The Academy Program for Audio Engineering
In addition to our regular lessons, we also offer an intensive six-month program for students interested in learning a wide variety of topics in a short amount of time. The six-month program could be compared to a semester at college, and equates to 100 hours of instruction coupled with observation and an apprenticeship. Topics of instruction could include:
- Critical listening
- What is sound?
- What makes a mix?
- What does an engineer do?
- Basics of recording studio/signal flow
- Types of microphones
- Signal processing (EQ, compression, etc.)
- Effects (reverb, delay, etc.)
- Aux sends
- Microphones techniques
- What does a producer do?
- Spectrum of sound
- Ear training (frequencies)
- Mic techniques for piano, guitar, drums, bass, vocals, etc.
- Editing
- Audio mastering
- Audio post and voiceover/ADR
- Film scoring
- Re-mixing
- Electronic music/MIDI
A Sample six-month curriculum is provided below. Your actual program will be tailored to meet your individual goals and therefore may be different.
Objective: In a term of six months, the student will gain a fundamental knowledge of audio engineering and the business of music.
Week One
• Critical listening
• What is sound?
• What makes a mix?
• What does an engineer do?
• Basics of a recording studio/signal flow
• Reading: Behind the Glass – Brian Wilson
• Summarize and present by next session
• Listening homework: Pet Sounds by the Beach Boys
Week Two
Lab session
Critical listening
Cable wrapping
Mic stand handling
Discuss different microphones and applications
Assignment: practice wrapping cables quickly
Research pro level microphones – create wish list with why
Week Three
Signal processing
EQ
Compression
Reverb
Delay
Aux sends/signal flow
Reading: Behind the glass – Al Schmitt
Summarize and present by next session
Listening homework: Aja by Steely Dan
Week Four
Lab session
Critical listening
Mic techniques
Acoustic guitar & piano
Take notes and compare, discuss results and select favorites
Assignment: listen to commercial recordings, pick out favorite acoustic guitar and piano sounds, be prepared to present with why
Week Five
Producing
What does a producer do? Discuss and compare styles
Reading: Behind the Glass – George Martin
Listening homework: Sgt. Pepper’s Lonely Hearts Club Band – The Beatles
Week Six
Spectrum of sound
Learning about where instruments live, and the interplay of frequencies in a mix
How can everything have room to be heard?
Ear training
Reading: Behind the Glass – Geoff Emerick
Listening homework: Revolver – The Beatles
Week Seven
Lab session
Electric guitar and bass guitar
Mic techniques
DI usage
Discuss re-amping
Reading: Behind the Glass – Sylvia Massy Shivy
Listening homework: Undertow – Tool
Week Eight
Lab session
Drums
Mic techniques and mic selection
Try different mics and placement, compare, select best
Assignment: listen to results and choose favorite configurations, be prepared to discuss why. Also listen to commercial recordings and bring in examples of favorite drum sounds.
Week Nine
Lab session
Vocals and headphone mixes
Mic techniques and mic selection
Try different mics and placement, compare, select best
The art of preparing headphone mixes for performers.
Week Ten
Pro Tools navigation and foundation of Digital Audio
Learning your way around, keyboard shortcuts
Assignment: be prepared to setup new Pro Tools session as instructed
Week Eleven
Mixing techniques
Critical listening, visualizing a mix
Reference textbook: The Art of Mixing – David Gibson
Assignment: mix a demo song provided using only EQ and compression
Week Twelve
Production techniques within mixing
Including parallel compression, gating, low tone enhancing kick drum, adding space and dimension, delay, filters/effects, and more
Assignment: remix song using some of these techniques
Week Thirteen
Editing
Splicing, looping, and more
Assignments: Edit a session to tighten timing, and create song using only loops
Week Fourteen
Audio mastering
Critical listening
“loudness wars”
Appropriate levels for different genres
Mastering for an album
Assignment: master a few songs using only EQ and compression
Week Fifteen
Audio post and voice over work
Foley work, discuss surface types, toys, tricks
In-studio: work on the sound design for a short commercial
Assignment: write and record a voice over commercial, with sound effects/foley
Week Sixteen
Re-mixing
Critical listening to remixes both subtle and radical (audio vs. production techniques)
Discuss different remixing techniques
Assignment: remix a song with stems provided
Week Seventeen
Lab session
Setup complete session for multiple musicians
Use proper documentation and techniques
Assignment: mix song recorded during lab
Week Eighteen
Live recording
Board feeds
Stereo mic configurations, choices
Differences between live and studio mixing
Week Nineteen
Electronic music
Synthesis, synthesizers
Digital and analog
MIDI
Moog
Found sounds
Assignment: create song/rhythms using found sounds and synthesis
Reading: Bob Moog – prepare short written assignment about life and work as well as recordings where synth is featured
Week Twenty
The business
Publishing, copyright, contracts
Assignment: read over sample contracts, analyze
Week Twenty-One
Management, promo, marketing
Discuss areas of management and promotion, and how these things are done in the music business. What works? What doesn’t?
Assignment: Compare promo and branding strategies of famous musicians/bands, both good and bad. Pick a famous band/musician and design promo plan. Also do same for new musician/band.
Week Twenty-Two
Final project prep
One-person record label
Find a band that needs help, both on the recording and management side. Bring them in for a consultation/presentation/proposal/plan of action. Discuss their goals and incorporate them into your plan.
Week Twenty-Three
Studio side of final project
Record this musician/band in the studio, solo. Your instructor will act as a demanding producer on a deadline.
Week Twenty-Four
Final project presentation
Present the musician/band with complete mixed audio track, promo, marketing, branding, and management plan.
Email info@forgerecording.com for more information.
Please note: This program is intended to provide both theoretical and practical hands-on instruction at a professional recording studio. It is not provided by an accredited educational institution nor are any representations made as to the individual’s likelihood of obtaining employment in the field upon completion.