IAR - Institute of Audio Research (Universtiy Place, In the Village) also If you are one that read buy some books; there are a lot of good books and video's on the market. -----Original Message----- From: rousmaniere@... [mailto:rousmaniere@...] Sent: Friday, June 01, 2001 5:20 PM To: logic-users@yahoogroups.com Subject: [LUG] audio engineering courses? Does anyone have any opinions on A) the best audio engineering courses in New York City? and B) the best audio engineering courses in the world? (instruction in English) thank you, Alexander Perls Unsubscribe: mail to logic-users-unsubscribe@yahoogroups.com >>>>> Subject lines must contain: [LAM]/[LAW]/[GEN]/[OT] <<<<< Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ **************************************************************************** * The information in this email is confidential and may be legally privileged. It is intended solely for the addressee. Access to this email by anyone else is unauthorized. If you are not the intended recipient, any disclosure, copying, distribution or any action taken or omitted to be taken in reliance on it, is prohibited and may be unlawful. When addressed to our clients any opinions or advice contained in this email are subject to the terms and conditions expressed in the governing KPMG client engagement letter. **************************************************************************** *

IAR - Institute of Audio Research (Universtiy Place, In the Village) also If you are one that read buy some books; there are a lot of good books and video's on the market. Can anyone recommend books on the pratical use of compressors/expanders/EQ etc. etc.. All the books I ever see are THEORETICAL and totally inpractical for quick fixes. Now Computer Music (I believe it was the Feb issue) had a totally practicaly tutorial on EQing - i.e. ranges to use for different instruments and what section does what. This leads me to believe that it isn't difficult and many Audio Engineers are in fear of their jobs if this information gets out! Of course, there's still no substitute for your ears! How to know if your ears are buggered - do you turn the bass up to hear it correctly and everyone else complain? Over doing the bass seriously damages your ears, thus 30 years down the line there's going to be a lot of half deaf idiots. m.

B Marshalsea wrote > Now Computer Music (I believe it was the Feb issue) had a totally > practicaly tutorial on EQing - i.e. ranges to use for different > instruments and what section does what. > > This leads me to believe that it isn't difficult and many Audio Engineers > are in fear of their jobs if this information gets out! no, I doubt that. mixing with EQ is not as simple as reading an article. Understanding the tools does not make one an good engineer. knowing when and how to use the tool, and being able to hear the tools working is essential. to get good at mixing takes years of experience. like any craft does. > Of course, there's still no substitute for your ears! agreed. > How to know if your ears are buggered - do you turn the bass up to hear > it correctly and everyone else complain? not just your ears, but how loud (dB SPL) you are mixing at, and the size and shape of the room you are mixing in ( ¡�£¢ƒ§¶€ªºº«Œ³¼& oslash;–¨¥Ý®´…¦¦ åß�Ÿ©™�š¬¬ŠŠææ 把¬šš��™©©ŸŸ�ßßåå凉&cced il;ˆ†—µ¾„„÷÷÷÷÷÷ awake but dreaming http://www.cervix.net/

> > Now Computer Music (I believe it was the Feb issue) had a totally > > practicaly tutorial on EQing - i.e. ranges to use for different > > instruments and what section does what. > > > > This leads me to believe that it isn't difficult and many Audio > Engineers > > are in fear of their jobs if this information gets out! > no, I doubt that. mixing with EQ is not as simple as reading an article. > Understanding the tools does not make one an good engineer. > knowing when and > how to use the tool, and being able to hear the tools working is > essential. Yeah, I understand what you're saying, but then if you don't know that if you EQ a Bass Drum on the high end it does nothing but add hiss. But there are certain ranges that add muddiness. > to get good at mixing takes years of experience. like any craft does. But if you understand the basics of frequency responses and how they work together than it's very simple. I can't find the Computer Music I'm looking for, looks like it's the Feb issue.... Hmm nope can't see it in there. When I do find it, i'll whack it up on here! > > Of course, there's still no substitute for your ears! > agreed. > > > How to know if your ears are buggered - do you turn the bass up to hear > > it correctly and everyone else complain? > not just your ears, but how loud (dB SPL) you are mixing at, and the size > and shape of the room you are mixing in ( ¡�£¢ƒ§¶€ªºº«Œ³¼& oslash;–¨¥Ý®´…¦¦ > åß�Ÿ©™�š¬¬ŠŠææ Very True!! Most people are still mixing on Home Hi-Fi systems and the first thing I'd recommend is get a set of Monitors with a good flat and wide response. Most people go 'Flat response?' but you don't want your Monitors colouring the music in anyway, otherwise you'll mix it incorrectly and then stick it on a system that colours it differently and *splodge* it sounds awful - hence the great at home crap at the A & R. m.

Being from a scholl of audio engineering and having been one for almost 20 years another neat trick anyone can do to make sure the mix is good is set-up a crap speaker, like from a car and hook it mono into your system and listen tothe final mix on that. Adjust so it sounds like your reference music CD (you are using those to get a sound I hope)and see where all the instruments lie through the mono speaker then A/B with your own song mix. Should sound great no matter where you play it and at any volume. Drummerboy

http://www.computermusic.co.uk/tutorial/bmix/bmix.asp this one? what is the A + R ? --- B Marshalsea <blmarshalsea@...> wrote: > > > Now Computer Music (I believe it was the Feb > issue) had a totally > > > practicaly tutorial on EQing - i.e. ranges to > use for different > > > instruments and what section does what. otherwise you'll mix it > incorrectly and then stick > it on a system that colours it differently and > *splodge* it sounds awful - > hence the great at home crap at the A & R. __________________________________________________ Do You Yahoo!? Get personalized email addresses from Yahoo! Mail - only $35 a year! http://personal.mail.yahoo.com/

> Being from a scholl of audio engineering and having been one for > almost 20 years another neat trick anyone can do to make sure the mix > is good is set-up a crap speaker, like from a car and hook it mono > into your system and listen tothe final mix on that. Adjust so it > sounds like your reference music CD (you are using those to get a > sound I hope)and see where all the instruments lie through the mono > speaker then A/B with your own song mix. > > Should sound great no matter where you play it and at any volume. Class advice!!! Bringing up the use of using an existing Audio CD to set up your speakers is a good thing to remember as well! I know I can play any CD straight into my desk (Mackie 160VLZPro) without an EQ and they'll come out of my Event PS6s fine. I use my Car Stereo to test my mixes! m.

> http://www.computermusic.co.uk/tutorial/bmix/bmix.asp > this one? Don't think so, I looked at that one online trying to find it but couldn't. I'm sure I visited that site. I'm starting to wonder if I didn't just dream the whole thing up!! I found something on how to use compression on various types of instrument to get the best results. -- After a break of 10 minutes of searching through stacks of crap looking for them all. -- It's in a pamphlet named Issue 33!! P46! This is stolen from there, and I recommend people buy it for the article itself which is very informative, and I'm not putting it all here. You buggers better appreciate all this typing i'm doing here! Kick Drum 50-100Hz Adds Bottom to sound 100-250Hz Adds roundness 250-800Hz Muddiness Area 5-8kHz Adds high end presence 8-12kHz Adds hiss Snare 100-250Hz Fills out the sound 6-8kHz Adds presence Hihat/Cymbals 250-800Hz Muddiness Area 1-6kHz Adds presence 6-8kHz Adds clarity 8-12kHz Adds brightness Bass 50-100Hz Adds bottom to sound 100-250Hz Adds roundness 250-800Hz Muddiness Area 800-1kHz Adds beef to small speakers 1-6kHz Adds presence 6-8kHz Adds high end presence 8-12kHz Adds hiss Vocals 100-250Hz Adds "Up frontness" 250-800Hz Muddiness Area 1-6kHz Adds presence, or irritation 6-8kHz Adds sibilance and clarity 8-12kHz Adds brightness Piano 50-100Hz Adds bottom 100-250Hz Adds roundness 250-1kHz Muddiness Area 1-6kHz Adds presence 6-8kHz Adds high end presence 8-12kHz Adds hiss Electric Guitars 100-250Hz Adds ody (I would assume that means Body) 250-800Hz Muddiness or roundness 1-6kHz Cuts through mix 6-8kHz Adds clarity 8-12kHz Adds hiss Acoustic Guitars 100-250Hz Adds body 6-8kHz Adds clarity 8-12kHz Adds brightness Strings Guitars 50-100Hz Adds bottom 100-250Hz Adds body 250-800Hz Muddiness 1-6kHz Sounds digital/crunchy 6-8kHz Adds clarity 8-12kHz Adds brightness Electric Guitars 100-250Hz Adds body 250-800Hz Muddiness 800-1kHz Adds roundness 6-8kHz Adds clarity 8-12kHz Adds brightness This explains the basics of EQ, mixing itself can be a little trail and error - although you may find you have a tendency to put too much in. There's only so much room so don't flood it... I speak from experience!!! > what is the A + R ? Arseholes (Apologies) and Retards.... (But none to A + R People) Erm... Record Company Execs who listen to stuff and decide as you're not a boy/girl band and you can actually play instruments they're not interested. If you ever get to the point that you're sending demos off to big companies you'll soon meet them, or not as in my case 'Hey we like this, lets arrange a meeting on this date at this time'. So I haul myself across the UK (width from Bristol to London) and then the bastards aren't there as they've gone elsewhere. Generally ex-art students with less brains than ameobas. M. www.xdvr.co.uk (XDVR) www.razorbladebeat.co.uk (Narcissus Pool)