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Garnish Music Production School in London

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: