners should:
1.Give a highly detailed discussion on EQ and filtering, making highly informed reference to corrective and creative usage based on comprehensive knowledge and excellent research skills clearly identifying the symbols that represent the following: EQ/Band types explaining correct usage; high & low shelving; high and low pass filters; parameteric/Swept EQ.
2.Analyse at least six un-equalised sounds within a given multi-track recording demonstrating excellent assessment skills and an excellent underpinning appreciation of the harmonic construction of the sounds assessing the following: frequency ranges of the selected sounds and how they create the audio spectrum; sounds with overlapping frequencies which require separation; frequency ranges which are essential to the characteristics of the overall sound.
3.Using the sounds analysed in 2.1 apply corrective EQ to enhance individual sounds displaying an excellent awareness of how the applied EQ affects and enhances the sounds with at least one example of each of the following: high shelving; low shelving; low pass filter; high pass filter; band pass filter; parametric/swept EQ.
4.Using the sounds analysed in 2.1 apply creative EQ / filters to alter the tonal/harmonic characteristics of individual sounds, displaying an excellent awareness of how the applied EQ affects and enhances the sounds with at least one example of each of the following: low pass filter; high pass filter; band pass filter; parametric/swept EQ.
5.Give a highly detailed discussion, evaluating the process undertaken in 2.2 and 2.3, to include a comprehensive analysis of the reasons for the EQ types used, assessing own personal strengths and areas for development, offering viable developmental suggestions for improvement.
MUSPR 383 Using EQ and Filters
Credit Value 15
QCF Level 3
Assessment Framework
Learning Outcomes
Through completion of this unit, the learner will be able to:
1.Understand sound in relation to equalisation and filtering.
2.Demonstrate skills required to apply corrective equalisation and filtering to recorded sounds.
Assessment Requirements
The learner can:
1.1Discuss the role of EQ and Filters in relation to:
a.creative and corrective usage
b.EQ/Band types and their correct usage;
b.high and low shelving;
c.high and low pass filters;
d.parametric/Swept EQ
An explanation of appropriate EQ and filter symbols must also be included.
2.1Analyse a minimum of six unequalised sounds within a given multi-track recording assessing;
a.Frequency ranges of the selected sounds and how they create the audio spectrum;
b.Sounds which have overlapping frequencies and require separation;
c.frequency ranges which are essential to the ? characteristics of the overall sound
2.2Apply corrective EQ to the sounds analysed in 2.1 with a minimum of one of the following techniques on each sound:
a.treble(high)shelving;
b.bass(low)shelving.
c.Low pass filter;
d.High pass filter;
e.Band pass filter;
f.parametric/swept EQ
2.3Apply creative EQ/filtering to the sounds analysed in 2.1 to alter the tonal/harmonic characteristics, using a minimum of one of the following techniques on each sound:
