WHAT THE EXPERTS SAY ABOUT THE BLACKBIRD ACADEMY

IF YOU ARE THINKING ABOUT GOING ANYWHERE FOR AN AUDIO SCHOOL, THIS IS THE PLACE...IT’S THE EPICENTER OF RECORDING IN NASHVILLE AND PEOPLE FROM OUTSIDE COUNTRY MUSIC ARE ALL COMING HERE TO RECORD AS WELL.

Vance Powell

Patrick Carney

Drummer, The Black Keys

IF YOU ARE GOING TO GET AN EDUCATION IN THIS BUSINESS, THIS IS THE BEST SET OF ROOMS TO BE DOING IT.

IF YOU ARE INTERESTED IN LEARNING HOW TO RECORD OR MIX LIVE SOUND ... FROM SOME OF THE BEST PEOPLE IN THE GAME, I WOULD RECOMMEND GOING TO THE BLACKBIRD ACADEMY.

Don Was

Grammy-Winning Producer, Musician “

TO BE ABLE TO LEARN IN THAT ENVIRONMENT…MAN, YOU ARE GONNA HAVE THE BEST SHOT OF AN EDUCATION IN RECORDING THAT YOU’RE GONNA HAVE ANYWHERE. ”

Sheryl Crow

Recording Artist, Songwriter, Musician

TIM MCGRAW

Recording Artist, Songwriter, Actor

Marc Roberge

“

[STUDENTS] ARE GOING TO WALK IN HERE, BE EXCITED ABOUT LEARNING, AND REALLY LEARN WHAT IT TAKES TO MAKE A RECORD…IF I HAD SIX MONTHS TO DEDICATE TO COMING TO THE BLACKBIRD ACADEMY, I WOULD SO BE HERE. ”

“

IF YOU ARE LOOKING FOR A PLACE TO LEARN ALL YOU CAN ABOUT AUDIO, THEN THE BLACKBIRD ACADEMY IS THE PLACE YOU NEED TO BE. ”

Recording Artist, Musician, O.A.R. “

COMING TO THE BLACKBIRD ACADEMY WOULD BE THE BEST DECISION YOU EVER MADE, IF YOU WANT TO BE IN THE REAL MUSIC BUSINESS. ”

To see the complete interviews, visit www.theblackbirdacademy.com/testimonials

WEEK 1: INTRO, LISTENING, RECORDING, CAREERS & PROFESSIONALISM

Introduction to staff and instructors, Blackbird Studio tour and technical orientation. Orientation and preparation. Ears-on listening, introduction to Pro Tools. Overview of recording processes, hands on recording, care and handling of gear. Overview of careers. Guest speakers and field trip visits, in person or online.

WEEK 2: SIGNAL FLOW, MIXING CONSOLES, CAREERS & PROFESSIONALISM

Careers overview continued. Mixing console and patching systems. In-depth examination of signal flow and troubleshooting. Comprehensive study of the API 1608 mixing console. Ears On and Hot Seat challenges. Guest speakers and visits, in person or online. Test.

LOCATED AT: 2806 AZALEA PLACE, NASHVILLE, TN 37204

LENGTH OF PROGRAM: SIX MONTHS (HOURS CAN VARY FROM 9AM – 12PM)

CURRENT TUITION: $23,100

WEEK 3: STUDIO ORIENTATION

Familiarization with rooms, monitors, patch bay, console and outboard gear. Microphone reports: Daily, hands-on work with a wide range of tube, solid state, dynamic, and condenser microphones. Hands on: Session pre-production, signal flow, working with consoles, OB gear, and summing systems.

WEEK 4: STUDIO ORIENTATION - II

Building on Week 3. Concentrating on tube microphone setup and care. Compressor & EQ reports: Daily, hands-on work with a wide range of tube, and solid state processors. Familiarization with rooms, monitors, patch bay, console and outboard gear. Setting up for overdub scenarios. Written and patch bay exam.

WEEK 5: MICROPHONES

Microphone types, design, uses and placement for both studio and live recording environments. Compare and contrast microphones both classic and modern, and their placement. Classroom workshops from microphone company representative(s). Demos and workshop, mic shootouts, testing and mic recognition. Guest speakers and visits, in person or online, ears-on listening, Pro Tools exercises. Test.

WEEK 6: MUSICAL INSTRUMENTS & MICROPHONE TECHNIQUES

Learn from specialists about tuning, setup and aspects of different instruments including drums, acoustic, electric and bass guitars, vocals and more. Hands-on recording sessions: microphone and recording techniques, microphone comparisons, creative balanced/unbalanced conversions. Continuing Pro Tools and signal flow education, ear training and music education, testing drills. Guest speakers and visits, in person or online, ears-on listening exercises.

WEEK

7: TRACKING THE BAND IN STUDIO

Familiarization with new room, monitors, patch bay, console and outboard gear. Hands on: Session Pre-Production, consultation with band, setup, testing, recording, overdub, mixing, Recording, mixing, mastering, and content delivery. Introduction to documentation, charts, and time keeping. Introduction to soldering on days 4 & 5.

WEEK 8: TRACKING THE BAND IN STUDIO

Recording a live band in studio, overdubs, edits, mixing and mastering projects from other students. End of week listening session for critiquing mixes. Tracking template instruction.

WEEK 9: LIVE SOUND FACILITY VISIT

The studio engineering students visit our live sound facility for 3 days to learn live audio sound basics, setup, power, FOH and monitor mixing. The live sound students visit the studio to learn studio session setup. Recording a live band in studio, overdubs, edits, mixing and mastering projects from other students. End of week listening session for critiquing mixes.

WEEK 10: ACOUSTICS AND SIGNAL PROCESSING

In-depth investigation of multiple aspects of musical acoustics: time and space, frequency, timbre, amplitude, etc. Signal processing of all types: delays, equalization, pitch-based effects, compression, gating, limiting and more. Continued Pro Tools, signal flow, ear training, critical listening, etc. Ethics of music technology. Tests.

WEEK 11: TRACKING THE BAND IN STUDIO

Setup, testing gear and tracking a band in the studio I and II. Overdub and editing I and II. Rough mixes, cleanup and archiving. Midterm exam.

WEEK 12: PRO TOOLS DRILLS, ACOUSTICS AND SIGNAL PROCESSING

In class Pro Tools exercises and tests. Continued investigation and experimentation of acoustics and signal processing. Guest speakers and visits, in person or online. Earson critical listening. Test.

WEEK 13: GUEST IN STUDIO

Guest Engineer recording a live band in studio, overdubs, edits, mixing and mastering projects from other students. End of week listening session for critiquing mixes.

WEEK 14: MIXING IN ANALOG/TAPE

Mixing to analog tape, tape editing, tape loops. Pitch correction software. Audio converter calibration, bit depth, plug-ins. Stereo mic techniques.

WEEK 15: ACOUSTICS & SIGNAL PROCESSING. HEARING, AUDIO ILLUSIONS/SUPERSTITIONS, STUDIO & MONITOR DESIGN

Continued education in acoustical science and audio signal processing. Study of hearing and its preservation, auditory illusions and superstitions. Binaural microphone demonstration. Introduction to acoustical design, studio design, soundproofing, etc. Guest speakers and visits in person or online, critical listening exercises. Test.

WEEK 16: ACOUSTIC DESIGN AND MONITOR SYSTEMS

Continued exploration of acoustical design, studio design, soundproofing, etc. Monitor system design: amplifiers, loudspeakers, processing, analysis, etc. Guest speakers and visits in person or online, critical listening, Pro Tools exercises. Test.

WEEK 17: SIGNAL PROCESSING IN THE STUDIO & INTRODUCTION TO ATMOS

Signal processing in the studio. Theory and use of EQ, Dynamics, Time based and hybrid processors. Compare and contrast plugins with Blackbird’s collection across various workflows, instruments, and vocals. Analog automation training. Near field monitor setup and mixing techniques. Microphone shootouts on various instruments. Introduction to mixing in Atmos. Automation and Compressor/EQ recognition test.

WEEK 18: TRACKING THE BAND IN STUDIO

Recording a live band in studio, overdubs, edits, mixing and mastering projects from other students. Listening session for critiquing mixes. Mix template instruction.

WEEK 19: ADVANCED MIXING AND SIGNAL PROCESSING, MASTERING, AND MANUFACTURING. HISTORY OF RECORDING.

In-depth training and experience in the mixing process: philosophy, theories, tools and techniques. Guest speakers and visits in person or online, critical listening, mixing projects. Comprehensive history of recording technology and the recording industry. Project assignment.

WEEK 20: CAREERS, BUSINESS, ENTREPRENEURSHIP AND INTELLECTUAL PROPERTY

Music business overview, business structures, career planning, entrepreneurship, job search, health and safety. In-depth coverage of aspects of intellectual property law as they apply to the music business. Training in interpersonal skills. Guest speakers and visits in person or online, critical listening, etc. Project assignment.

WEEK 21: ELECTRONIC MUSIC INSTRUMENTS AND PRODUCTION, SOUND FOR PICTURE, ETC.

Investigation and practice of various methods of electronic music production: synthesis, etc. History of the electronic musical instrument. Video game, film and TV audio, post-production, etc. Discussions with professionals in the field. Hands-on film scoring project, musique concrete project. Guest speakers and visits in person or online, critical listening, Pro Tools exercises, etc.

WEEK 22: TRACKING THE BAND IN STUDIO

Recording a live band in studio, overdubs, edits, mixing and mastering projects from other students. Listening session for critiquing mixes. Mastering training. Final exam.

WEEK 23: CAPSTONE

Speak with multiple guest mentors from different areas of the audio and recording world. Wrap up, critical listening exercises, recording projects.

WEEK 24: TRACKING AND MIXING IN STUDIO

Recording a live band in studio, overdubs, edits, mixing and mastering projects from other students. End of week listening session for critiquing mixes. Mastering student projects.

WEEK 1: INTRO, COURSE OUTLINE, ELECTRICITY & ENTERTAINMENT POWER

Orientation and Overview of Classes, Intro to Instructors, Tour of Live Sound Campus.

Electricity and Entertainment Power: Introduction into DC and AC circuits, Overview of concepts associated with electricity: Volts, Amps, Ohms, Watts, Transformers, Reactance & Power Factor, etc., Overview of single phase and 3-phase power, Introduction to power connectors: Camloks, Pin Sleeve, Twistlock Hubble, True One & Powercon. Introduction to multimeters and other test equipment. Labs to include safe practices for hooking up and metering 3-phase power, connecting power distribution units and chain motor controllers.

LOCATED AT: 3318 AMBROSE AVE., NASHVILLE, TN 37207

LENGTH OF PROGRAM: SIX MONTHS (HOURS CAN VARY FROM 9AM – 12PM)

CURRENT TUITION: $23,100

WEEK 2: CABLES, CONNECTORS AND AUDIO ELECTRONICS

Introduction to common cables and connectors used in pro audio: Microphone Splitters, Mass Connectors, Analog and Digital Snakes. Introduction to Balanced and Unbalanced audio connections. Introduction to basic audio electronics including resistors, capacitors, transistors, diodes and transformers. Transformers as they relate to direct boxes and audio splits. Introduction into Soldering. Labs to include basic soldering techniques, building & testing various audio cables.

WEEK 3: MICROPHONES

Introduction to Microphones: Microphone operating principles: Dynamic, Condenser, Ribbon, Carbon. Microphone Polar Patterns:

Cardioid, Hyper and Super Cardioid, Omni, Bi-Directional and Shotgun. Common Mic Techniques, On-Axis vs. Off- Axis Coloration, Microphone Frequency Response. Labs to include applying microphone techniques to various sound sources and comparing.

WEEK 4: ANALOG CONSOLES I

Analog Consoles Signal Flow, Flow Chart

Symbols Identification, the Channel Strip, Auxiliary Sends, the Master Section, Signal Routing and Subgrouping. Incorporating Graphic EQ’s on Main LR Outputs, Inserting Dynamics Processing, Incorporating Time Based Effects. Labs to include applying analog console live signal routing and signal flow charts.

WEEK 5: LIVE STAGE SETUPS

Introduction to common practices in Live Performance: Crew Positions: FOH, Monitors, System Tech, Production, Stage and Tour Managers. Stage Terminology: Stage Directions, Stage Plots and Input List, Line Check vs. Sound Check. Introduction to Analog Consoles, Signal Flow, the Channel Strip, Auxiliary Sends. Labs to include setting up a monitor console and wedges, incorporating Graphic EQ’s to the Aux outs, Basic Monitoring and using a Cue Wedge.

WEEK 6: SOUND THEORY & ACOUSTICS

Introduction into sound theory and concepts associated with acoustics: Frequency, Wavelength, the Speed of Sound, Equal Loudness Contours, SPL meters, Dynamic Range, Noise Floor. Venue Acoustics and modeling of acoustic environments: RT60, Room Modal Analysis, Inverse Square Law, Decibels, White noise and Pink Noise. Introduction into Critical Listening. Common practices for sound control in room design.

WEEK 7: AUDIO SIGNAL PROCESSORS

Building on previous lessons including Signal Flow of Frequency based, Amplitude based & Time-based processing.

Identification of Filters, Shelving/Sweeping/Parametric Equalizers. Inserting, Side Chaining and use of Parallel Dynamics based Processors. Introduction to Multitrack Mixing and Common Mixing Techniques. Labs to include hands on application of Frequency based, Amplitude based & Time-based Processors.

WEEK 8: LIVE RECORDING, DAW’S & PRO TOOLS

Introduction to Digital Audio and Recording of a Live Performance. Introduction into Basic Networking, Dante, Dante Virtual Soundcard & Dante Controller.

Introduction to Pro Tools: System Setup, Recording, Editing, Mixing, Applying Effects & Signal Flow. Labs to include hands on setup, operation and mixing of a project in Pro Tools.

WEEK 9: STUDIO VISIT

The live sound students visit the studio for 3 days to learn recording, overdubs, edits, mixing, and mastering of a live band in a studio setting. End of week listening session for critiquing mixes. The studio engineering students visit the live facility to learn live audio sound basics, setup, power, FOH, and monitor mixing.

WEEK 10: DIGITAL CONSOLES I AND MIXING TECHNIQUES I

Introduction to Digital Consoles: Patching and I/O, Digital Connectivity, Latency, OnBoard Signal Processing, Saving, Copying & Pasting Presets, Snapshots and Scenes, Offline Editors. Consoles focused on this week are the Midas M32, Soundcraft Si Performer, Soundcraft Vi1 as well as others depending on availability. Labs to include hands on exercises based on signal flow and mix techniques.

WEEK 11: LOUDSPEAKERS, CROSSOVERS & AMPLIFIERS

Introduction to Loudspeakers, Crossovers & Amplifiers. Topics to include Moving Coil Drivers, Compression Drivers and Horns, Enclosure Types, Construction & Design, Dispersion Patterns, Active and Passive Crossovers. Amplifier Terminology: Power Rating, Class, Impedance, Modes of Operation (Stereo, Parallel, Bridged Mono). Discussion on common practices regarding connectivity of modern sound systems.

WEEK 12: MID TERM WEEK

Comprehensive review of material covered in the previous 11 weeks in preparation for the mid-term exam. Practice for the mid-term practical exam.

WEEK 13: SOUND SYSTEM DESIGN, CONNECTIONS & OPTIMIZATION

Review of Loudspeakers, Design & Construction, Horn Types, Multiple Point Sources, Comb Filtering, setting up a 2-Way System, Crossover Points, Filter Topology (Butterworth, Bessel, Linkwitz-Riley), Setting up a 3-Way or 4-Way System, Aux Fed Sub Systems, Sub Arrays, System Processors. Labs to include connecting and setting up P.A. System, configuring System Processors, and Sub Arrays

WEEK 14: PERMANENT INSTALLS

Fixed Audio System Designs for use in a

Venue (Theaters, Schools, Bars, Churches, etc.), Audio Processing for Venues, Power Sequencing, Common Design Practices (Gear, Rigging, Remote Access), 70V Speaker Systems (Theory, Connectivity, Deployment using Software such as Ease Address), Designing a Sound System with a budget and deadline.

WEEK 15: SYSTEM ANALYZERS & TROUBLESHOOTING

Introduction to System Analyzers & Troubleshooting Methods, Time Alignment, System Tuning Methods

WEEK 16: LINE ARRAYS & RIGGING

Line Array History and Theory, Popular Configurations, Line Array Principles (Array Length, Driver Separation, Inverse Square Law), Array Configurations (Straight Line, Constant Splay, Progressive Splay), Rigging Gear (Aircraft Cable, Shackles, Spansets, Pear Rings), Rigging Points (Dead Hangs, Bridle Hangs) Labs to include rigging overview, flying and configuring a line array system.

WEEK 17: ANALOG CONSOLES II

Large Format Analog Consoles, Advanced Analog Signal Flow Concepts, VCA’s & Matrices, Mute Groups, Outboard Signal Processing (including Frequency, Amplitude & Time-Based Processing), Documenting Outboard Gear, Mixing Tip & Tricks, Recording a Live Mix using Pro Tools.

WEEK 18: RF & IEMS

RF Theory, FFC Rules & Regulations, Types of Modulation, RF Frequency Bands, RF Signal Flow, Wireless Transmitters, Nondiversity, Diversity & True Diversity Receivers, Networking Wireless Devices. Wireless Antennas: Antenna Polar Patterns, Cabling and Connections, Antenna Splitters and Combiners, Antenna Deployment. Labs to include connecting wireless devices, controlling and monitoring remotely over network connection.

WEEK 19: ADVANCED MONITOR SETUPS

Stage Monitor Mix Approaches, Wiring and Deployment of Stage Monitoring, Monitor Signal Flow, Wedge Configurations (Mono, Stereo), Optimizing Wedges for gain before feedback, IEM Mixing, Side Fills, Side Hangs, Communication Etiquette with Artist, Troubleshooting. Labs to include wiring and deploying several monitor configurations and creating a monitor mix.

WEEK 20: DIGITAL AUDIO THEORY & NETWORKING

Digital Audio Theory, Analog to Digital Converters, Digital to Analog Converters, Sample Rate, Bit Depth, Word Clocking,

Digital Audio Protocols, Linear Time Code, Computer Networking (IP addresses, Subnet Mask, Gateways, MAC Addresses, Network Switches), Audio Over Ethernet (Dante, AVB, AES50), MADI, AES/EBU. Labs to include connecting and networking various audio gear.

WEEK 21: TOUR PRODUCTION AND MUSIC BUSINESS

Production, Stage and Tour Management, Band & Artist Management, Riders (Tech, Backline, Hospitality) Union Hands, Venue Management, Taxes, being your own boss, Sole Proprietorships, DBA’s & LLC. Resumes, Business Cards, Touring Etiquette, Buss & Tour Safety.

WEEK 22: BACKLINE AND STAGE MANAGEMENT

Instrument Setup & Maintenance, Anatomy of a Guitar (Body & Neck, Bridge, Saddle & Nut, Tuners, etc.), Stringing Instruments, Truss Rod Adjustments, Tuning, Intonation & Action, Effects Pedals Signal Flow, Effects Loops, Amplifier Demos & Mic Techniques, setting up a Drum kit, Changing Drumheads, Drum Hardware.

WEEK 23: DIGITAL CONSOLES II AND MIXING TECHNIQUES II

Advanced Digital Signal Flow Concepts, Large Format Digital Consoles, Advanced Signal Routing (Matrix Mixers, Auxiliary Sends, Subgrouping, DCA’s, Control Groups, Snapshot Automation), Offline Editors.

WEEK 24: RECAP AND FINAL EXAMS