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CSU Monterey Bay Budget Proposal

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CSU Monterey Bay Budget Proposal Powered By Docstoc
					          IT-Related Budget Request Proposal Narrative
                                  Fiscal Year 2006/2007


    Budget Proposal Title: Music Technology Operator
    Sponsor: Richard L. Bains
    Department Name: Music and Performing Arts Department
     Department ID #: 1046
    Budget Proposal ID: <to be assigned by ITPAC after submission>



                                        Summary

The Music and Performing Arts Department was approved to offer a Bachelor of Arts in
Music in the fall of 2004. Our new degree program offers four concentration areas:
Contemporary Music; Jazz Music Studies, Music and Recording Technology; and Vocal
Music Studies. Since degree approval, we have seen a substantial growth in the number
of Music Majors within the Music and Recording Technology concentration. To date, we
have had four Music Major graduates concentrating in Music and Recording Technology.
We are scheduled to see three more this academic year.

The Music recording studio is a one of a kind resource on campus. Requests to use the
recording studio exceed current availability, both for our Capstone projects as well as by
other CSUMB departments. Unfortunately, we have not been able to provide students
with access to the recording studio and labs due to the fact that we are unable to staff the
studio with a qualified Music Technology Operator (ITC FOUND).

We are requesting funding to hire an individual who has, hopefully gone through MPA’s
recording/Music technology curriculum for the knowledge and acquired skills to be
comfortable accomplishing the tasks below. This individual would work flexible hours in
order to provide our students with access to the labs on evenings and weekend. This job
is not suited for a student assistant due to the breadth and depth of the skills required of
the position.

For Studio Control Room (Rm. 189): experience in studio management, booking
recording sessions, maintaining track channel sheets, client relations, setup for recording
session (rhythm section tracks, overdub tracks, etc.).
Experience with hardware outboard gear:
        a) mixing console (channel strips, inserts, mic/line options, pre- and post- fader
           options, sends and returns,busing, monitoring options);
        b) compressors (setting up threshold, ratio, attack & release times, side-chain);
        c) limiters;
        d) reverbs and delays (setting up reverb time, pre-delay, decay, hi- freq. cutoff,
               feedback or regeneration, syncing delays to beat divisions);
        e) equalizers (multi-band w/lows, mids, highs, peak/notch, “Q” or bandwidth,
           shelving).
                           IT-Related Budget Request Proposal Narrative
                                      Fiscal Year 2006/2007

        f) preamps (input & output control, gain increase, phantom power, phase
           reversal, mic level- to-line level)
        g) gates (threshold, ratio, attack, release)
        h) D/I (direct injection boxes – instrument level-to- line level)
        i) patch bay (MPA’s proprietary tiny-telephone patch bay and routing)
        j) Surround 5.1 monitoring (routing of multiple outputs to left, right, center, le ft
           surround, right surround, and subwoofer)
        k) MIDI sound modules (patch programs and MIDI channel routing)
        l) drum machine (routing and channel assignment)
        m) MIDI keyboard controller (Yamaha MOTIF Workstation)
        n) TASCAM CD burner

Computer skills:
     a) Knowledge of Apple Macintosh protocol; OSX
     b) External firewire and SCSI hard drives
     c) Integration of Digidesign Pro Tools 192 I/O audio interface to Mac G4 or G5
     d) Synchronization of digital word clock to outboard gear and computer

Software skills:
       a) Experience with Digidesign Pro Tools TDM and peripherals (routing of
           hardware analogue signal to software channels, busing, recording and mixing)
       b) Software TDM (time domain multiplexing) and RTAS (real-time Audio Suite)
           plug- ins (parameter settings, routing, etc.). Includes: EQs, compressors,
           limiters, filters, amplifiers models, delays, reverbs (includes impulse-response
           verbs), maximizers, virtual instruments, morphing, etc.
       c) Experience with MOTU’s Digital Performer v.4 MIDI and audio sequencing
           platform (routing of hardware MIDI modules and controllers to software
           tracks, MAS plug- ins, and virtual instruments)
       d) General office management computer software skills (Microsoft Office, First
           Class, Internet)
       e) Various audio editing and mastering software (BIAS Peak, CD and DVD
           burning software such as Roxio Toast, iTunes, mp3 conversion, etc.)
       f) Experience with digital audio sample rates (44.1 kHz, 48kHz, 88.2 kHz, 96
           kHz, 192 kHz) and word length (8, 16, 24, 32, 64- bit); downsampling and
           upsampling, dither, re-quantization of bit length.

For MIDI and Electronic Music Labs (Rms. 185 and 167):
Maintenance of Korg Trinity and Triton Extreme workstations (routing MIDI input and
output through MOTU’s FastLane MIDI interfaces to eMacs)
        a) Experience with Audio/MIDI drivers and OSX setup
        b) MOTU’s Digital Performer v.4 installation and setup
        c) MOTU’s MachFive software sampler installation and setup
        d) Various virtual instrument implementation
        e) BIAS Peak audio software/mastering
        f) Digidesign mBox 2 w/Pro Tools LE installation and setup
        g) Routing of Korg workstations and computer audio outputs into line mixer in
           Rm. 185. for classroom monitoring

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                           IT-Related Budget Request Proposal Narrative
                                      Fiscal Year 2006/2007

For Music Hall Recording and Events (Rm. 100):
Basic setup of dynamic microphones for MPA events: Lecture/demos, recitals, concerts,
presentations
       a) Mic stand operation, micing, and proper routing and sound leveling into
           Music Hall control room (separate from studio control room)
       b) Live mixing for live events
       c) Optional recording of live events into Studio control room (Rm. 189); routing
           of split-signal to both control rooms
       d) Maintenance of MPA’s 9- foot Steinway B grand piano (care, locking, and
           safety, not including tuning)
       e) Maintenance of MPA bass, guitar and keyboard amplifiers

Setup and Implementation of Recording sessions in the Music Hall
       a) Mic stand operation, mic’ing, and proper routing and sound leveling into Rm.
           189 Studio control room, for routing through patch bay (includes Atlas large
           boom stand operation to desktop stands; also popper-stopper setup for vocal
           recording)
       b) Experience with usage of dynamic, condenser, and ribbon microphones and
           their proper implementation for instrument and vocal recording (includes
           maintenance and care of MPA’s microphones)
       c) Proper cabling of microphones and electric instruments for routing and
           recording
       d) Experience with setup and maintenance of Yamaha drum kit, and proper
           micing of drums for optimal recording results (drum head maintenance,
           tuning, etc.)
       e) Experience with baffling and isolation of instruments and vocals during
           recording to minimize bleedthrough (includes MPA’s options for using Rms.
           100 and 185 simultaneously for isolation, the closet for guitar amps, and using
           Sonex)



                                           Outcomes
Expected Outcomes:
         Better utilization by the campus of existing technology and facilities in support of
student learning. Provide expanded access to students, staff and faculty of recording lab
facilities. Empower student to complete projects in a more efficient manner.

Assessment and Accountability Measures: Increase in usage of the MPA studio will
be monitored.

Evaluation Criteria and Metrics:

        The sponsor will consider the project successfully imple mented when students
        can access to the labs on evenings and weekends.



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                           IT-Related Budget Request Proposal Narrative
                                      Fiscal Year 2006/2007

                                           Audience
Who is the key stakeholder group or user group? Music majors in the Music and
Recording Technology Concentration.


Who are the primary and secondary users? Any CSUMB student enrolled in any of
the music production courses offered by the Music and Performing Arts Department.
Faculty and students across campus working to complete capstone projects.


Will this project change any existing business practices? YES! This project will
provide our students with an opportunity to work on projects during non business hours
and on weekends.


     Viable Alternative Solutions to meet needs addressed in this BRP
1.      There are no viable solutions. Increasing the number of music labs for day usage
is not cost effective.

2.       This job is not suited for a student assistant due to the breadth and depth of the
skills required of the position.

3.

                       Five-Year Cost Estimates for the Project
Capitalized Equipment Requirements: No additional cost.


One-Time Funding Require ments: The proposal requires multiyear funding.


New Base and On-Going Funding Require ments: Only staffing cost. (see below.)


New Staffing Require ments: Hire one Music Technology Operator (ITC FOUND) for
30 hours per week, per semester.


New Space/facilities Requirements: Current space will be utilized.

                                           Approach
How will users gain access to the application or service? This will provide evening
and weekend access to labs and recording studios, in addition to currently provided
weekday use.

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                           IT-Related Budget Request Proposal Narrative
                                      Fiscal Year 2006/2007

Is the project phased? If so, over what pe riod of time? No


Who will maintain the servers/applications? Will maintenance and support be
require d for the initial implementation? No


Will the project require consulting (internal or external)? What is the scope of
work? No. As described in the narrative, to support the additional hours of the operation
of the Music Lab.


Will the project require additional funding in s ubsequent BRPs? Only if there is a
need to increase the hours of the Music Technology Operator (ITC FOUND) as the
program grows.


Do we have trained staff to use or install the application? Yes.


                                    Project Management
Project Leads – who will assign resources? Richard L. Bains, Department Chair.


Technical Staff – who will be assigned to install software, manage servers? Who
will be responsible for maintaining the equipment? Music and Recording Technology
Faculty, Paul Contos and the Music Technology Operator.


Trainer – who will develop the training mate rials? Who will deliver the training?
Music and Recording Technology Faculty, Paul Contos.


Budget Authority – who will approve expenditures? Richard L. Bains, Department
Chair.


   Assumptions and Resource Requirements Not Included in this BRP




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                           IT-Related Budget Request Proposal Narrative
                                      Fiscal Year 2006/2007

            Relationship to ITPAC Review Criteria for FY 2006/07
Proposals that are aligned with the review criteria listed below will be given priority for funding
consideration, above those that are not. Please explain how your proposal relates to these criteria,
for all that apply.

New Degree Programs’ Require ment (for Programs approved by the Academic
Affairs Council): This is a new degree program with an influx of new students music
and recording technology concentration.


Baseline IT Infrastructure Services: This supports the efficient and maximum
utilization of existing technology and infrastructure.



      Relations hip to Academic Affairs The me of “Student Success”


Student Customer Service: Currently we are denying students access to tools they need
to complete their projects. Students are unable to work on projects during the hours that
they are available. This position will allow us to improve our customer service.

Enrollment Manage ment:

Student Recruitment:

Student Retention: Students engaged in active learning. This is a strong factor in
retention.



Security:


University-wide Collaboration: We serve all students and faculty on the campus.


Greatest impact on the largest numbe r of people: The Music recording studio is a one
of a kind resource on campus. This will increase its availability to the Campus.



This completes the narrative portion of your Budget Request Proposal!




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