Maricopa Community Colleges  MUC197   20026-20042 
Official Course Description: MCCCD Approval: 05/28/02
MUC197 20026-20042 L+L 3 Credit(s) 3 Period(s)
Live Sound Reinforcement I
Basic principles of live sound engineering. Emphasis on signal flow, acoustic, sound reinforcement set-ups and installation, signal processing, microphone selections and placement. Includes setting up sound systems and mixing live music. Prerequisites: None.
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MCCCD Official Course Competencies:
MUC197   20026-20042 Live Sound Reinforcement I
1. Describe and demonstrate elements of signal flow in a sound reinforcement console. (I)
2. Identify impedance and crossover matching for amplifiers. (II)
3. Demonstrate speaker placement, and identify load impedance. (III)
4. Explain the uses of equalizers and frequencies. (IV)
5. Identify and describe types, directional design, and considerations in the use of microphones, and demonstrate correct microphone positioning. (V)
6. Identify and demonstrate the use of common effect processors. (VI)
7. Identify and describe acoustical properties of sound. (VII)
8. Identify and describe proper electrical connections. (VIII)
9. Demonstrate a sound reinforcement production. (IX)
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MCCCD Official Course Outline:
MUC197   20026-20042 Live Sound Reinforcement I
    I. Console Signal Flow
        A. Microphone
        B. Line
        C. Instrument levels
      II. Amplifiers
          A. Crossovers
          B. Impedance matching (Ohm's Law)
        III. Speaker Enclosures
            A. Impedance loads
            B. Mains
            C. Side fills
            D. Monitors and in-ear-monitors
            E. Cue, headphone, and solo amp
            F. Cables
          IV. Equalizers
              A. Graphic, parametric, and shelving
              B. Frequencies
              C. High pass and low cut filters (sweepable)
              D. Bandwidth
              E. Feedback (resonating frequencies and exterminators)
            V. Transducers
                A. Microphone types
                  1. Dynamic
                  2. Condenser
                  3. Ribbon
                B. Directional designs
                  1. Cardioid uni-directional
                  2. Hyper-cardioid
                  3. Omni-directional
                C. Use considerations
                  1. Impedance
                  2. Specifications
                  3. Phasing (3-1)
                  4. Choice
                  5. Placement
                  6. Instruments
                D. Direct input boxes
              VI. Effect Processors
                  A. Time based processors
                    1. Decay
                    2. Reverberation
                    3. In line
                  B. Dynamic processors
                    1. Ratio
                    2. Threshold
                    3. Attack
                    4. Release
                    5. Range ratio
                VII. Acoustical Properties of Sound
                    A. Perceptions of direction
                      1. Direct sound
                      2. Reflected sound
                    B. Delay of mains and satellites
                    C. Decay
                    D. Reverberation
                    E. Ambiance
                    F. Separation
                    G. Phase
                    H. Loudness levels (Flecher/Munson)
                      1. Amplitude
                      2. Thresholds
                      3. Measurement phon
                      4. Measurement sone
                      5. Combination tone
                      6. Beats
                    I. Masking
                  VIII. Alternating Current
                      A. Generators
                      B. 3-phase power
                      C. Grounding
                    IX. Musical Production Decisions
                        A. Stage plots
                        B. Neatness
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