RSK200083 MusicProduction 2016 G3 Coursework-05Oct2018

Music
PRODUCTION
COURSEWORK EDITION
GRADE 3
All accompanying and supporting audio can be downloaded from: www.rslawards.com/downloads
Input the following code when prompted: H4U6JYZTG3
For more information, turn to page 5
Cover Artist: Deadmau5
www.rslawards.com
Acknowledgements
Published by Rockschool Ltd. © 2016, 2018

Catalogue Number: RSK200083
ISBN: 978-1-78936-039-4
Initial Release | Errata details can be found at www.rslawards.com
SYLLABUS
Syllabus revised by Tim Bennett-Hart
Syllabus authoring by Ash Preston, Antony Greaves, Nik Preston and Max Wheeler
Syllabus advisors: Joe Rubel, Chad Jackson, Sam Vasanth and Hannah V
Edited by Simon Troup, Abbie Thomas, Zoe Woodroffe, Nik Preston and Grace Roberts
PUBLISHING
Cover design and artwork: Phil Millard
Original illustrations: Simon Troup
Typesetting and design: Simon Troup and Jennie Troup
Front cover photography: Deadmau5 by David Wolff-Patrick © Getty/Redferns
AUDIO
Audio composition: Ash Preston and Max Wheeler
Audio mixing and mastering: Ash Preston
EXECUTIVE PRODUCERS
Norton York
John Simpson
IMAGES & ILLUSTRATIONS

Copyright info and credits for images and illustrations can be found below the image or in the image rights summary at the
back of the book.
SPECIAL THANKS
Ableton, Alesis, Apple, Audio-Technica, Avid, Drawmer, Fluid Mastering, Magix (Sequoia), Merging (Pyramix), Miditech,
MOTU, Neumann, Prismsound (SADiE), RME, RØDE, Samson Technologies, Sennheiser, Shure, Sound Technology,
Steinberg, TL Audio and Universal Audio.
PRINTING
Printed and bound in the United Kingdom by Caligraving Ltd.
CONTACT
RSL, Harlequin House, Ground Floor, 7 High Street, Teddington, Middlesex, TW11 8EE
Music Production Grade 3 | Coursework Edition
Tel: +44 (0)345 460 4747

Web: www.rslawards.com
Email: info@rslawards.com
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2
Table of Contents
Introductions & Information
1 Title Page
2 Acknowledgements
3 Table of Contents
4 Welcome to Music Production – Grade 3
6 Entering Rockschool Exams
6 Marking Scheme
Section A | Music Production Theory
7 Summary
8 Music Production Terminology
17 Sound and Audio Fundamentals
Section B | Listening Skills
23 Summary
24 Sonic Fidelity
25 Music Theory & Harmony
27 Stylistic Awareness
Section C | Coursework Task
29 Summary
30 Technical Skills
31 Coursework Task
Sample Paper
33 Rockschool Music Production Grade 3 Exam – Sample Paper
Additional Information

43 Glossary
64 Useful Information (Non-assessed)
66 Image Copyright Information
67 Rockschool Digital Downloads
68 Rockschool Popular Music Theory
3
Welcome to Music Production – Grade 3
1991 saw a paradigm shift in UK music education with the inception of Rockschool graded syllabi and now, some
25 years later, over 350,000 contemporary musicians, performers and artists have been awarded Rockschool qualifications.
Subsequently, contemporary music education provision has seen universal acceptance from all areas of education and truly
phenomenal growth the world over.
In keeping with our history of innovation, Rockschool’s 25 year anniversary sees the release of the world’s first ever music
production graded syllabus. A syllabus that has been devised to afford opportunities to all aspiring producers, engineers,
composers and performers that has not previously been available in an accredited, graded syllabus. All students can now
develop their skills and knowledge in what is currently the fastest growing area of the music education industry whilst
earning a globally recognised qualification.
As with all Rockschool syllabi, academic rigour and industry relevance are crucial and the 2018 Music Production
Coursework Edition syllabus is no exception. The syllabus has seen contributions from hugely respected producers,
engineers, composers, performers and educators from a diverse range of backgrounds. Amongst their glowing list of
achievements, these industry experts can count credits such as:
■■ Blockbuster movie soundtracks

■■ Production and engineering duties for iconic, global artists
■■ Top ten singles
■■ Games soundtracks
■■ Conservatoire & university lecturing
■■ Degree programme authoring
■■ World DJ championships
Upon successful completion of Grade 8, all students will have demonstrated the skills and knowledge to progress to both
higher education and ultimately the professional ranks.
Whatever your desire, be it music producer, recording engineer, mix or mastering engineer, editor, electronic music
composer or merely to improve your knowledge of traditional and contemporary production techniques, this syllabus will
ensure you gain the most comprehensive range of skills and knowledge currently available.
Nik Preston – Head of Product Development and Publishing
Book Contents
The book is divided into a number of sections:
■■ Music Production Theory

Rockschool’s Music Production syllabus provides you with the necessary material needed to achieve an understanding of
key music production terminology, as well as sound and audio fundamentals, in relation to modern music production.
■■ Listening Skills
Using audio examples provided, you will learn how to demonstrate effective listening skills relevant to modern music
production. In this section, Rockschool’s Music Production syllabus looks at sonic fidelity, music theory & harmony
and stylistic awareness.
■■ Coursework Task
In order to enhance your technical skills, you will be asked to complete a coursework task which will demonstrate
your ability to use the digital audio workstation (DAW) of your choice.
You must complete the coursework task before your exam and will be asked to upload your task and screen shots
during the exam.
In this section you will be given the opportunity to demonstrate both your skills and creativity in a simulated
professional situation. You will be assessed on your ability to resolve industry standard scenarios using appropriate
4 techniques and your DAW of choice.
Audio
In addition to the grade book, we have also provided audio to support both curriculum content and the sample exam paper.
This can be downloaded from RSL directly at www.rslawards.com/downloads
You will need to input this code when prompted: H4U6JYZTG3
The audio files are supplied in MP3 and/or WAV format(s). Once downloaded you will be able to play them on any
compatible device.
You can find further details about Rockschool’s Music Production syllabus by downloading the syllabus specification from
our website: www.rslawards.com
All candidates should download and read the accompanying syllabus specification when using this grade book.
5
Entering Rockschool Exams
Entering a Rockschool exam is easy, just go online and follow our simple process. All details for entering online, dates, fees
and regulations can be found at www.rslawards.com
ll candidates should ensure they bring the hard copy of their Grade syllabus book or their proof of digital purchase, their
A
coursework task and screen shots, and headphones to the exam.
All Grade 6–8 candidates must ensure that they bring valid photo ID to their exam.
Marking Scheme
MUSIC PRODUCTION GRADES 1–8
ELEMENT Pass Merit Distinction
PART A:
15–18 out of 25 19–20 out of 25 21–25 out of 25
TERMINOLOGY & FUNDAMENTALS
PART B:
LISTENING SKILLS
PART C:
COURSEWORK TASK
TOTAL MARKS 60%+ 75%+ 85%+

6
© Viktorus/Shutterstock
SUMMARY
SECTION (Current section highlighted) MARKS
> Theoretical Written Exam 25 [25%]
Listening Test 15 [15%]
Coursework Task 60 [60%]
The Theoretical Written Exam section of Rockschool Music Production Examinations covers the following:
■■ Music Production Terminology

■■ Sound & Audio Fundamentals
At Grade 3 the theory content covered will include subject areas such as interpreting the functions of studio Music Production Grade 3 | Coursework Edition
hardware, digital protocols, analogue connectivity, computer memory & storage, microphones, using loops, the
MIDI protocol, dynamic processing and frequency.
7
Music Production Terminology

The Mixing Desk
Many of these functions are also available in DAWs or as audio interface hardware, so keep an eye out for these terms as they
are likely to function in the same way. Let’s work our way down a typical mixing desk channel strip.
Input
This will normally be the first item you will find. When a mixing
desk has more than one input per channel, this button selects the VU
Meter
source. Most mixing desks will have at least two inputs, one being
dB (with good level)
the ‘microphone input’ (for connecting microphones) and the
other being a ‘line input’ (for connecting line level devices). MIC
The switch you will see on the channel will often be labelled as
‘line’. This indicates that when the switch is up (or off) then the
default microphone input is being used and when the switch is
down (or on) then the line input is being used.
LINE 1
Some mixing desks may have more than one line input, in which
case there may be more than one switch labelled ‘line 1’, ‘line 2’ etc.
Pad
LINE 2
Sometimes a signal may be so loud that even the trim control
cannot reduce the level enough, therefore the pad switch enables
you to reduce the level by a specified amount (e.g. 10 or 12dB)
while still leaving you with the fine adjustment provided by the
trim or gain control. The pad switch is used purely to attenuate MIC LINE 1 LINE 2
(make quieter) the incoming signal.

PAD
Gain/Trim
The gain pot on a mixing desk or audio interface determines the Pad switch
amount of signal entering the channel. 26dB
GAIN
As a microphone doesn’t have any power, a microphone signal
will need amplifying so that it is loud enough to be heard,
therefore the gain control is used to raise the level of the signal. Gain knob
As line level equipment is louder than microphones, the gain 10 60dB
pot on a line input might have an indentation at the 12 o’clock

HIGH 12k
position. This is the point at which no gain is being applied and

the signal entering the channel is the same level as the source.
Turning the control to the left reduces the amount of signal and
turning it to the right increases the signal. As it can also make the
signal quieter, this control is referred to as ‘trim’ rather than gain. –15 +15
MID 2.5k
If you have a meter (a display which shows you how loud the
signal is) then as a general rule, you should aim to have enough
signal entering the channel so that the meters are in the yellow or
EQ section
orange range. Green is OK but may be a little quiet. Red means
–15 +15
that the signal is likely to distort because it’s too loud.
LOW 80
Equalisation
The equalisation or EQ is used to balance the tone of the signal
in the channel. More information can be found on EQ in the
Grade 2 curriculum. –15 +15
8 AUX 1
–15 +15
LOW 80
Music Production Theory | Section A

–15 +15
Auxiliaries
AUX 1
Auxiliaries are the part of a mixing desk which enables you to
send part of a signal in a channel to an additional destination.
Often used for sending some signal to a reverb, delay (echo) or
other effect.
-∞ 10dB
AUX 2
Auxiliary knobs
Pan
The pan (panorama) control is used to distribute the signal -∞ 10dB
between the left and right speaker. This makes it possible to make AUX 3/FX
a sound appear as if it’s coming from the left side of the room, the
right side, or anywhere inbetween. This is very useful when you
are mixing a very busy arrangement, such as multiple guitars and
drums as more space is available to fit everything in. -∞ 10dB
PAN
Pan knob
Routing L R
The routing controls will vary in complexity from one mixing MUTE
desk to another and some desks may not have any routing at
all. If there is no routing, then the output of the channel will MST
10
automatically be sent to the master fader.
1–2
Additional routing makes it possible to send the signal to other 5
destinations, such as a recording device.
0
3–4 Routing
Switches
5–6
-5
7–8
Fader
Fader
The fader is the part of the mixing desk which adjusts the level
of the signal leaving the channel. You will use the faders to either -∞
adjust the level that is being recorded, or to adjust the balance
between instruments when mixing.
Master Fader
This is normally on the right hand side of a mixing desk, or
sometimes in the middle of larger mixing desks. This controls the
level of the overall mix. For example, you might use this to fade
out at the end of a song.
9
Computer Data Transfer

Music production relies heavily on moving around a large amount of digital audio data, whether it’s inside the computer
from the processor to the RAM, or outside the computer to external hard disks and audio interfaces.
Here are some examples of digital data transfer protocols that you might come across:
USB
There are three main versions of USB which have evolved over time.
■■ USB 1.0 was the first version in 1996 which became the standard for connecting computer keyboards, mice and
other basic peripherals. It is rarely used for audio purposes due to its relatively slow data transfer speed of up to
12Mbps (Megabits per second)
■■ USB 2.0 was released to the world in the year 2000, using the same connector as USB 1.0 but offering enhanced
speeds of up to 480Mbps, making it much more practical for audio work.
■■ USB 3.1 arrived in 2013, using an adapted version of the original USB connector, now offering speeds of up to
10Gbps (Gigabits per second). This makes it a very fast way of transferring data from one place to another.
Firewire
Firewire is a format developed by Apple in the 1990s. It was included as standard on almost all Apple hardware meaning it
quickly became a standard.
There are two main versions of the Firewire protocol:
■■ Firewire 400 was the initial release which offered speeds of up to 400Mbps, making it far more usable than USB 1.0.
■■ Firewire 800 succeeded this in 2003, using a revised connector which is backwards compatible, it doubled the
possible transfer speed to 800 Mbps.
Thunderbolt
Another format developed by Apple and included on their hardware Mac laptops and desktops since 2011. There are three
versions:
■■ Thunderbolt 1 uses the same connector as the Apple Mini Display port and offers speeds of up to 10Gbps.
■■ Thunderbolt 2 still uses the same displayport connector but doubled the potential speed to 20Gbps.
■■ Thunderbolt 3 was a major change, using the USB-C connector, a connector which can be used for multiple devices
with the use of adapters. Thunderbolt 3 offers speeds of up to 40Gbps.
10
Digital Audio Data Transfer
AES/EBU SPDIF
Short for Audio Engineering Society / European This stands for Sony Philips Digital Interface. It is very
Broadcast Union. This is a digital audio data transfer similar to AES/EBU but includes a wordclock signal –
standard, used to transfer a mono or stereo signal. The which reduces the risk of data errors.
standard connection used for this purpose is XLR.
ADAT Lightpipe MADI

ADAT is a format created by Alesis in the 1990s and is MADI is an initialism of ‘multichannel audio digital
an abbreviation of ‘Alesis digital audio tape’. Its original interface’ and is a standard agreed by the Audio
purpose was to connect digital tape machines but Engineering Society for the transfer of large numbers
quickly became adopted by other manufacturers for of audio channels. It is capable of transferring up to 64
other purposes. ADAT lightpipe is capable of carrying 8 channels of high quality audio using fibre optic cable. It is
channels of audio along one fibre optic cable. generally only used in very high specification studios.
11
Connections
XLR Phono/RCA
Common purposes: Common purposes:
Microphones, AES/EBU, professional headphones Consumer hi-fi connections,
SPDIF (Sony Philips Digital InterFace)
3.5mm Jack / Mini-jack

Common purposes:
Consumer headphones
12
¼” Jack (Quarter inch jack) 5-Pin DIN

Guitars, amplifiers, patch cables, consumer MIDI (musical instrument digital interface)
headphones
D-Sub Speakon
Connecting 8 channels of analogue or digital audio Connecting PA amplifiers and PA speakers.
from one device to another. The is a ‘D’ shaped
connector with 24 pins to carry the signal.
13
Inside the Computer

Computers are an integral part of modern music production, hosting the digital audio workstation software and the huge
functionality that it offers.
It’s easy to ignore the internal components of the computer as you can’t see them but having a basic understanding of this
hardware will help you understand why things are going wrong and how to ensure they run more smoothly.
Processor
This is the central ‘brain’ of the computer. It undertakes huge numbers of mathematical calculations per second in order to
enable the computer to process information and undertake the requested tasks.
RAM
Short for ‘random access memory’. This is the computer’s short term memory, storing information before or after it has been
processed in order to maximise the efficiency of the processor. Information can be stored in the RAM but it will be lost as
soon as the computer is turned off.
ROM
Short for ‘read only memory’. This is an area of data storage on the computer which the user can not alter. It holds the basic
functions of the computer to ensure it can turn on and off and load the operating system.
Disk Drive
This is the term used for the long term memory of the computer. It is where the software is installed and where user files can
be saved. Data saved here will remain after the computer has been restarted. There are two main types of disk drive:
■■ Magnetic Hard Disk Drive (HDD): A disk drive which uses a floating mechanical record head to magnetise a series
of spinning disk platters. They can have very large capacities but are comparatively fragile due to their need for
physically moving parts.
■■ SSD: Short for ‘solid state drive’, SSDs are a relatively new technology which has no moving parts. This makes them
more reliable and less prone to damage but are relatively expensive when compared to the same size magnetic disk
drive. They use the same technology as USB memory sticks and camera SD cards.
I/O
Short for ‘input/output’. This covers all the external interfacing such as USB, Firewire, Thunderbolt etc. and internal
interfacing such as PCIe and PCIx.
Optical Drive
Fast becoming a thing of the past, the CD or DVD drive is used for loading or saving data to and from an optical storage
medium. Modern Apple computers have done away with the optical drive as it has been superseded by other means of data
sharing.
The read write speeds of an optical drive are much slower when compared to hard disk drives and solid state drives,
therefore it’s best to avoid opening session files that are stored on them without first copying them to the drive in
your computer.
14
Digital Audio Workstation

Let’s visit a few useful functions of the DAW.
Session Templates
Most DAW software packages will offer templates as a way to help you get started. Templates for the most common tasks are
available, such as recording audio, programming with software instruments, making electronic dance music and so on.
Each DAW will offer these templates in a slightly different way but in most cases you will be offered the opportunity to use a
template when you choose to create a new session.
You can also create templates. It may be that your most common workflow is to programme a backing track with software
instruments, then record guitars and vocals over the top. Once you have set up a session for this purpose, you can save it as a
template to use again in future – thus saving you a couple of minutes every subsequent time.
Piano Roll Editor

This is perhaps the most practical editor when working with MIDI data. It enables you to see the starts and ends of each
note in a matrix layout with the notes displayed as a piano keyboard from top to bottom and time going from left to right.
Notes can be entered manually with a pencil tool and editing notes is as simple as clicking and dragging them to where they
should be. Multiple notes can be edited at the same time by selecting a group of notes before making the edit.
Piano Roll Editor
Markers
Markers are a handy way of keeping track of your arrangement.
As a piece of music grows and builds in complexity, it will become harder to see where the verses are or where the chorus
starts. Markers are little visual clues as to where things are in the time ruler of the arrange page and enables you to jump
around in time by clicking on them. You will be able to label them as anything you see fit.
There may be other scenarios which could make use of markers, for example, if you’re recording vocals and want to make a
note of where the pitching could be better. You can place a marker then return to that part of the song to record over or fix
the problem section.
15
Quantise
The timing of a recorded performance is only as good as the musician being recorded and even the best musicians in the
world miss a beat every now and again.
The quantise function allows you to correct the timing of any MIDI notes to the nearest musical beat or sub-beat. The
rhythmic value can be changed to suit the needs of the performance so that you can round each note to the nearest crotchet
or semiquaver as required.
This can have a somewhat robotic effect if overused, so some DAWs offer the option of adjusting how accurately the
quantise works. For example, a 50% accuracy would bring the notes 50% closer to their quantise grid position.
Bounce
When a mix is ready for sharing, the bounce function is the best way to export it as a file.
Different DAWs work slightly differently but the overall premise is the same. The bounce file is created from what you can
hear – so if you don’t want something to be in the final mix file, it should be muted.
The bounce function has two ways of working:
■■ Real time – where the audio file is created as the mix plays back in real time. This allows you to listen to the mix
while the file is being created.
■■ Offline – where the computer calculates what will happen when the user presses play and creates the file
accordingly. This is much quicker as the computer will be able to process faster than the music can play.
16
Sound and Audio Fundamentals

Microphones
There are several types of microphones which each use different technology to convert the acoustic energy into electrical
energy. The most common types are:
■■ Dynamic microphones
■■ Condenser microphones
■■ Valve microphones
■■ Ribbon microphones
Dynamics and condensers are by far the most used in both live and studio situations.
Dynamic Microphones
Dynamic microphones use a capsule which contains a magnet and an electrical coil. As the vibrations in the air move the
diaphragm of the microphone, the coil moves around the magnet causing an electrical current to flow through the cable.
Dynamic Microphone Capsule
Diaphragm Microphone casing
Output
Sound
waves
in air
Direction
Coil of coil Magnet
movement
Most dynamic microphones are constructed to be quite tough and are therefore good in loud situations, such as close to
guitar amplifiers or inside kick drums. The construction of the casing is also very hardy which is why they are often the
microphone of choice for live performances.
Condenser Microphones
Condenser microphones create electrical current by using an electronic concept called capacitance. The diaphragm of the
microphone forms one plate of the capacitor with another inside the capsule. One plate has a positive charge and the other
a negative charge. As the vibrations in the air move the diaphragm, the distance between the two plates varies with more
current flowing when the plates are closer together.
17
Condenser Microphone
Microphone casing
Diaphragm
Sound
waves Audio signal
in air
Battery
Back Panel
Condenser microphones are a little more delicate than dynamics, although there are some fairly solid designs out there such
as the AKG C1000. They tend to sound clearer and brighter than dynamics and are subsequently a little more expensive to
buy. This extra clarity makes them very good for vocals and acoustic instruments such as pianos and acoustic guitars.
Condenser microphones require phantom power to operate which provides the charge difference between the two plates of
the capacitor. You will more than likely find a switch on your mixing desk or audio interface which is labeled as +48v. This
is the phantom power switch, sending 48v down the XLR cable to the microphone. It’s important to only use this switch for
condenser microphones as it may damage other designs.
Some condenser microphones can be powered with a battery which will be helpful if your mixing desk or audio interface
doesn’t have phantom power available.
Condenser microphones can also be referred to as ‘capacitor microphones’ or ‘electrostatic microphones’.
Loops
Loops are small sections of audio or MIDI which flow naturally when repeated. For example, a one bar drum loop which
starts on the kick drum on beat 1 and ends on the last moment of beat 4. If you were to immediately play the loop straight
afterwards it would sound as if the drummer had continued playing with the kick drum on the 1 again.
Some DAWs offer a selection of loops as a way of getting started. Apple loops (as used in Logic and Garageband) are even
more useful because they will help you ensure you’re always in the right key and at the right tempo.
As well as using the provided loops, it is possible to create your own loops from your own audio recordings and MIDI
performances. This makes it possible for you to build up a song quite quickly once you have got the overall groove and
chord progression together. It may be that you decide to re-record the audio you’ve arranged using loops at a later date to
get a more natural performance from the musicians but it’s fairly common in electronic music to build an entire track using
nothing more than loops.
Loops are created by selecting the required length of audio or MIDI and separating it from the rest of the performance so
that you end up with one region of the exact length required, ready to duplicate.
The talent in creating loops lies in ensuring that you are selecting exactly the right amount of time, i.e. the very start of beat
1 to the very end of beat 4. This is certainly a skill that is worth developing as it takes a keen ear and accurate editing.
18
MIDI
MIDI is short for ‘musical instrument digital interface’ and is a data transfer protocol for musical instrument performances.
Rather than recording the real sound, a MIDI recording features a series of messages defining when a note starts, ends, what
pitch is it and how loud it should be.
As a MIDI recording is just a sequence of instructions sent down a cable, it’s possible to completely change what the sound is
by changing the device or settings on the MIDI sound generator.
The most common way of recording MIDI performances is with a MIDI controller keyboard. This is a piano style keyboard
which outputs MIDI messages rather than sound.
In addition to note on and off messages, MIDI can also send other types of message to sound generators/synthesisers. For
example, volume changes, how loud a note should be played or programme changes which can remotely switch from one
sound to another.
MIDI can also be used to control devices other than synthesisers, for example, these controller messages could also be used
to change settings on effects processors or guitar effects.
MIDI is widely adopted by equipment manufacturers and has been established for many years.
19
Outboard Equipment
In a recording studio you will be faced with more than just the mixing desk as there are numerous devices around the studio
for you to use to enhance the sound. Here are some of the most commonly used devices you’re likely to use:
Compressor
A compressor is a device which reduces the dynamic range of an audio signal, making the loud parts quieter and
the quiet parts louder. It does this by reducing the level of the loudest signals, then increasing the overall level to
compensate. A more detailed explanation of compression is included at Grade 4.
A compressor would normally be connected to the insert send and return of the mixing desk.
Limiter
A limiter is a kind of compressor but with an extremely high compression ratio. The ratio will typically be in the region
of 80–100:1. As this ratio is so harsh, it provides the effect of not letting the signal get any louder at all.
The settings available are the same as a compressor, barring the ratio.
A limiter would normally be connected to the insert send and return of the mixing desk.
Gate
A gate is a device which enables the sound engineer to tidy up a recording. It works in a similar way to a compressor (in
that it uses threshold, attack and release) except that a gate will only allow the signal to be heard when it is louder than
the threshold.
A gate would normally be connected to the insert send and return of the mixing desk.
20
Expander
An expander is very similar to a gate, with all the same controls, except that it uses a ratio instead of a range. This means
that when the signal is below the threshold, its level is reduced as a ratio of its level rather than a set number of decibels.
An expander would normally be connected to the insert send and return of the mixing desk.
Effects Processor
An effects processor is a device which provides a variety of effects such as reverb, delays, chorus, flange, tremolo and
many others. The settings available for each effect will vary.
The input of an effects processor would normally be connected to an auxiliary send with the output returning to either
an effects return section (if one exists on the mixing desk) or to the line inputs of another pair of channels panned left
and right for a stereo effect.
21
Sound Theory
Sound is a series of vibrations that travel through the air from the source outwards in all directions. These vibrations occur
in waves which occur at certain frequencies.
The frequency of a sound is the number of times per second that the object vibrates, if it vibrates at a higher frequency the
sound is higher in pitch and a lower frequency is a lower pitch.
The simplest and purest form of sound is a sine wave. This is a single tone at one single frequency.
Sine Wave
The frequency of sound is measured in Hertz (abbreviated to Hz). When sound is higher than 1000Hz, we measure it in kHz.
1000Hz = 1kHz.
Humans can hear a wide range of frequencies, ranging from 20Hz to 20kHz. Sound still exists beyond that range but our
ears are unable to hear it.
Dogs, cats and other animals are able to hear higher than 20kHz, you may have experienced this when someone uses a dog
whistle – it will seem like silence to us but a dog will come running.
Human hearing also degrades over time which is why you may be able to hear high pitched sounds quite easily, whereas
your grandfather might not be able to. High frequencies tend to be the first to go with age and your range of hearing will
start to diminish from fairly early in life. For most people this won’t cause a problem until they are in their forties or fifties.
Everyone is different however, and care should be taken to look after your hearing to ensure it lasts as long as possible.
As more and more sound waves combine with each other, the sound becomes more complex, to the point where we perceive
a single sound when it is actually made up of hundreds of frequencies all at the same time. When we use EQ to adjust the
tone of a sound, we are adjusting the relative levels of each of those combined frequencies.
When dealing with frequency in audio terms, the ranges of frequencies are collectively labelled as follows:
Bass: 20 Hz to 200 Hz
Low-Mid: 200 Hz to 1 kHz
High-Mid: 1 kHz to 5 kHz
High: 5 kHz to 20 kHz
22
© OSABEE/Shutterstock
SUMMARY
Theoretical Written Exam 25 [25%]
> Listening Test 15 [15%]
Coursework Task 60 [60%]
The Listening Test section of Rockschool Music Production Examinations covers the following:
■■ Sonic Fidelity
■■ Music Theory & Harmony
■■ Stylistic Awareness
At Grade 3 the aural content covered will include subject areas such as distinguishing between mono and
stereo recording and hearing different stereo widths; identifying major, minor and blues scales and eighth note
triplets; and identifying specific genres.
23
Sonic Fidelity
Objective: Identify Both Mono and Stereo Audio Files
As a producer or sound engineer, your aural skills are extremely important as they enable you to hear the music and
production values, so be mindful to always look after them. Avoid listening to music too loud and always be cautious
of listening for too long. If you find yourself unavoidably subjected to high volume levels, be prepared to wear
hearing protection.
While it is difficult to improve your hearing per se, there are ways you can improve your aural skills. This can be achieved by
training your ears and brain to identify the sounds that you hear. Your aural skills are associative in nature i.e. by associating
particular labels to particular sounds your brain will associate the label with the sound and subsequently you’ll stand a
greater chance of identifying (and ultimately using) these sounds in the future. Be prepared to listen intently and always try
to label new sounds.
The two most common formats for sound are mono and stereo and we can record and mix in both.
Monophonic, or monaural sound is a single audio signal which can be sent to either one or multiple speakers, whereas a
stereo or stereophonic signal is comprised of multiple audio signals (normally two) and must be played through a minimum
of two speakers.
Stereo recording and mixing techniques enable the listener to hear direction, space and perspective which mono signals
cannot create. The ability to manipulate the resulting stereo image is crucial to the modern producer and engineer.
However, the ability to identify mono and stereo recordings and mixes is a skill like most others i.e. it needs to be practised.
Certain stereo mixes may be glaringly obvious (Trevor Horn is one such producer renowned for his ability to manipulate the
stereo image to dramatic effect), but quite often stereo mixes may be quite subtle in nature.
The listening skills test at Grade 3 will require you to listen to a pair of audio files and determine which is mono and which
is stereo.
■■ In audio example LSG3SF1.mp3 you will hear an organ recorded in stereo

■■ In audio example LSG3SF2.mp3 you will hear an organ recorded in mono
■■ In audio example LSG3SF3.mp3 you will hear a band recorded in stereo
■■ In audio example LSG3SF4.mp3 you will hear a band recorded in mono
Please note, Rockschool uses the term ‘sonic fidelity’ to define anything of an audible nature, but it would be just as likely for this
to be referenced as ‘audio fidelity’ and subsequently both terms should be learnt.
24
Listening Skills | Section B
Music Theory & Harmony

Objective: Recognising Major, Natural Minor & Blues Scales
The first scale to learn is the major scale. This is the most important scale in music because most other scales – as well as
the most common chords – are based on it. The major scale has a bright, happy sound. You can hear examples of it in the
songs ‘Happy Birthday’, ‘Twinkle, Twinkle, Little Star’ and ‘Here Comes the Bride’. In the major scale, the semitone and tone
building blocks are stacked in the order shown in the tower on the right.
“Tone, Tone, Semitone, Tone, Tone, Tone, Semitone” or for short, “T T S T T T S”.
The first step is to learn this sequence and to be able to say it out loud from memory.
Any scale’s character derives from its internal structure of T’s and S’s. Remember, an interval of a
tone is the same as moving two frets on a guitar or bass, or moving two keys on a keyboard. A
semitone is half of that: one fret on your guitar or bass, or one key on a keyboard. The sequence
for a major scale is TTS T TTS. When playing a scale, the note you start from is called the root or
tonic. This could be any of the 12 notes of the musical alphabet which means there are 12 possible
major scales available to you, each starting a semitone away from the next: C, C # /D b , D, D # /E b ,
E, F, F # /G b, G, G # /A b , A, A # /B b, B. Each of these major scales has its own unique set of notes but
the one thing that never changes is the spacing between the notes, i.e. the major scale is always,
without exception, TTS T TTS. For now, let’s start each scale from the same note so you can easily
compare scales. Let’s use the note C as our starting point. Start the tone-semitone sequence from C
and the following notes are produced: C D E F G A B C.
■■ In audio example LSG3H1.mp3, you can hear the C major scale ascending and descending.
There are several types of minor scale commonly used in popular music. The most fundamental of
these is the natural minor scale, the scale that can be produced directly from the notes of the minor
key signature. The natural minor scale is made up of a different sequence of T and S building
blocks so it has a different sound from the major scale. Compared to the bright and happy major
scale, the minor scale has a darker, sadder sound which makes it perfect for rock and metal as well
as tear jerking pop ballads. This time, the building blocks are stacked like this: TST TST T. The
C natural minor scale has three flat notes (highlighted here in red): C D E b F G A b B b C.
■■ In audio example LSG3H2.mp3, you can hear the C minor scale ascending and descending.
The blues scale is a six-note (or hexatonic) scale and is popular amongst blues and rock guitarists.
Due to only having 6 unique notes, our building block structure doesn’t apply as easily to the
blues scale as it contains bigger interval jumps than just a tone. It is also one of the few scales that
contains three notes in a row which are each a semitone apart. This is referred to as chromaticism.
This is because, in addition to its natural 4th and 5th, the blues scale also contains a diminished (or
flattened) 5th. It is this diminished 5th that gives the scale its bluesy sound and is often referred to
as the ‘blue note’. The blues scale intervals are 1 b 3 4 b 5 5 b 7.
■■ In audio example LSG3H3.mp3, you will hear the C blues scale ascending and descending.
25
Objective: Triplet Recognition – Quarter and Eighth-Note Triplets

Songs such as Stevie Wonder’s ‘Higher Ground’, Metallica’s ‘Nothing Else Matters’ and Queen’s ‘We Are The Champions’ are
all based on triplets and consequently, have a lilting, rolling feel.
Triplets usually come in two varieties: eighth-note triplets and quarter-note triplets. Eighth-note triplets have three eighth
notes squeezed into the space where there are usually two. A bar of can accommodate a total of 12 eighth-note triplets
f
which are counted ‘1 & a 2 & a 3 & a 4 & a’. Quarter-note triplets group three evenly-spaced quarter notes into the space
where there are usually two.
Eighth-note and quarter-note triplets are famously used in the chorus of the song ‘America’ from Leonard Bernstein’s
musical West Side Story, which constantly alternates between the two (‘I like to be in A-mer-i-ca!’).
■■ In audio example LSG3R1.mp3, you will hear a hi-hat playing quarter note triplets against a click track.
f
■■ In audio example LSG3R2.mp3, you will hear a hi-hat playing eighth note triplets against a click track.
f
26
Listening Skills | Section B
Stylistic Awareness
Reggae
Reggae emerged in Jamaica in the 1960s as a development of ska and rocksteady. Whereas ska is characterised by its
up-tempo, danceable sound and strict quarter note walking bass lines, reggae is played at a more languid tempo and has a
more melodic and rhythmically varied approach to its basslines. The famous ‘skank’ rhythm (single or double upstroke of
guitar on beats two and four) became a hallmark. Reggae is strictly in meter and normally uses relatively straightforward
f
chord structures. The interplay between vocals and instrumental parts is often based on the call-and-response formula.
Reggae’s global influence can be heard in 2 Tone, hip hop, rock and even punk as well as indirect offshoots such as dub,
dancehall and ragga. The principal instruments of reggae are drums, bass and guitar with supporting roles from horn
sections and piano and keys. The stripped-down discipline of reggae’s drum patterns and simple chord structures enable
a syncopated, wandering style of bass playing. Reggae also has its own drum patterns known as one drops, rockers and
steppers. Horn sections often play counter melodies in unison and are typically comprised of sax, trumpet and trombone.
Typical Major-Key Reggae Chord Progressions

In many classic reggae tracks the chords used are all straightforward diatonic triads in root position and are rarely
extended to 7s or 9s. These examples are all based on chords I, IV and V and are shown here in the key of A major.
Because reggae is syncopated music (stressing the weaker parts of a bar) the listener is engaged through melody,
texture and groove rather than harmonic sophistication.
44 A D
44 A D E A D E
The ‘Skank’
This rhythm guitar technique involves strumming a brief percussive chord on beats two and four which is often silenced
by damping the strings, usually with the fretting hand. Chords are often partial chords on the treble strings and the
technique usually employs an upstroke to avoid unwanted sound from the lower strings, but there are high profile
exceptions to this approach.
Reggae Eighth-Note Bass Lines

Reggae’s power often comes from avoiding the downbeat. This typical bassline is based on the root, 5th and 6th of the
chord and can be moved with the harmony. It is shown here played as eighth notes followed by the same notes as 16ths
(double speed). These basslines sound different in context because they have a different relationship to the second and
fourth beats of the bar where the off-beat skank would be played.
? # # # 44 Œ ‰ œj œ œ ‰ œœ ≈œ œ œ Music Production Grade 3 | Coursework Edition

A
œ œ œ œ œ œ œ œ œ œ
Drum Parts with Space

Bass drum placement in the bar is used to define the beat for dancers. Below are three different approaches. The bass
drum begins by playing beats two and four (known as a ‘one drop’) followed by beats one and three (a ‘rocker’) and
finally by playing on all four beats (a ‘stepper’).
One drop Rocker Stepper
4 . y y y5 y y y y5 y . . y y y5 y y y y5 y . . y y y5 y y y y5 y .
.
ã4 Œ 5 Œ 5 . .5 5 . .5 5 5 5 .
■■ In audio example LSG3SA1.mp3 you will hear a reggae recording 27

Soul
Soul is an umbrella term for a diverse range of African-American music with common influences from gospel and R’n’B.
Its distinct flavours are referred to either by the regions of the US they were created in or after the record labels that
masterminded the style’s rise to prominence, such as Stax and Motown. Gospel’s ‘call and response’ vocals, ensemble singing
and approach to chord substitutions and progressions are common to most soul music but where Detroit-based Motown
took these in a pop direction, southern acts had a harder, more emotionally raw sound.
Soul was often created by session musicians and featured innovative recording techniques and sometimes lavish
arrangements. Horns, strings, piano and keys were added to a core of bass, drums, percussion and guitar. Some of the most
respected bands of all time worked in the genre, arranging and recording hit after hit in a pressurised, almost factory-like
environment. Stax had Booker T. & The M.G.’s, Motown had the Funk Brothers and while each act may have been marketed
on the strength and appeal of its vocalists, it was the behind-the-scenes work of these creative and disciplined musicians that
fuelled soul’s engine rooms.
Diatonic Soul Chord Progressions

Soul progressions are often harmonically simple, typically based on diatonic chords and staying within the home
key throughout. The chord suffixes can sometimes be extended by equivalent 9, 11 and 13 chords. In this example,
the I–IIIm–IV–V loop is notated in a 1960s soul style as diatonic 7 chords which are extended in bar 3 and 4 to
provide a more sophisticated version of the same underlying chord loop.
4
4 G m j7 B m7 C m j7 D7 G m j9 B m9 C m j9 D 13
Steve Cropper-Style Guitar Licks

The horn players that Stax guitarist Steve Cropper was surrounded by must have made an impression on him. The guitar
figures he played on countless hits with their sliding chords, three-string shapes and licks built from harmonised 6ths,
could almost be imitations of ensemble horns.
James Jamerson-Style Melodic Bassline

James Jamerson played bass on more than 30 number-one records and Motown’s much-praised grooves owe him a huge
debt. This typical Jamerson-style riff is based on a major pentatonic scale using the root, 5th and 6th of the underlying
major chords. Jamerson was also a master at employing chromaticism in his playing, a technique influenced by his study
of walking bass lines in the jazz idiom.
Up-Tempo Soul Drum Patterns

In faster soul tracks and particularly in some 1960s Motown and Stax, the bass drum can play a part in adding
propulsion to the groove, doubling some of the hi-hat’s eighth notes. This example is based on the well-used pattern that
appears in Wilson Pickett’s ‘Midnight Hour’ and Aretha Franklin’s ‘Respect’.
■■ In audio example LSG3SA2.mp3 you will hear a soul recording
28
© bikeriderlondon/Shutterstock
SUMMARY
Theoretical Written Exam 25 [25%]
Listening Test 15 [15%]
> Coursework Task 60 [60%]
At Grade 3 the Technical Skills will centre around creating audio loops from provided material using a digital
audio workstation (DAW). The Coursework Task will require candidates to programme a simple backing track
using a set chord structure.

Candidates must complete the Coursework Task before their exam and will be asked to upload the Task and
screen shots during their exam.
29
Technical Skills
All capable music producers will be able to demonstrate some core technical skills and these are what will be assessed in the
practical part of your grade examination.
At Grade 3 you will be expected to demonstrate that you can work with looped audio and MIDI. This includes both the
creation and arrangement of loops from record performances.
The ability to create a loop from some recorded audio is a very useful technique which you are likely to use on many
projects. It enables you to take something and create a version which is easy to arrange in ways that the original player did
not perform.
For example, you might record an acoustic guitar performance and the musician plays a great lick in the first verse which
you think would work really well if it’s played repeatedly. The musician might not have even meant to play it that way but
it worked.
You can then take this section, cut it out of the performance using your DAW selection tools and trim it until it loops
naturally and perfectly in time with the piece of music. You will then have the freedom to duplicate this loop as many times
as the arrangement requires without having to ask the musician to recreate something he didn’t even mean to do in the
first place.
It’s then up to you if you decide to re-record the guitarist playing that part, if you do then you have a working version to play
to him which explains what you’re trying to achieve.
30
Coursework Task | Section C
Coursework Task
The Coursework Task element of the grade examination will put you in a situation that you are likely to be in as a working
music producer. Your examiner will be assessing how well you respond to that situation, how you choose the technique
required and how you demonstrate those skills.
Very few music producers work solely as sound engineers. It’s very common to also be musical and be part of the
songwriting team – if not the sole songwriter.
Therefore it’s important to have a basic understanding of chord structure and arrangement.
At Grade 3, the Coursework Task part of the exam will require you to create a piece of music to a given chord progression.
All you will be presented with is a sequence of chords, it’s then up to you to spend the available time creating a backing track.
The style of music is your choice, as is how you choose to set the pace.
With experience of this technique, you should practice creating new chord sequences, listening to successful pieces of music
and recreating their chord sequences. This will help build up an arsenal of progressions which you know will work and
inspire you when the time comes to create something under pressure.
Coursework Task 60 Marks [60%]

Assets for this task can be found
in the book’s downloadable files
The rapper you work with has brought a beat they like to the recording session. They want you to turn it into a track that
they can write bars to. The trouble is it is just a short snippet of the beat. Loop up the section of drums in the recording and
turn it into a 16-bar loop for the rapper to write a verse to. Use the included percussion file to create two more loops which
can be used in different sections of the track. Repeat this 16-bar pattern at least twice with a variation in the drums (e.g. a
fill or dropout) marking the 16-bar mark at each repetition in order to help the vocalists write lyrics of the correct length.
The singer working with the rapper has an idea for some chords to go with the track.
F major / E minor / D minor / C major
Use your technical skills to add this progression to the beat using midi, either by recording or programming the notes
of the chords. Make sure that each chord lasts for exactly one bar. When you have the beat and chord progression in
place, add a bassline which follows the root notes of the chords, and then add at least one more percussive element. Allow
sufficient space in the arrangement for the vocal, and make sure that all parts are in time and in tune with each other and
the given chord progression.
To add your own creative input, give the track a ‘B’ section by changing the order of the chords in the progression or by
bringing in another chord from the correct key. Next, either import some of the included loops and use appropriately, or
record your own percussion part to add emphasis to the main section of the track. Finally use the mixer section of your
DAW to ensure that all loops and midi instruments are well balanced in the mix.
Once you are happy with the final composition, render it to a stereo WAV/AIF file (16bit / 44.1kHz) and upload.
Submission during your exam:
1. Submit a WAV/AIF file (16bit / 44.1kHz) of your finished work

2. Upload a screen shot of your main arrangement view and mixer view
31
32
Sample Paper
© Evgeny Drablenkov/Shutterstock
The following pages contain examples of the types of questions you will find in the Rockschool Music
Production Grade 3 exam. They give an indication of the content, format, layout and level at this grade.
You will see the sample paper has been split into the same three sections that have been presented earlier in
this workbook:
■■ Part A: Theory
■■ Part B: Listening
■■ Part C: Coursework Task
Please visit www.rslawards.com for detailed information on all Rockschool examinations, including syllabus
specifications, marking schemes and examination entry information.
33
Grade 3 | Sample Paper
Part A: Theory (25%)
Section 1 | Music Production Terminology Total marks for this section: 10
Mark:
Q 1.01 | Which function on a mixing console is used to adjust the amount of audio signal entering a 1
channel? (Tick one box)
§ Gain
§ EQ
§ Auxiliary
§ Fader
§ Pan
Q 1.02 | Which function on a mixing console would be used to send a portion of the signal to an effects 1
processor? (Tick one box)
§ Gain
§ EQ
§ Auxiliary
§ Fader
§ Pan
Q 1.03 | Which of these is a digital protocol used for connecting computer peripherals with a data rate of 480 1
megabits per second? (Tick one box)
§ USB 2.0
§ Thunderbolt 2
§ MADI
§ SPDIF
§ ADAT
34
Sample Paper | Grade 3
Q 1.04 | Which of these is a digital protocol for connecting audio devices and is capable of carrying up to 64 1
channels of audio at once? (Tick one box)
§ USB 2.0
§ Thunderbolt 2
§ MADI
§ SPDIF
§ ADAT
Q 1.05 | Which of these is an analogue connector used by microphones? (Tick one box) 1
§ Mini jack
§ XLR
§ 1/4” jack
§ Phono/RCA
§ D-Sub
Q 1.06 | Which of these is an analogue connector used by consumer headphones? (Tick one box) 1
§ Mini jack
§ XLR
§ 1/4” jack
§ Phono/RCA
§ D-Sub Music Production Grade 3 | Coursework Edition
Q 1.07 | What does RAM stand for? (Tick one box) 1
§ Real audio management

§ Rate at moment
§ Random access memory
§ Real access memory
§ Random audio memory
35
Q 1.08 | What does SSD stand for? (Tick one box) 1
§ Super static drive

§ Super simple drive
§ Solid state drive
§ Solid static drive
§ Super solid drive
Q 1.09 | What DAW option would you use to help you set up a session more quickly? 1
Your answer:
Q 1.10 | What would you use the bounce function for in a DAW? 1
Your answer:
36
Section 2: Sound & Audio Fundamentals Total marks for this section: 10
Mark:
Q 2.01 | What is a capacitor microphone otherwise know as? 1
Your answer:
Q 2.02 | Which type of microphone is the better choice in loud environments? (Tick one box) 1
§ Dynamic
§ Condenser
Q 2.03 | What name is given to a piece of audio which flows naturally when repeated? 1
Your answer:
Q 2.04 | Name one reason why you would use an audio loop rather than recording a new take: 1
Your answer:
Q 2.05 | What does MIDI stand for? 1
Your answer: Music Production Grade 3 | Coursework Edition
Q 2.06 | What name is given to the MIDI message which tells the sound generator to start a note? 1
Your answer:
37
Q 2.07 | What does an audio compressor do? 1
Your answer:
Q 2.08 | What name is given to an outboard device which offers reverb, delays, chorus and flange? 1
Your answer:
Q 2.09 | What units are frequency measured in? 1
Your answer:
Q 2.10 | What is the range of human hearing? 1
Your answer:
38
Section 3: Glossary Total marks for this section: 5
Mark:
Q 3.01 | What does ADAT stand for? 1
Your answer:
Q 3.02 | What is Aux an abbreviation of? 1
Your answer:
Q 3.03 | What does CAF stand for? 1
Your answer:
Q 3.04 | What name is given to a collection of notes played at the same time? 1
Your answer:
Q 3.05 | What does HDD stand for? 1
Your answer: Music Production Grade 3 | Coursework Edition
39
Part B: Listening (15%)
Section 4: Listening Skills Total marks for this section: 15
Mark:
Q 4.01 | In audio example EXLSG3SF1.mp3, which of the following solo instrument recordings 3
is in MONO? (Tick one box)
§A
§B
Q 4.02 | In audio example EXLSG3SF2.mp3, which of the following two full mixes is in MONO? 3
(Tick one box)
§A
§B
Q 4.03 | In audio example EXLSG3SF3.mp3, which recording has the widest stereo field, A or B? 3
(Tick one box)
§A
§B
Q 4.04 | Identify the scale played in audio example EXLSG3H1.mp3: (Tick one box) 1
§ Major
§ Natural minor
§ Blues
Q 4.05 | Identify the scale played in audio example EXLSG3H2.mp3: (Tick one box) 1
§ Major
§ Natural minor
§ Blues
40
Q 4.06 | In audio example EXLSG3R1.mp3, which audio clip features the snare drum playing crotchet/ 1
quarter note triplets? (Tick one box)
§A
§B
Q 4.07 | In audio example EXLSG3R2.mp3, which audio clip features the snare drum playing quaver/eighth 1
note triplets? (Tick one box)
§A
§B
Q 4.08 | In which genre would you classify audio example EXLSG3SA1.mp3? (Tick one box) 2
§ Blues
§ Reggae
§ Soul
§ Metal
41
Part C: Coursework Task (60%)
Section 5: Coursework Task Total marks for this section: 60

15
Mark:
Q 5.01 | Bring your coursework task and screen shots to your exam – you will be asked to upload these 60
during the exam. There will also be a number of questions for you to answer regarding the task.
These will focus on:
■■ The skills used to complete the task

■■ How you approached the professional nature of the task
■■ How you interpreted the creative elements
42
Glossary
1/4" Jack
A kind of jack connector with a diameter of approximately 1/4”.
3.5mm Jack
Also known as mini-jack. A kind of jack connector with a diameter of approximately 3.5mm. Most commonly used by
consumer headphones.
Ableton Live
A digital audio workstation which is very popular with electronic musicians due to its focus on real time interaction.
Acoustic Instrument
A musical instrument which creates sound without the need for electrical power. For example an acoustic guitar, drum
or piano.
ADAT Lightpipe
An optical digital data transfer connection, capable of transferring 8 channels of high quality audio at once.
.aif
A file suffix (also known as .aiff) used for AIFF files.
AIFF
An acronym of ‘audio interchange file format’. This file format is considered high quality as it is a lossless format. It has
largely been superseded by Wav in the interest of compatibility.
AKG C1000
A rugged condenser microphone, often used in live situations to amplify drum kits.
AKG C414
A high quality large diaphragm condenser microphone with a switchable polar pattern, mainly used in studio situations
for instruments such as acoustic guitars, pianos and vocals.
AKG C451 \ AKG C451B

A small condenser microphone with good balance between quality and price. Often used for stereo miking acoustic

guitars or drum kits.
AKG D112
An industry standard dynamic microphone, most commonly used for recording kick drums.
Amp/Amplifier
An electrical or electronic device which increases the amplitude of a signal.
Analogue
Constantly varying. Refers to audio devices which are not digital.
43
Glossary
App Store
An abbreviation of ‘application store’, an online cloud based service which provides access to new applications. Many
software companies use an application store, such as Apple, Microsoft and Google.
Arrange Window
The main area of a DAW which enables the user to organise and edit audio clips.
Artist Manager
The person or company who looks after the interests of the artist. This might include negotiating their contracts,
managing finances, organising transport and other logistics, or managing their diary to ensure they are in the right place
at the right time.
Attenuate
To make quieter.
Audio File
An audio recording in digital format, most commonly on a computer system.
Audio Interface
The computer peripheral which enables the user to input and output audio from a computer, converting the analogue
sound into digital when recording and the digital back into audio when played back.
Audio Track
A type of channel in a DAW which is used for recording or playing back audio files.
Automation Track/Lane
A type of channel view in a DAW which shows the automation recorded to that channel. In most DAWs the automation
is overlayed on top of the recorded audio or other channel content.
Aux
An abbreviation of ‘auxiliary’.
Auxiliary
This refers to the function of a mixing desk which can send part of a signal in a channel to an additional destination.
Often used for sending a varying amount of signal to a reverb or other effects.
Auxiliary Track
A type of channel in a DAW which is used purely for routing and processing audio.
Bandwidth
The range of audio frequencies which directly influence the fidelity of a sound.
Bass Guitar
A kind of guitar with a register that is one octave below a traditionally pitched guitar. In its most common 4-string
format, the pitching mirrors the lowest four strings of a traditional guitar.
44
Glossary
Bounce
The creation of a new mix file from the audible elements of a session.
Cable
A wire which connects two devices, normally coated in rubber or plastic for durability.
.caf
A file suffix used for CAF files.
CAF
An acronym of ‘core audio format’. This is a file format developed by Apple, to enable users to create large file sizes for
example, long audio recordings.
CD
An abbreviation of ‘compact disc’.
CD-ROM
An acronym of ‘compact disc read only memory’. CDs can store both audio for playback on consumer CD players or
data for retrieval by computers using a CD-ROM drive.
Cello
A wooden stringed-instrument with four tuned strings. Commonly used in classical music as well as many other genres.
It is larger than a viola, giving it a deeper sound and lower pitch.
Channel (MIDI)
One of 16 different paths of data that can be used to carry MIDI messages.
Channel (Mixing Desk)

A default signal path through a mixing desk. A mixing desk will have a set number of channels, each of which will be
numbered.
Chord
A musical collection of notes played at the same time to form harmony.

Chord Progression
A sequence of chords.
Chrome
An internet browser created and developed by Google.
Collaboration
A method of working which involves working with others with the shared goal of achieving something greater than what
may have been achieved in isolation.
45
Glossary
Compact Disc
An optical digital audio medium used for sharing music. Compact disc was the largest selling music medium from the
late 80’s to early 2000s and remains widely used. A CD can hold 74 minutes of stereo audio or up to 700MB of data.
Compressor
An audio device which reduces the dynamic range of a signal.
Computer
The hardware which hosts the DAW software, typically an Apple Macintosh or Windows PC.
Computer Keyboard
A computer peripheral used for entering letters into a computer. It can also be used with certain software applications to
trigger shortcut functions.
Condenser
A microphone design which uses a capacitor and requires 48v phantom power. Achieves a crisp and clear sound.
Console
Also known as mixing desk or mixing console.
Contrabass
It is larger than a cello, giving it a deeper sound and lower pitch. It is commonly transposed up an octave due to the
notes it is capable of, requiring excessive ledger lines making it difficult to read.
Control Room
The part of a recording studio where the sound engineer will operate the equipment such as the mixing desk.
Controller Keyboard
An emulation of the piano which is unable to generate sounds on its own. It will generally be MIDI enabled, so will use
the MIDI protocol to trigger sounds on a synthesiser.
Copy
A computer software function common to most software which takes a selected proportion and copies it to the
clipboard (RAM).
CPU
An abbreviation of ‘central processing unit’. A silicon chip that performs calculations and acts as the ‘brain’ of a
computer.
Cubase
A digital audio workstation (DAW) created and developed by Steinberg.
46
Glossary
Cut
Another name used for mute, used to silence signal paths on a mixing desk, e.g. channel or auxiliaries. Also used to refer
to a reduction in level when using equalisation.
Cut
A computer software function common to most software which takes a selected proportion and copies it to the
clipboard (RAM) while simultaneously deleting it from its original location.
D-Sub
A kind of connector used in computing and audio applications which has multiple pins. There are numerous sizes,
the most common of which in audio technology would be the DB-25, which has twenty five pins capable of carrying
8 channels of balanced analogue audio (either 8 in one direction or 4 in and 4 out). It may also be used in digital audio
applications using the TDIF standard.
DAT
An abbreviation of ‘digital audio tape’.
DAW
An abbreviation of ‘digital audio workstation’.
Delete
A computer software function common to most software which removes a selected portion.
Digital
A digital device uses binary to function.
Digital Audio
Audio recorded to a digital device such as a computer.
Digital Audio Tape

A linear medium which uses tape to record sound as digital data. Introduced in 1987, it was once the industry standard
for recording final mixes before sending to be duplicated.

Digital Audio Workstation
Music production software for recording and editing MIDI and audio data. Examples include Cubase, Logic, Pro Tools,
Garageband and Ableton Live. The DAW can be used for recording audio, editing audio, cutting up and rearranging
audio recordings and loops, mixing, creating MP3 files and many other functions.
DIN
A five pin plug or socket, most commonly used by MIDI devices but can also carry audio when connected to audio
devices.
Distortion
When the maximum sound level of an analogue device is exceeded. Unlike digital clipping, analogue distortion can be
appealing, for example when overloading a guitar amplifier.
47
Glossary
DJ
A performer who plays back pre-recorded material, crossfading between tracks. A modern DJ may also create content of
his own for playback and interact with the music.
Drum Editor
A piano roll style DAW editor but tuned to enable easier drum editing.
Drum Kit
A rhythmic instrument commonly used in modern music featuring a combination of drums and cymbals.
Duplicate
A computer software function common to most software which takes a selected portion and replicates it immediately
after the original instance.
DVD
An initialism of ‘digital versatile disc’. An optical format much like a CD but with far greater storage capacity. This made
it the standard for consumer video playback.
DVD-ROM
DVDs can be used to store video content for playback on consumer DVD players or data which can be retrieved by
computer systems using a DVD-ROM drive. This is a cost effective medium for sharing large session files with others if a
network transfer isn’t practical.
Dynamic
A microphone design which uses electro-magnetism to convert acoustic energy into electrical energy.
Ear
The part of the human body which enables us to hear sound. It converts acoustic energy into electrical nerve impulses
for the brain to interpret as audio.
Editing
The process of altering the arrangement of recorded audio or MIDI data in order to composite a more favourable
version.
Electric Guitar
A guitar which uses an electromagnetic pickup to convert the vibrations in the strings to waves of electricity which is
then amplified to create sound.
Electrical Sound Source

A source of sound which is created through electrical means, for example, a synthesiser.
Electrostatic
Another name given to a condenser or capacitor microphone.
48
Glossary
EQ
An abbreviation of ‘equaliser’, a function which alters the tone of the input signal.
Equalisation
The process of changing the frequency content, tone or timbre of an audio signal.
Ethernet
The name given to the networking standards of LAN devices. It most commonly uses an RJ45 cable.
Event Editor
A DAW editor window which enables the editing of individual MIDI events using text.
Expander
An audio device which works much like the opposite of a compressor, in that it increases the dynamic range of a signal
so that the quiet signals are made even quieter. It can be used instead of a gate to achieve a more natural effect.
Fade In
To gradually increase an audio signal from nothing to its normal level.
Fade Out
To gradually reduce the level of a signal until it disappears.
Fader
The component on a mixing desk which adjusts the channel level. Faders are also emulated in DAWs.
Finder
The area of the Apple OSX operating system which enables users to organise files and folders.
Firefox
An internet browser created and developed by Mozilla.
Firewire

A peripheral connection with two different versions available; Firewire 400 and 800. The number represents the speed in
Mbps. It may also be referred to as IEEE 1394.
FL Studio
A digital audio workstation, originally called ‘Fruity Loops’ but renamed as it grew more popular. Created and developed
by Image-Line.
Frequency
The rate at which something vibrates, measured in cycles per second (Hertz/Hz). In sound, the higher the frequency of a
sound wave then the higher the pitch that we hear.
49
Glossary
Fundamental Frequency
The core frequency within a sound which determines its musical pitch.
Gain
A function of an amplifier circuit which makes the signal louder. Among other places you will find it at the input stage of
a mixing desk channel to control how much signal is entering the console.
Garageband
An entry level digital audio workstation, created and developed by Apple. Currently supplied free with every new Apple
Macintosh computer.
Gate
An audio device which helps to remove unwanted signals below a certain threshold for example, to remove the sound of
the cymbals from a snare microphone.
Graphic Equaliser
A type of equaliser which divides the frequency spectrum into bands, typically by octaves or 1/3rd of an octave.
Guitar Pickup
The component of a guitar which converts the vibration of the string into electrical energy using an electromagnetic
field.
Hard Disk
Also referred to as ‘hard drive’ or ‘hard disk drive’. This is the local storage in a computer system, where files are saved to
be retained after the computer has been switched off.
Hard Drive
Also referred to as ‘hard disk’ or ‘hard disk drive’. This is the local storage in a computer system where files are saved to
be retained after the computer has been switched off.
HDD
An initialism of ‘hard disk drive’.
Headphone
A portable pair of speakers which can be worn on the head.
Headphone Volume
The function on a device which alters the volume specific to the headphones. This control would be independent of the
volume sent to the main monitor speakers in a studio.
Hertz
The unit of frequency, cycles per second, abbreviated ‘Hz’.
High Fidelity
High quality audio.
50
Glossary
High Pass Filter

A type of equalisation which allows the engineer to remove all frequencies below a defined frequency, allowing the
higher frequencies to pass.
High Shelf
A type of equalisation which allows the engineer to boost or cut all frequencies above a set frequency.
HPF
An initialism of ‘high pass filter’.
Hz
An abbreviation of ‘hertz’.
Internet
The global system of connected computers which use a standard communication protocol.
Internet Explorer
An internet browser created and developed by Microsoft.
iTunes
An application created and developed by Apple for purchasing, organising and listening to music files. It can also be
used for managing the content on Apple’s smart devices such as iPhones, iPods and iPads and stream content to Apple
TVs.
iTunes Store
Apple’s online music and multimedia purchasing/rental service. Music, film and TV shows can be purchased/rented and
downloaded immediately. The user will be required to set up an Apple ID.
Jack Connector
A male connector commonly used in patch bays, line level equipment and guitar connections.
Keyboard
An electronic version of a piano regarded as an artificial sound source as it requires a synthesiser to make sound.

Knee
A function of a compressor which determines how severely the dynamics of a signal are affected when they exceed the
threshold.
Launchpad
A part of the Apple OSX operating system which provides a shortcut to all the installed applications.
Layering
Recording additional parts over the top of existing parts so that they sound like one part when they are mixed together.
For example, a string section playing the same melody as a piano.
51
Glossary
LCD
An initialism of ‘liquid crystal display’. Most commonly found as small screens.
Level
The absolute volume of an audio signal in electrical terms.
Limiter
A type of compressor which reduces the dynamic range drastically using a very high ratio above the set threshold.
Line Input
Used for connecting line level devices such as synthesisers or outboard equipment.
Live Room
The part of a recording studio where the performance takes place and microphones are used to record.
Lo-Fi
An abbreviation of ‘low fidelity’. Sometimes used for creative effect.
Logic Pro
A digital audio workstation, originally created by a company called C-Lab, and now owned and developed by Apple.
.logicx
The file suffix for a Logic Pro X session file.
Loop
A repeating pattern of MIDI data or segment of audio.
Low Fidelity
Low quality audio. Sometimes used for creative effect.
Low Pass Filter

A type of equalisation which allows the engineer to remove all frequencies above a defined frequency, allowing the lower
frequencies to pass.
Low Shelf
A type of equalisation which allows the engineer to boost or cut all frequencies below a set frequency.
LPF
An initialism of ‘low pass filter’.
MADI
An acronym of ‘multichannel audio digital interface’. a high quality digital audio transfer protocol which is capable of
carrying up to 64 channels of audio and at samples rates of up to 96kHz. You are unlikely to find this level of technology
in a home studio but far more likely in a professional studio or in high end location recording.
52
Glossary
Marker
A way of labeling time or arrangement locations in a DAW project, for example, verse 1, chorus, middle 8, etc.
Memory Stick
A term used to describe a USB flash based storage device. The term memory stick was initially used by Sony but has
since become a term used for all such devices.
Metronome
A device which emits a regular click in time with the tempo and time signature.
Microphone
A transducer which converts acoustic sound into electrical signal.
MIDI
An acronym of ‘musical instrument digital interface’. The protocol used to transmit and receive musical information
between MIDI devices. This could be used for many purposes, including triggering notes on a synthesiser and adjusting
settings on an effects processor.
MIDI In
The MIDI input connector of a device.
MIDI Interface
A device which enables MIDI devices to be connected to a computer. Some MIDI devices now use USB to avoid the
need for a MIDI interface.
MIDI Keyboard
A piano like electronic device for triggering a MIDI synthesiser, or recording into a DAW.
MIDI Merge
A device which combines the MIDI output of two devices into one input of another.
MIDI Message
An instruction sent between MIDI devices for control purposes.

MIDI Out
The MIDI output connector of a device.
MIDI Port
A female MIDI connector on a MIDI device which enables connection to other MIDI devices using a MIDI cable. Ports
include ‘in’, ‘out’ and ‘thru’.
MIDI Thru
A MIDI connector which enables MIDI devices to be chained together. All data that arrives at the MIDI input of the
device is replicated at the MIDI thru port for passing on to the next device.
53
Glossary
MIDI Track
A type of channel in a DAW which is used for recording and playing back MIDI data. It creates no sound in itself and
requires its output to be routed to a MIDI synthesiser or software instrument on a different channel.
Mini Jack
Also known as 3.5mm jack. A kind of jack connector with a diameter of approximately 3.5mm. Most commonly used by
consumer headphones.
Minidisc
An evolution of the CD which housed the optical disc inside a plastic case making it smaller and more durable.
Mix
The version of a recording which features all the required recorded elements balanced together coherently.
Mix Window
An area of a DAW which enables the user to balance the levels of the recorded sounds.
Mixer
The device in a recording studio which acts as the central hub, altering the audio signal or directing it to different
locations. Also referred to as mixing desk or mixing console.
Mixing
The process of balancing the relative level of the recorded audio tracks. The ideal result being a coherent and well-
balanced sound.
Mixing Desk
The device in a recording studio which acts as the central hub, altering the audio signal or directing it to different
locations.
Monaural
A single channel of audio.
Monitor Display
The visual interface of a computer system.
Monitor Speaker
The main set of speakers that the sound engineer will use to listen to their mix in the studio.
Mono
An abbreviation of ‘monaural’.
Mouse
A common computer peripheral used to control the pointer on screen.
54
Glossary
MP3
An abbreviation of ‘mpeg-2 audio layer 3’. A lossy compressed audio format which has a smaller file size than a WAV file.
Their combination of small file size and acceptable audio quality have made them very popular with consumers.
Mute
The function which silences a device or channel.
My Computer
The area of the Microsoft Windows operating system which enables users to organise files and folders.
Natural Sound Source

A source of sound which is created through natural means, for example, the vibration of a string or drum skin.
Neumann U87
A very high quality large diaphragm condenser microphone with a switchable polar pattern. It is considered to be an
industry standard in commercial studios, used for vocals, acoustic guitars, pianos and other acoustic instruments.
Note On
A MIDI message which triggers a note to sound.
Octave
12 semitones. One octave up is double the frequency of the starting pitch.
Operating System
The software installed on a computer which controls its most basic functions such as how it communicates with
peripherals and interacts with other installed software applications. The operating system is the graphic user interface
that the user interacts with.
OSX
An operating system created and developed by Apple which comes preinstalled on all new Apple Macintosh computers.
Outboard Device
Any piece of equipment which is not part of the mixing desk or computer system.

Pan
An abbreviation of ‘panorama’. Commonly referring to the pan pot, a control on a mixing desk or DAW channel which
moves the signal from left to right in the stereo image.
Parametric EQ
An accurate form of equalisation where the gain, frequency and Q factor can all be changed.
Paste
A computer software function common to most software which inserts the contents of the clipboard at a chosen
location.
55
Glossary
Patch Cable
A short cable which is used to make connections on a patch bay. Some guitarists also use patch cables to connect their
pedals together due to their conveniently short length.
Patch Bay
A series of rackmount sockets which represent every connection in the studio. This makes it possible to connect two
devices together without running cables across the room and overcoming inaccessible rear connections.
Period
One cycle of an oscillation, for example, a sound wave.
Peripheral
An external device that can be connected to a computer system to enhance its capabilities, e.g. audio interface, MIDI
interface, keyboard, monitor, mouse.
Personnel
The people involved in a project or task.
Phantom Power
The 48v power supply required by condenser microphones.
Phono Connector
Also known as RCA connector.
Piano
A stringed instrument which uses keys to trigger hammers that strike the strings.
Piano Roll Editor

A DAW editor window which enables the manipulation of MIDI note data which is arranged in a matrix with the piano
keys from top to bottom and time from left to right.
Pitch
A fixed note determined by its fundamental frequency.
Plugin
An optional piece of software which operates within a DAW. Many plugins are supplied with a DAW, however, further
plugins can be purchased from 3rd party manufacturers. There are several formats of plugin, including Audiounit, AAX,
VST, RTAS.
Pot
An abbreviation of ‘potentiometer’.
Potentiometer
A variable resistor which exists on mixing consoles in the form of knobs such as gain, EQ and pan.
56
Glossary
Preamp
An amplifier which brings the input signal up to an acceptable operating level, for example, the gain stage of a mixing
desk is a microphone preamplifier.
Pro Tools
A digital audio workstation, originally created by a company called Digidesign, but now owned and developed by Avid.
Producer
The person who leads a music recording project, quite often making creative decisions and managing budgets where
applicable. It is the producer’s responsibility to ensure a project runs to time.
Programme Change Message

A MIDI message which instructs a device to switch between stored programmes.
Promoter
The person or company who is responsible for ensuring live performances are advertised to the public and other
organisations such as the press.
.ptx
The file suffix of a Pro Tools session file.
Punch In/Out
The function of a recording device to enable and disable recording during playback, enabling small sections to be
recorded over.
Q
An abbreviation of ‘quality’. A function of parametric EQ which adjusts the accuracy of the frequency band which is
being affected, a high Q is more accurate, a low Q affects a wider frequency band.
Quantisation
An automatic MIDI editing process which shifts the start of notes onto the selected beat. eg the closest 1/4 note, 8th note
etc.

RAM
An acronym of ‘random access memory’, short term storage in a computer system which is cleared on restart.
RCA Connector
Also referred to as a phono connector. An unbalanced connection, most commonly used in consumer hi-fi equipment.
Real Time
Processing that is applied in the same amount of time as it takes to play back the affected audio.
Record Decks
A playback device for the vinyl format. Used by DJs, normally in pairs with a DJ mixer to crossfade between playback
from each.
57
Glossary
Recording
The process of capturing real-world audio and storing it on a physical medium.
Recording Studio
A room or complex of rooms which is used to record sound.
Release (Dynamic Processing)

The time it takes for the dynamic processor to recover to normal.
ROM
An acronym of ‘read only memory’. An area of computer storage which can only be read from and can not be
overwritten.
Routing
A function commonly found on mixing desks which enables the user to set the signal path. For example, you could route
a microphone signal to the input of the DAW.
Sample Editor
An area of a DAW which enables the user to edit an audio clip in detail.
Save
To retain any work in progress. In a DAW this would be the generation of a ‘session’ file.
Score Editor
A DAW editor window which enables the user to input or edit musical notation.
Semi-Parametric EQ
A simplified version of a parametric EQ where there is no Q control, just gain and frequency.
Sennheiser MD421
A high quality dynamic microphone often used for recording guitar amplifiers and toms.
Sequencer
A legacy name for a digital audio workstation referring to the sequencing of audio or MIDI regions in the arrange page.
Session File
A DAW saved file which will often also require additional assets such as audio files.
Shelving
A kind of equaliser which affects all frequencies above (hi-shelf) or below (lo-shelf) a specified frequency.
58
Glossary
Shortcut Function
Software applications use combinations of key presses on a computer keyboard to trigger certain actions. Some are
standardised, for example, Command-S on a Macintosh is the shortcut to save in all applications, the equivalent being
Control-S on a Windows PC.
Shure SM57
A rugged dynamic microphone, similar to the SM58 but without the mesh protection. Commonly used for recording
guitar amps and close miking drum kits.
Shure SM58
A rugged dynamic microphone, most commonly used for vocals in live performances.
Sine Wave
A basic waveform with constant amplitude and consistent frequency.
Software Instrument
An optional piece of software which operates within a DAW as a synthesiser of various kinds of instrument. Many
software instruments are supplied with a DAW, however, further instruments can be purchased from 3rd party
manufacturers.
Software Instrument Track

A type of channel in a DAW which is a hybrid between audio and MIDI. It has an audio output that responds to MIDI
input by triggering a software instrument added to one of the plugin slots.
Solid State Drive

An evolution of the hard disk drive which uses solid state technology to save the files rather than using physical
magnetic disk plates. This makes the drive less prone to damage and enables faster data transfer rates.
Song
A piece of music, composed and arranged.
Sound Engineer
The person who is primarily in control of the equipment and aims to achieve the best quality of sound possible. They
would work under direction from the producer.
SPDIF
An acronym of ‘Sony Philips digital interface’. This is an audio data transfer protocol used over short distances to make
a single stereo connection between two devices. In most cases it will use an RCA connector, however, it can also use an
optical TOSLINK connection.
Speaker
The device which converts electrical energy into acoustic energy, i.e. the opposite of a microphone.
Speakon
A cable connector created by Neutrik, used most commonly for connecting amplifiers and speakers in PA systems.
59
Glossary
Spotify
An online music streaming service which has a free subscription with advertising, or for a monthly subscription the user
can bypass advertising and obtain additional functionality.
SSD
An initialism of ‘solid state drive’.
Standard MIDI File

A standard format for saving MIDI data for sharing between devices. There are two kinds, type 1 (multiple tracks of
MIDI) and type 0 (a single track of MIDI).
Status Byte
An initial message sent to a MIDI device which identifies its purpose.
Step Sequencing
Recording MIDI into a sequencer or DAW one note at a time without needing to keep up with the tempo.
Stereo
A realistic sounding format for audio which uses two channels to emulate the feeling of space around a sound.
Stringed Instrument
An instrument which generates its sound from the resonation of a pitched string.
Strings
A collective term used for stringed instruments, most commonly referring to bowed instruments such as violin, viola,
cello and contrabass.
Studio Assistant
The person in the studio who assists the sound engineer, for example, setting up microphones or operating the patch bay.
Studio One
A digital audio workstation created and developed by Presonus.
Studio Runner
The person in the studio whose role it is to ensure that everyone has what they need during a recording session. They
might be tasked with fetching equipment or making tea.
Surround Sound
An audio format which uses more than two speakers, arranged around the listener to provide a more realistic
environment.
Sustain Pedal
A MIDI controller used to emulate the sustain pedal of a piano. When the sustain pedal is held, any notes that are played
will continue to sound beyond the release of the key/note off message.
60
Glossary
Sweep EQ
Another name for the mid band of a semi parametric EQ.
Synth
An abbreviation of ‘synthesiser’.
Synthesiser
An electronic device which generates sound. This may be original sound, designed for its own tone and timbre or it may
be to emulate acoustic instruments such as piano and drums.
System Preferences
The part of an operating system that enables the user to optimise the computer for the required purpose, such as audio
recording.
Tape / Magnetic Tape

A linear magnetic medium used to record sound and music. It is now rarely used due to its inconvenience and expense,
but many engineers still maintain that it sounds better than the digital equivalents.
TDIF
An abbreviation of ‘Tascam digital audio interface’, named after its founding company. Initially a standard for connecting
Tascam digital tape machines, it has also been adopted by other manufacturers to connect digital mixing desks and other
multichannel devices. The technology has since been superseded by MADI and ethernet based standards.
Template
Predefined settings which enable the user to get started more quickly.
Thunderbolt
A peripheral connection which is capable of very high data transfer rates. There are three versions available with
Thunderbolt 3 being capable of 40Gbps.
Timbre
The tonal colour of a sound.

TOSLINK
An acronym of ‘Toshiba link’ named after its founding company. It uses the same connector as ADAT lightpipe to
connect two digital audio devices, using the SPDIF protocol to transfer the data. This is most common on consumer
hi-fi equipment, for example, connecting a CD player to an amplifier.
Track
An individual element of recording or recorded material such as a vocal or guitar. When working with more than one
track, it is referred to as ‘multi tracking’. A track is different to a channel.
Track Pad
An alternative to a mouse which is useful in small spaces. Commonly found on laptop computers but also available as a
peripheral.
61
Glossary
Trackball
An alternative to a mouse which uses a ball on the top for control of the pointer. Sometimes preferred by sound
engineers due to it remaining static on the work surface.
Transducer
A device which converts one kind of energy into another, for example, acoustic energy into electrical energy in the case
of a microphone.
Transport
The controls of a DAW which enable the user to play, stop, pause, fast forward, rewind and record.
Trim
Another name for the gain stage of a mixing desk, except that trim can also be used to reduce the level of the input.
Trombone
A brass instrument which uses a telescopic slide to alter the note. Commonly used in classical music among many other
genres.
Trumpet
A brass instrument with three valves, the highest register in the family of instruments. Commonly used in jazz and
classical music, among many other genres.
Unity Gain
When the output of an audio circuit is at the exact same level as the input level, i.e. when a fader is at zero on a
mixing desk.
USB
An initialism of ‘universal serial bus’. A standard peripheral connection used on both PCs and Macs. Three versions are
available with varying speeds. USB3 is the fastest at the time of going to print, with a data transfer rate of 480 megabits
per second.
Vinyl Record
A flat circular piece of vinyl with grooves cut into it. A record player needle sits in the groove as it rotates, the vibrations
in the needles are amplified to playback the recorded sound, making it an analogue medium.
Viola
It is slightly larger than a violin, giving it a deeper sound.
Violin
Voice
A natural sound source, created from air (breath) passing over the vocal cords in the throat.
62
Glossary
.wav
A file suffix used for Wav files.
Wav
An abbreviation of ‘waveform’. Wav files are the industry standard digital audio file format. They are considered high
quality as they are a lossless format.
Waveform
The visual representation of an audio wave as seen in the DAW arrange page or sample editor.
Windows
An operating system created and developed by Microsoft. There are numerous versions including Windows XP,
Windows Vista, Windows 7, Windows 8 and Windows 10.
World Wide Web

The content that is stored and accessed via the internet.
XLR Connector
A balanced connection used in most professional level equipment. The standard connection for microphones. Also
referred to as a cannon connector.
Youtube
An online video streaming service provided by Google.
63
Useful Information (Non-assessed)
Music Production Roles

The typical roles you might come across are:
Producer:
Overall responsibility of delivering the project by the deadline. They will normally have creative control and also control
of budgets and planning.
Sound Engineer:
Responsible for ensuring that the recordings and mixes sound as good as possible. An experienced engineer will be able
to achieve a good result quickly.
Assistant Engineer:
Assists the Sound Engineer, for example setting up microphones or backing up session files.
Runner:
Undertakes a range of miscellaneous tasks, many of which are not always production centric.
64
Useful Information (Non-assessed)
Management
As a producer you are in charge of the project and there are numerous things that you need to manage in order to ensure the
project is completed on time and to a good standard.
Time
Time in a commercial recording studio is very expensive so you need to ensure that you are making the most of every minute.
In order to be efficient with your time, you should minimise any delays and make as many decisions as possible before
you arrive. Plan everything out so that you know what needs to be done and estimate how long each of those things will
take. There will always be unexpected setbacks, so also build in some spare time to catch up.
Efficiency
There may be some ways you can be more efficient with your time and money, for example, if your project needs some
strings on the track, then you could choose to hire string players and arrange a piece for them to play, get them into the
studio and record them. All of which is quite expensive. Or you could programme some strings using a software synth/
samplers. The result might not be as natural or as high fidelity but if it’s all the project needs, then you’ve saved yourself a
lot of time and money which can be spent on other things.
Another example might be programming a backing track using loops and samples, rather than recording real musicians.
Again, if it works for the project then choose the most efficient solution.
Resources
Resources can mean many things, including sometimes money and people. But in this context we’ll see resources as the
physical items required to get the job done. It might be specific equipment or studio access. If you need a certain piece
of equipment to complete a project, then you have to ensure it’s available when you and the other personnel involved are
ready to use it.
If you stay on top of the above four things, you should be able to complete the project without too much stress.
Planning ahead is extremely important. Without appropriate planning, it is all too east for costs to spiral out of control
and deadlines to be missed.
People/Personnel
While some projects can be completed by you alone, quite often you will need to rely on others to help you. Depending
on the project these may be paid employees or just people doing you a favour. Either way, it’s in your interest to get the
best from them.

Money
Some projects will require some investment, this might be your money or a record label, publisher or other investor.
Wherever the money is coming from, you need to ensure that you spend it wisely and always deliver the project within
the available budget.
65
Image Copyright Information
Images listed by page, left to right, top to bottom.
p.9
© Mihai Simonia/Shutterstock
p.11
© CoolKengzz/Shutterstock
© Madlen/Shutterstock
© Neutrik AG
© RME
p.12
© DTraves/Shutterstock
© JDPR/Shutterstock
© T.Dallas/Shutterstock
p.13
© Romas_Photo/Shutterstock
© Luminis/Shutterstock
© flickr.com/photos/shieldconnectors
© Neutrik AG
p.20
c wikipedia.org (Manley Compressor)
© Universal Audio Inc.
© Drawmer Electronics Ltd.
p.21
© HARMAN Luxury Audio Group
Additional vector technical illustrations by Simon Troup

© 2016 Rockschool/RSL
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Introductions & Information

Section A | Music Production Theory

Section B | Listening Skills

Section C | Coursework Task

33 Rockschool Music Production Grade 3 Exam – Sample Paper

Music Production Grade 3 | Coursework Edition

■■ Blockbuster movie soundtracks

Nik Preston – Head of Product Development and Publishing

■■ Music Production Theory

You will need to input this code when prompted: H4U6JYZTG3

Music Production Grade 3 | Coursework Edition

MUSIC PRODUCTION GRADES 1–8

ELEMENT Pass Merit Distinction

TOTAL MARKS 60%+ 75%+ 85%+

SECTION (Current section highlighted) MARKS

> Theoretical Written Exam 25 [25%]

Listening Test 15 [15%]

Coursework Task 60 [60%]

■■ Music Production Terminology

Music Production Terminology

(make quieter) the incoming signal.

As line level equipment is louder than microphones, the gain 10 60dB

pot on a line input might have an indentation at the 12 o’clock

position. This is the point at which no gain is being applied and

Music Production Theory | Section A

Computer Data Transfer

There are two main versions of the Firewire protocol:

Digital Audio Data Transfer

ADAT Lightpipe MADI

Music Production Grade 3 | Coursework Edition

3.5mm Jack / Mini-jack

¼” Jack (Quarter inch jack) 5-Pin DIN

Music Production Grade 3 | Coursework Edition

Inside the Computer

Digital Audio Workstation

Piano Roll Editor

Piano Roll Editor

Music Production Grade 3 | Coursework Edition

The bounce function has two ways of working:

Sound and Audio Fundamentals

Dynamic Microphone Capsule

Diaphragm Microphone casing

Music Production Grade 3 | Coursework Edition

Condenser microphones can also be referred to as ‘capacitor microphones’ or ‘electrostatic microphones’.

Music Production Grade 3 | Coursework Edition

Music Production Grade 3 | Coursework Edition

SECTION (Current section highlighted) MARKS

Theoretical Written Exam 25 [25%]

> Listening Test 15 [15%]

Coursework Task 60 [60%]

■■ In audio example LSG3SF1.mp3 you will hear an organ recorded in stereo

Music Theory & Harmony

Objective: Triplet Recognition – Quarter and Eighth-Note Triplets

Typical Major-Key Reggae Chord Progressions

Reggae Eighth-Note Bass Lines