We offer several educational opportunities for qualified students. What does it take to qualify? We have to like you. You have to be willing to learn. You have to be able to pay for the course and materials in a prompt matter. An example of Option 1 is below this section (the syllabus for my course).

Option 2 is a one-on-one apprenticeship experience that last 3 months. For $1095, you assist an engineer directly on all sessions you elect to attend. You will receive the equivalent education of the above course outline, in a 1:1 student/teacher environment. This also allows you private time and access to the studios under the instructor's guidance. Although this is expensive, the individual tutelage can make a big difference in how quickly the material is absorbed. contact Mack Damon for more info.

Applications in Sound Recording
Summer 2001

Instructor: Matt "Mack Damon" Gallegos_______Office hours: M-F 2:00-6:00 p.m.
Office: 200 W. Rhapsody SAT 78216____________Other hours by appointment.
e-mail: mackdamon@mackdamon.com

Course Description:
Basic and advanced theory and applications of modern recording techniques. This course covers the information needed to understand the entire recording process. During class time a recording project will be tracked, overdubbed, and mixed; this allows hands on understanding of how the process works. The course will be 40 hours of total instruction; 2 hours twice a week/10 weeks. Class time will be divided between hands on and technical discussion.

Required:
* Textbooks: Modern Recording Techniques David Huber;
Anatomy of a Home Studio Scott Wilkinson
* (2) 3.5" high density diskettes
* Sense of humor
* Students are responsible for all material presented in class, including announcements about changes in course procedures.

Optional:
* Textbook: Music Technology Reference Book Peter Buick

Attendance:
* You are responsible for all material presented in class, including announcements about course procedures.

Evaluation:
* Examinations: There will be one exam in the form of an independent project. The exam is worth 25% of the course grade.
Exam dates will be announced in class at least one week before the exam.

* The remainder of your grade will be determined by class participation, attendance, and anything
else I can think of.

* Course grades will be assigned as follows:
A: 90%-100% B: 80%-89.99% C: 70%-79.99%
D: 60%-69.99% F: below 60%

Course Schedule Outline

Week One:
Hands On: We will take an in-depth tour of our facility, explaining features common to many studios, studio design & applications, session procedures, and a brief overview of the gear in our studios.
Technical Information: We will discuss the 6 properties of sound, acoustics, the basics of signal flow, and the design and construction of many different microphones. A studio diagram of our patchbay and mic/line wiring will also be issued.

Week Two:
Hands On: The class will receive an introduction to mixing consoles, starting with the 56-channel digital console in our Studio B . The class will get their first look at the different recording formats we implement in our facility as well.
Technical Information: Different console designs will be discussed in a "pros/cons" manner, and the previous week's signal flow discussion will continue. Microphone placement will be covered, and the patchbay will be explained.

Week Three:
Hands On: We make our first recording as a group, starting with an acoustic guitar and an acoustic piano. We will begin our mixdown techniques discussions, which will continue throughout the rest of the course. The R-DAT machine will be used, and it's theory and operation will be covered in our technical discussion.
Technical Information: Equalization (and its perils) will be explained and discussed. Busses and internal console routing will be covered in depth. We will begin discussion of processors, both analog and digital. We will finish our discussion on signal flow and begin our next discussion on tape recorders.

Week Four:
Hands On: "How do digital and analog work?" We will have various recorder/reproducers disassembled so that students can see how the mechanisms operate. We will also cover cleaning, alignment, demagnetizing, and assembly procedures.
Technical Information: The Alesis "White Paper" and what it means. Digital Audio at a glance, including: Bit depth, Sampling rates and resolution, A/D-D/A conversion, DSP, and error correction schemes. Digital Audio delivery mediums/platforms for multimedia will be explained as well. Analog audio at a glance, including: Noise Reduction schemes and their operation, bias, tape speed, and S/N ratio. We will cover the limitations/advantages of each format, as well.

Week Five:
Hands On: We will use the ProTools HD3 system and cover it in depth, as well as machine procedures. We will make our first multitrack recording with this system, and use analog processing, as well as DSP. We will also continue our mixdown techniques discussions. Digital Performer, Sound Tools II, the Macintosh OS , and other hardware DAW's will be examined and demonstrated.
Technical Information: Digidesign literature will be covered in depth. Other DAW's (Digital Audio Workstations) will also be discussed. Signal processing applications will be covered in depth. In addition,
we will begin discussing music and business roles, and start with the position of an engineer.

Week Six:
Hands On: The students will learn how to use the MIDI modules, as well as have a rudimentary understanding of MIDI. We will learn to use the computer as an integral part of our productions. The DAW will be used again, and we will also begin our "Studio Etiquette" discussions.
Technical Information: We will finish our technical discussion of signal processing. The beginnings and basics of MIDI will be discussed. Applications and techniques for using MIDI will also be covered. "What is SMPTE" We will give SMPTE a quick overview, and define it's role in a modern recording facility.

Week Seven:
Hands On: We will use the computer sequencer to compose and arrange an original song. We will also discuss tracking techniques used in MIDI production, and use SMPTE to "stripe" the music to tape. We will also continue our mixdown techniques discussions, and perform mixdown of our original "tune"
Technical Information: More of MIDI and a summation of SMPTE will be discussed. Ways of incorporating MIDI into your production and pre-production. MMC and other MIDI based control protocols will be explained. Automation will be covered, as well.

Week Eight:
Hands On: We will mic and record a band, and discuss techniques that can be used in this situation. We will also begin overdubs on our recorded material, and during our first approach at miking a drum kit, drum tuning will also be covered.
Technical Information: The philosophies of the "cue" mix. Production techniques current and popular albums will be discussed, as well as the role of the Producer. Secret tips on how to achieve musical bliss will be imparted.

Week Nine:
Hands On: Mixdown! Our original tune will be mixed a variety of ways, by different students. We will cover master transfers, pre-mastering, and mastering. Students will be given a mix assignment to turn in at the beginning of class on week ten.
Technical Information: Mixing theories and practice, the pre-mastering and mastering process, what comes next.

Week Ten:
Hands On: This class will be an open forum, with guest lecturers from industry present.
Technical Information: FAQ sheets will be given, as well an overview of the course. The procedure for becoming an intern or paid engineer will be discussed, as well.

©2003 Mack Damon

This course outline is copyrighted material, do not use whole or in part without permission.
(Otherwise I'll have to sue you, and I will sue)

The course fee is $495.

Price for the course is due on 1st day of class. Schedule is TBA, The class is limited to 12 people, and 8 have already committed. It appears that Thursday and Sunday at 7:00 pm are the best compromise for everyone who has signed up. Feel free to drop me a line if you have any questions or need more info.