Studio Workshops - Summit School of Guitar Building and Repair

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Courses / Fees

Audio Engineer Workshop.
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
















Speaker Re- Coning / Repair Workshop


30 Hours over 10 sessions

cost: $1400.00


Course Description


   Learning how a speaker works
   Re-Coning Speakers
   Speaker Modification
   Speaker Phasing

Soldering

Cable repairs
   Acoustical measurement of Loudspeakers with Professional sound measurement system (Computer)
   Electrical measurement of Loudspeakers with Professional sound measurement system (Computer)
   Thiele / Small Parameters: what they mean and their importance to cabinet design


Instructor : Len Hill



For information on the workshops we are offering ie: Audio Engineer, Speaker Re-Coning/repairs, Recording or Live Sound

Please contact

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

Email: luthiersintl@bcsupernet.com

studio website: http://dragonflymobilerecording.com/summit/


      





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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