32 assessed work items are mapped below. Use the lesson title or activity ID to find the work, the evidence to keep, and the criteria used to assess it.
Suggested learner fit
Education catalog title: The Roger Nichols Recording Method — Advanced Recording Elective
Usually 16–18 after a multitrack course. A 13- or 14-year-old with real DAW experience can enter after a teacher reviews a saved recording and mix.
Priority skills: Multitrack capture; overdubbing and comping; automation; mix judgment and verification.
Prior skills: Can open, save, edit, route, and export a multitrack project; can describe a listening comparison.
Equipment: ArtistPro studio access, Exercise-201 and Street Life session materials, headphones, and recording gear for capture labs.
Expected time: Plan 32–40 hours for 32 practical lessons.
Teacher guidance: Teacher edition required for school use; an instructor checks the entry project and practical work.
9.1 · Tennessee A/V Production I — C11H01 Organize and preserve session files
Assignment
Save your own copy of Exercise-201, close it, and reopen it. Play a short passage and find the play and stop controls, each track’s input and output, and the listening-volume control. Write a short recording plan: what you will record first, what you will overdub, and what you need before starting.
Evidence to keep
List the working files and their purposes. Reopen the saved or transferred copy and record the playback result.
Assessment criteria
Your project is named Exercise-201 and saved as a separate copy.
The same tracks and audio return when you reopen it.
You can point to the play and stop controls, track inputs, track outputs, and listening level.
Your recording plan names the instruments, recording order, and equipment you need.
Standard-specific check: Identify each file’s purpose, preserve the source material and verify that the transferred or reopened project works.
02 · 02
Noise, sound and recording formats
6.6 · Tennessee A/V Production I — C11H01 Explain sound behavior
Assignment
Listen to the original, hiss, and hum examples. Describe the difference between them. Draw the path from microphone to speakers and list where you would check for noise. Note the recording format, session format, and export format.
Evidence to keep
Add a labeled sketch explaining the sound behavior you observed, and cite the relevant lesson or source. Separate a listening observation from a physical measurement.
Assessment criteria
Describe the hiss and hum you hear.
Draw the signal path and explain where you would start checking for noise.
Identify the audio-file, session, and export formats.
Explain why input gain and listening volume have different jobs.
Standard-specific check: Connect the observed sound to its physical or digital cause and use a labeled sketch or graphic to explain it.
03 · 03
Create the microphone exercise
8.1 · Tennessee A/V Production I — C11H01 Capture a planned performance
Assignment
Create a mono track named Mic Test. Select your microphone input, make a short recording, then save and reopen the project.
Evidence to keep
Keep the original recording, setup details and playback check. A proposed setup or supplied recording does not demonstrate your own capture skill.
Assessment criteria
The Mic Test track is mono and uses the intended input.
Note the sample rate and recording format.
The track and routing return when you reopen the project.
Name the microphone, interface input, and any required phantom power.
Standard-specific check: Select and connect the equipment, record the planned material, and replay it to verify the capture.
04 · 04
Record and compare microphone response
6.7 · Tennessee A/V Production I — C11H01 Choose and position microphones
Assignment
Record the microphone comparisons described above. Keep each take and explain what changes when you move the microphone. Without recording equipment, compare the supplied demonstrations and write listening notes for each position.
Evidence to keep
Include a labeled placement sketch and microphone information from its manufacturer. Record whether you made the capture yourself, observed a demonstration, or analyzed supplied audio. Practical microphone operation requires a witnessed capture.
Assessment criteria
Keep the recordings, or identify the demonstrations and times you compared.
Turn record arm off before listening back.
Describe the change in bass, clarity, and room sound at each position.
Note the input level and listen for distortion in the recorded take.
Standard-specific check: Compare microphone behavior, justify placement and connections, and check the result against the recording purpose.
04B · 04B
Compare Shabby Road microphone models
MU:Re9.1.T.Ia · National Core Arts Standards — Music Technology Judge a musical result
Assignment
Compare two microphone models on the same phrase at similar listening levels. Save the one you prefer, then switch it off and on to explain what it changes.
Evidence to keep
Name the musical aim and two listening criteria. Mark the exact passage supporting your decision; explain one benefit and one cost of the chosen version.
Assessment criteria
Name both models and their comparison-gain settings.
Use the same phrase for both models.
Save and reopen the preferred setting.
Explain how a modeled change differs from moving a real microphone.
Standard-specific check: Name the musical purpose, compare the same passage fairly, and support the decision with audible details.
05 · 05
Trace the channel strip
1.5.c · ISTE Standards for Students Break down a system
Assignment
Draw the channel’s signal path. Show where an insert processes the sound and where a send feeds a reverb return. Play the track and demonstrate each route.
Evidence to keep
Label the parts, connections and direction of flow. Use the model to explain one result or predict the effect of a specific change.
Assessment criteria
The drawing matches the route you hear.
Explain the difference between track level, send level, and listening volume.
Standard-specific check: Identify the parts and connections, then use the diagram or sequence to explain or isolate a problem.
06 · 06
Prepare the supplied recording session
1.1.d · ISTE Standards for Students Operate and explain technology
Assignment
Set up the stereo Drums track to record from Bus 1–2. Arm it, start a short recording, then stop and listen to the recorded track. Explain what arming does and what starts the recording.
Evidence to keep
Demonstrate the operation yourself where equipment is available. Identify the controls used and verify the result; keep proposed operations separate from completed demonstrations.
Assessment criteria
Drums is stereo, receives Bus 1–2, and feeds the stereo output with its fader at unity.
The drums play once, without feedback or a doubled source.
The correct audio reaches the intended track.
Standard-specific check: Demonstrate the relevant controls or file operations and explain what changes at the input and output.
07 · 07
Record the incomplete first drum take
8.1 · Tennessee A/V Production I — C11H01 Capture a planned performance
Assignment
Record the first drum take through 00:55. Listen back, locate the mistake, and keep the take for comparison with the next recording.
Evidence to keep
Keep the original recording, setup details and playback check. A proposed setup or supplied recording does not demonstrate your own capture skill.
Assessment criteria
A new recording appears on Drums.
The recording ends at 00:55.
The recorded take still plays when its source feed is muted.
Standard-specific check: Select and connect the equipment, record the planned material, and replay it to verify the capture.
08 · 08
Record and retain the complete second take
9.1 · Tennessee A/V Production I — C11H01 Organize and preserve session files
Assignment
Record the complete second drum take without overwriting the first. Compare them, select the second for overdubs, then save and reopen the project.
Evidence to keep
List the working files and their purposes. Reopen the saved or transferred copy and record the playback result.
Assessment criteria
Both drum takes are kept.
The second take is selected for overdubs.
Both takes and their markers return when the project reopens.
Standard-specific check: Identify each file’s purpose, preserve the source material and verify that the transferred or reopened project works.
09 · 09
Gain structure and headphone balance
1.5.c · ISTE Standards for Students Break down a system
Assignment
Make a comfortable headphone balance while keeping the recording input level unchanged. Explain when a performer would need a different mix from the control-room speakers.
Evidence to keep
Label the parts, connections and direction of flow. Use the model to explain one result or predict the effect of a specific change.
Assessment criteria
Changing the listening mix does not change the recorded level.
Identify input gain, track fader, master level, and headphone volume.
Watch the input and output meters and avoid clipping.
Show which outputs share a mix and which can carry a separate cue mix.
Standard-specific check: Identify the parts and connections, then use the diagram or sequence to explain or isolate a problem.
10 · 10
Overdub bass and organ together
8.1 · Tennessee A/V Production I — C11H01 Capture a planned performance
Assignment
Record bass and organ together on separate mono tracks. Listen to each new track on its own, then with the drums. Save and reopen the project.
Evidence to keep
Keep the original recording, setup details and playback check. A proposed setup or supplied recording does not demonstrate your own capture skill.
Assessment criteria
Bass and Organ record from their intended buses and begin together.
The drum takes remain unchanged.
Pan Organ about halfway right and listen through the stereo output.
Both new parts play separately and with the drums after reopening.
Standard-specific check: Select and connect the equipment, record the planned material, and replay it to verify the capture.
11 · 11
Overdub stereo Rhodes
8.1 · Tennessee A/V Production I — C11H01 Capture a planned performance
Assignment
Record the stereo Rhodes part. Listen to its left and right channels and check it with the existing arrangement.
Evidence to keep
Keep the original recording, setup details and playback check. A proposed setup or supplied recording does not demonstrate your own capture skill.
Assessment criteria
The new Rhodes recording has two channels.
Its input is Bus 5–6.
The earlier tracks and takes remain unchanged.
Standard-specific check: Select and connect the equipment, record the planned material, and replay it to verify the capture.
12 · 12
Overdub guitar and vocal
1.1.d · ISTE Standards for Students Operate and explain technology
Assignment
Record guitar and vocal on separate mono tracks from 00:55 to 05:05. Listen to each and then both in the arrangement. Save a portable copy and reopen it. Explain when you would record the performers in separate passes.
Evidence to keep
Demonstrate the operation yourself where equipment is available. Identify the controls used and verify the result; keep proposed operations separate from completed demonstrations.
Assessment criteria
Guitar and Vocal remain separate mono tracks.
Pan Guitar about halfway left.
Earlier recordings remain unchanged.
Both new recordings cover 00:55–05:05.
The parts play correctly after saving and reopening.
Keep a portable session file that opens with its audio.
Standard-specific check: Demonstrate the relevant controls or file operations and explain what changes at the input and output.
13 · 13
Punch in without pre-roll
9.2 · Tennessee A/V Production I — C11H01 Edit audio in software
Assignment
Record replacement passages at 01:50–02:10 and 03:35–03:50. Save and reopen the project. Listen to each complete phrase and across the beginning and end of each edit.
Evidence to keep
Keep the original and edited versions. Identify the changed passage and audition its entrance, join and ending.
Assessment criteria
Both replacement passages cover the intended times.
Audio outside the replacement passages is unchanged.
Keep the original takes as well as the replacements.
Listen for clipped words, clicks, and unnatural joins.
Standard-specific check: Retain the source, make the intended edit, and audition the boundaries and the finished passage.
14 · 14
Punch with pre-roll and post-roll
9.2 · Tennessee A/V Production I — C11H01 Edit audio in software
Assignment
Record a punch-in with pre-roll and post-roll. Listen to the music before and after the replacement and identify where recording begins and ends.
Evidence to keep
Keep the original and edited versions. Identify the changed passage and audition its entrance, join and ending.
Assessment criteria
The new recording starts and ends at the selected times.
Pre-roll and post-roll let you hear surrounding music without replacing it.
Reset pre-roll and post-roll to zero after the exercise.
Standard-specific check: Retain the source, make the intended edit, and audition the boundaries and the finished passage.
15 · 15
Quick Punch and recover the missed first note
9.2 · Tennessee A/V Production I — C11H01 Edit audio in software
Assignment
Use Quick Punch, then extend the recorded region to recover the first note you missed. Listen to the recovered entrance with the surrounding phrase.
Evidence to keep
Keep the original and edited versions. Identify the changed passage and audition its entrance, join and ending.
Assessment criteria
The underlying recording includes audio from 04:30 or earlier.
The region first starts at 04:40; extend it to about 04:35.
The earlier note comes from the same recording.
Standard-specific check: Retain the source, make the intended edit, and audition the boundaries and the finished passage.
15B · 15B
Loop record, compare takes and build a comp
9.2 · Tennessee A/V Production I — C11H01 Edit audio in software
Assignment
Record and keep three loop takes. Choose passages from at least two takes to make a comp. Explain your choices, listen across every join, and save and reopen the project.
Evidence to keep
Keep the original and edited versions. Identify the changed passage and audition its entrance, join and ending.
Assessment criteria
Keep all three takes, including any partial take.
The original takes remain available after editing.
Compare the same passage from each take.
Explain the musical differences you hear.
The comp uses passages from at least two takes without shifting their timing.
The comp and original takes remain intact after saving and reopening.
Standard-specific check: Retain the source, make the intended edit, and audition the boundaries and the finished passage.
16 · 16
Mute percussion regions and preserve fills
MU:Re9.1.T.Ia · National Core Arts Standards — Music Technology Judge a musical result
Assignment
Choose where the percussion should play and where it should drop out. Mute selected regions while preserving the fills, then explain how the changes support the arrangement.
Evidence to keep
Name the musical aim and two listening criteria. Mark the exact passage supporting your decision; explain one benefit and one cost of the chosen version.
Assessment criteria
Mute individual regions without muting the whole track.
Keep the original audio.
The selected fills remain audible.
Standard-specific check: Name the musical purpose, compare the same passage fairly, and support the decision with audible details.
17 · 17
Clean the sax and audition edit boundaries
9.2 · Tennessee A/V Production I — C11H01 Edit audio in software
Assignment
Clean a gap between sax phrases. Listen across both edit points in the mix, then use Undo to restore the original and compare.
Evidence to keep
Keep the original and edited versions. Identify the changed passage and audition its entrance, join and ending.
Assessment criteria
The edit changes the gap while keeping the original audio available.
Keep the phrase attacks and decays intact.
Note any clicks or abrupt changes at the joins.
Standard-specific check: Retain the source, make the intended edit, and audition the boundaries and the finished passage.
18 · 18
Reveal the remaining mix tracks
1.5.c · ISTE Standards for Students Break down a system
Assignment
Bring back the remaining parts and listen to the complete arrangement. Hide one track without silencing it, then make it inactive and explain the difference.
Evidence to keep
Label the parts, connections and direction of flow. Use the model to explain one result or predict the effect of a specific change.
Assessment criteria
Each intended part plays once.
Hiding a track changes the display; making it inactive stops its participation in playback.
Track names match the parts you hear.
Standard-specific check: Identify the parts and connections, then use the diagram or sequence to explain or isolate a problem.
19 · 19
Build the balance and stereo image
MU:Re9.1.T.Ia · National Core Arts Standards — Music Technology Judge a musical result
Assignment
Build a balance and stereo image for the song. Explain two choices by playing the passage before and after each change.
Evidence to keep
Name the musical aim and two listening criteria. Mark the exact passage supporting your decision; explain one benefit and one cost of the chosen version.
Assessment criteria
Avoid clipping.
Keep stereo sources in stereo.
Explain how the level and pan choices serve the song.
Standard-specific check: Name the musical purpose, compare the same passage fairly, and support the decision with audible details.
20 · 20
EQ balance and remove unnecessary low end
MU:Re9.1.T.Ia · National Core Arts Standards — Music Technology Judge a musical result
Assignment
Use EQ on a midrange instrument. Find a high-pass cutoff that removes unwanted low end without thinning the part, then compare it with bypass in the full mix.
Evidence to keep
Name the musical aim and two listening criteria. Mark the exact passage supporting your decision; explain one benefit and one cost of the chosen version.
Assessment criteria
Note the frequency, gain, and bandwidth of each band you use.
After finding where the sound begins to thin, lower the cutoff by about 15 percent and listen again.
Compare the same passage at similar listening levels.
Save and reopen the chosen settings.
Standard-specific check: Name the musical purpose, compare the same passage fairly, and support the decision with audible details.
21 · 21
Compress the vocal gently
MU:Re9.1.T.Ia · National Core Arts Standards — Music Technology Judge a musical result
Assignment
Compress the vocal gently. Use the gain-reduction meter while listening, then compare compression and bypass at similar loudness.
Evidence to keep
Name the musical aim and two listening criteria. Mark the exact passage supporting your decision; explain one benefit and one cost of the chosen version.
Assessment criteria
Start with a 2:1 ratio.
Aim for about 3 dB of reduction on vocal peaks, adjusting by listening.
Note threshold, attack, release, and output gain.
Standard-specific check: Name the musical purpose, compare the same passage fairly, and support the decision with audible details.
22 · 22
Build one shared reverb return
1.5.c · ISTE Standards for Students Break down a system
Assignment
Create one shared reverb return. Send the vocal and one other instrument to it, adjust their send levels, and explain how the shared space joins them.
Evidence to keep
Label the parts, connections and direction of flow. Use the model to explain one result or predict the effect of a specific change.
Assessment criteria
Use one stereo return, 100 percent wet, with a 1.6-second decay.
The return adds reverb without duplicating the dry signal.
Save the send levels and avoid a feedback loop.
Place UNIQUEL-IZER after Studio ’76 and enable a 250 Hz high-pass filter on the return.
Standard-specific check: Identify the parts and connections, then use the diagram or sequence to explain or isolate a problem.
23 · 23
Refine balances with the one-dB test
MU:Re9.1.T.Ia · National Core Arts Standards — Music Technology Judge a musical result
Assignment
Choose two parts. Move each fader up 1 dB and down 1 dB while listening in the mix. Return to the starting level between comparisons and explain which level you keep.
Evidence to keep
Name the musical aim and two listening criteria. Mark the exact passage supporting your decision; explain one benefit and one cost of the chosen version.
Assessment criteria
Compare the original level with both 1 dB changes.
Keep other processing and master settings unchanged.
Explain the musical reason for your choice.
Standard-specific check: Name the musical purpose, compare the same passage fairly, and support the decision with audible details.
24 · 24
Keep useful mix notes
MU:Re9.1.T.Ia · National Core Arts Standards — Music Technology Judge a musical result
Assignment
Write three mix notes with times and clear descriptions. Make the changes, replay each passage, and mark the notes resolved or explain what still needs work.
Evidence to keep
Name the musical aim and two listening criteria. Mark the exact passage supporting your decision; explain one benefit and one cost of the chosen version.
Assessment criteria
Each note identifies a passage you can find.
Save the changes you keep.
Replay the passage before marking a note resolved.
Standard-specific check: Name the musical purpose, compare the same passage fairly, and support the decision with audible details.
25 · 25
Write and read fader automation
1.1.d · ISTE Standards for Students Operate and explain technology
Assignment
Write a short vocal-level ride. Switch to Read and play it back, then save and reopen the session.
Evidence to keep
Demonstrate the operation yourself where equipment is available. Identify the controls used and verify the result; keep proposed operations separate from completed demonstrations.
Assessment criteria
The automation points appear on the intended track.
Read mode repeats the level move.
Name the track and the passage you changed.
Standard-specific check: Demonstrate the relevant controls or file operations and explain what changes at the input and output.
26 · 26
Edit automation breakpoints
9.2 · Tennessee A/V Production I — C11H01 Edit audio in software
Assignment
Move one automation point, move a group of points, and raise or lower a segment. Listen after each change and undo one edit.
Evidence to keep
Keep the original and edited versions. Identify the changed passage and audition its entrance, join and ending.
Assessment criteria
The points and curve change as intended.
Moving a group keeps the spacing between its points.
After erasing automation, check the track’s manual level.
Standard-specific check: Retain the source, make the intended edit, and audition the boundaries and the finished passage.
27 · 27
Level vocal phrases throughout the song
MU:Re9.1.T.Ia · National Core Arts Standards — Music Technology Judge a musical result
Assignment
Adjust the vocal level through the whole song. Explain at least two rides and play the passages before and after the changes.
Evidence to keep
Name the musical aim and two listening criteria. Mark the exact passage supporting your decision; explain one benefit and one cost of the chosen version.
Assessment criteria
The rides follow the intended phrases.
Listen to the whole song after editing.
Explain how the changes help the words and performance.
Standard-specific check: Name the musical purpose, compare the same passage fairly, and support the decision with audible details.
28 · 28
Prepare the final mix range
1.4.b · ISTE Standards for Students Plan within project limits
Assignment
Choose the start and end of the final export. Leave the opening intact and enough time for the last note and effects to fade. Play both ends before exporting.
Evidence to keep
Keep the plan in a digital document. Include the intended result, resources, timing and a response to one likely change.
Assessment criteria
The selected range includes the complete song.
For the CD exercise, leave 0.25–0.5 seconds before the music.
Include the final decay and master fade.
Check for unwanted solos, mutes, or armed tracks.
Standard-specific check: Use a digital plan to connect the intended result to available time, equipment, people and a workable fallback.
29 · 29
Export and verify the finished file
9.1 · Tennessee A/V Production I — C11H01 Organize and preserve session files
Assignment
Export the final mix and play the downloaded file from beginning to end. Save a portable copy of the editable project and reopen it.
Evidence to keep
List the working files and their purposes. Reopen the saved or transferred copy and record the playback result.
Assessment criteria
The downloaded file opens in an audio player and has the intended stereo format.
Its beginning and ending match your selected range.
Listen for missing parts, missing effects, silence, or a cut-off ending.
The reopened project retains its audio, edits, effects, and automation.
Standard-specific check: Identify each file’s purpose, preserve the source material and verify that the transferred or reopened project works.
30 · 30
Complete the training and explain the mix
11.2 · Tennessee A/V Production I — C11H01 Document skills in a portfolio
Assignment
Present your finished mix and editable session. Explain one choice each in recording, editing, EQ, compression, reverb or delay, and automation. Play examples that show what those decisions changed.
Evidence to keep
Add a brief annotation to each selected item: your role, the task, a decision you made, the result and one skill to develop next.
Assessment criteria
Provide the editable project and playable mix.
Check the files by opening and playing them.
Use specific passages to explain your decisions.
Review unfinished exercises and complete them before submitting the final project.
Standard-specific check: Select relevant work, identify individual contributions, and explain the process, result and next learning step.
Teacher assessment guide
Assess the work named in each row. Record the file or portfolio entry, the criterion, the result and the next action. Use a practical observation for equipment operation. Give feedback on the learner’s decisions as well as the finished result.
Score
Evidence
3
Criterion met, with independent verification or a successful application in another situation.
2
Criterion met: the required work is complete, accurate and supported by evidence.
1
Some relevant work is present, but the intended result has not been demonstrated.
0
The required evidence has not been submitted or demonstrated.
Record each criterion and the next action. Practical equipment work needs an observed demonstration. Use the course grading plan for the final result.
Self-guided completion
Read the evidence requirement before starting. Save the work, check each criterion and revise any missing or unsuccessful part. Use a peer or instructor for tasks that require feedback or a witnessed practical demonstration.
2.5.b · ISTE Standards for Educators Design a practical technology lesson
Prepare and teach “Plan the session and learn the workspace.” Demonstrate the task, then have learners complete it independently.
Submit: A teaching plan, demonstration or teach-back, and learner work showing the result.
Assess: State the learning objective, teach a workable activity and show how the resulting student work demonstrates the objective.
2.5.a · ISTE Standards for Educators Adapt a lesson for learner needs
Adapt one practical assignment for a learner with limited equipment, a different way of accessing instructions, or a different way of presenting the result.
Submit: The original task, the adapted route and the shared assessment criteria.
Assess: Name a specific access or learning need and provide a usable alternative that preserves the intended skill.
2.7.c · ISTE Standards for Educators Use assessment to guide teaching
Use “Complete the training and explain the mix” to assess the learner’s decisions and finished work. Plan feedback and a second attempt for one unmet criterion.
Submit: An annotated rubric, specific feedback, revised work and a brief comparison.
Assess: Score the work against stated criteria, identify the misconception and provide feedback and a suitable next activity.