Notam is organizing three courses covering different stages of a studio production this autumn. Each course runs for three days. The first course is about the recording process, number two is about mixing and the third course focuses on the mastering process. It is possible to participate in single courses, or you can get a package price for all three.
The courses will be held on the following dates at 5PM-10PM:
Course 1 – Recording: October 23, 25 and 26
Course 2 – Mixing: October 30, November 1 and 2
Course 3 – Mastering: November 6, 8 and 9
Course 1 – Recording
In this course we will cover:
• The most common microphone types, and the course participants are given in-depth knowledge in strengths and weaknesses in different recording situations
• different stereo techniques
• The relationship between direct sound and acoustics in the room where you make the recordings
• Miking and recording of different instruments
• Voice recording techniques
• Miking of drums and amplifiers
Course 2 – Mixing
This course is based on recording with different types of material, such as pop/rock, sinfonietta recording, choir recording and solo recording. Course participants will get an introduction to:
• Good strategies for organizing sound material in preparation for mixing
• How to create master tracks with limiter and dither
• How to create auxilliary tracks for effects/external inputs
• how to create audio groups
• How to make bus sends to effects tracks
• Use of compressor
• Use of filter/EQ
• Use of effect processors
• How to use buses for sub-mixes and treating grouped tracks with uniform effects/processing
• How to use reverb to create ambiance in the mix (here we will look at different types of sounds and find those that suit the different elements in the mix)
Course 3 – Mastering
Mastering is the part of the production process that is most often left to the professional studio sector. This part of the production is about quality control and optimization. Mastering consists mainly of two parts:
1. Preparing the sound:
• Listening strategies, how to locate problems in the mixes.
• Adjusting the energy of the different parts of the frequency spectrum (EQ).
• Dynamic compression. Show how it is advisable to use different compression on different parts of a mix. Show how modern compressors can also display loudness graphs.
• Use of limiters.
2. Formatting the files to work optimally on different platforms:
As part of the mastering course we will look at modern measurement standards, average loudness, metadata and encodings (PQ encoding for CD, etc.).
Enrolment is closed