Audio Engineering & Acoustics (Tools)

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Course Curriculum

The Advanced Diploma is an intensive one year programme which is taught across 48 weeks. The course is then divided into three terms, with each term building on the knowledge and skills you learnt in the previous term.

Using our progressive continuous learning method each module will cover historical and theoretical content alongside practical and technical skills so you develop a rounded knowledge and skill set within each area.

The breadth of the course means that alongside learning what equipment, techniques and microphones to use you also learn why you use them. This will help you develop your own expertise and understanding of how to create different sounds and effects.

Subject Areas

Within the diploma we cover all of the following subject areas: Acoustics, Computer, Copyright and Legal issues, Digital Audio Technology, Electronics and Analogue Equipment, General Business (Publishing & Marketing), Management Skills, Mastering, Microphones, Mixing and Critical Listening, Music Theory and Production, Production, Recording, Sound Theory, Studio Equipment and Signal Processing, Studio Etiquette and Musicianship.

Below you can browse through the three terms and see the breakdown of modules for each term.

Term One

Production / MusicTheory
• Introduction
• History of Production / Abbey Road
• Production Techniques – EQ/Dynamics
• Production Techniques – Effects
• Session Planning / Procedures

Audio Engineering / Acoustics (Principles)
• Sound Theory
• Decibels
• Metering
• Basic Electronics

Audio Engineering / Acoustics (Tools)
• The Music Production Studio
• EQ
• Dynamic Range Processing
• Effects Processing
• Cabling and Wiring
• Mixing Consoles
- Production & Music Theory
  
  These are the learning outcomes for this subject area.
  
  You will be able to:
  
  • Recall key music production-related historical facts from the early days of recording up to the present;
  • Plan basic recording sessions.
- Audio Engineering & Acoustics (Principles)
  
  These are the learning outcomes for this subject area.You will be able to:
  
  • Describe sound as a physical and as a psychoacoustic phenomenon;
  • Categorise acoustic-related concepts, including reflection, absorption, diffusion and refraction;
  • Recall fundamental wave theory-related concepts;
  • Recognise the relevance of Equal Loudness Contours in music production;
  • Appraise the relevance of human hearing localisation mechanisms;
  • Identify the anatomical components of the human hearing system;
  • Recognise the dangers of excessive exposure to loud sound;
  • Describe the rationale for the use of decibels in sound engineering;
  • Express sound-related changes using a decibel scale (referenced or not);
  • Recall the different standards for audio operating levels;
  • Recall the different standards for audio signal metering;
  • Interpret simple audio meter readings;
  • Recognise basic electronic quantities and units of measurement;
  • Identify the basic components found in passive electronic circuits;
  • Discuss the principles of impedance and reactance;
  • Recognise simple CR, LR and CLR equalisation circuits;
  • Summarise the role of earthing and grounding in electronic circuits.
- Audio Engineering & Acoustics (Tools)
  
  These are the learning outcomes for this subject area.
  
  You will be able to:
  
  • Categorise the basic equipment used in music production;
  • Identify the different stages of music production;
  • Recognise the different professionals involved in music production;
  • Explain how and why the spectrum is divided in the context of music production;
  • Identify and operate different types of equalisers;
  • Appraise equalisation from a musical, i.e. not solely technical, perspective, correlating bandwidth, slope and cut-off /centre frequency to pitch;
  • Describe the function of dynamic range processors;
  • Identify and operate different types of dynamic range processors;
  • Apply dynamic range processing creatively;
  • Categorise and operate different types of effects processors;
  • Identify the different types of audio signals encountered in music production environments; • Recognise the different types of cables used in analogue and digital audio signal chains;
  • List the different types of mixing consoles and their individual modules / components;
  • Appraise the functionality of the different modules of analogue mixing consoles;
  • Interpret simple signal flow diagrams;
  • Argue the role of patch bays in music production studios;
  • Generate simple studio interconnection plans centred on basic patch bays.
- Audio Engineering & Acoustics (DAW)
  
  These are the learning outcomes for this subject area.
  
  You will be able to do the following using ProTools and Logic Pro:
  
  • Create and administer sessions;
  • Create tracks and navigate sessions using different time scales;
  • Search, examine and import audio files;
  • Identify the different windows and their components;
  • Perform basic edits;
  • Recall how signals flow;
  • Use ‘insert’ and ‘send’-based plugins;
  • Use virtual instruments;
  • Program basic MIDI based tracks;
  • Use different strategies to control the dynamic range of audio material;
  • Apply automation;
  • Process the output buss;
  • Export / bounce mixes.
Term Two

Production / MusicTheory
• Music Theory
• Arranging / Orchestration
• Practical Recording Workshops
• Practical Mixing Workshops

Audio Engineering / Acoustics (Principles)
• Analogue Audio
• Digital Audio
• Interconnectivity / Calibration
• Synthesis
• Sampling
• Acoustics

Audio Engineering / Acoustics (Tools)
• Studio Consoles
• Microphones
• StereoMicrophonesTechniques
• Loudspeakers
• Amplifiers
• Outboard Processing Workshop

Audio Engineering / Acoustics (DAW)
• ProTools
• Logic Pro
• Ableton Live
- Production & Music Theory
  
  These are the learning outcomes for this subject area.
  
  You will be able to:
  
  • Follow a music score;
  • Use song structure-related jargon in order to communicate with performers;
  • Interpret rhythm-related music notation symbols;
  • Recall basic conducting concepts;
  • Interpret pitch-related music notation information;
  • Analyse simple diatonic compositions;
  • Analyse diatonic compositions with instances of modal interchange;
  • Analyse strings, woodwind, brass and percussion section arrangements used in popular music;
  • Create simple strings, woodwind, brass and percussion arrangements for ‘pop’ songs.
  • Recall the basic actions required for the setting up and running of simple, small-sized recording sessions; • Follow the standard studio etiquette expected from the different members of the production team;
  • Recall the basic actions required for the setting up and running of simple, small-sized recording sessions.
- Audio Engineering & Acoustics (Principles)
  
  These are the learning outcomes for this subject area.
  
  You will be able to:
  
  • Recall key points in the history of musical synthesis;
  • Synthesise instruments using additive, subtractive, FM, wavetable, vector and granular synthesis
  techniques;
  • Synthesise instruments using physical modelling tools;
  • Recall key points in the history of musical sampling;
  • Identify and operate DAW samplers;
  • Describe the basic principles of transduction;
  • List the analogue devices that are commonly found in music production studios’ signal chains;
  • Identify digital audio devices that are commonly used in music production;
  • Describe the process of analogue to digital conversion in broad terms;
  • Recall the elements that affect digital audio quality;
  • Describe the basic principles of digital signal processing;
  • Recognise the different types of digital audio files;
  • Discuss the basic principles of digital audio data compression;
  • Appraise the audio equipment interconnection strategies of small music production environments;
  • Evaluate the calibration requirements of small music production setups;
  • Describe the concept of standing waves;
  • Calculate simple room modes;
  • Describe how the volume and the absorption coefficient of the materials covering the surfaces of a
  room affect the latter’s reverberation time;
  • Calculate the RT60 of different environments;
  • Create impulse response files for use in convolution reverb plugins;
  • Identify the acoustic devices that are commonly found in recording studios;
  • Appraise the acoustic qualities of materials;
  • Recall key points in the history of recording studio design;
  • Appraise the acoustic qualities of recording studios and other music production environments.
- Audio Engineering & Acoustics (Tools)
  These are the learning outcomes for this subject area. You will be able to:
  
  Understand the principles of DAW controller operation
  
  Understand the working principles of microphones
  
  Understand stereo microphone recording theory
  
  Understand the working principles of loudspeakers
  
  Understand the working principles of amplifiers
  
  Select different efficient automation modes using DAW controllers
  
  Mix a multitrack project using a DAW controller
  
  Argue the importance of microphone directionality in music production
  
  Interpret microphone measurements and specification sheets
  
  Appraise the suitability of microphone preamplifiers
  
  Select microphones for specific applications based on practical criteria, e.g. sound source radiation pattern, SPL and placement
  
  Make informed microphone placement decisions when recording simple acoustic sources
  
  Select and use standard stereo microphone techniques with varying transducer types, spacing and angles
  
  Select stereo microphone techniques based on the principles supporting Mike Williams’ stereophonic Zoom concept
  
  Discuss the principles of transduction of different loudspeaker drivers
  
  Appraise the key features and placement of loudspeakers
  
  Interpret loudspeaker specifications
  
  Interpret amplifier operation-related measurements
  
  Categorise different types of audio amplifiers
  
  Interpret amplifier specification sheets
- Audio Engineering & Acoustics (DAW)
  
  These are the learning outcomes for this subject area.
  
  You will be able to:
  
  • Set ProTools up for a recording session;
  • Select the most appropriate mode for specific recording purposes;
  • Edit recorded material using Pro Tools’ Beat Detective;
  • Edit recorded material using Pro Tools’ Elastic Audio;
  • Recall and use advanced Pro Tools ‘tips and tricks’;
  • Set Logic Pro up for a recording session;
  • Select the most appropriate mode for specific recording purposes;
  • Edit recorded material using Logic Pro’s Flex Time;
  • Edit (tune) vocals using Logic Pro;
  • Recall and use advanced Logic Pro ‘tips and tricks’;
  • Create and administer Ableton Live sessions;
  • Use the Browser window to search, examine and import audio files;
  • Identify the different types of tracks used in Ableton Live;
  • Create MIDI tracks using Ableton Live;
  • Set up and use Ableton Live for audio recording purposes;
  • Use Ableton Live’s Devices;
  • Convert MIDI files onto audio tracks and vice-versa;
  • Edit MIDI tracks (including using the ‘slice’ function);
  • Use Ableton Live’s instruments;
  • Use Ableton Live’s automation;
  • Resample audio content using Ableton Live;
  • Bounce Ableton Live projects.
Term Three

Production / MusicTheory
• Advanced Studio Consoles
• RecordingWorkshops
• MixingWorkshops

Audio Engineering / Acoustics (Principles)
• Film Sound
• Film Production Sound
• Post Production
• Film Music
• Film Sound Aesthetics
• Live Sound

Audio Engineering / Acoustics (Tools)
• Music Programming Languages
• Alignment / Pitch Correction Tools
• Remixing
• RestorationTools
• MasteringTools

Management and Music Business
• Copyright
• Mechanical, Performance and Synchronisation Royalties
• Licensing
• Business Fundamentals
• Accounting
• Business Plans
• Marketing Fundamentals
• Marketing Strategies
• Management
• Teamwork
• Presentation Skills
- Production & Music Theory
  
  Theses are the learning outcomes for this subject area.
  
  You will be able to:
  
  • Interpret ARI’s large studio console’s signal flow diagram;
  • Describe the functions of the channel strip components of ARI’s large format console;
  • Describe ARI’s large studio’s basic recording and mixing procedures;
  • Perform the basic actions required for the setting up and running of complex recording and mixing sessions;
  • Recall the standard studio etiquette expected from the different members of the production team working on large productions;
- Audio Engineering & Acoustics (Principles)
  
  These are the learning outcomes for this module.You will be able to:
  
  • Recall key points in the history of film sound;
  • Identify the different stages of film production;
  • Recognise the different roles and responsibilities in film sound production;
  • Discuss the workflow and roles in film production sound (location recording);
  • Recognise the importance of time-code use in film-related projects; List the sound equipment used for film location recordings;
  • Describe the procedure of recording film sound on location;
  • Discuss the workflow and roles in film post-production sound;
  • Edit film production sound (location recordings);
  • Replace poorly recorded production dialogue using ADR;
  • Appraise production sound effects (recorded on location);
  • Choose appropriate sound effects from libraries;
  • Create sound effects for film projects;
  • Recall key points / productions in film music history;
  • Analyse the music used in film;
  • Compose music for short film clips;
  • Mix the sound of short film clips;
  • Critique the aesthetic of sound used in film;
  • Recall key points in the history of live sound equipment development;
  • Recall health and safety recommendations in live sound environments;
  • Identify the different elements found in live sound audio signal chains;
- Audio Engineering & Acoustics (Tools)
  
  These are the learning outcomes for this subject area.
  
  You will be able to:
  
  • Interpret live sound ‘riders’;
  • ‘Spec’ small live sound events;
  • Recall system ‘tuning’ and delay setting procedures;
  • Recall fundamental concepts relating to stagecraft, e.g. backline, cabling, ‘miking’, etc.
  • Assess monitor mixing strategies;
  • Assess F.O.H. mixing strategies;
  • Set equipment up for the recording of live concerts;
  • Recognise the potential use of programming languages in music production;
  • Recall basic objects of Max MSP;
  • Create patches using Max MSP;
  • Use Max MSP to process MIDI messages;
  • Use Max MSP to process audio files;
  • Time align recorded performances (including dialogue);
  • Select appropriate pitch correction techniques for given tasks;
  • Apply advanced pitch correction to recorded materials;
  • Appraise the qualities of commercial remixes;
  • Devise strategies for the remixing of commercial tracks;
  • Remix commercial tracks;
  • Devise strategies for the restoration of audio materials;
  • De-clip, de-click and de-hum audio materials;
  • Restore audio materials using spectral repair techniques;Appraise the quality of mastering applied to audio materials.;
  • Recognise the tools used for the mastering of audio content;
  • Utilise the tools commonly used for the mastering of audio content;
- Management and Music Business
  
  These are the learning outcomes for this subject area.
  
  You will be able to:
  
  • Discuss the general attributes of the music industry;
  • Identify the different roles of professionals operating in the music industry;
  • Discuss the concepts of intellectual property and copyright;
  • Explain the fundamentals of music publishing;
  • Discuss the concepts of royalties and licensing;
  • Perform basic music royalty calculations;
  • Recall fundamentals aspects of music business;
  • Analyse small business accounting-related documentation;
  • Draft simple business plans;
  • Recall the fundamentals of marketing;
  • Analyse small-scale marketing strategies;
  • Draft simple marketing plans;
  • Assess historical examples of artist management;
  • Recall the basic concepts of artist management;
  • Evaluate current trends in the music industry;
  • Engage in discussions about possible future developments in the music industry;
  • Identify key aspects of efficient teamwork;
  • Work in teams collaboratively, maximising group-based outcomes;
  • Recall the main characteristics of good presentations;
  • Present their ideas in front of a small audience

Audio Engineering & Acoustics (Tools)

These are the learning outcomes for this subject area.

You will be able to:

• Categorise the basic equipment used in music production;
• Identify the different stages of music production;
• Recognise the different professionals involved in music production;
• Explain how and why the spectrum is divided in the context of music production;
• Identify and operate different types of equalisers;
• Appraise equalisation from a musical, i.e. not solely technical, perspective, correlating bandwidth, slope and cut-off /centre frequency to pitch;
• Describe the function of dynamic range processors;
• Identify and operate different types of dynamic range processors;
• Apply dynamic range processing creatively;
• Categorise and operate different types of effects processors;
• Identify the different types of audio signals encountered in music production environments; • Recognise the different types of cables used in analogue and digital audio signal chains;
• List the different types of mixing consoles and their individual modules / components;
• Appraise the functionality of the different modules of analogue mixing consoles;
• Interpret simple signal flow diagrams;
• Argue the role of patch bays in music production studios;
• Generate simple studio interconnection plans centred on basic patch bays.

It’s been a life-changing experience really. I came with the willingness and hunger to learn and I left with the awareness of being not only a better producer and engineer, but a better person/human being. Once you’ve learnt all the techy stuff, you realise how much more essential it is to learn the emotional and psychological part of the game and how to deal with artists. And that only comes with passion, hunger and dedication.

Marco Spaggiari, Amsterdam Graduate 2018

It’s insane how inspiring it is to put fifteen musicians of all genres and backgrounds in one class and work on your skills together. I mean, Abbey Road brought me a lot of knowledge, a great network and practical skills – that’s what I signed up for. But it also gave me a bloody great time, tons of fun and sort of a second family.

Rudy Mackay, Amsterdam Graduate 2017

I definitely wouldn’t be where I am today if it weren’t for this course, not only for the invaluable education but also for the good people at Abbey Road Institute Amsterdam, and everyone I’ve met along the year.

Kiko Medeiros, Amsterdam Graduate 2018

By day, you’re soaking in the knowledge of industry experts. By night, you practice what you’ve learnt in a playground of high-end studio equipment. What more could you possibly want?

Janice Wong, Amsterdam Graduate 2017

Abbey Road Institute is not a school, it is a high end production studio with a control room full of learners.

Théo Dorey, Amsterdam Graduate 2016

“Every day spent here felt like I was better than the day before. It is beautiful to think in colours, mix with flavours and develop a unique way to listen and understand music. Abbey Road is all about perspective and attitude, things which are taught so well between the magical walls of the institute“

Stefan Roscovan, Amsterdam Graduate 2017

From the moment I entered Abbey Road Institute Amsterdam it took me a total of 5 minutes to realise that I came to the right place. It has been one of the best experiences, meeting new friends for life from all over the world. You learn so, so much in just 1 year in an incredible environment, which has to be felt to understand.

Audio Engineering & Acoustics (Tools)

Subject Areas

Audio Engineering & Acoustics (Tools)

Marco Spaggiari, Amsterdam Graduate 2018

Rudy Mackay, Amsterdam Graduate 2017

Kiko Medeiros, Amsterdam Graduate 2018

Janice Wong, Amsterdam Graduate 2017

Théo Dorey, Amsterdam Graduate 2016

Stefan Roscovan, Amsterdam Graduate 2017

Fabian Brummel, Amsterdam Graduate 2017