This course covers all of the processes of compression, limiting and dynamic processing that are in regular use in recording studio operations. The twelve modules cover the basic controls and functions of the compressor, stereo linking, side chain operation including de-essing, transient shaping and control, operation in conjunction with noise gates and expanders. Applications of compression include dynamic range control, enhancement of individual instruments and voices, and compression and limiting of a completed mix.
The course is entirely practical and is assessed solely on the learner's practical assignment work. Text and graphic support materials are provided as appropriate, and the course includes audio example files demonstrating compression techniques.
The outcome of the course will be an enhanced level of knowledge, skills and experience in compression techniques.
You can study the Audio Masterclass Professional Course in Compression online or by downloading all of the course materials to your own computer. The course can be completed in 12 weeks, or you can spread it out over up to two years if you wish. You can work on the course at any time you choose, and take breaks whenever you like.
Each of the twelve modules of this course includes a practical assignment project that you can work on in your own home recording studio using digital audio workstation software. The assignments include tasks that are typical of a professional recording environment. The challenges are tough, but full instruction is given, often with audio examples and demonstrations.
This is the fully-assessed version of the Audio Masterclass Professional Course in Compression. Study centers around the practical assignment projects of the course and the assessments you will receive.
You can submit each of your twelve practical assignment projects to Audio Masterclass for our assessment, comments and advice. Our assessments are detailed, friendly and helpful. We will tell you exactly what you are doing right, what could be better, and how you can improve. Re-submissions are welcome.
You will receive the Audio Masterclass Professional Certificate in Compression on successful completion of the course.
|Notes on file format||Knowledge|
|Introduction to compression||Knowledge|
|Connecting the compressor||Knowledge|
|The basic action of the compressor||Knowledge|
|Setting the threshold control||Knowledge|
|Setting the gain make-up||Knowledge|
|Setting the release control||Knowledge|
|Setting the attack control||Knowledge|
|The stereo link button||Knowledge|
|Noise and the compressor||Knowledge|
|Breathing and pumping||Knowledge|
|Methods of compression||Knowledge|
|Variable-mu vacuum tube||Knowledge|
|Model answers to check questions||Quiz|
|Female vocal||Audio examples|
|Male vocal||Audio examples|
|Additional female and male vocals||Audio examples|
|Bass guitar||Audio examples|
|Acoustic guitar||Audio examples|
|Electric guitar||Audio examples|
|Kick drum||Audio examples|
|Full drum set||Audio examples|
|Full mix||Audio examples|
|Module 1: Compressor controls 1|
|Gain reduction meter||Knowledge|
|Practical assignment project on compressor controls (1)||Practical assignment project|
|Module 2: Compressor controls 2|
|Practical assignment project on compressor controls (2)||Practical assignment project|
|Module 3: Compression problems|
|Breathing||Practical assignment project|
|Pumping||Practical assignment project|
|Module 4: Stereo linking|
|The stereo image||Knowledge|
|That the components of the stereo image should not move||Knowledge|
|Why compression can cause an unsteady stereo image||Knowledge|
|Examples of an unsteady stereo image||Audio examples|
|Practical assignment project in stereo linking||Practical assignment project|
|Module 5: Expansion and gating|
|The problem of noise||Knowledge|
|Practical assignment in gating||Practical assignment project|
|Practical assignment in expansion||Practical assignment project|
|Module 6: Side chain|
|Setting up the side chain||Practical assignment project|
|Filtering the side chain||Practical assignment project|
|Controlling the dynamics of one track according to the dynamics of a different track||Practical assignment project|
|Typical uses of the side chain||Practical assignment project|
|Module 7 Mid-Side (MS) compression|
|Practical assignment project on MS compression||Practical assignment project|
|Module 8: Transient shaping|
|Shaping the attack phase||Practical assignment project|
|Enhancing the post-attack phase||Practical assignment project|
|Shaping the decay phase||Practical assignment project|
|Controlling and manipulating levels||Practical assignment project|
|Module 9: Gating effects|
|Setting up the external key input||Practical assignment project|
|Triggering the gate with an external key||Practical assignment project|
|Shaping a continuous sound source into a rhythm||Practical assignment project|
|Module 10: Dynamic range control|
|Simple compression||Practical assignment project|
|Look-ahead limiting||Practical assignment project|
|Parallel compression||Practical assignment project|
|Automation as an alternative to compression||Practical assignment project|
|Module 11: Warmth in compression|
|Examples of vacuum tube emulating compressors||Audio examples|
|Examples of hardware compressors||Audio examples|
|Practical assignment project on warmth in compression||Practical assignment project|
|Module 12: Parallel compression|
|Setup for parallel compression||Practical assignment project|
|Compression settings||Practical assignment project|
|Comparison between uncompressed and parallel compressed signals||Practical assignment project|
|Detailed comparison of peaks and low levels||Practical assignment project|
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