Certificate in Audio Engineering Fundamentals

LAPT

London Academy of Professional Training

Certificate

REF: MUS-C01 • Music and Performing Arts Centres • Music Production & Sound Engineering

4Subjects	70Chapters	484Classes	400Total Marks	60%Pass Mark	LifetimeValidity

At a Glance

Reference	MUS-C01
Award	Certificate
Assessment	400 marks — 240 to pass (60%)
Prerequisites	None
Validity	Lifetime
Awarding Body	LAPT — London Academy of Professional Training

Curriculum

Sound, Acoustics and Hearing Fundamentals

16 chapters · 120 classes 100 marks

• 1 Chapter 1 — Fundamentals of Sound Waves — 5 classes

› 1.1 Understanding Sound Waves and Their Properties

› 1.2 Exploring Frequency and Pitch

› 1.3 Investigating Amplitude and Volume

› 1.4 Analyzing Waveforms and Their Shapes

› 1.5 Applying Sound Wave Principles in Audio Applications

• 2 Chapter 2 — Acoustic Principles and Environments — 5 classes

› 2.1 Exploring the Nature of Sound Waves

› 2.2 Understanding Frequency and Pitch

› 2.3 Analyzing the Impact of Amplitude on Sound

› 2.4 Examining Acoustic Reflections and Absorption

› 2.5 Applying Room Acoustics: Optimizing Sound Environments

• 3 Chapter 3 — Psychoacoustics and Human Perception — 5 classes

› 3.1 Understanding the Basics of Psychoacoustics

› 3.2 Exploring How Humans Perceive Sound

› 3.3 Examining the Role of Frequency and Amplitude in Hearing

› 3.4 Investigating the Influence of Sound Localization

› 3.5 Applying Psychoacoustic Concepts in Audio Engineering

• 4 Chapter 4 — Digital Audio Basics — 5 classes

› 4.1 Understanding Digital Audio Concepts

› 4.2 Exploring Sample Rate and Bit Depth

› 4.3 Modifying Audio Material Techniques

› 4.4 Analyzing Digital Audio Formats

› 4.5 Applying Audio Compression Techniques

• 1 Fundamentals of Acoustics in Live Sound — 5 classes

› 1.1 Understanding Sound Waves: Characteristics and Behavior

› 1.2 Exploring Frequency and Amplitude: The Basics of Sound Measurement

› 1.3 Analyzing Acoustic Properties: Reflections, Absorption, and Diffraction

› 1.4 Evaluating Venue Acoustics: Identifying Acoustic Challenges

› 1.5 Applying Acoustic Principles: Optimizing Sound for Live Venues

• 2 Acoustic Characteristics of Different Venues — 5 classes

› 2.1 Understanding Venue Acoustics: An Introduction

› 2.2 Identifying Acoustic Challenges in Various Venues

› 2.3 Analyzing How Shape and Size Affect Sound Quality

› 2.4 Evaluating Acoustic Materials and Their Impact

› 2.5 Applying Acoustic Principles to Different Venue Types

• 3 Sound Reflection, Absorption, and Diffusion — 5 classes

› 3.1 Understanding Sound Reflection: Fundamentals and Principles

› 3.2 Exploring Sound Absorption: Techniques and Materials

› 3.3 Analyzing Diffusion in Acoustics: Key Concepts and Practices

› 3.4 Evaluating Acoustic Properties of Venues: Practical Assessment

› 3.5 Applying Sound Reflection, Absorption, and Diffusion: Real-World Scenarios

• 4 Practical Venue Acoustics Assessment Techniques — 5 classes

› 4.1 Understanding Acoustic Characteristics of Venues

› 4.2 Identifying Critical Acoustic Problems in Live Settings

› 4.3 Analyzing Venue Sound with Acoustic Measurement Tools

› 4.4 Assessing Sound Distribution and Reflection Patterns

› 4.5 Applying Acoustic Solutions for Optimal Sound Reinforcement

• 9 Pitch, Tuning and the Standard Reference Frequency — 10 classes

› 9.1 What Pitch Means in Hertz

› 9.2 Musical Notes and Their Frequencies

› 9.3 The Standard A4 Reference Pitch

› 9.4 Using a Tuning Fork and Tuner

› 9.5 Cents and Fine Pitch Differences

› 9.6 Equal Temperament Versus Other Tunings

› 9.7 Tuning Instruments to a Common Reference

› 9.8 Setting a Reference Tone in a Studio

› 9.9 Pitch Drift in Recordings and Playback

› 9.10 Practical Tuning Check Before a Session

• 10 Loudness and Equal-Loudness Contours — 10 classes

› 10.1 Sound Pressure and Perceived Loudness

› 10.2 The Decibel Scale for Beginners

› 10.3 Phons and Equal-Loudness Contours

› 10.4 Why Bass Sounds Quieter at Low Volume

› 10.5 Reading an Equal-Loudness Chart

› 10.6 Loudness Weighting Curves A and C

› 10.7 Setting Monitoring Level for Accurate Mixing

› 10.8 Using a Sound Level Meter

› 10.9 Loudness Differences Between Tracks

› 10.10 Practical Loudness Listening Exercise

• 11 Decibels, Sound Pressure and Measurement — 10 classes

› 11.1 Sound Power Intensity and Pressure

› 11.2 Decibel Maths Made Simple

› 11.3 Adding and Subtracting Sound Levels

› 11.4 The Inverse Square Law in Practice

› 11.5 Peak, RMS and Average Levels

› 11.6 Dynamic Range and Noise Floor

› 11.7 Signal to Noise Ratio Explained

› 11.8 Measuring Levels With Meters and Apps

› 11.9 Calibrating a Simple Measurement Setup

› 11.10 Recording Measurements in a Log Sheet

• 12 Timbre, Harmonics and Spectrum Reading — 10 classes

› 12.1 What Gives an Instrument Its Tone

› 12.2 Harmonic Series and Overtones

› 12.3 Fundamental Frequency and Partials

› 12.4 Attack, Sustain and Decay in Sound

› 12.5 Reading a Frequency Spectrum Display

› 12.6 Spectrum of Voice and Common Instruments

› 12.7 Noise, Distortion and Unwanted Harmonics

› 12.8 Frequency Bands and Their Character

› 12.9 Using a Spectrum Analyser in Practice

› 12.10 Describing Sound With Clear Vocabulary

• 13 Hearing Health and Noise Exposure — 10 classes

› 13.1 How the Ear Detects Sound

› 13.2 Causes of Hearing Damage

› 13.3 Safe Listening Levels and Exposure Time

› 13.4 Tinnitus and Early Warning Signs

› 13.5 Choosing Hearing Protection for Musicians

› 13.6 Custom and Foam Earplug Use

› 13.7 Safe Monitoring Habits in the Studio

› 13.8 Rest Breaks and Ear Recovery

› 13.9 Health and Safety Duties Around Loud Sound

› 13.10 Building a Personal Hearing Care Plan

• 14 Transducers: Microphones and Loudspeakers — 10 classes

› 14.1 Turning Sound Into Electrical Signal

› 14.2 Dynamic and Condenser Microphone Principles

› 14.3 Polar Patterns Explained

› 14.4 How a Loudspeaker Produces Sound

› 14.5 Drivers, Crossovers and Enclosures

› 14.6 Frequency Response of Transducers

› 14.7 Sensitivity and Maximum Sound Level

› 14.8 Studio Monitor Positioning Basics

› 14.9 Headphone Types and Their Uses

› 14.10 Comparing Transducers by Ear and by Chart

• 15 Studio Room Acoustics and Treatment — 10 classes

› 15.1 Why Small Rooms Sound Coloured

› 15.2 Room Modes and Standing Waves

› 15.3 Calculating Basic Room Mode Frequencies

› 15.4 Early Reflections and Listening Position

› 15.5 Bass Traps and Broadband Absorbers

› 15.6 Diffusers and Balanced Room Sound

› 15.7 Treating a Home Studio on a Budget

› 15.8 Isolation and Soundproofing Basics

› 15.9 Measuring Reverberation Time

› 15.10 Testing a Room Before and After Treatment

• 16 Critical Listening Skills for Sound Work — 10 classes

› 16.1 Training Your Ears Daily

› 16.2 Identifying Frequency Bands by Ear

› 16.3 Hearing Level Balance Between Instruments

› 16.4 Recognising Distortion and Clipping

› 16.5 Judging Stereo Width and Placement

› 16.6 Spotting Noise, Hum and Clicks

› 16.7 Comparing Reference Tracks Fairly

› 16.8 Taking Listening Notes

› 16.9 Listening Fatigue and How to Avoid It

› 16.10 Final Critical Listening Assessment Practice

Studio Equipment, Signal Flow and Safe Setup

18 chapters · 120 classes 100 marks

• 1 Understanding Basic Audio Equipment — 5 classes

› 1.1 Exploring the Basics of Audio Signal Flow

› 1.2 Identifying Different Types of Microphones

› 1.3 Understanding Mixer Functions and Controls

› 1.4 Learning About Audio Interfaces and Connectivity

› 1.5 Operating Basic Audio Recording Equipment

• 2 Signal Flow and Connectivity — 5 classes

› 2.1 Understanding Basic Signal Flow in Audio Systems

› 2.2 Identifying Types of Audio Connectors and Cables

› 2.3 Exploring Audio Interface Functionality

› 2.4 Configuring Patch Bays for Optimized Signal Routing

› 2.5 Troubleshooting Connectivity Issues in Audio Setups

• 3 Digital Audio Basics — 5 classes

› 3.1 Understanding Digital Audio: Converting Sound to Data

› 3.2 Exploring Sample Rates and Bit Depth: The Fundamentals of Audio Quality

› 3.3 Identifying Common Digital Audio Formats and Their Uses

› 3.4 Analyzing the Role of Compression in Digital Audio

› 3.5 Applying Basic Digital Audio Editing Techniques

• 4 Introduction to Sound Processing Technologies — 5 classes

› 4.1 Understanding the Basics of Sound Waves

› 4.2 Exploring Digital and Analog Sound Processing

› 4.3 Identifying Key Audio Equipment and Their Functions

› 4.4 Recognizing the Role of Audio Interfaces in Sound Processing

› 4.5 Applying Fundamental Techniques in Sound Editing

• 1 Understanding Advanced Audio Interfaces and Signal Flow — 6 classes

› 1.1 Exploring the Functionality of Advanced Audio Interfaces

› 1.2 Deconstructing Signal Flow in Studio Environments

› 1.3 Analyzing Connectivity Options in Professional Audio Setups

› 1.4 Understanding the Impact of Digital and Analog Converters

› 1.5 Streamlining Signal Routing for Optimal Studio Workflow

› 1.6 Applying Advanced Interface Settings for Improved Mixing Techniques

• 2 Exploring Advanced Microphone Techniques and Applications — 6 classes

› 2.1 Understanding Polar Patterns and Their Impact on Sound Capture

› 2.2 Identifying and Selecting Microphones for Specific Instruments

› 2.3 Exploring Advanced Placement Techniques for Microphone Arrays

› 2.4 Utilizing Advanced Techniques for Close and Ambient Miking

› 2.5 Implementing Stereo Miking Methods for Enhanced Sound Imaging

› 2.6 Integrating Specialty Microphones in Complex Studio Setups

• 3 Mastering DAW Automation and MIDI Integration — 6 classes

› 3.1 Understanding DAW Automation Essentials

› 3.2 Exploring MIDI Controllers and Protocols

› 3.3 Implementing Dynamic Automation Techniques

› 3.4 Integrating MIDI for Enhanced Studio Workflow

› 3.5 Utilizing Automation in Signal Processing

› 3.6 Mastering Complex MIDI and Automation Systems

• 4 Advanced Mixing Console Operations and Functions — 6 classes

› 4.1 Understanding the Signal Flow in Advanced Mixing Consoles

› 4.2 Exploring Advanced EQ and Dynamics Processing Tools

› 4.3 Configuring and Utilizing Group Bus Channels

› 4.4 Implementing Aux Sends and Returns for Effect Routing

› 4.5 Mastering Automation Features for Dynamic Mixing

› 4.6 Troubleshooting Common Issues in Mixing Console Operations

• 5 Utilizing Cutting-Edge Software in Audio Production — 6 classes

› 5.1 Exploring Advanced Audio Software: An Overview

› 5.2 Navigating New Interfaces: Enhancing Workflow in DAWs

› 5.3 Utilizing AI Tools: Transforming Audio Editing and Mixing

› 5.4 Applying Virtual Instruments: Expanding Your Sound Palette

› 5.5 Leveraging Multi-Track Softwares: Techniques for Dynamic Studio Sessions

› 5.6 Integrating Plugins and Effects: Achieving Professional Sound Quality

• 1 Fundamentals of Audio Perception — 6 classes

› 1.1 Exploring the Basics of Sound Waves

› 1.2 Understanding Frequency and Pitch

› 1.3 Analyzing Amplitude and Loudness

› 1.4 Examining Timbre and Harmonics

› 1.5 Identifying Spatial Audio Cues

› 1.6 Applying Psychoacoustic Principles in Mixing

• 2 Analyzing Audio Frequency Response — 6 classes

› 2.1 Understanding Frequency Response: Key Concepts and Terminology

› 2.2 Examining Frequency Response Curves: Visual Analysis Techniques

› 2.3 Identifying Common Frequency Response Issues in Recordings

› 2.4 Utilizing Equipment for Frequency Response Measurement

› 2.5 Analyzing Frequency Response with Spectrum Analyzers

› 2.6 Applying Solutions to Common Frequency Response Problems

• 3 Identifying and Diagnosing Common Audio Problems — 6 classes

› 3.1 Understanding Audio Signal Flow

› 3.2 Identifying Basic Audio Issues

› 3.3 Analyzing Frequency Response Problems

› 3.4 Detecting Phase Cancellation

› 3.5 Diagnosing Distortion and Clipping

› 3.6 Applying Troubleshooting Techniques

• 4 Advanced Problem Solving in Audio Mixes — 6 classes

› 4.1 Identifying Common Issues in Audio Mixes

› 4.2 Analyzing Frequency Imbalances

› 4.3 Addressing Phase and Time Alignment Problems

› 4.4 Solving Dynamic Range and Compression Challenges

› 4.5 Deconstructing and Enhancing Mix Clarity

› 4.6 Applying Advanced EQ and Filtering Techniques

• 5 Practical Applications of Audio Analysis Tools — 6 classes

› 5.1 Understanding Audio Analysis Tools and Their Functions

› 5.2 Identifying Frequency Patterns in Mixes

› 5.3 Diagnosing Common Audio Issues Using Spectral Analysis

› 5.4 Applying Phase Correlation to Detect Channel Errors

› 5.5 Utilizing Loudness Meters to Balance Audio Levels

› 5.6 Implementing Analyzing Tools for Final Mix Improvements

• 15 Studio Health, Safety and Electrical Awareness — 10 classes

› 15.1 Hazards in a Music Studio

› 15.2 Mains Power Safety Basics

› 15.3 Safe Use of Extension Leads and Power Strips

› 15.4 Trip Hazards and Cable Routing

› 15.5 Manual Handling of Heavy Gear

› 15.6 Fire Safety and Emergency Exits

› 15.7 First Aid and Incident Reporting

› 15.8 Hearing and Voice Safety for Staff

› 15.9 Simple Risk Assessment for a Session

› 15.10 Daily Safety Walk-Round Checklist

• 16 Balanced Connections, Grounding and Noise Control — 10 classes

› 16.1 Balanced and Unbalanced Signals

› 16.2 XLR, Jack and TRS Connector Types

› 16.3 Digital Connections AES3, S/PDIF and ADAT

› 16.4 Grounding and Earth Loops

› 16.5 Finding the Source of Hum

› 16.6 Cable Quality, Length and Shielding

› 16.7 Phantom Power and Its Safe Use

› 16.8 Impedance Matching Basics

› 16.9 Using DI Boxes and Re-amping

› 16.10 Practical Noise Hunt Exercise

• 17 Studio Maintenance, Labelling and Equipment Records — 10 classes

› 17.1 Planned Maintenance for Studio Gear

› 17.2 Cleaning Equipment Safely

› 17.3 Cable Testing and Repair Basics

› 17.4 Soldering Safety and Simple Repairs

› 17.5 Equipment Inventory and Asset Tags

› 17.6 Fault Logs and Maintenance Records

› 17.7 Firmware and Software Update Routine

› 17.8 Backup of Settings and Templates

› 17.9 Storing Equipment Correctly

› 17.10 Annual Equipment Review

• 18 Preparing a Studio for a Recording Session — 10 classes

› 18.1 Reading the Session Brief

› 18.2 Choosing Equipment for the Job

› 18.3 Room Layout and Instrument Placement

› 18.4 Setting Up Headphone Cue Mixes

› 18.5 Talkback and Communication Lines

› 18.6 Testing Every Signal Path Before Artists Arrive

› 18.7 Preparing Stands, Cables and Spares

› 18.8 Session Templates and File Naming

› 18.9 Tidy Down and Reset After Sessions

› 18.10 Handover Notes for the Next Booking

Digital Audio Workstation Skills

20 chapters · 122 classes 100 marks

• 1 Getting Started with DAWs: Understanding Basic Interfaces and Functionality — 4 classes

› 1.1 Navigating the DAW Interface: Understanding Main Components

› 1.2 Exploring Tools and Menus: Mastering Basic Navigation

› 1.3 Setting Up Tracks and Channels: Building Your First Project

› 1.4 Recording and Playback: Hands-On with Basic Functions

• 2 Exploring Essential Tools: Audio Recording, MIDI, and Virtual Instruments — 4 classes

› 2.1 Understanding the Basics of Audio Recording

› 2.2 Navigating and Editing MIDI in a DAW

› 2.3 Exploring Virtual Instruments and Their Uses

› 2.4 Integrating Audio and MIDI for Creative Projects

• 3 Mixing and Exporting: Applying Effects and Finalizing Projects — 4 classes

› 3.1 Understanding Basic Audio Effects

› 3.2 Applying Effects to Enhance Audio Quality

› 3.3 Balancing and Mixing Tracks for Clarity

› 3.4 Exporting Final Audio Projects Professionally

• 1 Introduction to Digital Audio Workstations and Software Overview — 5 classes

› 1.1 Understanding Digital Audio Workstations: Key Features and Functions

› 1.2 Exploring Popular DAW Software: An Overview of Leading Platforms

› 1.3 Setting Up Your First Project: A Step-by-Step Guide

› 1.4 Navigating DAW Interfaces: Essential Tools and Menus

› 1.5 Recording and Editing: Basic Techniques to Start Your First Track

• 2 Understanding Audio Formats and Signal Flow in DAWs — 5 classes

› 2.1 Identifying Common Audio Formats

› 2.2 Exploring Bit Depth and Sample Rate Concepts

› 2.3 Tracing Signal Flow within DAWs

› 2.4 Comparing Lossy and Lossless Audio Formats

› 2.5 Applying Signal Routing Techniques in DAWs

• 3 Basic Audio Editing and Processing Techniques — 5 classes

› 3.1 Navigating and Understanding the DAW Interface

› 3.2 Importing and Organizing Audio Tracks

› 3.3 Editing Audio Clips: Cutting, Copying, and Arranging

› 3.4 Applying Basic Audio Effects: EQ and Compression

› 3.5 Exporting Your Project: File Formats and Settings

• 4 MIDI Integration and Virtual Instruments in DAWs — 5 classes

› 4.1 Understanding MIDI Protocols and Functions

› 4.2 Navigating MIDI Devices in Your DAW

› 4.3 Configuring and Connecting Virtual Instruments

› 4.4 Creating and Editing MIDI Tracks for Composition

› 4.5 Applying MIDI Effects and Automation Techniques

• 1 Introduction to Digital Audio Workstations — 6 classes

› 1.1 Understanding Digital Audio Workstation Interfaces

› 1.2 Navigating the DAW: Tools and Functions

› 1.3 Exploring Audio and MIDI Tracks

› 1.4 Utilizing Basic Editing Techniques

› 1.5 Implementing Virtual Instruments and Effects

› 1.6 Exporting and Saving Projects Efficiently

• 2 Navigating DAW Interfaces and Controls — 6 classes

› 2.1 Exploring the Basic DAW Interface

› 2.2 Understanding Track Layouts and Signal Paths

› 2.3 Mastering the Mixer Panel Controls

› 2.4 Customizing DAW Views for Optimal Workflow

› 2.5 Navigating and Utilizing Toolbars Efficiently

› 2.6 Applying Keyboard Shortcuts for Enhanced Productivity

• 3 Advanced MIDI Programming Techniques — 6 classes

› 3.1 Exploring MIDI Protocols and Data Structures

› 3.2 Utilizing MIDI Controllers for Enhanced Expression

› 3.3 Mastering MIDI Editing Tools and Techniques

› 3.4 Implementing Advanced MIDI Sequencing Strategies

› 3.5 Integrating MIDI with Virtual Instruments Effectively

› 3.6 Automating MIDI Parameters for Dynamic Productions

• 4 Audio Recording and Editing Mastery — 6 classes

› 4.1 Exploring Digital Audio Workstation Interfaces

› 4.2 Configuring Audio Inputs and Outputs

› 4.3 Mastering the Art of Multitrack Recording

› 4.4 Implementing Effective Editing Techniques

› 4.5 Applying Audio Effects and Plugins

› 4.6 Finalizing Mixes with Precision Editing

• 5 Mixing Strategies and Sound Manipulation — 6 classes

› 5.1 Understanding Core Mixing Concepts

› 5.2 Exploring EQ Techniques

› 5.3 Implementing Dynamic Processing

› 5.4 Utilizing Reverb and Delay Effects

› 5.5 Crafting a Balanced Mix

› 5.6 Analyzing and Refining Final Mixes

• 1 Understanding Digital Audio Workstations — 5 classes

› 1.1 Exploring the DAW Interface: Navigating the Workspace

› 1.2 Understanding Tracks and Channels: Building the Foundation

› 1.3 Mastering MIDI and Audio Inputs: Capturing Sound

› 1.4 Applying Basic Editing Techniques: Shaping Your Sound

› 1.5 Exporting and Sharing Projects: Completing Your Digital Creation

• 2 Recording and Editing Audio — 5 classes

› 2.1 Understanding Audio Signal Pathways in DAWs

› 2.2 Setting Up and Configuring Your DAW for Recording

› 2.3 Capturing Clean Audio: Techniques and Best Practices

› 2.4 Editing Basics: Trimming, Splitting, and Arranging Audio Clips

› 2.5 Applying Effects and Enhancements to Recorded Audio

• 3 MIDI and Virtual Instruments — 5 classes

› 3.1 Understanding MIDI: Basics and Functionality

› 3.2 Navigating a DAW: Setting Up MIDI Devices

› 3.3 Exploring Virtual Instruments: Types and Uses

› 3.4 Editing MIDI Tracks: Techniques and Tools

› 3.5 Creating Music with Virtual Instruments: Practical Application

• 4 Mixing and Exporting in DAWs — 5 classes

› 4.1 Understanding the Mixing Console in DAWs

› 4.2 Balancing Levels and Panning in a Mix

› 4.3 Applying EQ and Compression Techniques

› 4.4 Utilizing Reverb and Delay Effects Creatively

› 4.5 Exporting Your Project: Settings and Best Practices

• 17 Computer Setup and Audio Settings for DAW Stability — 10 classes

› 17.1 Computer Requirements for Music Production

› 17.2 Choosing and Connecting an Audio Interface

› 17.3 Sample Rate and Bit Depth Settings

› 17.4 Buffer Size and Latency Trade-offs

› 17.5 Driver Types and Selecting the Right One

› 17.6 Storage Drives and Project Locations

› 17.7 Power Settings and Background Programs

› 17.8 Fixing Crackles, Dropouts and Overloads

› 17.9 Plugin Formats and Installation Basics

› 17.10 Stability Checklist Before Every Project

• 18 Project Files, Naming and Asset Organisation — 10 classes

› 18.1 Anatomy of a DAW Project Folder

› 18.2 Consistent File and Track Naming

› 18.3 Colour Coding and Track Grouping

› 18.4 Organising Samples and Loop Libraries

› 18.5 Metadata and Session Notes

› 18.6 Versioning Projects Safely

› 18.7 Collecting and Consolidating Project Files

› 18.8 Archiving Finished Projects

› 18.9 Retrieving Old Projects Quickly

› 18.10 Creating a Studio Filing Standard

• 19 Backup, Recovery and Data Protection for Music Projects — 10 classes

› 19.1 Why Music Data Gets Lost

› 19.2 Autosave and Crash Recovery Settings

› 19.3 The Three Copy Backup Habit

› 19.4 External Drives and Cloud Storage

› 19.5 Backing Up Plugin Settings and Presets

› 19.6 Restoring a Corrupted Project

› 19.7 Missing Media and Missing Plugin Problems

› 19.8 Protecting Client Files and Privacy

› 19.9 Checking Backups Regularly

› 19.10 Building a Backup Plan for a Small Studio

• 20 Workflow Speed, Templates and Shortcuts — 10 classes

› 20.1 Learning Essential Keyboard Shortcuts

› 20.2 Building Custom Key Commands

› 20.3 Making Track and Session Templates

› 20.4 Using Markers, Tempo Maps and Time Signatures

› 20.5 Quick Comping and Take Management

› 20.6 Using Macros and Batch Processing

› 20.7 Control Surfaces and Touch Controllers

› 20.8 Working Across Two DAWs

› 20.9 Timing Yourself on Common Tasks

› 20.10 Developing a Personal Workflow Routine

Microphones and Recording Techniques

16 chapters · 122 classes 100 marks

• 1 Chapter 1 — Fundamentals of Recording in a DAW — 4 classes

› 1.1 Understanding the DAW Interface

› 1.2 Setting Up for Successful Recording

› 1.3 Capturing Audio: Techniques and Tools

› 1.4 Evaluating and Refining Your Recordings

• 2 Chapter 2 — Microphone Techniques and Placement — 4 classes

› 2.1 Understanding Microphone Types and Characteristics

› 2.2 Exploring Basic Microphone Techniques

› 2.3 Setting Up Microphone Placement for Optimal Sound

› 2.4 Applying Microphone Techniques in different Recording Scenarios

• 3 Chapter 3 — Advanced Signal Processing and Editing — 4 classes

› 3.1 Understanding Advanced Signal Processing Concepts

› 3.2 Exploring Dynamic and Spectral Processing Tools

› 3.3 Mastering Audio Editing Techniques for Precision

› 3.4 Applying Advanced Techniques in Creative Projects

• 1 Understanding Sound and Microphone Basics — 5 classes

› 1.1 Exploring the Nature of Sound Waves

› 1.2 Analyzing Frequency and Amplitude

› 1.3 Understanding Microphone Types and Uses

› 1.4 Evaluating Microphone Placement Techniques

› 1.5 Applying Sound Principles in Recording Scenarios

• 2 Signal Flow and Audio Interfaces — 5 classes

› 2.1 Exploring Signal Flow: Understanding the Path of Audio Signals

› 2.2 Identifying Audio Interfaces: Types and Connectivity

› 2.3 Analyzing Signal Chains: Key Components in Audio Recording

› 2.4 Configuring Audio Interfaces: Setup for Optimal Performance

› 2.5 Troubleshooting Signal Flow Issues: Strategies and Solutions

• 3 Techniques for Capturing High-Quality Audio — 5 classes

› 3.1 Understanding Sound: Fundamentals of Audio Capturing

› 3.2 Selecting the Right Microphone: Types and Applications

› 3.3 Optimizing Recording Environment: Minimizing Noise and Echo

› 3.4 Setting Up Equipment: Best Practices for Signal Chain Management

› 3.5 Implementing Advanced Techniques: Enhancing Audio Quality

• 4 Introduction to Multi-Track Recording and Overdubbing — 5 classes

› 4.1 Understanding Multi-Track Recording: An Initial Overview

› 4.2 Exploring the Components of a Multi-Track Recorder

› 4.3 Setting Up for a Multi-Track Recording Session

› 4.4 Mastering Overdubbing Techniques for Precision

› 4.5 Applying Multi-Track Recording and Overdubbing in Practice

• 8 Microphone Types and Selection Guide — 10 classes

› 8.1 Dynamic Microphones and Their Strengths

› 8.2 Condenser Microphones Large and Small Diaphragm

› 8.3 Ribbon Microphones and Careful Handling

› 8.4 Choosing a Microphone for a Source

› 8.5 Microphone Specifications Made Simple

› 8.6 Self Noise, Sensitivity and Maximum Level

› 8.7 Phantom Power and Pads in Practice

› 8.8 Shock Mounts, Stands and Pop Filters

› 8.9 Care, Storage and Cleaning of Microphones

› 8.10 Microphone Shootout Listening Exercise

• 9 Polar Patterns, Proximity and Off-Axis Sound — 10 classes

› 9.1 Cardioid, Omni and Figure Eight Patterns

› 9.2 Reading a Polar Pattern Chart

› 9.3 Proximity Effect and How to Use It

› 9.4 Off-Axis Colouration

› 9.5 Rejecting Unwanted Sound With Placement

› 9.6 Microphone Distance and Tone

› 9.7 Phase and Polarity Between Microphones

› 9.8 The Three to One Rule

› 9.9 Checking Phase With Simple Tests

› 9.10 Placement Experiments Log

• 10 Recording Lead and Backing Vocals — 10 classes

› 10.1 Preparing a Singer and the Vocal Booth

› 10.2 Choosing a Vocal Microphone

› 10.3 Pop Filter and Distance Technique

› 10.4 Setting Levels for Dynamic Singers

› 10.5 Cue Mix and Headphone Comfort for Vocalists

› 10.6 Directing a Vocal Take

› 10.7 Punch In Recording Techniques

› 10.8 Layering Harmonies and Doubles

› 10.9 Handling Breath Noise and Sibilance

› 10.10 Vocal Comping Notes and Track Sheets

• 11 Recording Guitar and Bass — 10 classes

› 11.1 Mic Placement on Acoustic Guitar

› 11.2 Combining Two Microphones on Acoustic Guitar

› 11.3 Miking a Guitar Amplifier

› 11.4 Speaker Cone Position and Tone

› 11.5 Direct Injection of Electric Guitar and Bass

› 11.6 Re-amping a Direct Recording

› 11.7 Recording Bass Guitar Amp and DI Together

› 11.8 Dealing With Hum and Interference

› 11.9 Tuning, Intonation and Fresh Strings

› 11.10 Combining Sources Into a Final Guitar Sound

• 12 Recording Drums and Percussion — 10 classes

› 12.1 Preparing and Tuning a Drum Kit

› 12.2 Kick Drum Microphone Placement

› 12.3 Snare and Hi-Hat Microphone Placement

› 12.4 Tom Microphones and Isolation

› 12.5 Overhead Techniques for Cymbals

› 12.6 Room Microphones for Ambience

› 12.7 Phase Alignment Across a Drum Kit

› 12.8 Recording Hand Percussion and Tabla

› 12.9 Minimal Microphone Drum Setups

› 12.10 Drum Session Practical Run Through

• 13 Recording Keys, Strings, Wind and Indian Instruments — 10 classes

› 13.1 Recording Piano Close and Distant

› 13.2 Direct Recording of Keyboards and Synths

› 13.3 Miking Violin and Cello

› 13.4 Recording Brass and Wind Instruments

› 13.5 Recording Harmonium and Sitar

› 13.6 Recording Flute and Bansuri

› 13.7 Recording Tabla and Dholak

› 13.8 Handling Dynamic Range in Acoustic Sources

› 13.9 Choosing Mic Distance for Room Sound

› 13.10 Recording Mixed Ensembles in Small Rooms

• 14 Stereo and Room Microphone Techniques — 10 classes

› 14.1 Why Record in Stereo

› 14.2 Spaced Pair Technique

› 14.3 XY Coincident Technique

› 14.4 Mid Side Recording Explained

› 14.5 Decoding Mid Side in a DAW

› 14.6 Near Coincident Arrays

› 14.7 Blending Close and Room Microphones

› 14.8 Mono Compatibility Checks

› 14.9 Recording Live Ensembles in Venues

› 14.10 Stereo Technique Comparison Session

• 15 Gain Staging, Monitoring and Cue Mixes — 10 classes

› 15.1 Setting Input Gain Correctly

› 15.2 Headroom and Clipping Indicators

› 15.3 Digital Peak Levels and Target Recording Level

› 15.4 Analogue Preamp Colour and Gain

› 15.5 Monitoring Through the Interface Without Delay

› 15.6 Building Headphone Cue Mixes

› 15.7 Click Tracks and Count Ins

› 15.8 Talkback and Direction During Takes

› 15.9 Checking Takes Critically

› 15.10 Level Setting Drill for Multiple Sources

• 16 Session Agreements, Take Logs and Recording Records — 10 classes

› 16.1 Agreeing Session Aims With the Client

› 16.2 Booking, Schedule and Cost Agreement

› 16.3 Session Plans and Track Sheets

› 16.4 Recording Sessions to Brief

› 16.5 Logging Takes and Marking Selects

› 16.6 Capturing Notes About Problems and Fixes

› 16.7 Handling Changes and Extra Requests

› 16.8 Rights and Credits Recorded at Session Time

› 16.9 Data Backup at the End of the Session

› 16.10 Session Review and Client Feedback Form

LAPT — 85 Great Portland Street, W1W 7LT, London, United Kingdom
info@lapt.org • +44 7513 283044 • lapt.org

UKPRN 10067351 • Company 4984798
Curriculum current at the date of issue.

Certificate in Audio Engineering Fundamentals — Certification Brochure