Syllabus
SP26-MUSC-233: Media Music Tech Lab II
Course Information
Schedule: Monday, 9:00 AM – 12:50 PM
Location: Room 201, Music Center, 1014 S. Michigan Ave.
Credits: 2
Columbia College Chicago – School of Audio and Music
| Audio Center | 33 E Ida B Wells – 312-369-8820 |
| Music Center | 1014 S Michigan – 312-369-6300 |
| School Office Hours | Mo-Fr 9:00am-5:00pm |
Instructor Information
| Name | Dr. Daniel R. Dehaan |
| Preferred Names | ”Dr. Dan” or “Dr. Dehaan” |
| Pronouns | He/His/Him |
| ddehaan@colum.edu | |
| Office | 1014 S. Michigan Ave, 333, Chicago, IL 60605 |
| Office Hours | By Appointment |
Student Resources
- Dean of Students Help Page
- Center for Student Well-Being (312-369-7861)
- TimelyCare - 24/7 Medical & Mental Health Support
- Columbia Scholarships
- Campus Card
- TechBar
- Discord Server
Supplies/Materials
- A DAW
- FMOD Studio (free version)
- Decent Sampler (free plugin)
- Unity (free version) - for integration concepts
- A laptop that meets the School of Audio and Music requirements
- A pair of wired headphones or earbuds
Course Description
Part of the Music Composition for Media BA program, this course serves to support MUSC 231, Composition for Media Studio II, by providing students with hands-on help regarding the realization of projects initiated in the classroom. The course provides instruction in a broad range of hardware and software tools employed in the various parts of the media music production process. The instructor also works with students on specific technical and creative issues that arise with assignments in MUSC 231.
Learning Objectives
Through the partnership of in-class demonstrations and hands-on activities, this course has been designed to create an environment for students to learn, develop, and apply technological tools essential to composers working across all media types today. By the end of the semester, students will:
- Create original sound effects using synthesis, recording, and processing techniques applicable to film, games, and other media
- Apply mixing, signal processing, and audio delivery workflows used across the media music industry
- Use audio middleware tools to understand non-linear audio concepts increasingly relevant to interactive and immersive media
- Integrate audio with visual media using industry-standard tools and basic scripting
- Apply professional production workflows to support projects in MUSC 231 and beyond
Prerequisites
- Prerequisite: MUSC 232 Media Music Tech Lab I
- Concurrent Requisite: MUSC 231 Composition for Media Studio II
Course Policies
Grading Scale
- 100% classroom participation/extra effort
Grading Conversion
Percentages convert to grades according to the following scale:
| Percentage | Grade |
|---|---|
| 95 and over | A |
| 92-94.99 | A- |
| 88-91.99 | B+ |
| 85-87.99 | B |
| 82-84.99 | B- |
| 78-81.99 | C+ |
| etc. |
Personal Electronic Devices
Unless explicitly requested by the instructor, the use of laptops, tablets, mobile devices, or any other type of glowing screen is strictly prohibited during class time except when completing in-class activities. Devices must be turned off and stowed away during lectures and demonstrations.
Attendance
- Punctual attendance at each class meeting is mandatory.
- Each unexcused absence results in an automatic reduction of the final grade for the entire semester.
- In case of illness, email notification must be sent to the instructor before the beginning of class. A doctor’s note may be requested at the instructor’s discretion. Failure to provide one when requested can result in an unexcused absence.
- Travel, or similar non-emergency absences during the semester, have to be requested and approved by the instructor via email no less than a week before the intended absences. Failure to do so results in unexcused absences for all classes missed.
- More than two absences per semester, whether excused or unexcused, result in a failing grade for the entire course. Exceptions to this policy must be requested from the instructor via email and will be reviewed on a case-by-case basis.
Late Arrival
- Class begins promptly at the designated time. Students are encouraged to arrive 10-15 minutes early.
- Any arrival later than 20 minutes past the official class start time will be considered an excused absence; see attendance policy above.
- More than two arrivals past the class start time per semester will adversely affect the final grade.
Assignments
- Assignments must be delivered no later than 11:59PM the night before class meets. Personal absence, whether excused or unexcused, is not an excuse for late or missed work.
- Late submission will be counted as non-delivery and graded zero percent. Hardship exemptions may be granted only based on timeliness of past deliveries at the instructor’s discretion.
- In case of absence, assignments must be delivered digitally by the deadline. Late or missing work will be given a failing grade.
Assignment Naming Convention
All assignment deliveries are to be named as follows:
FirstInitialLastName_Week#_AssignmentName_Version#
Example: JSmith_Week3_SFXVariations_V1
AI Policy
As there are far-reaching implications regarding authorship, ownership, and similar legal concepts central to our industry, the use of AI tools and similar external aid in the completion of class assignments are subject to prior approval by the instructor, and in all cases must be fully disclosed. Violations are subject to the college’s Academic Integrity Policy.
Other Policies
- No food or drink in the classroom except bottled water.
Course Calendar
This syllabus is intended to provide guidance on what may be covered during the semester and will be followed as closely as possible. However, the instructor reserves the right in their discretion to modify, supplement, and make changes as course needs arise.
Weekly Structure
- First Hour: Q&A and help with current MUSC 231 projects
- Second Hour: New topic introduction and demonstration
- Third Hour: In-class hands-on activity
| Week | Date | Topic |
|---|---|---|
| 1 | Unit 1: Sound Design & Synthesis | |
| Mon 1/27 | Welcome Back & Studio-C Orientation | |
| 2 | ||
| Mon 2/3 | Live Workflow Assessment | |
| 3 | ||
| Mon 2/10 | Synthesis Fundamentals & Advanced Sound Design | |
| 4 | Unit 2: Sampling & Instruments | |
| Mon 2/17 | Building Sample Instruments I | |
| 5 | ||
| Mon 2/24 | Building Sample Instruments II | |
| 6 | Unit 3: Audio Effects & Mixing | |
| Mon 3/3 | Audio Effects Deep Dive | |
| 7 | ||
| Mon 3/10 | Mixing Fundamentals | |
| 8 | ||
| Mon 3/17 | Production Techniques | |
| 3/23-27 | Spring Break — No Classes | |
| 9 | Unit 4: Professional Workflows | |
| Mon 3/31 | Stem Rendering & Asset Delivery | |
| 10 | ||
| Mon 4/7 | Recording & Processing | |
| 11 | Unit 5: Interactive Audio | |
| Mon 4/14 | Introduction to FMOD | |
| 12 | ||
| Mon 4/21 | FMOD Mixing & Integration | |
| 13 | ||
| Mon 4/28 | Adaptive Music Systems | |
| 14 | ||
| Mon 5/5 | Spatial Audio & Optimization | |
| 15 | Unit 6: Capstone | |
| Mon 5/12 | Integration & Best Practices |