Studio Workshops - Summit School of Guitar Building and Repair

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Audio Engineer Course
30 hours over 10 sessions

Cost: $1400.00

COURSE DESCRIPTION & OBJECTIVES

By the end of this course students will have:
• An understanding of the modern computer based recording methods.
• Techniques & tips for proper microphone, selection and placement.
• Understanding the importance and workings of compression, equalizers, gates, reverb, echo.
• Introduction to running of a session in the recording studio environment.
• Introduction to Live Sound setup and mixing (F.O.H) - (if available)

Instructor : Ron 'Obvious' Vermeulen



















Tate completed the Audio Engineer course.

Stanley making himself at home in the Live Room

Bathroom and Kitchen.

Lounge area

Mobile Iso Room.

Our engineer, Ron 'Obvious' Vermeulen' domain


For information on the workshops we are offering ie: Audio Engineer,  Recording or Live Sound

Please contact

Lorraine Gentry
Toll Free: 1-877-878-7464, or
Telephone: 1-250-757-9906

Email: summitsound@bcsupernet.com

studio website: www.summitrecordingsolutions.com


      





Summit Recording Solutions -
Audio Engineer Workshop. 30 hours over 10 sessions
COURSE DESCRIPTION & OBJECTIVES
By the end of this course students will have:
• An understanding of the modern computer based recording methods.
• Techniques & tips for proper microphone, selection and placement.
• Understanding the importance and workings of compression, equalizers, gates, reverb, echo.
• Introduction to running of a session in the recording studio environment.
• Introduction to Live Sound setup and mixing (F.O.H) - (if available)
SESSION TOPIC LESSON CONTENTS
1. Recording Inputs Devices
- Microphones - Different types. Phantom Power.
- Line Levels & D.I. Boxes - How they work . (Passive & Active - power)
- M.I.D.I. - How it works
2. Recording Interfaces
- Mic pre-amplifiers - Phantom Power in circuit diagrams.
- Line Inputs
- MIDI Inputs
- Balanced & Unbalanced cables
- How to properly wrap cables
- How to ‘zero’ a mic stand
3. Recording Signal Flow
- Block diagrams of analog consoles, in relation to a digital workflow.
- Mic Pre Amps
- Equalizer (EQ)
- Insert points (additional discussion in lesson #6)
- Grouping/Bussing routing
- Record routing inputs to DAW channels
4. Playback, Overdubbing & Mixing Signal flow
- Block diagrams of analog consoles, in relation to a digital workflow.
- DAW Playback routing
- Cue mixes to musicians
- Effects Sends & Returns
- Mix groups & bussing
- Master Faders
5.Outboard Gear & Effects
- Equalisers - [Bell, Shelving, HP, LP. Q of the equalizer]
- Compressors - [Ratio, Threshold, Attack, Release, External Trigger]
- De-Essers - [Threshold, Frequency, Attenuation]
- Noise Gates [Attenuation, Threshold, Attack, Hold, Release, Bandpass EQ]
- Reverbs - [RT60, Halls, Plates, Chambers, Non-Lin, IR’s]
- Delays/Echos, [time ms, feedback, ping-pong, HP, LP]
- Modulation (chorus, vibrato, harmonizers, panning)
6. Analog mixing with a traditional analog console
- Mixing a song the traditional analog method. (used in all music mixing until about
2010). ** Still used by most “big time” mixers.
- Setting up order of channels on the console. Fill out the ‘scribble strip’ on the
console.
- Using the console EQ to “improve” the recorded instruments.
- Using “channel inserts” to plug in various gear in the “outboard” rack.
- Setting up “Aux Sends & Returns” to add various external reverb & delays in the
“outboard rack”.
- Setting up “Groups” to consolidate instrument groups.
- Show how the traditional patchbay works & how it relates to the (?modern?) DAW
mixing method.
7, 8, 9. Digital mixing (ITB -“In The Box”) with a computer.
DAW applications and A/D-D/A Interfaces.
- Setting up order of channels on the screen. Label each ‘scribble strip ’Properly’.
- Setting up [Source - Inputs] and [Outputs] for each channel strip.
- Creating - Group buses, and a Master Fader.
- Labelling - “Marker” Cues. I.E. Verses, Choruses, Bridges, Solo’s, etc.
- Using “Inserts” to install various plug-ins. I.E. EQ’s, Compressors, Gates, SIM’s
etc.
- Setting up “Aux Sends & Returns” to add various external reverb & delays effects.
- Tracks that are MIDI files, need to have at V.I. inserted to be able to hear the
performance.
- Discuss “Latency” and it’s various issues in the digital A/D - D/A plugin
processing world.
- Discuss “Nyquist Frequency”. Sample rates (44.1khz, 48khz, 88.2khz, 96khz). Bit
depth (16 bit ,24 bit).
10. Final mixdown. Mastering. Exporting for different file formats.
DAW tips and tricks. Choosing a DAW.
- Choosing your export > File format, sample rate & bit depth.
- Discuss the purpose of ‘Mastering’.
- Exporting for different file formats (.wav, mp3) and various mastering level
standards (RMS, PEAK, LUFS).
- Backup and storage of your projects.
- Sound replacer. To fix poor drum sounds, or performances.
- Warp Clips. To fix timing issues with a performance.
- The ‘Tuning’ App - [hand tuning] - To fix tuning issues.
- Cut & Paste. To save client costs during recordings, or provide consistency.
- Work in Grid mode, based on the tempo of the song. Allows for quicker song
arrangement changes, etc.
- Computer choices, based on CPU, RAM, Screen (pixel) sizes.
- External Hard-drives.
- Choosing a DAW. ProTools, Logic, Studio One, Cubase, etc.
- Choosing a AD/DA Input interface
- Dongles - iLOK used by most software companies for piracy protection.
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