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RSL Grade 3

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RSL Grade 3

Topics Covered: Interpreting the functions of studio hardware, digital protocols, analogue connectivity, computer memory and storage, microphones, using loops, the MIDI protocol, dynamic processing, frequency.
Genres: Reggae, Soul

Theory (25% of overall grade)

At Grade 3 the theory content covered will include subject areas such as interpreting the functions of studio hardware, digital protocols, analogue connectivity, computer memory & storage, microphones, using loops, the MIDI protocol, dynamic processing and frequency.

At Grade 3 candidates will be expected to:

  • Interpret functions of a mixing desk, to include gain, EQ, auxiliaries, faders, pan
  • Interpret and identify digital transfer protocols, including their relative data transfer rates, including USB, Thunderbolt, MADI, SPDIF, ADAT
  • Interpret analogue connections and their purpose, to include XLR, ¼” Jack, Mini Jack, Phono/RCA, D-Sub
  • Interpret the purpose and advantages of computer systems, to include RAM, Hard Disks, Solid State Drives, including choosing the appropriate option in relation to data transfer rates
  • Interpret appropriate use for DAW functions, to include templates, markers, bounce, piano roll / MIDI editors, quantise
  • Briefly explain what a microphone is for and how it works
  • Briefly explain the creation, use and advantages of audio loops
  • Understand MIDI, including what the acronym stands for, what it is, and how it works from a user perspective
  • Interpret and briefly explain audio technology, including compression, limiting, gating, expanding
  • Understand frequency, including its units of measurement, the difference between Hz and kHz, human hearing range

 

Listening Test (15% of overall grade)

The listening test will present candidates with questions relating to sonic fidelity, music theory and harmony and stylistic awareness. Audio files will be presented to the candidates and questions will relate specifically to the relevant audio file. This will assess the candidate’s ability to hear and interpret:

Sonic Fidelity
Distinguishing between mono and stereo recordings and hearing different stereo widths.

Music Theory & Harmony
Identifying major, minor and blues scales and eighth note triplets.

Stylistic Awareness
Identifying specific genres.

At Grade 3 candidates will be expected to:

  • Identify the difference between Mono and Stereo recordings
  • Identify the difference between Mono and Stereo mixes
  • Identify differences in stereo width
  • Identify major, natural minor and blues scales
  • Identify eighth note triplets in 4/4
  • Identify common Western music genres from a choice of two: reggae and soul

 

Practical Assessment (60% of overall grade)

The Coursework Task combines:

Technical Skills

At Grade 3 the technical skills will centre around creating audio loops from provided material.

Coursework Task

The candidate will be presented with a situation and must choose and implement appropriate technique to resolve the scenario. At Grade 3 the scenario will require candidates to programme a simple backing track using a set chord structure. Therefore candidates must be confident in creating chords in the key of C major and G major.

Candidates must complete the Coursework Task before their exam and will be asked to upload the Task and the screen shots specified in the Coursework Task, during the exam. The completed session files must be appropriately named, saved and shared with your examiner as instructed, including all associated audio files. It is vital that candidates are able to accurately save their work as failure to do so will result in an unclassified mark.

Candidates will need to answer questions regarding the Task during the exam. These will focus on:

  • The skills used to complete the Task
  • How candidates approached the professional nature of the Task
  • How candidates interpreted the creative elements

Lee has over 20 years of experience in music and music education. Starting out as a self-taught enthusiast with an MPC and a love for hip hop, he pursued formal studies in music technology, earning a First Class BA in the field. Throughout his career, Lee has taken on various roles in the industry, including studio technician, recording engineer, live sound engineer, and mixing and mastering engineer.

As a studio engineer, Lee is known for breaking conventions, even creating custom equipment to achieve unique sounds. His versatility as a producer is evident in his work with artists across diverse genres, from country and metal to hip hop and comedy music. Notably, he has produced and engineered all of comedy artist Thomas Benjamin Wild Esq.'s albums, which have garnered millions of hits worldwide. In the realm of children's media, Lee has made significant contributions as a composer and mix/mastering engineer for high-profile IPs broadcast globally.

His expertise extends to music production education, where he has taught a wide range of students, from children to adults and beginners to degree-level learners, including those with special educational needs (SEN). He has also played a crucial role in designing and developing music production courses across all levels from 1 to 6.

Lee's passion for music production continues to be the driving force behind his career. His love for creating unique sounds and pushing the boundaries of conventional production techniques fuels his innovative approach to every project. Whether working with emerging artists, developing educational courses, or composing for high-profile media, Lee's dedication to his craft is evident. His enthusiasm for music and technology not only inspires those he works with but also propels him to continually explore new creative avenues and stay at the forefront of the industry.