Prerequisites: MUS 1621 and MUS 2601 and and admission to the Music Industry Recording Arts A.S. degree, production subplan. Corequisite: MUM 1629L. This course is the study of contemporary audio engineering techniques. Fundamental aspects of working in the mixing phase of record production are topics of study and practice, including: sound aesthetics and balance priorities, signal flow and routing concepts, signal processing types and their mix-specific applications. Through assignments and examples, a practical foundation in the mixing engineer’s skill-set will be developed. 47 contact hours.

Prerequisites: MUM 2601, MUS 1621 and and admission to the Music Industry Recording Arts A.S. degree, production subplan. Corequisite: MUM 1629. This course serves to provide the student with an applied, practical environment to work with advanced audio mixing techniques using concepts put forth in MUM 1629 to computer-based recording and mixing set-ups. Skills will be developed that will enable the student to work in an audio mixing environment at a beginning to intermediate level. 32 contact hours.

Prerequisites: MUM 2601, MUS 1621 and and admission to the Music Industry Recording Arts A.S. degree, production subplan. Corequisite: MUM 1629. This course serves to provide the student with an applied, practical environment to work with advanced audio mixing techniques using concepts put forth in MUM 1629 to computer-based recording and mixing set-ups. Skills will be developed that will enable the student to work in an audio mixing environment at a beginning to intermediate level. 32 contact hours.

Prerequisite: MUM 2678 or equivalent, and departmental permission. This course offers students individual, directed study in contemporary audio mixing techniques. Applying skills developed in prerequisite classes, students will work directly with the instructor and in peer-review class meetings, focusing on self-originated projects as well as "pool" projects, pairing them for collaboration with students working in other music production classes and disciplines. This process will challenge further refinement of technical skills, and offer essential experience in students' communication and collaboration aptitudes that will prove a distinct advantage as they enter this competitive industry. May be taken up to two times for credit. One-hour private lesson plus one-hour seminar/peer-review class each week.

Prerequisite: MUM 1942 or permission of the dean. This course is the second of two semesters of study, and is designed to enable students to evolve individually, and as a group, toward the advanced utilization of sound engineering technology in a professional setting. Students will utilize audio engineering skills and techniques acquired in the classroom and previous internships, and apply these techniques in a pre-determined audio recording or live sound reinforcement situation. Students will explore their audio production discipline in a non-direct supervised, on-site, training program/internship for knowledge and experience. The emphasis will be a “hands-on” approach working with other students in an appropriately equipped performance venue and incorporating academic discussions and practices with job related experience. The student must fulfill the requirement of 60 on-the-job hours for each credit earned in addition to other assignments.

Topic I: Live Event Production
The Live Event Production internship is designed to enable students an opportunity to apply practices and techniques learned in the co requisite live sound reinforcement course. Students gain a backstage perspective and are provided opportunity to demonstrate their knowledge and work ethic in a variety of venues working alongside industry professionals.

Topic II: Acoustic and Remote Recording
The Acoustic and Remote Recording internship is designed to prepare and coordinate in-field experience, to help students advance their skills and abilities through practical application of techniques and concepts discussed in the corequisite course. Assignments will involve cooperation with the Florida Orchestra, The Palladium, The SPC Music Center, recording studios and other settings. The internship experience should also provide opportunities to further develop professionalism, problem-solving, resourcefulness and self-reliance, and may offer chances to establish contacts within the industry that lead to entry-level employment.

Topic III: Studio Engineering
The Studio Engineering internship is designed to prepare and coordinate in-field experience for advanced students in a professional recording industry setting, such as recording studios, audio post-production facilities, or broadcast studios. Internship should help students to advance their skills and abilities through practical application of techniques and concepts discussed in other courses. The internship experience should also provide opportunities to further develop professionalism, problem-solving, resourcefulness and self-reliance, and may offer chances to establish contacts within the industry that lead to entry-level employment.

Prerequisite: MUM 2600 and admission to the Music Industry Recording Arts A.S. degree. Corequisite: MUM 2601L. This second course in the music technology sequence presents techniques used in working with Pro Tools hardware and software. Digital audio theory, basic Pro Tools configuration techniques, graphical user interface (GUI) topography, and session initiation will be explored. This course prepares students for Music Technology and Recording Techniques III. 47 contact hours.

Prerequisite: MUM 2600 and admission to the Music Industry Recording Arts A.S. degree. Corequisite: MUM 2601. This course serves to provide the student with an introduction to digital audio recording by applying concepts put forth in MUM 2600 and MUM 2601 to computer-based recording set-ups. Skills will be developed that will enable the student to operate a Pro Tools system at an introductory level. This course will prepare students for Music Technology and Recording Techniques III. 32 contact hours.

Prerequisite: MUM 2602/2602L and admission to the Music Industry Recording Arts A.S. degree. This fourth course in the music technology sequence presents live recording and professional level production techniques used in working with Pro Tools hardware and software. The course of study will include applied recording, editing, and mix-down techniques in a “real world” setting, utilizing learned skills to capture a live performance and present a final mix for evaluation. 47 contact hours.

Prerequisite: MUM 2609 and admission to the Music Industry Recording Arts A.S. degree, production subplan. This course is an advanced level study of production techniques used in contemporary popular music. It is designed to be the second semester study of in-depth listening skills required of the mixing and mastering specialist. Listening examples will provide an overview of the history of innovations and revolutions in analog and digital technology. Sound aesthetics, stylistic trends, recording media and methods, mixing techniques, signal processing and mastering approaches will be analyzed and discussed. 47 contact hours.

Prerequisite: MUM 2601, MUM 2601L, MUM 1629, MUM 1629L and admission to the Music Industry Recording Arts A.S. degree, production subplan. Corequisite: MUM 2678L. This course is a study of advanced contemporary audio engineering techniques. All aspects of working in the mixing phase of record production are topics of study and practice including; advanced processing techniques and effectual problem solving, automated mixing workflows and control surface concepts, sound/balance aesthetic decision making and mix-translation objectives. Assignments and exercises will add breadth and depth to students’ mixing experience, while following a model of industry-established collaborative roles, and exercises in creative communication protocol and common practice. 47 contact hours.

Prerequisite: MUM 2601, MUM 2601L, MUM 1629, MUM 1629L and admission to the MIRA A.S. degree, production subplan. Corequisite: MUM 2678. This course serves to provide the student with an applied, practical environment to work with advanced audio mixing techniques using concepts put forth in MUM 2678 with computer-based recording and mixing set-ups. Skills will be developed that will enable the student to work in an audio mixing environment at an intermediate to advanced level. 32 contact hours.

Prerequisite: MUM 2601, MUM 2601L, MUM 1629, MUM 1629L and admission to the MIRA A.S. degree, production subplan. Corequisite: MUM 2678. This course serves to provide the student with an applied, practical environment to work with advanced audio mixing techniques using concepts put forth in MUM 2678 with computer-based recording and mixing set-ups. Skills will be developed that will enable the student to work in an audio mixing environment at an intermediate to advanced level. 32 contact hours.

Prerequisite: MUM 2678 or equivalent, and departmental permission. This course offers students individual, directed study in contemporary audio mixing techniques. Applying skills developed in prerequisite classes, students will work directly with the instructor and in peer-review class meetings, focusing on self-originated projects as well as "pool" projects, pairing them for collaboration with students working in other music production classes and disciplines. This process will challenge further refinement of technical skills, and offer essential experience in students' communication and collaboration aptitudes that will prove a distinct advantage as they enter this competitive industry. May be taken up to two times for credit. One-hour private lesson plus one-hour seminar/peer-review class each week.