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Recording Arts and Technology Certificate Program

Recording, Mixing and Producing Classes

Creating Recordings and Mixes that Affect People Deeply

Online Only

Catalog
CLICK HERE to view our full Catalog in PDF format on the web (can take a bit of time to load).
CLICK HERE
to download a copy of our full Catalog in PDF format.

How to Signup

Fill out the application here:  www.SoundHealingCenter.com/application.    
You can pay in the application or call with a credit card.
CLICK HERE to see the next start time for this Program.
Feel free to contact us HERE with questions or for more information.

Recording Arts and Technology Certificate Overview

Learn Recording, Mixing, and Producing
from a Sound Healing Perspective

The recording certificate is designed to teach how to record, mix and produce your own music or the music of others.   

This Program prepares you for a job as a Recording or Mixing Engineer, Music Producer, Sound Engineering Technician, Audio Equipment Technician, and Media Communication and Equipment Worker. You will be able to run a wide range of equipment with confidence and creativity. The classes are not just about Audio Recording — they are about how to make any type of music more effective physically, mentally, emotionally, and spiritually. Therefore it also prepares you to Record, Mix and Produce your own music for sale.

Designed for beginners, or for those that know the basics.

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RECORDING ARTS AND TECHNOLOGY CERTIFICATE

COURSE

HOURS

CREDITS

   AP108  –  Audio Recording and Production Art and Technology

48

   AP111L – Audio Recording and Production Labs

70

   AP222 – Music Theory for Recording Engineers and Producers

30

  TOTAL

148

Why Study Here

Why Globe Institute of Recording and Production?
Classes cover advanced skills and techniques required of a professional recording engineer and provide the techniques and experience required to become a Master. Classes are also helpful to simply learn how to make your recordings and mixes sound better. These classes help take you to the next level of expertise.

The most important aspect is we teach how to make music and recordings that touch a person deeply — physically, mentally, emotionally and even spiritually.  We incorporate our Sound Healing expertise to take your productions to a level no one could previously imagine. 

Your main instructor, David Gibson, wrote the #1 selling books in the fields of both Recording and Sound Healing.  He provides a unique perspective on mixing.

Classes are small enough so that each student gets plenty of personal attention and support. 

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#1 Selling Books in the Field of Recording

David Gibson’s book, The Art of Mixing, is the primary text in the classes.  “The Art of Mixing” is the top selling book in the field of Audio Recording for over 20 years.  It is used in just about every College in the world that teaches audio recording. The book uses a visual framework for understanding all that can be created in a mix. With the visuals you are able to see the different values and traditions that have been developed for recording and mixing different styles of music and songs. Understanding of the complexity of these dynamics is crucial for a recording engineer to be able to consistently create great mixes! Visuals make complex structures of mixes simple.

This visual conceptualization of sounds in a mix is also being developed into a 3D visual system.

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The use of the Visual Framework for understanding how to mix is a powerful educational tool that sets the Institute apart from all other schools.

However, we teach more than just how to be a Recording Engineer. We also teach how to be a Producer.  You will learn how to produce and refine your own music or someone else’s.  The classes utilize the book, The Art of Producing, written by David Gibson and Maestro Curtis:

“The Art of Producing” teaches a process for Producing any style of music — either creating the music or just critiquing all of the music components of someone else’s project.  We also teach Music Theory so you can create arrangements with different chord progressions. And, we teach Voice and Piano so you can sing or play the music in your head for those you are working for.

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How to Signup

Fill out the application here:  www.SoundHealingCenter.com/application.    
You can pay in the application or call with a credit card.
CLICK HERE to see the next start time for this Program.
Feel free to contact us HERE with questions or for more information.

Visual Representations of Imaging

You can use the visuals to analyze what a recording engineer has done in different styles of mixes and songs.  You then can use those techniques in your own mixes when appropriate.

SEE VIDEOS AND GRAPHICS OF MIXES
AND DAVID’S 2.5 HOUR VIDEO, “THE ART OF MIXING”
(with 2.5 Million views)

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The Art of Mixing

The Art of Mixing is the way that the engineer uses the equipment in the studio to enhance and bring out the magic (whatever that is to you) in the music and song.  The visuals show how to create various dynamics with the mix itself.  Using the visuals we can embark on an in-depth exploration into the aesthetics of what makes a great mix in a simple, visual manner. 

LEARN MORE 

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Testimonials

“I just completed an intensive course in music production/sound healing at Globe Institute with David Gibson and his staff. I had avoided stepping into the world of DAW’s and virtual instruments for many years because I had a fear that I would not be able to learn it. All of the classes were structured in a way that flowed and made the learning process come quite natural. David is an excellent teacher who was patient, clear and sensitive in allowing me to learn at my own pace. He’s great at communicating complex topics and formulas with grace and ease. His books reflect the same as well as both of the other teachers I had classes with at Globe. I walked away from this intensive course with far more than I could have learned on my own with just manuals and YouTube videos. In addition I’ve learned a great deal about the importance of intention, frequency and sound current in music to effect positive change in our world. I feel completely confident that I have everything I need to begin this new journey and I’m also open to going back to Globe Institute at some point in the future!!!”
– Bibi McGill (Lead Guitar player for Beyonce’)

As well as the sound healing certificate, I also enrolled in the audio production certificate. This course was a lot different than other audio programs I have heard about. Not only did the course allow me to develop the technical skills to become a well-rounded audio engineer for live performances and studio recording sessions, but I also learned how sounds effect me physically and emotionally. This influenced me our to make outstanding recordings that the listener can really feel.  I would recommend these courses to anyone that wants to learn about the magic and healing of sound and music.
– Gina

CLICK HERE to check out more feedback from our graduates

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Skills, Techniques and Learning Objectives

Learning Objectives:
• Obtain the fundamental knowledge and skills needed to use computers in music production.
• Acquire skills in the operation of professional equipment used in recording studios and comprehend how the equipment is used to create a variety of mixes.
• Gain a perspective on different production techniques and an understanding of the traditional aesthetics used in music recording.
• Gain an understanding of basic electronics theory and troubleshooting.
• Learn the fundamentals of digital audio recording including the process and skills required to operate digital audio workstations.
• Obtain the skills to record, mix and produce projects that are high quality through hands-on time on the equipment.
• Understand the basics of musical nomenclature.
• Learn to recognize, create, & utilize Notes, Intervals, Scales, Modes, Chords/ Harmonies, Rhythm, Dynamics, Time signature, & Basic Song Form/Structure.
• Develop initial abilities for composition & arrangement.

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Careers

Audio Recording and Production Jobs and Careers

Students will be qualified to:
• Work as a Recording Engineer, Mixer or Producer in the field.
• Work as a musician creating effective recordings.
• Record, Mix and Produce your own music for sale

There are 6 main areas where our students succeed.
1) Recording Engineers
2) Producers
3) Audio for Media Engineers
4) Live Sound Engineers
5) Record Company Owners and Executives
6) Artist Management

MORE CAREER DETAILS

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Reading Material and Multitrack Files

You will receive a 100-page reader and David’s book, “The Art of Mixing.”

You will also receive Multitrack files of various songs to load on your computer and mix.

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Instructors

David Gibson

David Gibson

AP108 - Art and Technology of Recording and Production

Gerald Savage

Gerald Savage

AP222 - Music Theory for Recording Engineers and Producers

ONLINE

Online Advantages

Using Zoom works really well. You can see our computer screen and hear the mix in stereo in real time.  We can also view your screen to critique what you are doing on your program and give feedback. You will have plenty of time to ask questions directly.

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Equipment Requirements

We use ProTools, however the concepts that we teach are valid for any Digital Audio Workstation. Therefore, you can also do the class with other software such Logic, Ableton Live, Digital Performer, Cakewalk, or Cubase — as long as you know the basics of how to run the software. If you have ProTools it is not necessary to know the basics. We can also help you figure out which ProTools system to buy (and can help you get an Educational discount).

You will need basic MIDI keyboard.

Let us know and we can send recommendations for ProTools and Keyboards.

You will need a basic stereo USB Headset with mic built-in. The least expensive is just fine.

Optional (but highly recommended):
Spectrasonics Omnisphere Software Sound Module – Really cool sounds that are ideal for healing and raising consciousness.
Spectrasonics Stylus RMX Drum Module – Simple drum module that makes it easy to develop a wide range of beats (including a full range of Dance beats).

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Class Size

Classes are limited to 25 people, so classes are small enough to receive personal attention and address specific questions and concerns of each student.

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Schedule

Classes are 2 hours per week for 22 weeks.   You must also complete about 7 hours of lab time each week and do about 4 hours of reading.

Online classes start about every two weeks and take 5 months to complete. You must complete the program within 7.5 months.

CLICK HERE TO SEE THE NEXT START TIME

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Completion Requirements

To get the Certificate at the Institute or Online you must complete 148 Hours. You must also complete the 3 courses within the Program with a “C” average. There is a final exam. Attendance must be at 90% or better and no outstanding fees. 

There is a midterm, final exam and several music compositions you music complete.

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Office Hours

David’s office hours are by appointment. You may also call or email David.  He will often he will get back to you right away.

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Tuition

The whole Certificate Program is $3000 (online only).
CLICK HERE for more info on tuition and payment plans.

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How to Signup

Fill out the application here:  www.SoundHealingCenter.com/application.    
You can pay in the application or call with a credit card.
CLICK HERE to see the next start time for this Program.
Feel free to contact us HERE with questions or for more information.

COURSE DESCRIPTIONS

AP108
48 Hours


Audio Recording and Production Art and Technology

This class explores the function and operation of studio equipment with a perspective on how each piece of equipment contributes to creating mixes that affect us deeply.

Physics of Sound – The Harmonic Structure of Sound
The basic characteristics of sound are explored in order to give you a basis for understanding what each piece of equipment is doing to a sound. We explore

• Resonance
• Harmonics
• Volume Measurement and Perception
• Envelopes (Change in Volume over time)
• Phase Cancellation

ProTools Interface
In this class, you learn basic of editing, cutting and pasting, trimming, shortening or lengthening a whole song, fades, and crossfades. This is the only class that pertains specifically to ProTools – Digidesign’s Multitrack hard disk recording and editing system. Even this class is still useful in case you are using at programs like Logic or Ableton Live.

Effects
This class explains what all the effects do and how to use them. It also covers how they affect us physically, mentally and emotionally, which affects how you might use them in a particular song or production. The classes include:

• Frequencies. Using Equalizers
• Time Based Effects – Delays, Flanging, Phase Shifters, Choruses, Reverb – And how they effect Us.
• Compressor/Limiters and Noise Gates
• Side Chains, Preverb, Autotune, Noise Reduction

MIDI Recording and Synthesizers
We cover how to use MIDI to play back a full range of synthesizers. We also explain how to embed binaural beats in music that are in tune with the key of the song (or your own home or Soul note). We create songs based on intentions where every part of the song is talking to every other part.

The Art of Producing
We explain all the things that a producer does for different styles of music. We then explain a step-by-step process for producing a project — critiquing and refining each of the 13 aspects of a song. We show you how to map out a song in detail in order to work with the overall song structure and arrangement.

The Art of Mixing
An overview of common values held for what makes a great mix. In-depth instruction on Mixing Theory using the Virtual Mixer Concept based on Sacred Geometry and how mixes create emotional dynamics. Dynamics that can be created with each piece of equipment to create different structures of mixes for different styles of music and songs.
• Structures of Mixes using Virtual Mixer™ Concept
• The Mixing Process
• Multi-Level Effects
• All Dynamics that can be created with Vol, Panning, EQ, and Effects
• Different Values for what makes a “Great Mix.”
• Mastering and CD Pressing

Microphones
We cover all the different types of Microphones – Dynamic, Condenser, Ribbon, and PZM, and discuss when to use one mic vs. another for different instruments and situations. How to mic instruments including Crystal Bowls, Tuning Forks, and Voice. We also explain what Direct Boxes do, all the settings on them, and various ways to use them.

Tuning Systems and Concert Pitch
We discuss how to tune your music to different concert pitches. Even more importantly we cover ancient tuning systems — Just Intonation, Pythagorean vs. Equal Tempered tuning systems — how to use them and create them in the audio program.

CLICK HERE for Descriptions of Every Class

Instructor: David Gibson

CLICK HERE for David’s Bio
CLICK HERE for Student Comments on David’s Classes

AP111L
70 Hours


Audio Recording and Production Labs

The Labs provide enough hands-on time to run ProTools, do Recording, Mixing and Mastering from a PsychoAcoustic Perspective with facilitator assistance.
• Multitrack Mixing
• MIDI Music Composition
• Recording

Instructor: David Gibson

CLICK HERE for David’s Bio
CLICK HERE for Student Comments on David’s Classes

AP222
30 Hours


Music Theory for Recording Engineers

Understanding of musical intervals, chords, and chord progressions in order to expand your musical emotional capabilities when writing or producing a song. Music writing and composition in order to get your musical ideas into form and take them to the next level. Understanding or rhythm structures to help with rhythm composition.
• Staffs, Clefs, Time Signatures, Note recognition
• Intervals, Chord Structures and Harmonies
• Key Signatures and Scales
• Texture and Density
• Song Forms

Instructor: Gerald Savage

CLICK HERE for Gerald Savage’s Bio
CLICK HERE for Student Comments on Gerald’s Classes

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Detailed Class Schedule

1. Resonance and The Harmonic Structure of Sound

The basic characteristics of sound are explored in order to give you a basis for understanding what each piece of equipment is doing to a sound.

Harmonics
Depending on the harmonic structure of a sound, sounds will affect you differently. When you understand the different harmonic structures create different calming or activating effects in us physically, mentally and emotionally — you know better how to choose sounds for a particular issues or intentions.
Also, it is important to understand that when you use an equalizer you are simply turning up or down the volume of harmonics that are present in a sound.
This class also gives you an expansive perspective on how the harmonic structure connects to nature mathematically. Knowing this allows you to create music that is more in alignment with nature. We then discuss another mathematical pattern, the Golden Mean – and how you might incorporate this basic structure of love and life into your production.

The hierarchy of sound and music:

a. Frequencies – There are archetypal frequencies that have been used since the beginning of time to affect us.
b. Timbres – Different harmonic structures affect us in very specific ways.
c. Musical Intervals and Chords – The relationship between two frequencies or more can be used to create specific states of consciousness.
d. Music (Changing musical intervals and frequencies) – When musical intervals and frequencies change (or stay the same) over time we then add rhythm as another component affecting our entire system. Specific rhythms will entrain the heart, brain, and nervous system.

As shown by the research of Alfred Tomatis, every frequency is a nutrient. Therefore, using the full frequency range of sounds affects your entire system at every level.

Harmonic structures that support the intention of each song. Odd harmonics activate; Even harmonics calm. Even pure sounds (versus rich and complex timbres) have a completely different effect on us physically, mentally, emotionally, and spiritually.

 

2. Pro Tools Interface Overview, Digital Audio Editing and Recording
In this class, you learn basic of editing, cutting and pasting, trimming, shortening or lengthening a whole song, fades, and crossfades. This is the only class that pertains specifically to ProTools – Digidesign’s Multitrack hard disk recording and editing system. This class is still useful even if you are using at programs like Logic or Ableton Live as explains the common types of editing done for any Digital Audio Workstation.

3. Frequencies. Using Equalizers
We know all the frequencies by heart (we are frequency beings), but it is important to get to know them by name. We cover all the archetypal healing frequencies from 1 hertz to the dolphin range of 500,000 hertz. We also map different frequencies to chakras, which is helpful for learning the frequencies and getting them in the body — and to understand different types of frequency arrangement. We then explain all the knobs on an Equalizer, and cover a detailed but extremely simple technique for using one.

High Frequencies activate the mind; Low Frequencies calm the body.  

4. The Mixing Process. Bussing. Automation
The procedure for bringing up a mix: volumes, panning, EQ and effects — then automating any of these parameters.  We also cover how use a buss instead of pulling up a sound on a channel in-line.  

5. Time Based Effects – Delays, Flanging, Phase Shifters, Choruses, Reverb
This class explains what all the effects do and how to use them. It also covers how they affect us physically, mentally and emotionally, which affects how you might use them in a particular song or production. Time Based Effects: Delays, Flanging, Phase Shifters, Choruses, Reverb – And how they affect us.  We explain all the parameters of each effect and how they are commonly used in different styles of music. We then look at how they effect our heart rate, brainwave states, and consciousness.  We cover how to create backwards reverb effects.

Various effect parameters (compressor/limiters, delays, flanging, chorusing, phasing and reverb) affect our emotions and brainwaves.

6. Compressor/Limiters and Noise Gates
We cover all of the settings in Compressor/Limiters and exactly how to use them on individual instruments and when mastering a whole song or CD. We also discuss compression settings for sound healing projects to create a deeper state of peace. We also explain how to use noise gates to isolate sounds, get rid of noise and bleed from other instruments and clean up the mix in general.

7. Sampling Rates, Bit Depth. MIDI Recording, Editing and Mixing; MIDI Studio Setup
We cover how to use MIDI to play back a full range of synthesizers including a bit on Spectrasonics’ programs Stylus RMX and Omnisphere, which are incredible for doing Sound Healing music production.

First, we explore the difference between Audio and MIDI recording, including sampling rates and bit depth in order to get the best quality recording possible. We cover how to hook up MIDI instruments (keyboards mostly) and record them using MIDI, allowing you to transpose and quantize the timing really easily. We show you how to record a song with a keyboard from scratch, and then have you create your own song using the Sound Modules in ProTools. We also explain how to edit and mix MIDI instruments, including Quantization and Transposition.

8. MIDI volumes, Binaural Beats, Creating a Sound Hologram
We cover all the different ways to automate MIDI volumes and the best ways to do it.
We continue with more details and tricks on how to create complex arrangements with MIDI.

Use of binaural beats to entrain the brain into a variety of brainwave states. It is now possible to embed frequencies in the music that will subconsciously entrain the listener’s brain into a particular brainwave state (gamma, beta, alpha, theta, delta). When two notes are detuned the difference between the two notes creates a 3rd frequency which is below our normal hearing level. This 3rd frequency entrains your brain into delta (deep sleep or meditation), theta (creative day dreaming), or alpha (relaxed awareness). When you listen on headphones you get the extra added benefit of left and right brain synchronization through the Corpus Callosum, which connects the left and right brain. These are called Binaural Beats. 

We then explain how to use Binaural Beats to create different brainwave states: Delta, Theta, Alpha, etc. We then have you create a song with binaural beats that is tuned to your own key — your root/soul frequency, or the key of the song. We show you how to create a musical hologram where the pitch of the song matches the tempo, the brainwaves, the heart, and the breath – so that every part of the song is talking to every other part — making the sound incredibly powerful.

It has now been proven scientifically in multiple controlled studies that Intention is effective. It has also been shown that Intention gets embedded in the music and is then transmitted through to the listener during playback. Holding intention consistently through the entire recording process — during composition, performance, recording and mixing – can dramatically add to the intensity of a project.

When you set the basic tempo to a really slow breath the music taps into a person’s biorhythms at a much deeper level. When the chords follow the in and out breath they entrain your breath into a deeper state of relaxation. It also makes it so the listener can consciously breathe along with most of the songs.

9. The Art of Producing 
We explain all the things that a producer does for different styles of music. We then explain a step-by-step process for producing a project — critiquing and refining each of the 13 aspects of a song. We show you how to map out a song in detail in order to work with the overall song structure and arrangement.  We also show how to map out a song structure in Excel (Google Sheets) in order to critique each part.

This includes
• Various types of Producers – Executive, Music, Engineering
• What it takes to be a great Producer
• Critiquing a project in Pre-Production
• Inspiring Great Performances

10. Producing Homework
Students find two projects: one that is great and one that is really bad.  Students map out each song and critique each of the 13 components.  We go through each song in class.

11. Structures of Mixes – Guides to a Mix
We explain David’s system for visualizing sounds between the speakers and then use the system to explain all the different structures of mixes possible. We cover each of the dynamics (feelings and emotions) that can be created with the four tools you have in a mix: Volume, Panning, EQ, and Effects. You will then be able to conceptualize the type of mix you want to create before you even start mixing.

We cover Mixing Theory using the Virtual Mixer Concept based on Sacred Geometry and how mixes create emotional dynamics. Dynamics that can be created with each piece of equipment to create different structures of mixes for different styles of music and songs.

Left and right placement of sounds in a mix access different parts of our brain, and different structures of mixes can actually approximate Sacred Geometry Structures.

12. Structures of Mixes 2
We continue will all the dynamics that can be created in a mix using the Visual system.  We show a wide range of visuals of songs in real time and discuss what the engineer did.

We cover the concept of “Focus of Attention” in a mix, whereby you create a focus on magic in the mix. We cover the concept of perceiving the mix from “inside the music” — a technique that allows you to perceive the mix from a higher perspective of Theta consciousness.

13. Review for Midterm

14. Phase Cancellation
We discuss phase cancellation and how to deal with it when miking an instrument with more than one microphone. We also cover the esoteric meaning of phase cancellation.

15. Microphones and Miking; Mastering
We cover all the different types of Microphones – Dynamic, Condenser, Ribbon, and PZM, and discuss when to use one mic vs. another for different instruments and situations. How to mic instruments including Crystal Bowls, Tuning Forks, and Voice. We also explain what Direct Boxes do, all the settings on them, and various ways to use them.

We cover how to master a full CD with compression, a mastering limiter, setting time between songs, and balancing volumes and equalization from song to song.

16. Concert Pitch, Tuning Systems. All the ways to make music Sound Healing oriented.
We discuss how to tune your music to different concert pitches. Simply tuning Concert Pitch to a frequency that is more in tune with nature can have a dramatic effect (particularly for sensitive types).

Even more importantly we cover ancient tuning systems — Just Intonation, Pythagorean vs. Equal Tempered tuning systems — how to use them and create them in the audio program.

Ancient tuning systems such as Just Intonation and Pythagorean tuning systems tap into a mathematical structure that resonates throughout nature (including our solar system).

Consistent patterns let the mind then focus on other deeper aspects of the sound and consciousness because your brain no longer needs to track changes. Changing patterns activate the brain – particularly for learning and productivity (Mozart Effect).  We discuss all of the techniques to create what is called “Sound Healing” music: Auspicious Concert Pitches and Tuning Systems, Use of Intention, Sound Holograms, Conscious Timbres, Binaural Beats and Musical Progressions.

17. Envelopes, Volume Measurements and Perception; Side Chains, Noise Reduction, Maintenance
In this class we look at what Decibels mean and how we perceive differences in volumes — important for setting relative volumes in a mix. We also discuss Envelopes or “Change in Volume over Time” and how they affect us emotionally. Peaceful Endings. One of the most important aspects of Sound Healing is when the sound or music ends — leaving you in a place of perfect peace. There are specific techniques you can use to maximize this effect.

Side chains allow you to add low bass sounds to a kick drum, or white noise to a snare, or trippy sounds to vocals. 

We look at some noise reduction effects that can take a buzz out of a a sound while it is playing. 

18. Critiquing Student Projects. Great Productions. Signal Flow
All students create their own musical project over the last 2 months.  In this class we listen to each one and critique it based on the 13 aspects of Producing.  Student’s then refine it again and we critique it again on the final class.  We look at how signal flows through a mixing board or Digital Audio Workstation on the way to the Harddrive, Speakers, Headphones and Effects.  This is helpful to be able to operate any mixing board, no matter how big.   It is also helpful to be able to track down problems when the signal disappears.

19. Synths (ProTools Synths, Omnisphere, Stylus); Critiquing Performance
We explore all the software sound modules and their parameters included with ProTools.  We also look at Omnisphere and Stylus.  We cover a detailed process for critiquing a performance while live in a recording session.  We then practice critiquing a performance in a song in detail.

20. Review for Final Exam; ProTools Shortcuts, AutoTune, Noise Reduction
We go through all of the most important shortcuts to know.   

We cover AutoTune allows you to tune individual notes within an instrument. Finally, we look at some noise reduction effects that can take a buzz out of a a sound while it is playing.

We look at some of the more esoteric plugins.

21. Critiquing Final Projects
We critique everyone’s final projects.

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How to Signup

Fill out the application here:  www.SoundHealingCenter.com/application.    
You can pay in the application or call with a credit card.
CLICK HERE to see the next start time for this Program.
Feel free to contact us HERE with questions or for more information.

Policies and Procedures

 

Catalog
CLICK HERE to view our full Catalog in PDF format on the web (can take a bit of time to load).
CLICK HERE to download a copy of our full Catalog in PDF format.

Bureau
CLICK HERE to go to the Bureau for Private Postsecondary Education site that approves our Institute. Their contact info is Bureau for Private Postsecondary Education, Department of Consumer Affairs at 1747 N. Market Blvd. Ste 225 Sacramento, CA 95834 or P.O. Box 980818, West Sacramento, CA 95798-0818 Web site Address: www.bppe.ca.gov

Phone: (888) 370-7589, (916) 574-8900. FAX: (916) 263-1897

Refund for Online Classes
There is no refund after materials have been received.  This includes once you have received the link to Edvance, which has links to the videos of all classes that can be downloaded.

 

CLICK HERE for lots more details on Refund Policies and General Policies and Procedures.

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The Art of Mixing Details

The Art of Mixing
On a more detailed level, the Art of Mixing is the way that the engineer uses the equipment in the studio to enhance and bring out the magic (whatever that is to you) in the music and song.
A mix can be transparent so that the music or song shines through; or, a mix can be used like another instrument — to create a musical dynamic. The mix can even be used to create tension in a song. Creating mixes that fit the music or song in a creative way is the artistic challenge of the recording engineer.

First, it is important to get to know the complete array of feelings and emotions (dynamics) in music and songs. Next, you get to know the complete array of feelings and emotions (dynamics) that can be created with the equipment in the studio. You then match the two based on your own feelings — in a way that creates art.

Besides basing mixes on what feels or sounds good, there are also traditions that have been developed for each style of music. For example, Big Band Music and Classical Music have very strict traditions as to how they are mixed. On the other hand, Rap, Hip Hop, and especially Dance, Electronica and Techno have much less defined traditions. The primary tradition is that the 808 Boom Kick is loud and out front. It is important to understand these traditions because many bands want the mix to sound just like the style of music they do. But also, when you see these limits, you can then push the limits, and help to change the world.

There are two ways that we relate to sound:
1) We feel (and hear) the soundwaves that come out of the speakers and travel throughout the room, and 2) We imagine sounds to be floating between the speakers. The visuals represent the imagined sound image. Sounds are represented as spheres because they best mimic the reality of how much space sounds take up in a mix. Also, the images are transparent because when two sounds are in the same place in a mix, we can normally still hear both of them.

Panning is naturally represented as left to right. Volume is represented as a function of front to back — because things that are closer to you are normally louder! Pitch is represented as up and down — because high frequency sounds appear higher between the speakers and low frequencies appear lower (Check it out on your own speakers). This is probably why high frequencies are called highs… and low frequencies are called lows.

Using this precise mapping of Pitch, Panning and Volume as X, Y, and Z axes, we can now map out a mix visually. Various styles and types of mixes (particularly those associated with a particular type of music) become clearly apparent. Different mixing “signatures” can now be dissected as to what the engineer did to create the mix. But most importantly, the problem of “masking,” where one sound seems to hide another sound in a mix, becomes visually apparent.

Adding the parameter of time we can also watch a mix in real time as the song plays! (CHECKOUT VISUALS OF MIXES IN REAL TIME)
As you can see, not only are the visuals interesting, but also they are an important educational tool for teaching mixing theory and no other school in the world is using this system. Simply having a framework that you can use to understand and remember all that is going on in mixes is helpful. But most importantly, it gives you a theoretical tool for conceptualizing what you want to do in a mix before you start turning the knobs. Then you are in control of the mix, instead of it controlling you.

This gives you an incredible edge when it comes to obtaining a job and becoming a truly great recording engineer, or simply learning how to make your mixes sound better.

RETURN TO ART OF MIXING OVERVIEW

Career Details

Audio Recording and Production Jobs and Careers

Students will be qualified to:
• Work as a Recording Engineer, Mixer or Producer in the field.
• Work as a musician creating effective recordings.
• Record, Mix and Produce your own music for sale

There are 6 main areas where our students succeed.
1) Recording Engineers
2) Producers
3) Audio for Media Engineers
4) Live Sound Engineers
5) Record Company Owners and Executives
6) Artist Management

Recording Engineers
There are 4 main avenues to develop a career as a Recording Engineer.

a) Recording Studios – Although more difficult to break into, professional recording studios give free studio time for every hour of intern time. Also there is nothing like being around an atmosphere full of major musicians and productions. You can’t help but absorb some high-level information and techniques. If you are destined to be one of the top engineers in the world, then this might be your route.

b) Home Recording Studios – Often students know or come across someone who has a nice home studio that could be developed into a full time business.

c) Your own Studio – Inexpensive equipment makes it so it is not unreasonable to setup your own facility. In the past, many students have actually joined together to create successful studios.

Producers
Doing freelance Producing can be most satisfying — both emotionally and financially. And, of course, there is always that big carrot in the sky if you were to get a hit. Producers get royalties whereas Engineers normally don’t.

Audio for Media Engineers
a) Audio for Video and Film – This is the highest paying and consistent job available.
b) Audio for Websites – Can be a nice source of extra income or a serious job if you were to get hooked up with a Corporation.
c) Audio for Games – This is big business and some of the top game makers are right here in the Bay Area.

Live Sound Engineers
You could end up doing Live Sound for a band, a small club or for major concert productions.

 

OCCUPATIONAL CODES

Music Directors and Composers – Occupational Code 27-2041
Conduct, direct, plan, and lead instrumental or vocal performances by musical groups, such as orchestras, bands, choirs, and glee clubs. Includes arrangers, composers, choral directors, and orchestrators.

We teach extensive Music Theory and Composition in the recording program. Students compose many projects as part of their required lab.

Sound Engineering Technicians – Occupational Code 27-4014

Operate machines and equipment to record, synchronize, mix, or reproduce music, voices, or sound effects in sporting arenas, theater productions, recording studios, or movie and video productions.

Audio and Video Equipment Technicians – Occupational Code 27-4011
Set up, or set up and operate audio and video equipment including microphones, sound speakers, video screens, projectors, video monitors, recording equipment, connecting wires and cables, sound and mixing boards, and related electronic equipment for concerts, sports events, meetings and conventions, presentations, and news conferences. May also set up and operate associated spotlights and other custom lighting systems. Excludes “Sound Engineering Technicians” (27-4014).

Media Communication and Equipment Workers – Occupational Code 27-4099
All media and communication equipment workers not listed separately.

Sound for
• Motion Picture and Video Industries
• Radio and Television Broadcasting

RETURN CAREERS OVERVIEW

Tuition Details

Recording Arts and Technology Certificate Program

TUITION AND COSTS                                                       ONLINE

Registration Fee (Non-Refundable)                                $75

Reader and Book Fees                                                       $75 

Student Tuition Recovery Fee                                          $7.50 

Instructional Fee                                                              $2842.50 

COMPLETE PROGRAM                                                   $3000

Payment Plan

The Institute does not participate in Federal and State financial aid programs so we don’t have Federal Funding.
However, we do offer financing as you go without any interest.

We do not offer Veterans Assistance (VA) but do take employer vouchers.

The Institute does offer a discount for in-person classes when paid more than 2 months in advance.

Certificate Program Downpayment – $750 Must be paid off by the end the program (Normally $500 per month)

(If payments are more than 2 weeks late the student may be put on probation.
If payments are more than one month late the student may be dismissed)

 

Other Possible Fees

Tutoring (if required)                                                                                                     $50 per hour                          
Transcripts Fee $5
Return Check Fee $25
Room and Board (estimate) $1000 per month
Transportation (estimate) $40 per month

There are no additional fees required for anything else.

CLICK HERE to return to the Tuition Overview

Instructor Bios and Student Comments

David Gibson

David Gibson is the founder and director of the Globe Sound Healing Institute.

David has written the #1 selling books in both the fields of Audio Recording, “The Art of Mixing,” “The Art of Producing,” and Sound Healing, “The Complete Guide to Sound Healing” (www.CompleteGuidetoSoundHealing.com).

He is also a top selling producer of Sound Healing music (www.SoundHealingCenter.com/store/music/). His music is in many hospitals around the country including Boston General and U.C. Medical Center.  He also runs the Sound Therapy Center at the Institute (and online) offering 15 types of sound healing treatments (www.SoundTherapyCenter.com).

David has produced 12 International Sound Healing Conferences.  He is also the founder of the Sound Healing Research Foundation (www.SoundHealingResearchFoundation.org) designed to study all of the frequencies, timbres, musical intervals, and musical flows within the body. He has completed a clinical research project on using sound and music to help Parkinson’s patients.  The Foundation is researching sound for Pain, Sleep, PTSD, Autism, ADD/ADHD, Dementia, Anxiety, Depression and Grief.

He has now setup the Medical Sound Association (www.MedicalSoundAssociation.com) with over 600 doctors and Sound Therapists to figure how to cure every disease in the world with sound, music and vibration.

David has also setup the Sound Education Association for children. The Association received a $100,000 grant to develop a sound curriculum for children for two Montessori schools.  With the staff of 20 instructors at the Globe Sound Healing Institute, he developed over 2500 exercises for children from 3 months to 18 years old.  Every exercise is based on the latest 30 books on brain development for children at different age and learning levels.  Five hundred exercises are complete and now being offered for home schooling through the website, www.SoundEducationCenter.com.

David has a unique understanding of how sound and music create deep and lasting effects on the mind, body, and spirit. Having run the largest Sound Healing Institute in the nation for over 20 years (with 25 instructors), and having put on so many Sound Healing Conferences, David has developed a complete perspective of everything going on in the field – particularly how sound affects us physically, mentally, emotionally and spiritually.  David’s education in Physics at the University of California at Berkeley gives him a unique basis for understanding and explaining the way that sound affects us physically.

David currently has 60 Sound Healing CD’s on the market. His music is being used in Integrative Health Departments in hospitals around the country. The CD catalog includes songs for relaxation, sleep, depression, anxiety, enlightenment, opening the heart, connecting to Spirit, mental clarity, sexual energy, overcoming fear, releasing grief, harmonizing emotions and balancing chakras.  His CD’s have quantum healing fields and embedded in the music. Most of the CD’s in the catalog incorporate binaural beats to entrain the listener into even deeper states.

David’s technologies, Sound Lounges, Sound Tables, Bass Pods, and Sound Vests are being used by many hospitals and first responders throughout the country. Kaiser Hospital refers patients to the center in San Francisco for pain management and anxiety.

David also runs the Sound Healing Metaphysical store – offering a full range of sound healing instruments and vibrational tools (www.SoundOfLove.com).

David Gibson – STUDENT COMMENTS

– Very concise and ordered.

– Very heart open and wise.

David is the master of both recording and sound.  His clarity on explaining technical information is so precise.  And his insights as to how to make recordings that are life changing are off the charts.

– His perspective on quality for all different types of music is so cool.

– His visual system makes it all easily understandable.

– David was always very organized and covered a lot of material throughout the course. I appreciated the knowledge and experience he brought to the students. Great teacher!

– Allowed students to freely & openly discuss topics and patient with re-explaining subjects. I could be at my level and be myself. The course material was appropriate and important for the field.

– He has very thorough knowledge of the subject. He is a very engaging teacher and enthusiastic about his school and his classes.

– David had a sense of humor, was flexible and could go with the flow and change things if necessary. He also made the subject very interesting with certain creative methods.

– Very good at keeping focus. Presents in a way that makes it easy and accessible.

Gerald Savage

Gerald is a teacher/administrator and Department Chair of the Vocal Department at Pittsburgh CAPA (Creative and Performing Arts) 6-12; a Blue Ribbon School recognized by Newsweek magazine, and one of the top 21 schools in the Commonwealth of Pennsylvania. He is also a keyboardist, director/conductor, arranger/composer, trombonist, and ethnomusicologist.

He is a strong advocate for using the magnificent healing power of sound and music with both children and adults. Utilizing the support of findings in neuroscience research, he is adamant in assuring that children are provided with arts, music, and sound as essential components of educating the whole child.

·       Fulbright-Hays Scholar (2009), Brazil; An education collaborative project between the Center for Latin American Studies at the University of Pittsburgh, and a joint effort between The Andy Warhol Museum (Pittsburgh), and The Museu de Arte Contemporânea de Niterói (Museum of Contemporary Arts, Niteroi, Brazil).

·       Classroom without Borders (2014), Teacher/music facilitator in Poland, to learn and teach about the atrocities of the Holocaust.

·       Bridging Cultures (2016) Educational collaborative through the State Department, in conjunction with the African Studies Program at the University of Illinois, which consisted of 20 international educators and 7 educators from the United States; discussing issues pertaining to international and multicultural education.

·       Ethiopia: Indigenous Wisdom and Culture (2017) Fulbright-Hays scholar in conjunction with the University of Pittsburgh African Studies Program

Through his training in ethnomusicology, Gerald came to the realization that sound and music have been functional tools for millennia by ancient cultures throughout the world in bringing frequencies to rituals, and in the realms of healing and well-being.

Education
Bachelors degree in music, Indiana University, Bloomington; Masters Degree in Ethnomusicology, University of Pittsburgh. Doctoral degree studies in Administrative and Policy Studies, University of Pittsburgh. Sound healing certificate, Globe Institute.

Gerald Savage – STUDENT COMMENTS

– Gerald was super clear and, although he knows a lot about the subject, he adapted the way he explained things to the level of the students, which was in general pretty basic. In my case, understanding music language is a little bit hard, and in this class, I felt I got to understand in a much deeper level.

– Gerald has mastered the art of presenting music theory to brains that have never encountered it before. I took this class as a veteran of music theory and was pleased to see the innovative ways that he taught some of the same concepts I already knew.

– I absolutely love Gerald with his great energy and soothing low tone voice, and he made it quite easy to understand all the criteria. As well as, he was always making sure that everyone in the class wasn’t lost and understood every step of the way.

– I thought this class/curriculum was incredibly important and valuable. It’s a sound healer’s “fundamental”. 😉 It provided me with a foundation on music theory and how it’s applied. This was one of the critical components I was missing in my understanding of sound healing. Through this course I was able to learn so much about music, especially its vocabulary and application. I could not have asked for a more brilliant teacher either. Gerald is absolutely amazing, both in his knowledge and expression/communication of it.

– Very engaging. Wonderful energy. Really cared about students. Went out of his way to help individuals understand while balancing the overall lesson for everyone. Very knowledgeable. Good use of a variety of teaching methods and materials: videos, presentations, homework, questions/answers, etc. Shared PowerPoint and other ref docs before classes, and much more.

– For the first time in my life, music makes sense. I’ve been in music classes in the past, usually with a teacher at the chalkboard pointing at things and telling us to follow along and sing or play them. Gerald made music theory much more accessible to me and I am beginning to understand much more about scales and such.

– I absolutely loved Gerald’s class and his style of teaching! Oh, my goodness. For the first time in my life, I understand scales; octaves; intervals. He completely demystified music for me. He also offered so much ancillary information that we can refer to later. He offered alternative ways to look at music. I’m so visual, and he provided these videos that showed the visual of how sound and frequency look bouncing around!

How to Signup

Fill out the application here:  www.SoundHealingCenter.com/application.    
You can pay in the application or call with a credit card.
CLICK HERE to see the next start time for this Program.
Feel free to contact us HERE with questions or for more information.