The BAM Audio School

UNIT	DESCRIPTION

INTRODUCTION	Welcome
ABOUT THIS COURSE	What the course is and what it isn't.
COURSE REQUIREMENTS	What will help you benefit from the course.


01 SOUND & TECHNOLOGY
Sound Waves	Intro to Soundwaves
Frequency, Phase, Polarity, Combining Sounds	Cycles and Phase and Polarity, oh my!
Wavelength and Pitch	Cycle length, Musical Pitch and the Doppler Shift
Human Hearing	How we hear
Transducers	Converting sound
Audio Monitors / Speakers	Monitoring Sound
Sound Storage	Physical, Magnetic, Digital
Analog and Digital	Analog and Digital


02 THE EVOLUTION OF RECORDING
History of Recording part 1	Up to the Overdub
History of Recording part 2	After the Overdub
The Sync Head	How the ability to overdub and punch in and out affected music production
Digital	Digitizing and Manipulating Audio
The Studio as an Instrument	Composing with Technology


03 AUDIO PRODUCTION TOOLS
Intro to Audio Production Tools	Microphones, Mixers, Processing, Studios, Computers
Audio Production Elements	Sounds, Capturing, Storing, Manipulating
Audio Signal Path and Gain Structure	Audio Paths, Gain at each Stage
Sound Recorders	Common Elements of Sound Recorders
Digital Recorders and Non-destructive Editing	Referencing file points rather than cutting tape


04 BASIC MUSIC FOR MUSICIANS
Why you should know about music	You must understand music to be a creative technician
Dynamics	Change
Arrangements	Instrument Interactivity, Song Parts and Map
Instrumentation	Common Instruments
Rhythmic Elements	Bars and Beats
Rhythmic Dynamics	Pushing and Pulling together and seperately
Harmonic Elements	Harmonic Notes and their Interaction
Instruments in the Studio	Microphones and Plugs



05 HOW PEOPLE USE MUSIC
Why you should care about how music is used	People want different things out of the music they use for different purposes
Ethnomusicology	Music and Culture
Consumers and Music	Consumers and Music
Surround Sound	Surround Sound and the Consumer


06 THE STUDIO
The Studio	Studio Overview
Combining Sounds	Combining sounds through an Audio Bus
Recording / Mixing Consoles	Recording / Mixing Consoles (Boards)
Gain	Volume at different Stages
Studio Monitoring	The importance of having good speakers
Cues / Headphones	How the musicians hear themselves


07 RECORDING
Intro to Microphones	Microphones
Microphone Types	Mic Types
Polar Patterns	Areas around the mic that will be captured
The Right Mic	The best mic may not be the most expensive one
Microphone Positioning	Hearing where to put the mic
Spacial Micing	Capturing a space rather than a point
Feedback	Avoiding feedback
Controlling sound in the room	Placing musicians, tweaking room acoustics, Room mics
As Pure as Possible	Don't degrade the sounds captured by your microphones
Recording Drums	Drums and Microphones.
VIDEO / Drum Microphones	Drum mic choice and placement
VIDEO / Kick Mic Approaches	Open (single) head kicks vs. Closed (double) head kicks.
VIDEO / Kick Mic Placement 1	Open head kick mic placement - specific examples CAMERA MIC
VIDEO / Kick Mic Placement 2	Open head kick mic placement - specific examplesACTUAL KICK MIC
VIDEO / Kick Mic EQ	Now that we have the kick mic, let's EQ it!
Recording Acoustic Bass	Micing, Pickups's, Compression.
Recording Electric Bass	Micing, Direct, Compression, Bootsie.
Recording Acoustic Guitar	Micing, Stereo, etc.
Recording Electric Guitar	Micing, Stereo, etc
Recording Piano	Micing, Listening
Recording Organ & Rhodes	Micing, Distance, Stereo.
Recording Horns & Winds	Micing.
Recording Percussion	Micing (Conga > Belltrees and beyond).
Recording Vocals	Micing, Compression, Manual Rides to Tape.
Recording Backing Vocals	Micing, Compression, How to work FAST.
Recording Anything Else	Searching for the right placement and microphone (notice the order!)
Intimate Recording	Capturing quiet.
Rec. MIDI	MIDI.
Software	Computer Software.
Basic Tracking	Recording the song.
Overdubs	Refine and add more parts.
Punching In/Out	Fixing parts by recording over them while the artist performs again.
Trench Work	Flying, moving, pitching, and not telling anyone��_
Running a Session	How to keep everyone happy and get good results from a session.
Ruining a Session	How to make sure that nobody ever wants to hire you again.


08 EDITING
Editing	Cut and Paste
Editing Speech & Music	Cutting words and music
Arrangement Editing	Moving parts of a song
Loop Edits	Again! Again!
Multiple Edits	Musical repeats


09 PROCESSING AND EFFECTS
Pure or Processed?	When to leave well enough alone
Audio Processing	Changing sound
EQ	Increasing or Decreasing selected frequency ranges
Threshold-based Effects	Threshold, Key, Side-chain
Compression	Controlling the rate of volume increase
Limiting	Extreme control of the rate of volume increase
Gate and Expansion	Changing volume, based on volume
Delay and Reverb	Distinct Echoes and Roomy Scattering
Chorus, Phase Shifter, Flanger	Modulating Effects
Distortion	Overloading a Stage in an Audio Path
Time Alignment and Aural Excitement	Changing the edge and air of a sound
Harmonizing, Pitch Shift, Autotune	Pitch changing
Envelope Filter	Filters that change settings based on sound volume
Guitar Effects	Using cheap guitar pedals
Automating Effects	Saving effect setting changes
Inserting and Chaining Effects	Effects in a line
Sending to Effects	Using a channel send to feed sound into a common Audio Bus
Bus and Master Fader Effects	Using effects along an Audio Bus or Master Fader
Processing Delay and Latency	The time it takes for effects to happen


10 MIXING
Why Mix?	Can't I just let the tracks play the arrangement?
Gestalt	The whole mix is more than just the tracks played together
Necessary Understanding	Understanding the client, the music / culture, and the instrument functions
Mixing Tools	Processing and Automation
Imagery, Space, and Depth	The space within which you are working
Finding the Song	You can't mix the song if you don't know what is important
Creating a Mood	Does the song need "mood lighting"? What if the tracks are in a bad mood?
The Demo	The original Demo and the Production
The Melody and Passing the Ball	Keeping everyone's eye on the ball
Sustaining and Renewing Interest	Renew focus or just keep it going
What a mix should sound like	There is no answer to this question
Mixing Considerations	Consider these points when you mix
How I Mix	The process I often find myself following while mixing.
Learning to Mix	How to learn when there is no place to learn
AB to CD	Comparing to other work.
Instrument Roles	What instruments do
Band Dynamics	Everyone gives and takes.
Individual Dynamics	Volume, Tone, Intimacy / it all changes.
Dense Mixes	When there's just too much stuff.
Automation	Capturing YOUR dynamics so you only have to do it once.
Recalling a Mix	Recalling the settings of a mix
The Song	Do you really understand exactly WHAT are you mixing?
Instrument Roles	What instruments usually do what function, and why they don't have to.
Psychoacoustics	Hearing, direction, and imagination.
Stereo and Beyond	Mono, Stereo, Eno's 3-speaker setup, Quad, Dolby Surround, 5.1, 8.1 and beyond (and mixing for each).
Getting Sounds	What should each instrument sound like?
Midrange 1	Be careful. Expect and allow change.
Using Delays	Echo parts, make rhythms, etc...ET Thorngren.
Reverb	Creating and using spaces without making mud.
Silence	A very effective tool when working with sound.
Stereo Compression	Smooshing the whole thing together.
Vocal Sounds	Clear, round, big, intimate, raging, sibilance, pops, doubling, etc.
Vocal Placement	Where and how loud?
Dynamic Rides	I keep telling you, change is good!
Puzzle Pieces	Fitting things together.
VIDEO / Kick Mic EQ	This page is in the Recording section, but what is listed also applies to MIXING.
Mixing Drums	Too much to list here.
Mixing Bass	Too much to list here.
Mixing Guitars	Too much to list here.
Mixing Piano and Keyboards	Too much to list here.
Mixing Orchestras	Too much to list here, but the word "dynamics" is used more than once.
Stereo Placement & Width	How to use BOTH speakers instead of just making things twice as loud.
The Fade	More than just the end of the song.
Is it FINISHED?	When to know when it's done (or when to put it aside for the time being).
Clarity	Hearing everything.
What sound is right?	How expensive should your mix sound? Aiming for specific sounds.
Remixing	Alternate versions and different directions (from a different mix pass to a whole new production).
Changing & Replacing Parts	When what there is just isn't what you need for what you want to do.
Console vs Computer	Mixing out of a computer.
VIDEO / The first 10 minutes	The First 10 minutes of mixing for Ro Tierney
A. VIDEO / Introduction	Introduction to DEconstruction
B. VIDEO / Mixing in Logic	Welcome to Logic!
C. VIDEO / Why Ride?	WHY I spend so much time on dynamic rides.
D. VIDEO / Guitar Solo	Automated volume, pan, reverb and delay.
E. Bass	Bass EQ and Multi-Compression
F. VIDEO / Lead Vocal Pt 1	Lead Vocal EQ and DYNAMIC RIDING
G. Lead Vocal Pt 2	Using reverb and delay to create a vocal space


11 MASTERING:
What is Mastering?	Isn't it done already?
Loud vs Dynamic	Should your song be as loud as the radio commercial if you lose intimacy?
Mastering to enhance sound	Using Mastering techniques to improve sound
Mastering to prepare product	Preparing for final output
Master while Mixing?	Can this be done while mixing instead of being a separate process?


12 OUTPUT:
What format?	1/2" or MP3?
Special versions?	Making variations (different mixes, mono versions, etc).
CD & Web output	Understand how people will hear your mix.
Redbook and Codes	CD tech.


13 AUDIO PRODUCTION ROLES
Audio Production Roles	The People behind the Production
Assistant, Intern	The Assistant and the Intern
Studio Manager, Studio Tech	Keeping the Studio up and booked
Producer	Similar to a Film Director
Recording / Mixing Engineer	From sound source to speakers
Mastering Engineer	Improving sound and preparing for output
Client / Artist	The money / The talent
Manufacturing / Distribution	Making copies and getting them out
Other Roles	Other Production Roles


14 AUDIO JOBS
Audio Jobs	Different ways to use your skills
Recording / Mixing Engineer	From mics to speakers for fun and profit
Live Mixer	Making bands sound great live, working with the room, stage monitors vs house, feedback, rides and effects, etc.
Mastering Engineer	Finishing the sound, getting ready for final release
Editing	Cutting and pasting
Voiceovers	Working with spoken word
Sound Designer	Creating sound environments
Foley	Augmenting sounds
Field Recording	Capturing in the wild
Forensics	Just the facts, ma'am
Corporate Audio	Sound at Work


15 PRODUCING
The Artist	Composer, Performer, etc
The Song	Finding the right song for your artist.
Arranging	More than just parts.
PreProduction	Getting ready so you do not waste time, money and creativity during the actual sessions.
Producing Music	Getting the most out of the musicians while they are in the studio.
Tight Tracks	Pull out the microscope and lets fix what we find.
Producing Vocal Sessions	Getting the most out of a singer in the studio.
Comping Vocals & Instruments	Combining the best from different performances into a single track.
Production Teams	Getting the right people to help.
Capturing the Demo	Why so many demos feel better than the "real" version.
Roadblocks	Things that can slow down (or even stop) a project and how to (try to) minimize their chance of happening.
Guest Lectures	Guest lectures from friends and peers.


16 BUSINESS
Clients	People that pay you to do what you love.
Client Involvement	Should they tell you what to do or leave you alone?
Musicians in the Studio	Keeping them happy and avoiding problems.
Getting paid	Billing
Management	Getting someone else to deal with the business.
Marketing	Selling yourself.
Making lots of money	(this space for rent)


17 GUERILLA RECORDING
GR Basics	Welcome to the Jungle - making more with less.
GR Tools	Tools o' the trade.
GR Studio Setups	How to get up & running when you're down & out.
GR Recording Basic Tracks	Guerilla Recording as easy as 1-2-8
GR Overdubbing	Expensive overdubs without the price.
GR Mixing / Maximizing CPU	Guerilla Mixing / How to get the most plug-in power from a limited computer system.


18 FOR MUSICIANS:
Mic Technique for Singers	Don't just compress your voice! (I will recruit help for this).
Making Beats	Part 1 of a series of tutorials for getting a beat together
Guest Lectures	Guest lectures from friends and peers.


19 OTHER
"TIPS & OPINIONS"	My original "tips" page was more of a spewing of opinions.
A Digital World / Good Side	Digital is awesome!
A Digital World / Bad Side	A juicy and controversial rant against Digital (with an important REPLY)


20 YOUR QUESTIONS ANSWERED
(future)