There’s much of the course which covers both the theory and the practise of recording music. 

The theoretical aspects gave us a solid platform from which to put into practice the things we had been taught. 

Theory covered

  • The inputs and outputs and signal flow of systems used in a recording studio
  • Gain structures, EQ, Compression
  • Loudspeaker Studio Monitors
    • Soffit mounted
    • Near field monitors
    • headphones
  • Metering (types and their use – PPM, LUFS, VU)
  • Microphones – types, positioning, typical use
    • Polar patterns
    • Stereo imaging, inter-aural differences (overlap with Acoustics lectures)
  • Mic techniques
    • Coincedent X-Y
    • Spaced A-B
    • Binaural
    • Mid & Sides (M/S)
    • Decca Tree
    • ORTF technique
    • NOS technique
    • Faulkner Array Technique
  • The HAAS effect
  • Time based effects used with recordings
    • Delays
    • Chorus
    • Flange
    • Phaser
    • Reverb

The theory of recording and sound production was well delivered. A minor bug was that it wasn’t always in-sync with the practical side so while it would have been good to move from theory directly to practicing that theory, that wasn’t always possible.    


The diagram below was produced as an assigment to illustrate how signal flows in a recording studio: