Music Recording /Audio Production Albany

AUDIO ENGINEERING & AUDIO PRODUCTION

New School Graduates at Work Series: Meet Cameron Proctor Watch this short testimonial from a graduate of New School Center of Media located in Albany, New York. Cameron shares how the audio program he received certification in teaches more than pro tools. The program covered all the basic from mic placement to even the physics of sound. For more information of programs offered at New School visit, https://newschoolalbany.edu/programs/

600 HOURS

This course is based on the tutorials, documents and other resources provided by AVID, the software developer of the Pro Tools professional audio and music engineering and editing.

The program prepares students to take AVID Pro Tools certification

Audio Engineering Fundamentals – 100 Hours

 Lectures and Demonstrations 

  • Analog Signal Routing
  • Analog Mixer and Patchbay Operation
  • Filter Types, Equalization
  • Dynamics Processing
  • Cable Identification, Use, and Management
  • Microphones and Techniques
  • Reading Waveforms and Real-Time Analysis
  • Basic Acoustics Principles
  • Psychoacoustics Basics and the Phenomenon of Sound
  • ADSR of Waveform Characteristics
  • Time-Domain Effects
  • Phase Relationships
  • Frequency Bands, Harmonic Content, and Dynamic Range
  • Frequency Response
  • Human Hearing and Ear Training
  • Monitor Mixing
  • Introduction to Using Pro Tools

  Exercises and Projects  

  • Route a microphone signal through a mixer
  • Insert a compressor using a patchbay
  • Filter and manipulate tone with an equalizer
  • Compress and expand audio signals with dynamics processors
  • Install and operate a wide assortment of cabling and interconnects
  • Record several varied audio sources using different mics and techniques
  • Identify sonic characteristics with their graphical representations in waveforms, spectral analyzers, and observing ADSR properties
  • Create artificial reverberations and echoes using time-domain processors
  • Encode hidden messages into a recorded sound understanding the principles of phase cancellation and high bit-depth recordings
  • Identify frequency response properties given charted outputs from assorted equipment
  • Experience the breadth of our own hearing’s frequency range:
    • Practice listening and identification exercises in order to quickly identify frequency bands for best-use practices with equalization
    • Perform simultaneous monitor mixes for individual performers
    • Basic Pro Tools exercises focusing on navigation, editing, and orientation

Digital Audio Fundamentals – 40 Hours

 Lectures and Demonstrations 

  • Computer Science for Media Production
  • Using Hardware Beyond the Interface
  • Understanding Sample Rate and Bit Depth
  • MIDI Production and Sampling

  Exercises and Projects  

  • Managing local data by creating new sessions, alternate versions, and copies
  • Managing data for collaboration and archiving by creating copies, compressing, clearing and compacting, uploading, downloading, printing, and focusing on best-use practices like backdating and understanding the importance of session parameters
  • Using share services and FTP
  • Incorporating hardware in addition to the recording interface like MIDI controllers, external preamps, hardware synths, and outboard gear
  • Optimising real-time recording monitoring by choosing the best balance between performance and latency with respect to the hardware buffer
  • Working with low-latency monitoring
  • Observing the pros and cons of working with delay compensation
  • Utilize external MIDI and MIDI-over-USB controllers to command softsynths, virtual instruments, and also some mixing functions with the HUI protocol

Acoustics Fundamentals – 20 Hours

 Lectures and Demonstrations 

  • Absorption/Reflection
  • Diffusion
  • Room Modes
  • Soundproofing vs. Sound Treatment
  • Velocity of Sound

  Exercises and Projects  

  • Creating demonstration recordings to observe the effects of different absorptive surfaces, rooms materials, and room sizes
  • Internalizing the slowness of sound by measuring the distance travelled over time using a hand clap
  • Relating the slowness of sound the the principles of phase relationships
  • Recording noise reflections off various surfaces to observe how the physical characteristics of a room/surface affect different areas of the audible spectrum

Music Theory Fundamentals for Engineers – 80 Hours

 Lectures and Demonstrations 

  • Note Identification
  • Deriving Major and Minor Keys
  • Deriving Diatonic Chords from Major and Minor Keys
  • Extended Chord Types
  • Understanding and Implementing the Pentatonic Scale
  • Basic Music Notation
  • Identifying and Working with Rhythm

  Exercises and Projects  

  • Using freely available online testing tools, students identify notes on a piano keyboard understanding natural notes, sharps, flats, and enharmonics
  • With respect to half-note and whole-note relationships, students derive all major and minor keys based off any tonic using MIDI and softsynths in a Pro Tools session
  • Writing basic percussion, bass, chord, and melody compositions in various styles and criteria to best understand the mindset of the client
  • Once derivation of notes in keys is proficient, students identify and compose chords and chord progression changes diatonic to their respective keys
  • Students use the Notation View in Pro Tools to identify and edit fundamental music charting techniques
  • Given Pro Tools sessions with audio and MIDI rhythm performances, students will edit, modify, and correct timing of performances as well as extract groove information from human performance for quantization

Sound & Music Production – 100 Hours

 Lectures and Demonstrations 

  • The Techniques and Art of Mixing
  • Automation
  • Acquaintance with Musical Gear, Instruments, Accessories
  • Musical Editing Techniques
  • Multiple Mic Drum Recording
  • Mastering for Varied Distribution Outlets
  • Sampling
  • Commercial Radio Production
  • Song Structure Analysis
  • ADSR and the Fundamentals of Synthesis
  • Pitch and Rhythm Correction

  Exercises and Projects  

  • Setting up a recorded Pro Tools session for mixing: editing clips, phase alignment, creating mix busses, utilizing filtering and dynamics processing to reduce noise, track organization, routing effects sends and returns, optimizing the Mixer and Edit Windows for efficient workflow
  • Writing automation on-the-fly using Touch, Latch, and Write modes and understanding the functions of Off and Read
  • Editing automation
  • Identifying classic examples of popular sounds and instruments, and how to achieve similar tones using virtual instrumentation
  • Modifying the length of a mastered recording using “musical” editing practices
  • Editing a multi-track drum recording with respect to time-alignment and phase-alignment using both Elastic Audio Processing in Pro Tools as well as Beat Detective automated editing tools
  • Creating a mastered recording from a mixdown with respect to different distribution outlets and their optimal loudness standards
  • Extracting and manipulating the timing of a percussion sample to conform to the tempo of a Pro Tools session
  • Producing commercial audio with public domain, royalty-free resources to exacting criteria of time and demographic appeal
  • Mapping the form, layout, instrumentation, and other creative production elements
    of a professionally produced song in order to dissect and understand the inner workings of a commercially viable music product
    • Using synthesizers to create new sounds
    • Given a Pro Tools session, students will using compositing and pitch-correction techniques to edit a continuous, perfect vocal performance

AVID Pro Tools Training – 100 Hours

 Lectures and Demonstrations 

  • Pro Tools 101 – Pro Tools Fundamentals
  • Background Information
  • Getting Started with Pro Tools
  • Pro Tools Basic Controls
  • Creating Your First Session
  • Making Your First Audio Recording
  • Importing and Working with Media
  • Making Your First MIDI Recording
  • Selecting and Navigating
  • Editing Your Media
  • Mixing and Creating a Bounce
  • Pro Tools 110 – Pro Tools Fundamentals II
  • Getting Started
  • Managing Session Data and Media Files
  • Recording MIDI and Audio
  • Using Virtual Instruments
  • Working with Elastic Audio
  • Editing and Fine-Tuning a Performance
  • Additional Editing and Media Management
  • Basic Mixing and Signal Workflow
  • Writing and Editing Automation
  • Using Advanced Mixing Techniques and Creating Final Media
  • Pro Tools 201 – Pro Tools Production I
  • Working with Pro Tools HD Hardware Systems
  • Customizing Pro Tools
  • Session Configuration and Track Management
  • Session Management
  • Selection Techniques
  • Editing Techniques
  • Clip Gain Functions
  • Automation Functions
  • Mixing and Plug-in Processing
  • Advanced Mixing and Finishing Techniques
  • Pro Tools 210 – Pro Tools Production II (Music Production)
  • Preparing the Session
  • Tracking and Overdubbing
  • Editing and Fine-Tuning Audio
  • Editing and Fine-Tuning MIDI
  • Advanced MIDI Production
  • Enhancing Drum Performance
  • Key and Tempo
  • Arranging and Producing
  • Mixing Automation
  • Printing Your Mix

AVID Pro Tools Testing and Certification – 40 Hours

 Exercises

  • Chapter Exercises from the AVID Pro Tools Courseware

 Practical Review

  • Pro Tools 101, 110, 201, and 210M Challenges

  Practice Tests

Testing and Certification 

  • Completing the official AVID Certification Tests

UNIT 8
Session Recording and Deliverables – 40 Hours

 Lectures and Demonstrations 

  • The Pre-Production Meeting
  • Recording Studio Setup
  • Session Management
  • Recording Sessions with Live Musicians
  • Monitor Mixing
  • Deliverables

Exercises

  • Identifying basic requirements of a pre-production meeting and planning for the recording session
  • Creating a comfortable and technically functional work environment for a recording session with a single artist or performer
  • Running a recording session with live performers
  • Creating a monitor mix suitable for the performers
  • Performing the technical and artistic duties of creating a final mix
  • Exporting a mixdown, data management, deliverables
  • Communicating with the client

Sound Design for Picture – 80 Hours

 Lectures and Demonstrations 

  • Professional Roles in Sound Design for Picture
  • Field Recording
  • Sound FX Design
  • ADR Production and Recording
  • Foley Sound Effects Recording Techniques
  • Music Supervision and Editing
  • Mixing Sound for Picture
  • Deliverables

  Exercises

  • Identifying the multitude of professional roles necessary to achieve a feature-film audio and music production
  • Performing the roles of numerous audio production professionals while compartmentalizing their individual responsibilities
  • Finding, capturing, archiving, and editing sounds in natural environments for use in design
  • Re-recording dialog in the studio to replace production dialog for perfect audio quality, and other artistic purposes like rewriting a scene or modifying lines
  • Recording real-time live sound effects syncing to picture using props, equipment, and body motion
  • Curating and/or composing picture for film with respect to intellectual property rights and the direction of the scene
  • Creating a complete audio mix for picture balancing dialog, sound effects, and music
  • Exporting deliverables with respect to standardized industry audio levels