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In case you want to know precisely what we teach, here's the sequence of learning that we use at Sound Master recording school. It's based on training some of the best recording engineers on today's music and video scene.

These classes are structured to give the student a broad background in all the important areas of audio and video
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VIII. SYNCHRONIZATION I - THEORY
Synchronization refers to the procedures and technologies used to make two mechanically unrelated playback mediums work as one. Synchronization enables the expansion from 24 -Tracks to 48 -Tracks and more. In addition, studios that were used for music recording only, are able to synchronize audio to video and film for music, scoring, sound effects, narration and much more. This relatively new technology has greatly expanded the boundaries of recording engineering and is gone over in detail at the recording school. This theory section covers the background and related theory concerning synchronization for audio recording and audio production. Topics covered:

  • Introduction to Synchronization; Procedures for SMPTE, MIDI, EBU, and NTSC
  • The rudiments of Synchronization/Transport Lash-Up procedures
  • Elements of analog and digital techniques
  • Procedures for Time Code Formats
  • Readers and coding
  • Time code generators
  • Remote control functions for Time Code generators
  • Time code types

IX. SYNCHRONIZATION II - WORKSHOP
In this hands-on recording workshop, students will experience different types of resolvers and time code converters currently used in the motion picture, video, and music recording industries. Various principles learned in the Synchronization I theory class will be applied in this "hands-on" workshop. Topics covered:

* Application of Analog and Digital techniques * Receding using Synchronization/Reshaping damaged code * Mixing sessions using multiple transports * Apply Set-up and Lash-up procedures and techniques * Application of Time Code Regenerating * Application of Time Code formats * Application of Readers * Synchronize two or more transports

X. SYNCHRONIZATION III - THEORY
In this advanced Synchronization theory section, students will learn the principles and procedures of programming automated special effects used in today's Motion Picture and Television Industry, in tandem with Musical Instrument Digital Interface (MIDI). Students will apply various principles and procedures learned in the theory portion of this subject in audio school lab. Topics covered:

  • Striping Time Code for Video
  • Procedures for automated special effects
  • Principles of Synchronizing Control Track Logic (CTL)
  • Procedures for Synchronizing SMPTE to MIDI
  • Fundamentals of display groups, menus, and submenus
  • Steps for auto locater functions
  • Elements of MIDI effects
  • Vertical interval time code
  • Multiple effects
  • Sampling principles

XI. SYNCHRONIZATION IV - WORKSHOP
Students will perform various procedures discussed in the preceding Synchronization III Theory. In this "hands-on" recording workshop section, students will operate SMPTE to MIDI converters in conjunction with computer software interfaces to support the programming of automated synchronization. Topics covered:

  • Application of SMPTE (time code)
  • Application of Vertical Interval Time Code
  • Application of Control Track Logic (CTL)
  • Computer interfacing * Perform Audio Locater Functions
  • Perform MIDI special effects
  • Display groups, menus and sub menus
  • Automated synchronization
  • Synchronizing SMPTE to MIDI
  • Sampling Applications

XII. INTERMEIDATE RECORDING THEORY
This theory section covers the principles of recording techniques and console operation which relate to outboard equipment for special effects used in music recording. Topics covered:

  • Sound perception: Doppler, echo, and equalization * Stereo perception; MS, A-B, X-Y
  • Outboard equipment rudiments
  • Tape delay, Digital delay; Understanding phasing and flanging; doubling and echo
  • Alignment procedures for calibration of tape machines and of noise reduction devices: Dolby, DBX.
  • Introduction of pitch change unit; multi-tape delay devices
  • Stereo processing using psycho-acoustic techniques and devices
  • Lexicon digital room simulator
  • Analog tape noise reduction theory and noise reduction units

XIII. INTERMEDIATE RECORDING THEORY
This workshop consists of "hands-on" experience in the recording studio. Students will apply the principles and procedures for console operation, various special effects, and more. Topics covered:

  • Mixing techniques
  • Acoustic techniques
  • Application of special effects
  • Operation of outboard equipment
  • Doubling, phasing, flanging, EQ, echo and more
  • Applications of Digital Delay Line
  • Harmonizer and Pitch change unit applications
  • Operate Lexicon simulator
  • Calibration of tape machines and align noise reduction devices: Dolby and DBX
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Sound Master Recording Engineer School / Audio-Video Institute
1000 South Fremont Ave., Building A11, Suite 11010
Alhambra, CA  91803
(626) 284-0050