Yohilachokas

Music
PRODUCTION
COURSEWORK EDITION
GRADE 2
All accompanying and supporting audio can be downloaded from: www.rslawards.com/downloads
Input the following code when prompted: AL9CFNT2XN
For more information, turn to page 5
Cover Artist: Grimes
www.rslawards.com
Acknowledgements
Published by Rockschool Ltd. © 2016, 2018

Catalogue Number: RSK200082
ISBN: 978-1-78936-038-7
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: Grimes by Josh Brasted © Getty/WireImage
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 2 | 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 2
6 Entering Rockschool Exams
6 Marking Scheme
Section A | Music Production Theory
7 Summary
8 Music Production Terminology
20 Sound and Audio Fundamentals
Section B | Listening Skills
27 Summary
28 Sonic Fidelity
29 Music Theory & Harmony
30 Stylistic Awareness
Section C | Coursework Task
33 Summary
34 Technical Skills
35 Coursework Task
Sample Paper
37 Rockschool Music Production Grade 2 Exam – Sample Paper
Additional Information

48 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 2
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: AL9CFNT2XN
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
© WeStudio/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 2 the theory content covered will include subject areas such as identifying studio hardware, digital Music Production Grade 2 | Coursework Edition
file formats, digital connectivity, software components, DAW concepts & capabilities, microphones, nonlinear
editing concepts, EQ controls and hearing physiology.
7
Music Production Terminology

Mixing Desk / Mixing Console
The mixing desk is at the centre of any commercial recording studio. Most connections in the studio lead here, where they
are controlled and manipulated to make the music sound as good as possible.
Microphones and other sound sources are connected to the mixing desk where the signal is amplified using the ‘gain’
function. This tone of the signal can then be altered using equalisation and then routed to the digital audio workstation
for recording.
Once the audio is recorded, professional sound engineers use the mixing desk for the mix stage of the production process,
combining all the instruments into one stereo mix and adjusting their relative levels so that they can all be heard.
Mixing desks come in a variety of sizes and complexities, ranging from simple 2 channel desks which can cost in the region
of £50 up to professional desks which may cost upwards of £300,000.
Tape Machine
A tape machine might seem like an alien concept to those too young to remember, however, a lot of the technology we see
now still emulates the way a tape machine would work. For example, ‘play’, ‘stop’, ‘rewind’, ‘fast forward’, ‘pause’ and ‘record’
are all terms that were used to describe what the tape reel would do on a tape machine.
The icons for each of these functions is the same today as it was fifty years ago:
Tape machine Tape transport

DAW transport
8
Music Production Theory | Section A
Recording on a tape machine was (and still is) very expensive, the machine itself would be expensive to buy and maintain
and each reel of tape now costs over £100 for 34 minutes of recording time.
Reel
You’re quite unlikely to come across a tape machine in a modern studio, although many successful commercial studios still
operate them because some producers and engineers believe they sound better than modern digital technology. There are
pros and cons to each side of that argument which has been debated since digital technology was first available.
Digital Audio Workstation (DAW)

The DAW is the modern equivalent of a tape machine but with functionality that takes advantage of ever-developing
digital technology.
The DAW concept started life as a dedicated hardware solution which had integrated software control. They would quite
often have a small LCD screen, or perhaps the ability to attach a monitor. They would offer limited functionality but with all
the advantages of digital technology.
As home computer technology advanced, it became possible to install dedicated audio software on computers such as Atari
STs, Windows PCs and Apple Macs. Initially the functionality was limited to MIDI but as hard drive speeds and processing
power advanced, it became possible to have extremely complex arrangements with hundreds of tracks of audio running on a
computer of a fairly modest specification. It is this that has made music production so accessible.
The DAW is used as a recording device in much the same way as a tape machine, but rather than using reels of tape it
converts the audio into a digital language called binary (the basic language that all computers use) and stores it on a disk
drive. As disk drives can store huge amounts of data, the historical track limits and recording length of tape machines are
long forgotten.
The modern DAW is made up of two core components:
Hardware – typically either a Windows PC or Apple Macintosh.

Software – such as Cubase, Logic, Pro Tools, Ableton Live, FL studio or many others.
9
Computer
Even a modest home computer is capable of running music production software and the software has become more and
more affordable, with many manufacturers offering heavily discounted or free versions with limited functionality.
For example, Cubase Elements is Steinberg’s entry level version, Avid offer Pro Tools First, Ableton offer Live Lite, and Apple
have chosen to provide Garageband free with every new Apple Mac.
Cubase Elements
10
Pro Tools First
Ableton Live Lite
11
Garageband
For many who are starting out, these entry level versions are more than capable of creating great music and help you learn
the key skills required. As you become more capable and confident, you may choose to move on to the full versions of the
software, where you will be rewarded with an incredible array of functions, so many that it would take decades to truly
master everything.
Some basic functions which most if not all DAWs can perform include:
■■ Recording audio
■■ Recording MIDI performances
■■ Cutting, copying and pasting parts of these audio/MIDI performances
■■ Arranging audio loops
■■ Editing
■■ Special effects
■■ Mixing
■■ Mastering
■■ Creating Wav/MP3 files
Microphones
The microphone is the piece of equipment that enables us to capture sound from the real world and convert it into
electrical energy.
Once it is electrical we can amplify it, record it or manipulate it as we see fit.
There are many types of microphone and different makes and models which have their own characteristics. Some examples
are listed in the Sound and Audio Fundamentals section.
12
Patch Bay
A patch bay is used to connect devices in a recording studio. It will generally be located somewhere near the mixing desk,
and will feature a large number of sockets, each of which will be labelled to show which device that socket connects.
Using the patch bay, you would use a patch cable to connect one device to another, always going from an output to an input.
For example you might use a patch cable to connect the output of the DAW to the input of the mixing desk.
You may be thinking “Why can’t I just use the connections on the back of the devices themselves?” The answer is that you
could. It would achieve the same thing, however, a patch bay saves a lot of time and keeps the connections visible and accessible.
As well as saving the engineer from crawling around behind racks of equipment, the patch bay also provides the sound
engineer with lots of flexibility as he or she will be able to use all the equipment in the studio in any way they choose. This
wouldn’t be possible if the devices were hard wired together.
Almost all commercial studios will feature a patch bay, whereas small studios who generally only have one person using
them may choose to hard wire all the equipment in the way in which they most commonly use it.
The patch bay is not so much of a device, as a system. It is a central location where all the studio’s connections are located.
Generally you will only see the front of a patch bay which will look something like this:
Patch Bay
Bantam Plug For Bantam Patch Bay Jack Plug For Jack Patch Bay
If you could see the rear of the patch bay, you would see hundreds of cables which go off to every piece of equipment in the
studio. If the patch bay is setup correctly, you should never need to access the rear panel of any piece of equipment.
13
Outboard Equipment
Outboard is the term used for any equipment which is not part of the mixing desk or DAW. This might include compressors,
gates, equalisers, reverbs, echoes/delays and other effects.
The outboard equipment available will vary greatly from one studio to another and will vary massively in price. Commercial
studios are often judged by their clients on the quality and selection of their outboard equipment, even if only because it
looks very impressive to have lots of options.
Here are some examples of professional and semi-professional level outboard equipment you might encounter:
Universal Audio 1176LN
Teletronix LA-2A
Lexicon PCM96
Lexicon MPX 1
14
TLA5021
Drawmer 1968 MKII
Alesis MidiVerb 4
Alesis 3630
S-Com Plus
15
File Formats
As the modern music producer is working predominantly in the digital world, it’s very important to understand the various
file formats that you are likely to use.
There are numerous types of file, such as audio files, video files, session files and so on. There may also be different formats
for each of these types. You will be able to interpret what type and format a file is by its suffix. i.e. the part of the file name
which comes after the ‘ . ’
Here are some examples:
Suffix File format File type

.wav Waveform Audio
.aif Audio Interchange File Format Audio
.mp3 Mpeg 2 Audio Layer 3 Audio
.m4a Advanced Audio Coding (AAC) Audio
.mov Quicktime Movie Video
.ptx Pro Tools Session (v10 onwards) Application Save file
.logicx Logic Pro Session (v10 onwards) Application Save file
Cables & Connections

Possibly the least exciting part of music production, but absolutely vital.
Cables are used to connect things together, whether that’s a guitar to an amplifier or a microphone to a mixing desk. There
will be lots of different kinds of cables in the studio, used to connect different kinds of devices.
The most common connector you’re likely to come across are:
XLR Phono/RCA
Common purposes: Common purposes:
Microphones, AES/EBU, professional headphones Hi-fi connections, SPDIF (Sony Philips Digital
Analogue or Digital: InterFace)
Could be either (depending on the cable used). Analogue or Digital:
Summary: Could be either (depending on the cable used).
A cable which can carry a balanced analogue mono, Summary:
unbalanced analogue stereo or stereo digital signals. A cable which can carry an unbalanced analogue
stereo or a stereo digital signals.
16
¼” Jack (Quarter inch jack) 3.5mm Jack / Mini-jack

Guitars, amplifiers, patch cables, consumer Consumer headphones
headphones Analogue or Digital:
Analogue or Digital: Analogue.
Analogue. Summary:
Summary: A cable which can carry balanced analogue mono or
A cable which can carry balanced analogue mono or unbalanced analogue stereo signals.
unbalanced analogue stereo signals.
5-Pin DIN Speakon

MIDI (musical instrument digital interface) Connecting PA speakers to amplifiers
Analogue or Digital: Analogue or Digital:
Could be either, but MIDI is Digital. Analogue.
Summary: Summary:
A cable which is most commonly used for connecting A cable which is capable of carrying an amplified
MIDI devices but is sometimes found as an analogue signal to a powerful speaker. It’s connector locks into
mono/stereo connection on aging equipment. place with a twist, reducing the risk of disconnection.
17
ADAT Lightpipe USB

Multitrack connections Audio interfaces, computer mouse/keyboard
Analogue or Digital: Analogue or Digital:
Digital Digital
Summary: Summary:
A cable which uses light to transfer digital data along A cable which is used to connect USB compatible
the cable using fibre optics. One cable is capable of digital devices for a multitude of purposes at a high
carrying 8 channels of digital audio. data transfer rate. Several versions available, including
USB 1.x, USB 2.0 and USB 3.0. USB-C adds the ability
to attach multiple devices to the same connector.
Firewire
Common purposes:
Audio interfaces and external hard disk drives
Analogue or Digital:
Digital
Summary:
A cable which is used to connect firewire compatible digital devices for a multitude of purposes at a high data
transfer rate. It is available in two versions, Firewire 400 and Firewire 800, each of which have a different kind of
connector. There is also a third kind of mini connector used by some digital video cameras.
18
Types of Software
Operating System
The operating system is 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.
The most common operating systems for computer systems are:
■■ Apple Mac OSX

■■ Microsoft Windows
Both are equally capable of providing the functionality required for audio production, however, each has its own loyal supporters.
Those who are fans of OSX, generally like Apple’s way of making it easy to find the functions that you need by simplifying
the user interface. Whereas Windows users tend to like that Microsoft leave the operating system very open, enabling users
to alter its functionality to suit their requirements.
Almost all audio production software works with both operating systems (although you’ll need to purchase the correct
version for your system), except Logic Pro which as it is developed by Apple, only functions on OSX.
In addition, it’s also worth being aware of the operating systems of smart devices, such as mobile phones and tablets, as these
devices are becoming more and more useful in audio production.
The two most common operating systems for smart devices are:
■■ Apple iOS
■■ Google Android
Apple’s iOS is used exclusively on Apple hardware such as the iPhone, iPod Touch and iPad, where as Android can be
installed on hardware from many manufacturers such as Samsung, LG, HTC and many others.
As both OSX and iOS are only used on Apple hardware, users can be more confident that the operating system and
hardware will work well together as there are fewer potential clashes between the chosen hardware and software. However,
with the right knowledge, this is easily overcome.
Applications
An application is a piece of software which performs a certain function, or set of functions. For example Cubase, Logic Pro,
Pro Tools, Ableton Live, Garageband and FL studio are all examples of audio production applications. They are different to
the operating system as they are optional and installed by the user.
19
Sound and Audio Fundamentals

Microphone Types
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
Most dynamic microphones are constructed to be quite tough and are therefore good in loud locations, such as on guitar
amplifiers or inside kick drums. This is also why they are often the microphone of choice for live performances.
Some examples of dynamic microphones are:
Shure SM58 Shure SM57
AKG D112 Sennheiser MD421

20
Electro-Voice RE-20
Condenser Microphones
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. 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.
Here are some examples of condenser microphones:
AKG C414 AKG C451 (AKG C451B picture below)
21
AKG C1000 Audio Technica AT4033
Rode NT1A Neumann TLM103

22
Neumann U87
DAW Track Types

The DAW has a number of different track types for the various functions it can perform. Here are some examples:
■■ Audio track: Used for recording and editing audio.

■■ MIDI track: Used for recording and editing MIDI, which is used to trigger MIDI devices.
■■ Software instrument track: A hybrid of audio and MIDI which records MIDI data but outputs audio that has been
created by a software instrument plugin.
■■ Auxiliary track: A type of channel in a DAW which is used for routing and processing audio with plugins.
■■ Automation track: 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.
DAW Functions
There are some functions which are common to almost all computer software and these are still evident in digital audio
workstations. These include:
■■ Cut: Used to remove a selection and add it to the clipboard

■■ Copy: Used to add a selection to the clipboard, leaving the original in it’s place
■■ Paste: Used to insert a region from the clipboard
■■ Delete: Used to completely remove a selection
■■ Duplicate: Used to create a copy of the selection immediately after the original
23
Equalisation
Equalisation, which is abbreviated as EQ, is the function that alters the frequency content of the audio. Mixing desks will
almost always have some form of EQ available and DAWs will offer EQ as a plugin to be added where it is needed.
There are numerous types of equalisation, but the types that you’re most likely to come across are:
Fixed EQ Parametric EQ
This type of EQ has a fixed frequency band that the This is a kind of EQ which enables the sound engineer
control affects. You might have seen this as Treble, to really focus the equalisation to the chosen frequency
Mid and Bass on a sound system or car stereo. Treble band. Three controls are provided, frequency, gain and
represents the higher frequencies, Bass the lower Q (short for quality). This makes it very similar to Semi-
frequencies, and Mid is everything in between. Parametic, but with the addition of Q.
HF dB
HIGH 12k
Bell
– dB
+ kHz
5 10
2 14
–15 +15
HMF 1. 5 16
MID 2.5k dB
– + kHz
1.5 4.5
–15 +15 .8 6
LOW 80 .6 Hz 7
Q
BLK
–15 +15 IN
LMF dB
– +
Shelf EQ .8
kHz
1.5
This is a type of EQ which enables the sound engineer
.3 2.0
to alter all frequencies above or below a set frequency.
A high shelf is for high frequencies and a low shelf for
Q .2 Hz 2.5
low frequencies. In parametric EQs, the frequency will

be adjustable.
Hz
100 300
50 375
LF
Frequency Level dB 30 450
7k 0
Bell
2k5 10k
– +
1k5 20k –10 +10

The Q control enables the EQ to focus in on the chosen
frequency. When a high Q setting is used, the frequency
HIGH SHELF band is very narrow, meaning you can really find that
problem frequency which you want to remove. If you use
a low Q setting, the frequency band is wide, resulting in a
24 much more natural effect.
Sweep / Semi-Parametric EQ
This is a kind of EQ which enables the user to set both the frequency to be affected and how much it is affected by.
There are two controls, frequency and gain.
70 500 2k5 7k
30 100 200 1k 1k 5k 2k5 10k
20Hz 200 120Hz 2k 500Hz 10k 1k5 20k
LF LM HM HF
–10 +10 –10 +10 –10 +10 –10 +10
Graphic EQ
This is an advanced type of fixed EQ. A good quality graphic EQ will have 31 bands of frequencies which you can either
boost (make louder) or cut (make quieter).
25
Sound and Acoustics

Sound is the movement of energy in the form of waves. It moves from one place to another by vibrating whatever is in the
way. When someone is standing next to you talking, their vocal chords are vibrating the air. These vibrations travel out in
every direction and if you’re close enough your ears will be able to sense the vibrations.
In order to make use of this transfer of energy, we require a transducer. A transducer is something which converts one type
of energy into another, in this case we need something to convert the acoustic energy in the air into nerve impulses for the
brain to interpret. Therefore the ear is a transducer.
The same principle is true of a microphone. We need a device which can transduce the acoustic energy into electrical energy
which can flow down the microphone cable.
When we want to hear an electrical sound source such as a keyboard, synthesiser or guitar amplifier, we need to convert the
electrical energy into acoustic energy. For this we use another form of electrical transducer, the speaker.
There are numerous sources of natural sound, for example the voice and acoustic instruments such as the piano, drums,
violin or acoustic guitar. These are natural sources because their sound is produced without the need for electrical assistance.
Some examples of electrical sound sources include guitar amplifiers, keyboards and synthesisers.
26
© 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 2, the aural content covered will include subject areas such as identifying timing and tuning flaws in a
performance, major and minor triads, basic time signatures and specific genres.
27
Sonic Fidelity
Objective: Identifying Timing and Tuning Issues
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.
Whilst 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. Always be prepared to listen intently
and be aware that the producer’s analytical ear is one of his/her greatest tools.
At Grade 2, you need to identify when instruments are out of tune and out of time.
■■ In audio example LSG2SF1.mp3 you will hear a recording with an out of time piano
■■ In audio example LSG2SF2.mp3 you will hear a recording with an out of tune guitar
■■ In audio example LSG2SF3.mp3 you will hear a drum break that doesn’t loop perfectly in time
Tuning and timing are crucial to the success of a final mix. Different artists, genres and sub genres may well have different
conventions with regards to time/feel and sometimes even tuning. Not every iconic vocalist has always been consistently in
tune and certain hugely successful rhythm sections have had a time/feel that is not 100% metronomic.
For the purposes of this syllabus we are concerned primarily with results being as universally accepted as possible i.e.
metronomic timing and concert pitch tuning.
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.
28
Listening Skills | Section B
Music Theory & Harmony

Objective: Major & Minor Triad Recognition
All major scales have seven different notes, but we will use the C major scale as an example which contains the notes
C, D, E, F, G, A and B. These are the white notes on a piano keyboard. We will use these notes to create seven different three-
note chords called triads. Triads are the cornerstone of western harmony. To find the notes in a major you just use the first,
third and fifth note of the major scale, so in the key of C the major triad will include the notes C, E and G. If we want to find
the note in a minor triad, there is one very simple rule to follow: retain the first and fifth note of the major scale (C and G)
and flatten the third note (E b). Now we have a C minor triad which is comprised of the notes C, E b and G.
There are essentially only four triads to be found in western harmony (major, minor, diminished and augmented), but far
and away the most used are major and minor triads. As such, these are the only two we are concerned with in this syllabus.
■■ In audio example LSG2H1.mp3, you will hear a C major triad chord.

■■ In audio example LSG2H2.mp3, you will hear a C minor triad chord.
Objective: Basic Time Signature Recognition

Rather than seeing a song as an unbroken line of hundreds of notes, it is more sensible to break it down into manageable,
bite-sized units. These smaller units are called bars. Bars, or measures as they are also known, are implied by a repetitive
pattern within the music such as a drum part, a chord change or melodic phrase. In rock and pop music, this repetition
usually occurs every four quarter notes. This is described as (‘four-four’) time.
f
A rule of thumb is, if it feels comfortable to count ‘1, 2, 3, 4’ along to the song, then the time signature is . Everything from
f
The Beatles’ ‘Hey Jude’ to Nirvana’s ‘Smells Like Teen Spirit’ is in , along with other countless songs. In fact, is so widely
f f
used, it is also known as common time.
Sometimes, dividing the song into bars of four quarter notes isn’t suitable. Some songs are written in a waltz style which
groups 3 quarter notes in each bar. Songs like Queen’s ‘The Millionaire Waltz’, The Beatles’ ‘Lucy In The Sky With
Diamonds’ (verse section) and The Jimi Hendrix Experience’s ‘Manic Depression’ are all counted ‘1, 2, 3’, so are in the time
signature . Some faster-tempo songs, such as Beyoncé’s ‘Single Ladies (Put A Ring On It)’, are phrased in groups of two
d
beats. This is known as time. is also sometimes incorporated into to spice things up, such as in ‘Hey Ya!’ by OutKast,
s s f
which has an unusual , , , , , pattern throughout.
fffsff
■■ In audio example LSG2R1.mp3, you will hear a drum groove in . f
■■ In audio example LSG2R2.mp3, you will hear a drum groove in . d
29
Stylistic Awareness
Metal
As rock groups of the late 1960s such as Led Zeppelin and Black Sabbath began touring stadiums and demanding ever-
louder gear, heavy metal was forged through the sound of overdriven guitar and even bass amps. These groups presented
a power-chord driven take on rock’s blues-inspired vocabulary, focused on virtuoso soloing, fast tempos and sometimes
darker lyrical themes.
The subsequent development of metal included an emphasis on fast, distorted guitar playing, double bass drum pedal
kits, galloping basslines and sometimes near operatic vocal ranges (singers such as Seb Bach and Geoff Tate are obvious
examples). In the 1980s, thrash metal bands such as Megadeth, Metallica and Slayer were the next logical progression.
Meanwhile, virtuoso ‘shred’ guitarists expanded the vocabulary of the lead guitar, often incorporating neo-classical
instrumental influences. Countless sub-genres arose in the decades that followed. The classic line-up of vocals, bass,
drums and twin guitarists is sometimes augmented by keys players, but in the main, lead guitarists and singers occupy the
limelight. Metal guitar has produced all kinds of technical innovations, from the two-handed tapping of Eddie Van Halen,
all the way to the current trend for down-tuned rhythms with seven and eight string instruments and a focus on rhythmic
sophistication and intricate time signatures.
Metal Rhythm Guitar

Metal guitar’s greatest exponents aren’t all lead guitar players. Rhythm guitar styles have changed significantly over
the years and it’s from these changes that many sub-genres of metal have emerged. Regardless of genre, metal rhythm
guitar playing is a highly demanding skill. It involves precision, stamina and an ability to dampen strings (to control the
extraneous noise created by a distorted guitar at ear-splitting volumes).
Metal Chord Progressions

Metal is rarely performed in a major key and frequently uses chromatic intervals and non-diatonic or modal
progressions. This example uses powerchords in the home key of E minor; chords of F 5 and B b 5 provide a b 2 and b 5
interval, as used in many metal sub-genres to create dissonance.
Bb5 Bb5
#4 .E j j ..
5
F5 E5 A5 F5
& 4 . œ. n œœ œœ œœ nœ œ ‰ œ ‰ j
œœ . bœ œ œ œ œ
. nœ œ œ nœ œ
Two-Handed Tapping
Eddie Van Halen opened up new possibilities for rock guitar when his fluid tapping style debuted on his 1978
instrumental, ‘Eruption’. Tapping consists of using the fingers of both hands to perform a rapid sequence of hammer-ons
and pull-offs on the same string to produce lightning-fast arpeggios impossible to play any other way. Michael Jackson
was renowned for using rock guitarists on otherwise pop influenced repertoire and Eddie’s solo on ‘Beat It’ from Thriller
is one such example.
Bass Pedal Notes

Because metal relies on power and energy more than rapid harmonic changes, one common musical device is the pedal
note, where the bass plays the same note throughout, while the guitars change chords.
■■ In audio example LSG2SA1.mp3 you will hear a metal recording
30
Listening Skills | Section B
Blues
Blues developed from the musical traditions of slaves brought to America in the 19th Century and its ‘call and response’
structure and cyclical 12-bar, I-IV-V format derive from these early spiritual and worksong forms. So-called because
of the melodic targeting of ‘blue’ notes (the flattened 3rd, 5th and 7th of the major scale), much of blues’ identity lies in
its ambiguity between major and minor tonality. The ability of the guitar and harmonica to ‘bend’ notes to add subtle
microtonal nuances, made for highly individualistic soloing styles and the use of a slide on the strings of a guitar tuned to
an open chord enabled players to mimic the wailing of a human voice. Blues can be played without any accompaniment, as
a solo vocalist accompanied by guitar or piano, or in a range of formats that often expand to include harmonica, backing
vocalists, piano, keys and horn sections. The guitar’s centrality to the blues and its wealth of opportunity for expressive
soloing has resulted in an unending stream of blues guitar heroes taking the spotlight (Robert Johnson, B.B. King, Eric
Clapton, Stevie Ray Vaughan and Joe Bonamassa are hugely influential examples) but the genre has also seen its fair share of
non-guitar virtuosos too, such as harmonica players Little Walter and Junior Wells and pianist Otis Spann.
Classic 12-Bar Progression

The chord chart below shows the basic structure of the 12-bar blues. There are many variations and the two bracketed
chords show one way in which musicians often vary that structure to add colour and movement to the form. The final
two bars often contain a melodic fragment called a ‘turnaround’.
4 ..
4 ( )
( )
( )
..
( )
24-Bar Blues Progression

It’s possible to play a 24-bar blues simply by doubling the number of measures per chord. This is more common at
higher tempos.
Shuffle And Straight Rhythms

Blues tracks are often performed with a shuffle/swung rhythm, and sometimes in a time signature. A swung rhythm
W
is when the standard eighth note patterns (which may be played on any instrument) is replaced with swung eighth note
patterns. This means playing the first and third note from a group of eighth note triplets. This provides a swung feel
which is synonomous with blues and jazz, but can also be found across the whole spectrum of contemporary music
including hip hop and even hard rock and metal bands. The term shuffle and swung are often used interchangeably with
regards to feel, but a shuffle can also refer to a particular type of drum groove, which is also based around the triplet
eighth note concept.

Minor And Major Blues
Blues melodies can be minor or major. It’s also possible to play melodies with a minor 3rd even when the underlying
chord is major, sometimes raising the minor 3rd note very slightly sharp – this is known as a blue note. Part of
the attraction of the blues style is the ambiguity between major and minor 3rds and this is prevalent in many of
contemporary music’s genres including soul, funk, gospel, hip hop and rock.
■■ In audio example LSG2SA2.mp3 you will hear a blues recording
31
32
© Nejron Photo/Shutterstock
SUMMARY
Theoretical Written Exam 25 [25%]
Listening Test 15 [15%]
> Coursework Task 60 [60%]
At Grade 2 the Technical Skills will centre around MIDI programming using software instruments and basic
mixing technique on a digital audio workstation (DAW). The Coursework Task will require candidates to
rearrange provided audio and MIDI loops.

Candidates must complete the Coursework Task before their exam and will be asked to upload the Task and
screen shots during their exam.
33
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 2, you will be expected to demonstrate that you can work with MIDI performances. This includes importing pre-
recorded MIDI files and then manipulating them as required.
The most common manipulation you are likely to undertake is quantisation. Quantisation is the process of ensuring that the
performance fits the timing grid that is in the DAW session, for example this might be quarter note crotchets or eighth note
quavers.
This isn’t always something you choose to do for corrective reasons either. You can use quantisation to change a part from
one feel to another. As well as rigid grids, most DAWs also provide ‘Groove Templates’ which have a swing feel, pushing
some notes before or behind the beat. These can be applied in the same way as quantising.
As always, practice makes perfect and you’ll get to know the templates that you have available and what might work in any
given situation.
As always, you will need to ensure you are managing your session files correctly. So here is a reminder of what we covered in
Grade 1:
■■ There are some key things to remember when creating new DAW sessions, one which is often overlooked is
organisation. Ensure that you always name your file something appropriate and save it in an appropriate place as
soon as you start. This will ensure you don’t forget to do it later and will enable you to use the ‘save’ shortcut every
time you make a change to the session.
■■ It’s good practice to save your work to a local hard disk connected to the computer you are using, rather than a USB
memory stick or network drive. While this won’t be an issue when you are starting out with simple arrangements,
when you start creating larger, more complex sessions, you will benefit from the faster read and write speeds of the
disk drive.
■■ If you have set up, named, and saved your session correctly, then you should only need to use one more shortcut to
save your work when you are ready. At this point it’s always worth closing your session and opening it up again, to be
absolutely certain that everything has been saved correctly.
34
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.
Collaboration is a large part of music, therefore you will find this coming up a lot in the Rockschool grade exams. The
scenario will quite often start with “You are working with…”, which might be another producer, an artist or a record label.
Whenever you’re working with someone else remotely, it’s vital that you can share your work with them without losing any
files. Therefore a fundamental skill you must master is organising your files and saving your sessions correctly.
Once you have mastered this, you will be able to work with people whether they are in the next building or on the other side
of the planet.
A common scenario you might face is to get writer’s block. This is when you struggle to start because you just don’t have any
ideas. Staring at a blank arrange page in your DAW will rarely help you overcome this.
A good technique is to use small snippets of pre recorded files, either provided by someone you have collaborated with or, if
you’re on your own, then there are a large selection of ‘Loops’ available, either in your DAW or from online retailers. These
loops are recordings of drums, guitars, strings, vocals or anything else you could think of and are presented in such a way
that you can drag and drop them into your arrange window and build a piece of music from scratch.
Of course if you only use these loops then you’re unlikely to come up with anything original. You can use them as a means
of inspiration, perhaps building backing tracks which you can then play or sing over and replace later with real instruments
once you’re happy with the arrangement.
Once you’re really familiar with this way of working you will hopefully never suffer from writer’s block again.
For the Grade 2 Coursework Task you will be required to rearrange provided audio and MIDI loops.
[Continued on next page]
35
Coursework Task 60 Marks [60%]

Assets for this task can be found
in the book’s downloadable files
A producer you work with has come up with some ideas and needs them to be arranged ready for a vocal session with a
major label recording artist the next day. She has sent you a selection of her ideas as audio and midi loops, arrange them
into a track ready for an artist to write to, with at least 3 sections, for example an intro, verse and chorus. She has requested
that as well as using your own judgement with the loops you make sure to include her midi chord progression, labelled
‘Main Chords’, and that any loops you use are correctly pitched to work in key with these chords. You will also need to use
the mixer section of your DAW to make sure that all loops and midi instruments are well balanced in the mix.
You should try to include at least 8 of her different loops/files with a mixture of both percussive and pitched samples.
Arrange them in a meaningful way to create a new piece of music (minimum 32 bars) with a defined structure and at least
3 different sections, making sure that at least one of these sections is based around her ‘Main Chords’. In addition, she has
sent a bassline and melody for this ‘main’ section also as midi loops. Choose suitable sounds from your DAW for all 3 midi
parts. Do ensure all of the samples and loops you use have been correctly re-timed and re-pitched to ensure good time and
tuning throughout your new piece.
As you feel the loops on their own lack some punch add a drum part across the whole track using a software instrument
from your DAW. Make sure the drum part uses a Kick, Snare and Hi Hat and mirrors the feel, tempo and style of the loops
you have used.
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, midi editor view and mixer view
36
Sample Paper
© Evgeny Drablenkov/Shutterstock
The following pages contain examples of the types of questions you will find in the Rockschool Music
Production Grade 2 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.
37
Grade 2 | Sample Paper
Part A: Theory (25%)
Section 1 | Music Production Terminology Total marks for this section: 10
Mark:
Q 1.01 | Which piece of studio hardware is used for adjusting levels and routing audio signal? 1
(Tick one box)
§ Mixing desk/console
§ Microphone
§ Computer
§ Patch bay
§ Outboard effects
Q 1.02 | Which piece of studio hardware is used to convert sound into an electrical signal? (Tick one box) 1
§ Mixing desk/console
§ Microphone
§ Computer
§ Patch bay
§ Outboard effects
Q 1.03 | Which kind of file uses the suffix .wav? (Tick one box) 1
§ Audio interchange file format

§ Logic Pro
§ Waveform
§ Pro Tools
§ MPEG-2 Layer 3
38
Sample Paper | Grade 2
Q 1.04 | Which kind of file uses the suffix .logicx? (Tick one box) 1
§ Audio interchange file format

§ Logic Pro X
§ Waveform
§ Pro Tools
§ MPEG-2 Layer 3
Q 1.05 | Which of these is commonly used for SPDIF connectivity? (Tick one box) 1
§ XLR
§ ADAT lightpipe
§ USB
§ Phono/RCA
§ 5-pin DIN
Q 1.06 | Which of these is used to transfer eight channels of digital audio at once? (Tick one box) 1
§ XLR
§ ADAT lightpipe
§ USB
§ Phono/RCA
§ 5-pin DIN
Q 1.07 | Which of these is an operating system? (Tick one box) 1
§ Logic Pro
§ Windows
§ Cubase
§ Pro Tools
§ Ableton
39
Q 1.08 | Which of these would you use to organise your files in the Mac operating system? (Tick one box) 1
§ System preferences
§ Launchpad
§ Finder
§ App store
§ Chrome
Q 1.09 | Which of these can be achieved with A digital audio workstation (DAW)? (Tick one box) 1
§ Browse the internet

§ Stream video from the internet
§ Purchase music
§ Create visual presentations
§ Cut up and rearrange audio recordings
Q 1.10 | Which of these can be achieved with A digital audio workstation (DAW)? (Tick one box) 1
§ Browse the internet

§ Mathematical calculations
§ Record audio
§ Purchase music
§ Manage photographs
40
Section 2: Sound & Audio Fundamentals Total marks for this section: 10
Mark:
Q 2.01 | Which of these is a condenser microphone? (Tick one box) 1
§ AKG C414
§ Shure SM58
§ Shure SM57
§ AKG D112
§ Sennheiser MD421
Q 2.02 | Which of these is commonly used for live gig vocals? (Tick one box) 1
§ AKG C414
§ Shure SM58
§ Shure SM57
§ AKG D112
§ Sennheiser MD421
Q 2.03 | What kind of track in a DAW is used for real instrument recordings? (Tick one box) 1
§ Software instrument track

§ Midi track
§ Audio track Music Production Grade 2 | Coursework Edition
§ Auxilary track
§ Automation track
41
Q 2.04 | What kind of track in a DAW is used for triggering external hardware synthesisers? (Tick one box) 1
§ Software instrument track

§ Midi track
§ Audio track
§ Auxilary track
§ Automation track
Q 2.05 | Which function is used to remove a selection and add it to the clipboard? (Tick one box) 1
§ Copy
§ Cut
§ Paste
§ Delete
§ Duplicate
Q 2.06 | Which function is used to insert a region from the clipboard? (Tick one box) 1
§ Copy
§ Cut
§ Paste
§ Delete
§ Duplicate
Q 2.07 | Which EQ control is used to adjust the relative level of the selected frequency? (Tick one box) 1
§ Gain
§ Frequency
§Q
§ High shelf
§ Low pass filter
42
Q 2.08 | Which EQ control is used to adjust the width of frequencies affected? (Tick one box) 1
§ Gain
§ Frequency
§Q
§ High shelf
§ Low pass filter
Q 2.09 | The voice and acoustic instruments are what kind of sound source? 1
Your answer:
Q 2.10 | Name a natural sound transducer: 1
Your answer:
43
Section 3: Glossary Total marks for this section: 5
Mark:
Q 3.01 | AIFF is an abbreviation of what? 1
Your answer:
Q 3.02 | Which manufacturer makes the C1000, C414, C451B and D112 microphones? 1
Your answer:
Q 3.03 | What is the technical term for a waveform which is constanlty varying? 1
Your answer:
Q 3.04 | What does attenuate mean? 1
Your answer:
Q 3.05 | What is EQ an abbreviation of? 1

Your answer:
44
Part B: Listening (15%)
Section 4: Listening Skills Total marks for this section: 15
Mark:
Q 4.01 | Which instrument is out of time with the rest of the band in audio example EXLSG2SF1.mp3? 3
(Tick one box)
§ Guitar
§ Piano
§ Drums
Q 4.02 | Which instrument is out of tune with the rest of the band in audio example EXLSG2SF2.mp3? 3
(Tick one box)
§ Acoustic guitar
§ Bass guitar
§ Electric guitar
Q 4.03 | In audio example EXLSG2SF3.mp3, which drum loop has not been edited correctly, A or B? 3
(Tick one box)
§A
§B

Q 4.04 | Identify the chord in audio example EXLSG2H1.mp3: (Tick one box) 1
§ Major triad
§ Minor triad
Q 4.05 | Identify the chord in audio example EXLSG2H2.mp3: (Tick one box) 1
§ Major triad
§ Minor triad
45
Q 4.06 | Identify the time signature of the drum groove in audio example EXLSG2R1.mp3: (Tick one box) 1
§f
§d
§s
Q 4.07 | Identify the time signature of the drum groove in audio example EXLSG2R2.mp3: (Tick one box) 1
§f
§d
§s
Q 4.08 | In which genre would you classify audio example EXLSG2SA1.mp3? (Tick one box) 2
§ Blues
§ Metal
§ Rock
§ Pop
46
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
47
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.
48
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.
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.
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.

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.
49
Glossary
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.
Cannon
Another name for an XLR connector.
CD
An abbreviation of ‘compact disc’.
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 (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.
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.
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.
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.
50
Glossary
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).
Cubase
A digital audio workstation (DAW) created and developed by Steinberg.
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.
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.
51
Glossary
Digital Audio Workstation

Music production software for recording and editing MIDI and audio data. Examples include Cubase, Logic, Pro Tools,
Garageband, 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.
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.
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.
EQ
An abbreviation of ‘equaliser’, a function which alters the tone of the input signal.
52
Glossary
Equalisation
The process of changing the frequency content, tone or timbre of an audio signal.
Event Editor
A DAW editor window which enables the editing of individual MIDI events using text.
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.
Garageband
An entry level digital audio workstation, created and developed by Apple. Currently supplied free with every new Apple
Macintosh computer.
Graphic Equaliser Music Production Grade 2 | Coursework Edition

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.
Headphones
A portable pair of speakers which can be worn on the head.
53
Glossary
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.
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’.
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.
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.
LCD
An initialism of ‘liquid crystal display’. Most commonly found as small screens.
54
Glossary
Level
The absolute volume of an audio signal in electrical terms.
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.
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.
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’.
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 Keyboard

A piano like electronic device for triggering a MIDI synthesiser or recording into a DAW.
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.
55
Glossary
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.
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.
Mouse
A common computer peripheral used to control the pointer on screen.
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.
56
Glossary
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.
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.
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.
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.
57
Glossary
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.
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.
.ptx
The file suffix of a Pro Tools session file.
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, e.g. the closest 1/4 note, 8th
note etc.
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.
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.
58
Glossary
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.
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.
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 which responds to MIDI
input by triggering a software instrument added to one of the plugin slots.
59
Glossary
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.
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.
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.
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).
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.
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.
Timbre
The tonal colour of a sound.
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.
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.
61
Glossary
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.
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.
.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.
62
Glossary
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)
Personnel
In a typical commercial recording studio, there are numerous roles that you could undertake. Whichever role you take on,
there will be others that you need to work with and in order to ensure the project runs as smoothly as possible, it’s good to
know who has what responsibility.
Of course, every project is different and sometimes people take on more than one role in order to save money.
The roles you might come across are:
■■ Producer
■■ Sound Engineer
■■ Assistant Engineer
■■ Runner
64
Useful Information (Non-assessed)
Time Management
Ensuring you stay on top of your time is an important skill if you want to have a sustainable career in music production.
Some tasks take longer than others and experience will help you learn how long things take to complete. So gain as much
experience as you can undertaking a wide variety of tasks.
To get you started, here is a rough guide as to how much time you should be spending on a few common tasks:
Recording Vocals over a Backing Track Overdubbing a Guitar

It depends on the abilities of the vocalist but you should Again it depends on the abilities of the guitarist and how
be able to complete this task in somewhere between complex the part is but as a general rule you should be
1 and 3 hours. able to achieve this in a similar time, 1 to 3hrs.
Recording Drums Recording a Whole Band

This is a little more complicated as you’ll need to set This one is very difficult to put a number on, as there are
up and test several microphones before you can start so many variables. However, when you’re starting out, a
recording. So, depending on the length of the track good amount of time would be 8hrs – but be prepared to
and the ability of the drummer, you should allocate add another 8hrs to that if things don’t go to plan.
somewhere in the region of 2–5hrs to get this done.
Mixing a Piece of Music Mastering

A mix can be done in 30 mins but that would probably A typical 3min piece of music can be mastered by a
just be a quick balance of the faders. If the recording has professional engineer in about 45 minutes. However, it’s
been done really well, this might be all that is needed. worth allocating a little more time than this to ensure it’s
A typical 24 track pop mix, with extensive processing, done well and matches other tracks on the album, up to
would take somewhere between 3 and 6 hours. 90 minutes should get the job done well.
65
Image Copyright Information
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© AKG by Harman
p.9
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© Mihai Simonia/Shutterstock © Rode Microphones LLC
© Georg Neumann GmbH
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© Universal Audio Inc. © Samson Technologies Inc.
© Universal Audio Inc.
© HARMAN Luxury Audio Group
© HARMAN Luxury Audio Group Additional vector technical illustrations by Simon Troup
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p.15
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Introductions & Information

Section A | Music Production Theory

Section B | Listening Skills

Section C | Coursework Task

37 Rockschool Music Production Grade 2 Exam – Sample Paper

Music Production Grade 2 | 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: AL9CFNT2XN

Music Production Grade 2 | 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

Tape machine Tape transport

Digital Audio Workstation (DAW)

The modern DAW is made up of two core components:

Hardware – typically either a Windows PC or Apple Macintosh.

Pro Tools First

Ableton Live Lite

Music Production Grade 2 | Coursework Edition

Once it is electrical we can amplify it, record it or manipulate it as we see fit.

Music Production Grade 2 | Coursework Edition

Universal Audio 1176LN

Drawmer 1968 MKII

Music Production Grade 2 | Coursework Edition

Here are some examples:

Suffix File format File type

Cables & Connections

The most common connector you’re likely to come across are:

¼” Jack (Quarter inch jack) 3.5mm Jack / Mini-jack

5-Pin DIN Speakon

Music Production Grade 2 | Coursework Edition

ADAT Lightpipe USB

The most common operating systems for computer systems are:

■■ Apple Mac OSX

Sound and Audio Fundamentals

Some examples of dynamic microphones are:

Shure SM58 Shure SM57

AKG D112 Sennheiser MD421

Here are some examples of condenser microphones:

AKG C414 AKG C451 (AKG C451B picture below)

Music Production Grade 2 | Coursework Edition

AKG C1000 Audio Technica AT4033

Rode NT1A Neumann TLM103

DAW Track Types

■■ Audio track: Used for recording and editing audio.

■■ Cut: Used to remove a selection and add it to the clipboard

low frequencies. In parametric EQs, the frequency will