Recording Connection
Course Outline

Recording Engineer / Music Producer / Mixer

The engineering program qualifies you for positions in the audio recording field. The following outlines the engineering course. All programs include hands-on lab drills in the actual local recording studio where training is conducted.

Basic 1: Studio Operating Procedures #1

Setting up the studio
The instrument code
The recordists code
Getting levels and E.Q.
Tape run-in
The slate
Tuning notes
The count off
Breaking down

Basic 2: Microphones

Microphone pickup patterns
Choosing mikes for
different instruments
Solo vocal recording
Group vocal recording
Stringed instruments
Plectrum instruments
Sound energy "contact pickups"
Vibration energy pickups

Basic 3: Instruments

Transients and noise
Acoustic energy
Properties of
instruments' sounds
Where does the music come from!
Where to put the mike
Music collection distance

Basic 4: Recording Console Parts and Functions

The input system
The bussing/output system
The monitor output system
The cue output system
Use of pad and trims
Balanced inputs
In board EQ
Selects and assigns
Console reverb systems

Basic 5: Basic Audio Theory

Electrical signal
Acoustic leakage and
non-musical sounds
Operative noises
Noise prevention
The gain structure diagram
The decibel
Phase addition and subtraction

Basic 6: Recording Console Operation

Combining tracks
Ping ponging
Generation Loss
Cue systems
Studio talk back

Basic 7: Studio Operating #2

Patching microphones
Ground loop solutions
for direct boxes
Direct box use for
three-wire A.C. amps
Direct box hookup for
two-wire A.C. amps
Phase checking
Cleaning tracks
Ycords and mults

Basic 8: Tape Machines #1

Recorder block diagram
Hysteresis curve
Distortion of tape
Magnetic fields and
accidental tape erasure
Tape handling and storage

Basic 9: Mixing

Normalizing the
console for mixing
Getting the sounds on
the instruments
Getting the mix at
the hottest portion
Working out the fader moves
Mixing the song or
song piece
Checking the mix
Making the fades at the
current position if the mix
is being done in pieces
Getting rid of clicks and pops
How to tighten up
the down beats
Playing back the
completed mix

Intermediate 1: Acoustics #1

Wave forms
Wave length
Wave propagation
Reflectors, diffusers
Enclosing sound
Small rooms
Acoustical spectrums
and directivity

Intermediate 2: Console Symbols for Diagrams

Console block diagram
Selects and assigns
Console solos
Submaster and
VCA group formats
Phase scopes

Intermediate 3: Operating Procedures #3

Degaussing and
cleaning heads
Set-up procedure
Rocket punch ins
or erase outs
Using master boxes

Intermediate 4: Musical Terminology

Music phrases and jargon
Parts of the popular song
Instruments and voices
Instruments dynamic range
Instrument overtones and harmonics
The digital metronome

Intermediate 5: Intermediate Audio Theory

Musical instrument spectrums
Preparation of dynamic range and
levels for signal transmission
Gain setting for nominal levels
through the console
VU, plasma, and PRM meters
Signal to noise ratio
Phase distortion
Generation loss of
tape recordings

Intermediate 6: Tape Machines #2

Dynamic Range
The NAB and AES recording EQ
Tape speeds
Transport types
Search to cue
Master boxes of multitrack
tape machines

Intermediate 7: Operating Procedure #4

Machine setup procedure using the
dolby noise reduction system
Alignment with noise reduction
Setting up the 361 dolby
Solving cue system shorts
and other problems
Solving console and
and audio problems

Intermediate 8: Acoustics #2

Distortion of microphones
Transient tracking ability
Unusual microphone
Practical microphone
Acoustical delay

Advanced 1: Acoustic #3

Isolation booths
Extreme acoustical dynamic range
Human hearing
Echoes and reverbs

Advanced 2: Tape Machines #3

Wow and flutter
Recorder head alignment
The VSO, NAB and elevated level
PURC (pickup record capability)

Advanced 3: Advanced Audio Theory

XLR and RTS configurations
Simple wiring procedures
OHM's law and the OHM meter
The DB in mathematical terms

Advanced 4: Special Effects #1

Dynamic Processing
Slope and threshold
Operation of dynamic
processing devices
Parametric EQ
Digital delay
Tape delay
Echo loops
Tape loops
Tuner echo
The EMT 250
Lexicon Digital Reverb
Digital pitch changing

Advanced 5: Special Effects #2

Digital operations
with musical notes
Phasing with tape machines
Envelope generators
Ring modulators
The Phex-Vocordors

Advanced 6: Advanced Audio Systems

Phantom supply
Tach servo systems
The Neve consoles
The Necam system
The Ampex system
The Lexicon model 224C
Other console and tape systems

Advanced 7: Distortion

Distortion of microphones
Distortion of consoles
Distortion of tape machines
Distortion types

Advanced 8: Analog and Digital Disks

Disk-cutting lathes
Digital compact disks, CD's
Analog to digital conversion

Digital Audio Workstations

The digital workshop audio
Sampling theory and
Digital workstation basics
Post production
Digital audio workstations
Digital audio workstations
Application for editing
Sequencing events
Integration of digital workstations
with MIDI
Platforms in digital audio
Digital sound for multimedia


Musical Instrument Digital
Interface (MIDI)
(MIDI) Inroduction
MIDI basics
MIDI instrument /
computer interface
MIDI in production
Tapeless recording
Event editing and sequencing
in RAM
MIDI problems and
problem solvers
MIDI effects
MIDI messages

Post Production

Introduction to post production
Basics of computerized editing
Post production projects
Final post production
Post production with automation
Mastering to CD

Live Sound Reinforcement and Concert Lighting

Sound reinforcement
technical systems
Concert lighting and
technical systems
Touring life
Design projects
Stage charts and
lighting plots
System design
Concert sound and
lighting personnel
Remote recording

Audio Psychology / Attitude

Thinking before speaking
Environmental impact and
control confidence
Being authoritative
Dealing with egos
The "turn it up" phenomenon
The inverse cue system
The two microphone trick
Handling late night fatigue


Info Index
Course Outline
Your Career


Video Clips
Recording Resources

Link to Recording Connection

"In addition to her job at our studio, April McClure has been asked to 'head up' the new digital recording facilities at Butler County Junior College."
-- Mark Winston,
Winston Creative Sound

"I just started my own recording studio and record label. The knowledge I received during my training was crucial to my success. I drove 200 miles for each lesson, and would gladly do it again."
-- Matthew Mylroie,
Crossfade Recording

"Jeff Thomas completed his course in record time and is now working as an assistant engineer."
-- Wayne Gathright,
Music Lane Recording

"Steve Mixdorf has turned out to be the best intern we've had at NRG, and I had no problem hiring him. "
-- Tom Schelly,
Studio Manager, NRG

"Recording Connection is unique in its integration of the educational and the professional elements of recording."
-- Geo Greene,
Studio Manager,
Chung King Recording

"The most recent graduate of the Recording Connection is now working for my studio."
-- William Stace,
Owner, Walls Have Ears

"I have a long way to go before reaching my goals in the 'recording industry,' but thanks to you, it's not just a dream anymore."
-- Jeffrey L. Kaehr, Student,
Sweetwater Sound

"Ralph Mejia is now a permanent part of our staff. He became an invaluable asset to this company even before completing the Recording Connection course."
-- William M. Garcelon,
Chief Engineer,
Chicago Trax

"Your Recording Connection program is the most exciting career opportunity I've ever been a part of. I know that soon I will be able to reach my goal, a career in the music business."
-- Ed Dickinson,
Student, CPI Production

"Through our recommendation, our student Kathy Keene has landed a job at Studio 56, a major recording studio here in Hollywood"
-- Mike Wolf,
Owner, Music Box Studios

"Jeff Lamirand was an outstanding student and a pleasure to work with. So, we hired him."
-- Todd Hobin,
Owner, Todd Hobin Studios

"I am so happy I heard about your program. Thank you for making my dream a reality!"
-- Heidi Peterson, Student
Triad Studios

"I've been hired at Brooklyn Recording Studios in Los Angeles, a 72-track facility working with acts such as Brian Wilson, Don Henley, and the Rolling Stones."
-- Billy Flores,
Recording Connection Student

"Tom Mulreaney's progression from student to engineer was accomplished in a very short time. The Recording Connection course played a major role in Tom's rapid development."
-- Brian Zebertavage,
Owner, BZ Music

"Bryan Foster has become a working audio post engineer. Thanks for raising the bar in the education of fine audio engineers in our industry."
-- Robyn Whitney,
Private Island Trax

"I assist and observe engineer Ken Paulakovich, who currently has a triple platinum album on the Billboard charts. Your company has delivered everything you promised."
-- Glen Cunningham,
Student, Chapman Studios

"One of our current students, Tori Johnson, was hired as the house sound person for the Westport Bar, a popular spot with the local music scene."
-- Lynn Allred,
Chief Engineer, BMG

"This program truly is a win-win situation. I recommend your company to anyone interested in audio engineering as an occupation."
-- Mike Polimaderi,
Owner, Hometown Records

"I know, from my own experience, that this is the absolute best way to learn recording."
-- John Lowson,
Grammy-winning Engineer

"Without Recording Connection, it would have been difficult at best to accomplish this critical step in the pursuance of my lifelong dream."
-- Chris Nylen,
Dark Matter Productions, Alberta, Canada