OIART News, Blog and Alumni Spotlights

10 Unexpected Careers in Audio Engineering and Music Production

Fri, 24 Apr 2026 18:45:11 GMT

When most people think about going to one of the top music production schools in Canada or enrolling in audio engineering programs, they picture one thing: working in a recording studio with artists.

And while that path is still very real, it’s also very limited compared to what’s actually happening in the industry today.

The truth is, audio careers have evolved.

The industry is no longer just about music production. It’s now deeply connected to gaming , film, streaming, live events, content creation, and digital media. And with that growth has come a wave of new, high-demand roles that many students don’t even realize exist.

That’s where the gap is.

Most students exploring audio engineering colleges or audio engineer schools don’t fully understand how many directions audio can take them until they experience it firsthand.

At the Ontario Institute of Audio Recording Technology (OIART), that discovery is part of the process. Students rotate through multiple studios and real-world production, building skills across Music Production , Live Sound , and Audio for Visual Media .

And along the way, many find career directions they didn’t even know existed.

The Audio Industry Is Bigger Than You Think

There was a time when audio careers were mostly tied to music studios or live concerts. Today, that definition barely scratches the surface.

Audio now plays a critical role in:

Gaming
Film and television
Streaming platforms
Podcasts and digital content
Live and hybrid events
Corporate and branded experiences

This shift has created a wide range of opportunities that are technical, creative, and highly specialized.

And importantly, many of these roles are high-demand, tech-driven careers that align perfectly with the kind of hands-on training students get at OIART’s sound engineering program, where real-world experience, pro-level gear, and small class sizes prepare grads for exactly these paths.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

10 Careers You Don’t Hear About (But Should)

Many people assume audio grads only work in music studios, but today’s industry is far more diverse.

As students move through OIART’s program , they start to see how many directions audio can take them.

1. Game Audio Design

In gaming, sound isn’t just background, it’s part of the experience. Audio designers build immersive environments where sound reacts to player movement, actions, and story progression, helping shape entire virtual worlds. It’s a perfect mix of creativity and technical problem-solving, and a growing space within modern audio engineering programs.

2. Foley Art & Sound Effects Creation

Ever wondered how footsteps, punches, or environmental sounds feel so real on screen? Foley artists recreate these sounds manually using everyday objects, transforming simple materials into believable audio that adds depth and realism to film and television.

3. Post-Production for Film & TV

This is where stories truly come to life. Audio professionals shape how scenes feel through editing, mixing, and sound design, working behind the scenes on everything from indie films to major productions. For students interested in storytelling, this path offers a powerful creative outlet.

4. ADR & Dialogue Editing

When dialogue isn’t perfect on set, it’s rebuilt in post. ADR specialists re-record lines in the studio, while dialogue editors refine clarity and emotion, ensuring every word sounds natural and fits seamlessly into the scene.

5. Broadcast Audio for Sports & News

In the fast-paced world of live broadcasting, there’s no room for error. Audio engineers manage commentary, crowd noise, and live feeds in real time, delivering clear, balanced sound for sports, news, and television as it happens.

6. Corporate AV & Event Production

For those drawn to structure and consistency, corporate AV offers a stable and in-demand career path. From conferences to large-scale presentations, audio professionals ensure events run smoothly, blending technical expertise with real-world problem solving.

7. Theatre Sound Technician

In theatre, timing is everything. Sound techs work closely with performers and directors to cue audio perfectly during live shows, creating seamless productions where sound enhances every moment on stage.

8. Podcast Engineering & Editing

Podcasting has become a major industry, and great audio is what sets top shows apart. Engineers shape the listening experience through editing, mixing, and storytelling, controlling pacing, clarity, and tone while working closely with creators and brands.

9. Live Sound for Festivals, Clubs & Touring

For those who want energy and movement, live sound offers a front-row seat to the action. Engineers mix audio in real time for audiences, often traveling with artists and working in fast-paced, high-energy environments, from clubs and concert venues to outdoor festivals and large-scale live events where no two shows are ever the same.

10. VR & Immersive Audio

One of the most exciting emerging areas, immersive audio focuses on creating 3D sound environments for virtual experiences, installations, and interactive media. It’s a space for those who want to push creative boundaries and explore the future of sound.

Finding Your Path in the Audio Industry

As students explore these different paths, they begin to understand where their interests fit within the industry.

Some discover a passion for storytelling through post-production, while others are drawn to the technical intensity of live sound or broadcast. Some prefer the consistency of corporate work, while others thrive in creative, fast-moving environments like gaming or immersive media.

OIART graduates are already working across many of these areas, from live touring and broadcast media to video game studios and post-production, showing just how wide the opportunities really are.

The biggest realization for most students? There isn’t just one career path anymore and that’s a huge advantage.

Alumni Spotlight: Where OIART Can Take You

OIART graduates are already working across many of these industries, turning their passion for audio into real careers.

From game studios to live touring, film production to broadcast media, here are just a few examples:

Jeff Hartling : Audio Engineer at Digital Extremes (Video Game Industry)
Steve Scott : Location Sound Engineer (Film & Television – CBC, PBS)
Nathan Bond : Front-of-House & Monitor Engineer (Touring & Live Sound)
Devon Nutty : Live Sound System Technician (Major Tours & Festivals)
Andrew Brown : Front-of-House Engineer (International Touring)

These are just a few examples of where a career in sound engineering in Canada can lead.

Why You Discover These Paths at OIART

One of the biggest reasons students uncover these opportunities at OIART is simple, it’s exposure.

Many traditional audio engineering programs focus heavily on theory or limit students to a narrow set of experiences. That can make it difficult to understand how broad the industry really is.

OIART takes a different approach. Students rotate through eight professional studios (Studios 1–8) , each designed for different types of production. They work on real projects, use industry-standard equipment, and experience multiple workflows across music, live sound, and audio for visual media.

This kind of hands-on training doesn’t just build skills, it builds awareness.

It’s common for students to start the program focused on music production, only to discover a passion for post-production, live sound, or broadcast along the way.

That kind of clarity only comes from doing, not just learning in a traditional classroom.

Training for a Changing Industry

The audio industry isn’t slowing down, it’s expanding into new spaces every year.

Gaming continues to grow globally. Streaming platforms are producing more content than ever. Live events are becoming more technical and more complex. Content creators are building entire businesses around video and audio.

All of this relies on skilled audio professionals. That means graduates of today’s music production schools in Canada have more options than ever, but only if they’re prepared for the demands of the modern industry.

At OIART, the focus is on preparing students for what’s happening now, not what the industry looked like ten years ago.

With over 40 years of experience , small class sizes, and the highest graduation and job placement rate in the industry, the program at OIART is designed to produce graduates who are confident, capable, and ready to work.

More Than a School It’s A Community That Lasts

Audio is an industry built on relationships.

The people you meet, the projects you collaborate on, and the connections you build often shape your career just as much as your technical skills.

At OIART, students become part of a network of over 1,100+ alumni , working across all areas of the industry from live sound and broadcasting to post-production and content creation.

That network doesn’t end at graduation, it grows with you.

And in an industry where opportunities often come through connections, that kind of support can make all the difference.

How to Choose the Right Audio Engineering Program in Canada

Not all audio engineering programs are created equal and choosing the right one can shape your entire career.

If you’re comparing music production schools in Canada , focus on what actually matters:

Hands-on experience : Audio is a practical skill . You need real time in studios, working with gear, solving problems, and adapting in real sessions, not just learning theory.
Program focus : Schools that try to cover everything often lack depth. A focused audio engineering program helps you build the specialized skills the industry actually demands.
Class size : Smaller classes mean more access to instructors , more time on professional equipment, and more personalized feedback on your work.
Career outcomes : Look for a program with strong industry connections, proven graduate success, and support that continues after you finish.

This is where OIART stands out.

With hands-on training in Studios 1–8, a focused curriculum, and direct access to instructors, students graduate with real-world experience, not just theory.

And in an industry that values what you can do , that makes all the difference.

So, Where Do You Fit In?

That’s the exciting part, you don’t have to have it all figured out right now. The audio industry isn’t a single path anymore. It’s a wide, evolving space with opportunities across music, media, tech, and live events.

Whether you see yourself producing podcasts, designing sound for games, mixing live shows, or working in film, there’s a place for you. The key is starting in an environment where you can explore it all.

Ready to Turn Your Passion Into a Ca reer?

If you’re serious about building a future in audio, now is the time to take the next step.

Book a tour and experience Studios 1–8 firsthand. Connect with instructors and current students to get a real sense of the program. When you're ready, apply to secure your spot, spaces are limited.

Have questions or want to learn more first? Contact our team to get the answers you need and explore if OIART is the right fit for you.

Why Different Personalities Thrive in Audio Engineering and Music Production

Wed, 18 Mar 2026 15:48:56 GMT

The world of professional audio is often portrayed as a high-energy producer directing a room full of artists. While those moments exist, they represent only a small part of the industry. In reality, audio engineering and music production require a wide range of personalities and strengths.

Whether you're a quiet problem-solver who loves detail or someone who feeds off the energy of a live crowd, there is a place for you in this industry.

At the Ontario Institute of Audio Recording Technology (OIART), we see it every year: different personalities thriving in different corners of the audio world. The key isn’t changing who you are, it’s learning how to apply your natural strengths inside professional audio environments.

If you’ve been searching for audio engineering programs or music production schools in Canada, you’ve likely realized that the best education doesn’t just teach you which buttons to push; it teaches you how to apply your natural strengths to choose the right career path.

Keep reading to discover which personality profile matches your strengths and where you fit in the world of professional sound.

Why Introverts Thrive in Sound Engineering and Music Production

Introverts are often the secret weapons of the recording world. While the industry has a reputation for being loud, the actual work of sound engineering in Canada and beyond is frequently a quiet, solo endeavour.

The Power of Precision and Focus

Introverts naturally excel at focused, detail-oriented work. This makes them elite candidates for mixing, mastering, and sound design. These roles require sitting with a single audio file for hours, detecting microscopic frequency clashes that others might miss.

Strengths of the Introverted Engineer:

Active Listening: Introverts process information deeply before responding. In a session, this means they hear the subtext of what an artist wants, leading to more thoughtful creative input.
Patience: Great audio requires 1,000 tiny, correct decisions. Introverts have the natural stamina for the "grind" of editing and vocal tuning.
Controlled Environments: Many audio careers take place in low-distraction edit bays or post-production suites. For a quieter personality, this isn't isolation, it’s an ideal workspace.

Technical Immersion

Tech-minded introverts often find peace in the logic of signal flow, DAWs, and plugins. At audio engineering schools like OIART, we see these students dive into the why behind the technology, becoming masters of the tools because they enjoy the process of solitary discovery.

The Extrovert’s Edge in Music Production Programs

If you are someone who draws energy from people, you are built for the "front end" of the industry. These are the personalities that turn a nervous songwriter into a confident performer.

Vibe Management

In music producer programs, we emphasize that a producer’s job is 50% technical and 50% psychological. An extroverted engineer knows how to read the room. They know when to crack a joke to break the tension of a bad take and when to offer the precise encouragement needed to capture a hit vocal.

The Networker

Extroverts naturally thrive in the gig economy of audio. They enjoy the hustle of recording schools where they can meet dozens of future collaborators. Because they find networking energized rather than draining, they often rise quickly in studio management or freelance engineering.

Key Roles for the Extrovert:

Lead Producer: Managing the big picture of an album.
A&R (Artists and Repertoire): Finding and developing new talent.
Studio Manager: Running the daily operations of a multi-room facility.

The Technical Commander Is The Live Sound & Broadcast Pro

There is a specific type of person who loves the danger of live events . If you are decisive, resilient, and thrive when the stakes are high, you belong in Live Sound or Broadcast.

The High-Pressure Specialist

In a live setting, there is no undo button. If a microphone fails in front of a stadium crowd, the Technical Commander doesn't panic, they troubleshoot. This personality type enjoys the adrenaline of a countdown and the satisfaction of a perfectly executed show.

Leadership in the Field

Live sound is a team sport. Whether you are the Front of House (FOH) engineer or the system tech, you are part of a crew. This suits people who enjoy a "brotherhood/sisterhood" atmosphere and the physical nature of setting up massive sound systems.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

The Sonic Architect Is The Creative Logic of Game Audio

Some people don't fit into a simple introvert vs. extrovert box. These are the Architects, highly creative individuals who use logic and math to build worlds.

Gaming and Beyond

This is one of the fastest-growing sectors for students in music engineering programs. Game audio involves implementation, which means using software like Wwise or FMOD to make sounds to react to a player’s actions. It requires a brain that is half-musician and half-programmer.

Foley and Sound Design

The Architect loves world-building. They are the ones who can turn the sound of a rustling chip bag into a terrifying forest monster. It is a niche that rewards curiosity and unconventional thinking. This creative logic is essential for high-demand roles like Sound Designer, Game Audio Implementation Specialist, and Foley Artist, where every sound must serve a larger story.

Mapping Your Strengths to Industry Roles

Use this chart to see which path within audio engineering colleges matches your natural wiring.

The Technical Mechanics Behind Every Great Mix

Many students who look into music engineering programs are driven by a love for the gear. Tech-minded introverts often find immense satisfaction in the logical side of audio. Understanding signal flow, the path audio takes from the microphone through the preamp, into the computer, and out of the speakers, is like solving a giant, invisible logic puzzle.

At OIART, our hands-on program is designed to cater to this curiosity. We don't just tell you to use a plugin; we teach you why that plugin works on a mathematical and physical level. For someone who enjoys diving into the nitty-gritty of DAWs and signal processing, the technical side of audio engineering provides endless opportunities for problem-solving. It’s a field where being a nerd about technology is not just accepted, it’s a prerequisite for success.

Redefining Collaboration

There is a common misconception that collaboration means being the loudest person in the room. In the audio industry, the opposite is often true. Professional collaboration relies on:

One-on-one communication: Most studio sessions involve just an engineer and an artist.
Clear, concise notes: Precision in communication prevents expensive mistakes.
Thoughtful creative input: Knowing when not to speak is just as important as knowing when to offer a suggestion.

For those who find large groups overwhelming, the intimate nature of studio work is a perfect fit. You aren't performing for a crowd; you are supporting an artist’s vision through technical expertise.

How the OIART Program Develops the Complete Modern Audio Professional

Regardless of your personality, the best audio engineering programs should push you out of your comfort zone while supporting your natural strengths. At OIART, our small classes and personalized instruction ensure that:

Introverts Gain Confidence: Our small class sizes mean you aren't competing for attention in a giant lecture hall. You get structured, supportive practice in real-studio settings, building your professional voice at your own pace.
Extroverts Gain Discipline: We teach high-energy personalities the silent art of critical listening, ensuring they have the technical chops to back up their social skills.
Everyone Learns Collaboration: Audio isn’t always loud and overwhelming. Much of the job relies on one-on-one communication, clear notes, and thoughtful input. We simulate these professional interactions daily.

Breaking Down the Industry Segments

If you are still deciding between music production schools in Canada, consider where you want to spend your Tuesday afternoons:

Studio Engineering: Working in high-end rooms with artists.
Post-Production: Adding sound effects and dialogue to movies.
Live Sound: Traveling the world with bands and festivals.
Mastering: The final, high-stakes polish on a record.

Personality & Skill Alignment Matrix

How OIART Supports Every Personality Type

Choosing between audio engineering colleges can feel overwhelming, especially if you’re worried about getting lost in the crowd. Some recording schools pack students into large classes where only the loudest get console time. OIART is different by design.

Small Classes. Real Attention.

Our small class sizes mean every student gets hands-on time, no fighting for the desk, no being overlooked. Whether you’re introverted or outgoing, you’ll be supported, challenged, and known by name. Our instructors work closely with you to build your strengths and help you grow with confidence.

Structured, Real-World Practice

Breaking into music and sound production can feel intimidating. That’s why we focus on structured, supportive training inside professional studio environments. You’ll build real technical skills step-by-step before stepping into high-pressure sessions, developing both confidence and communication along the way.

Find Your Frequency

While these profiles offer a roadmap for how certain traits align with specific roles, it is important to remember that these are general guidelines rather than rigid rules. The beauty of the professional audio world is its diversity; a quiet problem-solver might find a hidden passion for the adrenaline of live sound, just as a natural extrovert may discover a deep, disciplined love for the solitary precision of mastering.

Ultimately, your personality is not a barrier to any specific career path but rather a unique lens through which you will approach your work. At OIART, our personalized instruction and hands-on environment are designed to help every student develop the versatility and technical confidence needed to thrive in any corner of the industry they choose.

Explore OIART’s audio engineering programs today. Your personality isn’t a barrier, it’s your greatest strength. Let’s get to work.

What Algonquin College’s Music Industry Arts Suspension Means for Future Audio Students in Ontario

Wed, 04 Mar 2026 19:40:49 GMT

In early March 2026, the news broke that Algonquin College’s Board of Governors voted to suspend 30 programs , including Music Industry Arts and Music, Media and Film Foundations. For prospective students in Ottawa and across Ontario, this was a wake-up call.

If public college audio programs are being cut, what is the best path into the industry now?

At the Ontario Institute of Audio Recording Technology (OIART), we’ve been training audio professionals for over 40 years. This moment highlights the difference between a "general education" and a "specialized trade." Here is why the path to a career in sound is changing, and how you can stay ahead of the curve.

Why Was Algonquin’s Music Industry Arts Program Suspended?

Algonquin College cited financial sustainability, reduced international enrollment, and shifting government funding models. This is the reality of public institutions: they are massive "superstores" of education. When funding formulas change, creative programs, which require expensive gear and small class sizes, are often the first to be cut.

For a student, this creates uncertainty. Will your program still exist in two years? Will the equipment be maintained? At a specialized school like OIART, we don't have 300 other programs to worry about. We do one thing, and we’ve done it since 1983.

What This Means for Students Interested in Audio Engineering

If you were considering Algonquin’s Music Industry Arts, Music, Media and Film Foundations, or a general media program with an audio focus, you now need to evaluate alternatives.

This moment highlights something important: Audio engineering is not a general arts program. It is a specialized trade. Like film editing, live sound, or studio production, it requires intensive, hands-on training, consistent studio access, and mentorship from working professionals.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

Specialization Over "General Arts"

Audio engineering is a specialized trade, not a general arts degree. While public colleges often include "filler" electives to meet government requirements, OIART offers an 11-month intensive immersion.

No Unrelated Electives: You won't spend time on general sociology or English credits.
The "Swiss Army Knife" Approach: We teach you the entire spectrum from Music Production , Live Sound , Sound Design for Film/TV, and Game Audio .

In our Studio 6 (Electronic Production), you dive deep into MIDI and synthesis, while in Studio 7 , you're rigging PAs and mastering Front of House mixing. You graduate as a "Swiss Army Knife" of audio, ready to pivot wherever the work is.

Industry-Standard Gear (From Day One)

Public programs often struggle to keep pace with rapid tech changes. At OIART, our facilities are designed to mirror the world's top studios.

The Gear: You’ll get hands-on with SSL compressors, Neve preamps, and Pro Tools HDX systems.
The Access: We guarantee over 650 hours of hands-on studio time. You aren't watching a demo on a screen; you are in the producer’s chair in Studio 1, tracking drums and vocals through boutique 500-series racks.

A Network of "Who's Who"

The biggest loss when a program like Algonquin’s closes is the local network. At OIART, you join a 40-year legacy of successful alumni who hire our grads.

Grammy & Juno Success: Our alumni include Matty Green (Mixer for Ed Sheeran, Lady Gaga, and Paul McCartney) and Juno Award-winner Jason Dufour (July Talk, Tokyo Police Club).
Beyond the Studio: Grads like Nathan Bond tour the world as FOH engineers for City and Colour, while others like Ben Spiller work on AAA game titles like Assassin’s Creed .

Career Management Is Our "Secret Sauce"

The most significant difference between a public college and OIART is how we handle your future. We don't just hand you a diploma and wish you luck.

Dedicated Career Training: Our curriculum includes a specific Career Management module. We teach you how to freelance, how to navigate music licensing, and how to ace an interview in a high-pressure studio environment.
Proven Results: OIART consistently holds the highest KPI (Key Performance Indicator) ratings in Ontario for Graduate Employment and Student Satisfaction.

The Bottom Line

The program suspensions at Algonquin are a loss for Ottawa, but they shouldn't be the end of your dream. This shift proves the industry is moving toward intensive, specialized training. While public colleges scale back, the demand for elite audio in gaming, film, and live events is only growing.

If you want to move from "figuring it out" to "mastering the source," you need a school as committed to audio as you are. At OIART, our mission hasn't wavered in 40 years. Your career shouldn't be subject to a budget cut, it should be built on a foundation of elite skills that no one can take away.

Your Career in Audio Starts Here

The world needs professionals who can walk into any studio or venue and deliver world-class sound. The industry moves fast, there is no room for hesitation. You need the confidence that comes from hundreds of hours of real-world application. If you’re ready to stop dreaming and start doing, check our admission requirements to see if you're ready to apply.

Don't settle for a general education when you can choose a specialized career that puts you right in the middle of the action. At OIART, we provide the map and the tools; you bring your passion.

Your Future Is Sound with OIART - Apply Today!

Top Audio Engineering Schools in North America

Wed, 04 Mar 2026 14:24:52 GMT

Choosing the right audio engineering school is the most critical investment you will make in your professional life. In an industry built on "who you know" and "what you can do," a diploma is only as valuable as the hands-on studio time and the alumni network that comes with it.

Whether you aim to produce Billboard-topping hits, mix cinematic soundscapes, or run front-of-house for global tours, your education must bridge the gap between "hobbyist" and "high-tier professional."

Below, we break down the top-tier institutions in North America and the specific criteria you should use to evaluate them.

Audio and Sound Engineering FAQ

Considering a career in audio engineering involves plenty of questions about the best way to proceed. So, before we explore some reputable schools to consider, let’s answer some common questions to help you hone in on the best choice for you.

What’s the Difference Between Private vs Public Audio Engineering Schools?

When comparing the top audio engineering schools in North America, one of the biggest decisions is choosing between a public college/university and a private, specialized audio school.

Recent changes in Ontario highlight why this matters. In 2026, Algonquin College suspended its Music Industry Arts program due to funding pressures and shifting priorities. This reflects a broader reality: public institutions must balance budgets, enrollment, and government funding, meaning hands-on creative programs can be vulnerable to cuts.

For students, this raises important questions about program stability, access to up-to-date equipment, and how much hands-on experience they’ll actually get.

Public colleges often provide a more general education experience, combining audio courses with broader academic requirements. While this can be valuable, it can also mean less time developing specialized, career-ready skills.

Many Music Industry Arts–style programs cover a wide range of topics like marketing, business, media studies, and basic audio concepts all combined into one program. While this broad exposure can help, it often comes at the cost of depth. Instead of spending extensive time in studios, students may only scratch the surface of recording, mixing, and live sound. In contrast, specialized programs like OIART focus entirely on audio, allowing students to go deeper, faster, and graduate with real, hands-on experience.

Private audio engineering schools take a different approach.

Audio engineering is a specialized trade that requires focused, practical training and consistent studio access. Rather than spreading learning across multiple disciplines, these programs immerse students in real-world audio environments from day one.

That typically means:

More time in studios, not lecture halls
Training across music production, live sound, and audio for media
Smaller class sizes with more instructor access
A stronger focus on job-ready skills and industry connections

Ultimately, the right path depends on your goals. If you want a broad academic experience, a public program may be a fit. But if your goal is to build real-world skills and enter the industry faster, a specialized audio engineering school like OIART offers a more direct path.

Top Music Production and Engineering Schools in North America

North America is home to some of the world’s most renowned recording institutions, but "prestige" doesn’t always translate to "employment." For aspiring audio engineers, the challenge isn't just finding a school, it's identifying which program offers the most practical experience and the fastest path to a professional paycheck.

Whether you are looking for a four-year academic experience or a high-intensity technical immersion like the one offered at OIART , your choice should be dictated by one thing: studio clock hours.

At OIART, we believe that audio engineering is a craft best learned through doing. While many programs spread their curriculum over several years, our 11-month program is designed to get you into the workforce quickly without sacrificing the depth of your training. Below, we’ve curated a list of the most reputable audio engineering schools in North America to help you evaluate which path aligns with your career goals.

Ontario Institute of Audio Recording Technology

London, Ontario

OIART is a premier, specialized institution offering a comprehensive Audio Recording Technology program that serves as a "one-stop" destination for elite training. Unlike other schools that require you to take separate tracks, we integrate Music Production , Live Sound & Event Production , and Audio for Visual Media into a single, high-intensity course.

Our curriculum is built on a "Total Immersion" philosophy, ensuring students gain a rigorous foundational understanding of sound theory while logging massive hours in the studio.

Why Students Choose OIART Over Traditional Programs:

Elite Studio Access: Our students graduate with a competitive edge thanks to state-of-the-art facilities featuring leading-edge technology and one-to-one access to veteran instructors.
Intentional Class Sizes: We maintain small cohorts to ensure every student receives the mentorship needed to master the craft.
Industry-Leading Outcomes: Beyond the classroom, we offer robust job placement assistance and provide all alumni with lifelong career support.
Efficiency & Value: By attending OIART, you gain comprehensive experience in Location Sound, Post-Production, and Live Sound Engineering at a fraction of the cost and time required by traditional four-year college or university degrees.

At OIART, we don't just teach audio; we launch careers. Explore our success stories to see how our graduates are shaping the sound of the industry today.

Musicians Institute College of Contemporary Music

Los Angeles, California

MI offers a one-year certificate in audio engineering. The institute’s program covers recording techniques, recording theory, and working in audio engineering. Those interested in a focus on music engineering in the US may wish to consider this institute. The school is one of the most reputable audio engineering colleges in the United States, with several notable alumni. However, you should budget accordingly as living in Los Angeles will increase your costs significantly.

Recording Arts Canada

Montreal, Quebec and Toronto, Ontario

The sound and music production program at Recording Arts Canada is led by instructors with real-world experience, and the school has world-class facilities. Their leading program includes 900 hours of specialized training condensed into a 1-year program. This curriculum covers a range of topics used in music production, sound design, and audio engineering.

The Los Angeles Film School

Los Angeles, California

The renowned Los Angeles Film School is at the heart of Hollywood’s entertainment industry, making a strong choice for those interested in audio work in broadcast, TV, and movies. The school offers an 18-month associate of applied science of recording arts, covering a wide range of topics and practical schools to prepare for the workforce. You’ll also need to consider your budget as the cost of living in Los Angeles is high.

Toronto Film School

Toronto, Ontario

The Toronto Film School offers a diploma in sound recording, which may be a strong option for students interested in audio for film and television. The program covers a range of topics including sound design, post-production, and recording techniques within a media-focused environment. While students gain exposure to audio in film and digital content creation, those looking for more intensive training in music production or live sound engineering should consider how specialized the program is compared to dedicated audio engineering schools.

Metalworks Institute

Mississauga, Ontario

The Metalworks Institute is an extension of Metalworks Studios with various programs covering music production, live sound engineering courses, audio engineering, and business management. The institute provides hands-on experience with the latest equipment and instructors with industry experience.

Vancouver Film School

Vancouver, British Columbia

The Vancouver Film School offers a diploma in sound design for visual media, which may be the perfect fit for some future students. The program provides a range of skills that focus on sound design techniques in a production environment. You won’t only focus on films, but the program also covers working in the gaming industry and producing sound mixing.

OIART has the best employment, completion, and satisfaction rates of all sound engineering schools in Ontario, Canada.*

Comparing Graduation and Employment Rates vs. Other Programs.

For our students, music isn’t just an interest or a career aspiration; it’s a lifestyle. Our true small class sizes allow us to get to know you personally and care about exactly what you want to accomplish in the industry.

This personalized approach is why so many of our graduates successfully transition into high-level roles in Music Production and Live Sound Engineering . By fostering a close-knit environment, we ensure you have the mentorship and network required to turn your passion into a sustainable, long-term career in the audio industry .

*Employment rate in field of study six months after graduation. All statements regarding program performance such as Top, Rated the Best and #1 are based on the latest KPI survey results comparing each campus's Music Production and Recording Arts Technology program. OIART: Audio Recording Technology. RAC: Sound & Music Recording. Harris Institute: Audio Production Program. Metalworks Institute: Audio Production & Engineering. Trebas: Audio Engineering and Production/DJ Arts. Fanshawe: Music Arts Industry.

Start Your Career in Audio Engineering & Music Production with OIART

Choosing the right school is a definitive choice for your future. Success in this industry requires balancing your career goals with the right investment in your education. At OIART, we provide a fast-track, high-intensity environment designed to get you into the workforce in just 11 months.

As a leader in sound engineering in Canada, OIART combines veteran mentorship with world-class facilities . Our focus is on providing the technical mastery and professional confidence you need to launch a career in audio design or music production.

For our students, music is a lifestyle. Our small class sizes ensure personalized mentorship, helping you achieve your specific goals. This dedicated approach is why OIART graduates are among the most successful in the industry.

If you're ready to get started, a great first step is to check out our admissions requirements to see what we're looking for in our next cohort.

Once you’ve had a look, you can apply now to lock in your spot for the upcoming intake, dive deeper into our immersive curriculum , or book a tour to come hang out in the studios and see exactly how we do things firsthand.

Originally published on March 29, 2024 - Updated on March 4, 2026.

How OIART Takes You from Student to Audio Professional

Tue, 24 Feb 2026 14:23:56 GMT

Are you the person who picks apart the snare sound on your favourite track? Do you find yourself analyzing the sound design in a video game instead of just playing it? For many music enthusiasts, high school graduates, and career changers, the dream is clear: a career in audio. But the path to getting there often feels like a locked door.

The struggle is real. You’ve likely realized that watching YouTube tutorials can only take you so far. The industry is competitive, the gear is expensive, and "breaking in" usually requires a network you don’t have yet. You want to make your mark, but you’re stuck behind a laptop screen in a bedroom studio. The barrier to entry isn't just talent; it's access to the professional standard of tools and the mentorship required to use them under pressure.

At the Ontario Institute of Audio Recording Technology (OIART), we believe your passion deserves a professional platform. Our philosophy is simple: we Eat, Sleep, and Breathe Music. We don’t just teach you how to use a DAW; we transform you into an industry-ready professional in just 11 months.

Get Hands-On Training in Specialized Studios

In the audio world, theory is a foundation, but experience is the currency. You can’t learn the "soul" of a Neve preamp or the precision of a Barefoot monitor by reading a textbook. You have to hear it. You have to touch it. If you aren't physically turning the knobs and placing the microphones, you aren't truly learning the craft of audio engineering.

That’s why OIART is designed around technical excellence . From your very first week, you aren't just sitting in a lecture hall; you are in the producer's chair. Our campus features eight student-dedicated, world-class studios (Studios 1-8) , ensuring you are constantly working in high-fidelity environments.

Studio 1, 2 and 3: Tracking and Music Production

These rooms are the cornerstone of your education. You move from theory to reality by mastering the "Source."

Mastering the source means that you learn that a great mix starts with a flawless recording. No more "fixing it in the mix."
Experience critical listening experiments with phase, polar patterns, and gain staging to hear like a professional.
Learn professional refinement by using Auto-Tune, Melodyne, and Waves suites to polish tracks to radio standards.

Studio 4 and 5: Audio for Visual Media and Foley

The most lucrative sectors of audio live on the screen.

Dive into Foley and Dialogue recording by making custom sound effects and pristine dialogue using industry standard gear from brands such as Sounds devices and DPA.
Learn how to work Post-Production Sync sound to picture for film, TV, and AAA gaming projects.

Studio 6 and 7: Electronic Production and Live Sound

We bridge the gap between the synth lab and the stage.

Understand Electronic and MIDI Production in Studio 6 , dive into sound design and hardware synths to build your own sonic identity.
Practice Live Sound and Performance in Studio 7 is for full-band signal flow. Master front-of-house mixing, monitor rigging, and PA tuning.

The Full Spectrum of Professional Gear

We teach technology as a language. By graduation, you are fluent in the gear used in the world's top studios.

Become familiar with Hybrid Workflow by blending vintage SSL analog saturation with the speed of digital plugins like Soundtoys.
Build acoustic mastery by tracking killer sounds on everything from earbuds to club stacks.
Develop muscle memory after 650+ hours, where signal flow becomes instinctive. You stop thinking about cables and start focusing on the artist.

From Student to Audio Professional

The 11-month journey at OIART is an evolution from clicking a mouse to commanding a world-class facility. We replace guesswork with mastery, moving you from "trying to figure it out" to instinctively leading a room. With 650+ hands-on hours, you graduate with the elite muscle memory of a veteran. By your 50th session in Studios 1-8, the gear becomes a seamless extension of your creativity. You won’t waste time troubleshooting signal flow; your hands move with a precision that allows you to focus on the only thing that matters, the artist and the performance.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

Total Industry Immersion Beyond Music Production

While many audio engineering programs focus solely on the "rock star" side of recording, the modern audio landscape is massive. To be a successful professional, you need to be versatile. The reality is that a modern audio engineer might be mixing a band on Monday, recording dialogue for a Netflix series on Wednesday, and managing a corporate gala on Friday. At OIART, we don't just prepare you for one job; we prepare you for a lifelong career. Our curriculum is built on three essential pillars:

Music Production: Transforming creative concepts into professional records with the technical mastery required to deliver a radio-ready album.
Live Sound & Event Production: Managing the high-stakes environment of live concerts, festivals, and corporate AV.
Audio for Visual Media: This is where the industry is exploding. From sound design for AAA video games to Foley and dialogue editing for film and TV, we prepare you for the lucrative world of post-production.

By mastering all three pillars, you ensure that no matter where the industry shifts, you have the skills to stay employed and inspired. You become a "Swiss Army Knife" of audio, capable of pivoting whenever opportunity knocks.

The OIART Advantage and Our Record of Success

When you're looking at music production schools in Canada, you have to look at the numbers. We’ve been refining our craft for over 40 years, and our results speak for themselves.

The Highest Job Placement Rate: We are incredibly proud of our track record. Career Management is an integral part of the curriculum, not an afterthought. We teach you job searching skills, effective resume writing and how to ace an interview to land a job after graduation.
True Small Class Sizes: We limit our intake to just 68 students per year. This ensures that you never have to fight for studio time and that our industry-veteran instructors know your name, your goals, and your unique sound.
40+ Years of History: Since 1983, we have been the gold standard for sound engineering in Canada. We don’t teach outdated models; we evolve our curriculum every year in consultation with major employers to ensure you are learning what is in demand today.

Join A Community for Life With Thousands of Alumni & Growing

The "struggle to get into the industry" ends the moment you join the OIART family. You aren't just a student for 11 months ; you are part of a lifelong network of alumni. Networking is often cited as the most important factor in a music career, and at OIART, that network is built-in.

Our graduates are everywhere. They are winning Grammys and Junos, mixing Front of House for global tours (like City and Colour or Alexisonfire ), and designing soundscapes for major gaming studios. This network is your "secret weapon." When an OIART grad needs an assistant or a new engineer, the first place they look is their own backyard. The bond between alumni is incredibly strong because they all shared the same intense 11-month journey. They know that if you graduated from OIART, you have the work ethic and the technical chops to handle the gig.

Our post-grad support is unmatched. The faculty stays in your corner for the life of your career. Whether you need advice on a contract three years after graduation or a reference for a dream job in LA, we are here. We often have alumni return to the campus to guest lecture or recruit new talent, keeping the cycle of success moving forward for every new generation of students.

Your Career in Motion Starts Here

The world doesn't need more people who "know a bit about Pro Tools." It needs professionals who can walk into any studio, on any film set, or into any venue and deliver world-class sound. The industry moves fast, and there is no room for hesitation. You need the confidence that comes from hundreds of hours of real-world application.

If you’re ready to stop dreaming and start doing, if you’re ready to eat, sleep, and breathe music, then it’s time to take the next step . Don't settle for a general arts degree when you can have a specialized career that puts you exactly where you want to be, right in the middle of the action.

The path to becoming a professional audio engineer is intense, demanding, and incredibly rewarding. At OIART, we provide the map, the tools, and the community. All you need to bring is passion.

Experience the OIART Advantage for yourself. Join the ranks of Canada’s elite audio professionals.

Apply Today!

What Aspiring Producers Need to Know about Master Rights vs Publishing Rights

Mon, 09 Feb 2026 13:00:24 GMT

If you’re aspiring to become a music producer or have a career in audio for visual media, you’ve likely spent hundreds of hours perfecting your signal flow, mastering your DAW, and obsessing over the frequency response of your monitors. But in the modern landscape of streaming, film, television, and gaming, there is a silent pillar of the industry that is just as critical as your mix: Rights Management.

Whether you are producing an independent EP or designing a soundscape for a AAA game title, you are doing more than just making audio, you are creating intellectual property. In the professional world, you aren't just a technician; you are a stakeholder in every project you touch.

Understanding the distinction between Master Rights (the recording) and Publishing Rights (the composition) isn't just legal talk. It is the fundamental framework that allows your work to be legally used in a Netflix series, a national commercial, or a global game launch.

At the Ontario Institute of Audio Recording Technology (OIART) , we believe that the best audio engineering programs don't just teach you how to use a fader; they teach you how to navigate the real-world industry with confidence.

One Song, Two Assets

Every time you hear a song on Spotify or in a movie, you are actually hearing two separate pieces of intellectual property working together. To understand your rights, you have to visualize the "Song" vs. the "Recording."

1. Publishing Rights (The "Song")

Publishing rights belong to the songwriters and the people who wrote the lyrics and the melody. Think of this as the "blueprint" of the house. Even if ten different artists cover the same song, the publishing rights remain tied to that original blueprint.

2. Master Rights (The "Recording")

Master rights belong to the owners of the specific sound recording (the "Master"). This is the actual file you export from your DAW. If a label pays for the recording session, they often own the master. If you are an independent producer recording in your own space, you likely own the master.

Fun Fact: Taylor Swift famously re-recorded her albums because she owned the Publishing (the songs) but not the Masters (the recordings). By creating "Taylor’s Versions," she created new masters she owned 100%, effectively making the originals obsolete for sync licensing.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

Why Rights Architecture Matters to Modern Media Producers

In the traditional music industry, roles were separated: the songwriter wrote the melody, and the producer captured the sound. In modern film scoring and game audio, these lines have vanished. As a producer, you are often "composing through production", crafting the harmonic textures, rhythmic pulses, and sonic "vibe" that define a scene’s emotional impact.

The Professional Standard: Protecting the Project

In a professional media environment, clarity is your most valuable currency. If you contribute to the composition (the chords, the melody, or the specific arrangement), you may be considered a co-author. This means you could hold a stake in both the Master (the audio file) and the Publishing (the underlying idea).

At OIART, we teach our students that this isn't just a creative milestone; it’s a logistical one. We emphasize the use of Split Sheets, the industry-standard documents that define ownership percentages before a session even ends.

Why Clear Rights are a "Deliverable"

When you work in film or TV, you aren't just delivering a WAV file; you are delivering a "clean" asset. If you haven't sorted out the ownership splits between you and your collaborators:

A Film Supervisor cannot include your track in their edit.
A Game Developer cannot clear the music for global distribution.
The Production could be stalled by "unclearable" assets.

Understanding these structures ensures that you aren't a bottleneck in the production process. At OIART, we train you to handle these business formalities with the same precision you use to mix a track. By the time you graduate, you’ll know how to protect your intellectual property while making sure your music is "sync-ready" for any major studio.

Why Rights Knowledge is Non-Negotiable in Post-Production

In the worlds of film, television, and gaming, music is more than just "vibes", it is a legal asset. For an aspiring producer or sound supervisor, understanding the distinction between Master Rights and Publishing Rights is the difference between a successful launch and a legal nightmare.

The Two Pillars of Sync: Clearing the Path

When you are tasked with placing music into a project (a process known as Sync Licensing) you are essentially navigating two different legal entities. To use a single track in a cinematic sequence or a game level, you must secure two distinct permissions:

The Sync License (The Composition): This covers the "song" itself—the melody, lyrics, and structure. This is owned by the songwriter or their publisher.
The Master Use License (The Recording): This covers the specific audio file—the actual performance and production. This is owned by the record label or the producer.

In the professional world, if you fail to clear both , your project cannot be distributed. At OIART, we don't just teach you how to mix the track; we teach you how to identify who owns what, so you can manage a production budget and timeline with confidence.

The Business of Sound Design

Imagine you’re in a high-stakes post-production suite. You’ve just finished a brilliant sound design pass for a commercial, and the client wants to use a specific underground track you’ve sourced.

In a standard audio program, you might focus only on the EQ and the levels. At OIART, the business training kicks in immediately. You know that before that track hits the timeline, you need to verify the "chain of title."

Who owns the master? Is it an independent artist or a major label?
Is the publishing "one-stop"? Can you clear both sides through a single person to save your client time?
Work-for-Hire vs. Ownership: If you are composing original music for a game, do you know how to read a contract to see if you’re retaining your publishing rights or "buying out" the master?

Professionalism is Your Best Plugin

Handling these conversations isn't about being "difficult" or "money-hungry", it’s about being a literate professional. When you understand the architecture of music rights, you become an indispensable asset to directors and game developers. You aren't just a "sound guy"; you are a production partner who understands the legal framework of the industry.

By merging world-class technical training with real-world industry ethics, OIART graduates enter the workforce ready to handle the complex intersections of creativity and the law.

Why OIART is the Leading Choice for Aspiring Producers

Choosing between recording schools is about more than just looking at a gear list. You need a program that understands the 360-degree reality of the music business. OIART stands out among music production schools in Canada because we offer a comprehensive, 11-month immersion that treats you like a professional from the moment you walk in.

Our instructors aren't just engineers; they are industry veterans who have navigated these contracts themselves. We teach you how to protect your creativity so that you can focus on what you love: making world-class sound.

Your Future is Sound

Music rights aren't complicated once you have the right foundation. They are simply the tools that ensure your career is sustainable. Don’t leave your future to chance.

At OIART, you’ll learn to record, mix, produce, and understand the business behind the music. Immerse yourself with 1-on-1 learning in small classes from industry professionals, train on pro gear across our 8 professional studios and build real industry skills with our Audio Engineering & Music Production Program.

Apply today!

This article is for educational purposes only and does not constitute legal advice.

Sebastien Laviolette - Alumni Spotlight

jalves@oiart.org (Jeremy Alves) — Fri, 06 Feb 2026 20:53:12 GMT

How OIART Helped Me Turn My Passion for Music Into a Career - Sebastien Laviolette

"If you’re passionate about music production, audio engineering, or sound design, you might be wondering how to turn that passion into a full-time career. That’s exactly where I was before I found OIART (Ontario Institute of Audio Recording Technology). Now, as a professional tracking engineer at SLR Studios, working with artists in the Windsor/Detroit area, I can confidently say that OIART was the best decision I ever made."

�� Watch my journey with OIART and see how it changed my life!

Learning More Than I Expected

When I first walked into OIART, I thought I was just going to learn how to record guitars and mix songs. I had no idea how deep and hands-on the program would be. From day one, I was exposed to industry-standard recording gear, sound design techniques, and even film sound production, things I hadn't even considered before.

Unlike other schools where you only learn the theory, OIART gave me hands-on experience with real-world equipment. By the time I graduated, I wasn’t just familiar with Pro Tools, Neve preamps, and Atmos mixing- I was confident using them in a professional setting.

Real-World Opportunities from Day One

One of the biggest advantages of OIART is how well it connects students to the music and entertainment industry. Before I even finished the program, I was already making professional connections. Now, I’m tracking bands, working with vocalists, and even producing beats for artists across multiple genres .

Some days, I’m capturing live shows at Caesars Windsor; other days, I’m in the studio mixing tracks or creating new music. The variety keeps things exciting, and that’s exactly what OIART prepared me for.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

The Reputation That Opens Doors

Something I didn’t expect when I graduated was how much the OIART name carries weight in the industry. Artists and studios recognize OIART graduates as skilled and knowledgeable. I’ve had clients come into the studio and trust me right away- not because they’ve worked with me before, but because they know OIART produces top-tier audio professionals.

That kind of trust is invaluable in this business. Whether you want to work in music production , film sound, video game audio, or live sound engineering, an OIART diploma sets you apart from the competition.

More Than Just Studio Work

OIART isn’t just for people who want to sit in a studio all day. If you’re a musician, sound designer, or someone who just loves working with audio, the opportunities are endless. Because of the connections I made through OIART, I’m now also part of a touring band—something I never expected when I first enrolled .

The skills you gain here don’t just lead to one path; they open doors to a wide range of careers in music and sound, including:

Recording & Mixing Engineer
Live Sound Technician
Film & TV Sound Designer
Video Game Audio Engineer
Music Producer

The Best Decision I Ever Made

If you want to turn your passion for music and audio production into a career, OIART is the place to do it. The hands-on training , industry connections, and depth of knowledge you gain here are unmatched.

Thanks to OIART, I’m not stuck in a job I hate. I’m making music for a living, and it doesn’t even feel like work.

�� Take the first step! Schedule a tour or apply today to join the next class of OIART students!

Why Choose OIART?

Ranked as one of the best audio engineering schools in Canada
12-month intensive program designed to get you career-ready fast
Small class sizes for personalized learning.
Hands-on training with industry-standard equipment
Graduates work in music, film, video games, and live sound worldwide

Apply Now!

Why Every YouTuber and Podcaster Should Hire an Audio Engineer

Mon, 15 Dec 2025 13:00:15 GMT

Scroll-stopping content, binge-worthy podcasts, and live shows that actually sound alive will all fail if the sound falls flat. YouTube videos and podcasts with poor audio often result in listeners abandoning them early on.

That’s why creators nowadays lean on skilled audio engineers who create crisp dialogue, balanced music, and sound effects that immerse the audience in the story.

For anyone serious about starting a career in audiovisual media, there’s no better time to train for it. Content creation has evolved into a full-scale industry, and opportunities for audio professionals are everywhere, spanning YouTube and Twitch, podcasts, streaming platforms, branded storytelling, and more.

Keep reading to learn why audio engineers are at the heart of today’s creator economy, what skills matter most, and how OIART prepares students to succeed in this field.

Why Audio Quality Matters More Than Ever

Look at the biggest names online: creators like MrBeast and Logan Paul, as well as podcasters like Joe Rogan, Ashley Flowers, and Jay Shetty. They all know a simple truth most beginners miss.

Most people can tolerate a shaky frame or imperfect lighting, but poor audio pushes viewers away instantly. Distorted voices, room echo, uneven levels, and background noise destroy engagement. That’s why top creators hire pros who treat sound as essential, not optional.

An audio engineer for YouTube or podcasts does far more than fix problems after the fact. They:

Design the listener’s experience from the first test recording to the final master
Choose the right microphone for the room and the voice, place it so the performance breathes, and treat the space so it doesn’t fight the recording
Clean up hiss and clicks
Remove distracting air conditioning hum and rumble that sneaks in on location shoots
Use EQ to carve out space for the voice, compression to maintain even levels, and automation to make every line readable without losing emotion.
Balance the music so it supports the moment instead of covering it up
Create custom sound design to heighten emotion in vlogs
Add punch to gaming highlights
Give narrative podcasts cinematic depth

Beyond technique, engineers help creators scale their operations. They set templates and workflows to ensure every episode sounds consistent , troubleshoot live-stream problems in real-time, and train creators to record clean sources, thereby reducing editing time.

That reliability keeps audiences subscribed and sponsors returning. If you want content that feels pro, hire the ear behind the board or learn to become that person yourself.

What Audio Engineers Bring to Creators

A great sound engineer is a content creator’s secret weapon. They bring:

Dialogue clarity: Making sure every word cuts through clearly
Music integration: Blending tracks without overwhelming the voice
Noise control: Removing background noise that ruins recordings
Consistency: Giving every episode, stream, or video the same polished sound
Creative sound design: Adding effects and textures that enhance storytelling

But their value goes even deeper. Engineers know how to adapt mixes for multiple platforms, ensuring your podcast sounds professional on car speakers and earbuds, and that your YouTube video translates well on TV and phone screens.

They also understand pacing and dynamics, shaping audio to maintain attention and convey emotion effectively. This isn’t something a plug-in can achieve on its own. While tools help, it’s training, ear development, and experience in professional environments that allow engineers to elevate content from “good enough” to unforgettable.

The Expanding World of Content Creation

YouTube has more than 2.7 billion active users, and podcasts have over 500 million listeners worldwide. What was once a hobby market is now a massive global industry. Brands spend billions on sponsorships, and creators turn side projects into full-time jobs.

For audio professionals, that means one thing: demand. Every time a creator upgrades their setup, launches a podcast, or wants to stand out from the noise, they need someone who understands professional audio for YouTube and podcasts.

The opportunity doesn’t stop there. Audiobooks, livestreaming, TikTok, and even VR projects require skilled engineers who can deliver audio that matches professional standards.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

Why the Creator Economy Needs You

Consider the vast amount of content that is uploaded daily. Millions of hours of video and audio content are uploaded to platforms every single day, yet only a small percentage actually connect with real audiences.

What separates the top tier? Professionalism. Viewers and listeners may not be aware of the technical details, but they notice when something feels off.

Trained audio engineers make the difference by transforming raw recordings into polished productions that stand out, balancing dialogue, music, and effects to create a seamless experience.

For someone passionate about sound, this goes beyond a job; it's a calling. It’s contributing to the next wave of media, influencing how billions of people experience online content, and helping creators elevate their work to professional levels that command attention and respect.

Not Sure Where Music Could Take You? Start Here

At OIART, students discover career paths they didn’t even know existed. Some graduates find themselves mixing tracks for indie artists, others are behind the sound design of popular YouTube channels, and some are editing dialogue for Netflix shows. That variety means you can explore multiple areas, figure out where your strengths shine, and graduate ready to step into a role that fits you.

For students fresh out of high school , this flexibility is gold. Instead of committing to a narrow lane, you get a foundation that works across music, media, gaming , live events, and streaming.

The Tools of the Trade

Behind every awesome podcast or viral video is a toolkit of software and hardware. Professional engineers rely on DAWs like Pro Tools, Logic Pro, and Ableton Live.

They use high-end microphones, such as Shure SM7B or Neumann models, industry-standard plugins from companies like Waves and iZotope, and mixing consoles that provide precise control over every element.

Many also work with audio interfaces, like those from Universal Audio or Focusrite, studio monitors for accurate playback, and portable recorders for on-location sessions.

These aren’t the kinds of tools most creators have sitting at home. Trained engineers, especially those who’ve learned on industry-standard equipment , are in high demand. They know how to maximize the potential of the equipment, troubleshoot issues, and adapt techniques for various genres of content, from high-energy gaming streams to cinematic storytelling.

Training That Prepares You For the Industry

Unlike many schools that focus only on music recording, OIART offers dedicated audio engineering programs in audio for visual media.

Students learn more than just the basics; they train for the realities of working in the creator economy, preparing for careers in YouTube, podcasting, streaming, and other digital content creation. OIART’s comprehensive program includes:

Hands-on experience in professional studios using Audient consoles, Yamaha monitors, high-end microphones, and industry-standard DAWs
Sound technician courses that sharpen ear training, critical listening, and precise audio editing skills
Live sound engineering courses for creators who record in dynamic environments, from live streams to on-location shoots
Audio production for YouTubers and podcasters, covering editing, mixing, and mastering dialogue-driven projects while integrating music and sound effects

With smaller class sizes, one-on-one mentorship from experienced professionals , and access to real-world tools and workflows, students graduate with the confidence to transition directly into professional roles.

They gain technical proficiency, as well as the creative problem-solving skills to handle challenging sessions, troubleshoot equipment, and adapt to the fast-paced world of digital content creation.

Career Paths in Audio for Creators

The beauty of this industry is its flexibility. With the proper training, you could work as a:

Podcast audio engineer: Editing and mixing episodes for top shows
Sound engineer for content creators: Supporting YouTubers, streamers, and social media influencers
Dialogue editor: Fixing and enhancing spoken word recordings for podcasts, videos, or games
Music engineer: Creating original tracks or mixing background music for content
Post-production audio specialist: Adding effects, foley, or ambience to video projects
Live streaming audio technician: Ensuring real-time content sounds polished across platforms
Production assistant in visual media: Working on branded, commercial, or corporate projects
Audio consultant: Helping creators choose the right microphones, interfaces, and plugins for their setups
VR/AR sound designer: Creating immersive audio experiences for games , apps, or virtual events
Game audio engineer: Designing, mixing, and implementing sound effects and music for interactive content

Graduates from OIART find work in all of these spaces, proving that there’s a thriving career in helping creators sound professional. With many content formats and platforms emerging every year, opportunities keep expanding, and trained audio engineers are increasingly in high demand.

Turn Your Passion for Sound into a Career

If you’re passionate about sound and want to become an audio engineer in the creator economy, this career path is the way to go. YouTube and podcasting aren’t slowing down; in fact, they’re only growing. That means more creators, content, and opportunities for skilled professionals to shine.

With OIART’s school of audio engineering, you’ll gain the skills, ear training, and real-world experience to crush it in this fast-moving industry.

Score your dream job working as an audio engineer by securing your seat at OIART today!

7 Reasons Why Students Are Attending OIART After High School

Mon, 10 Nov 2025 18:31:34 GMT

Graduating from high school is huge. If music, sound, and tech fire you up, the next step you take can shape your entire career. The Ontario Institute of Audio Recording Technology (OIART) is one of Canada’s leading music production schools, equipping graduates with the tools, skills, and confidence to launch their careers directly into the industry.

With dedicated studios, hands-on learning, and one of the strongest graduate employment records in the country, OIART offers a career in motion.

Keep reading to discover why high school grads are choosing OIART, how its audio engineering programs set students apart, and what opportunities await when you step into world-class studios designed for pros.

Why Students Choose OIART

For students who live and breathe music and sound, OIART offers a direct path to professional training. The hands-on program is for young creatives who are ready to bypass years of general education and dive straight into a career.

Every year, an increasing number of high school graduates choose OIART as their first choice for audio and music education. Here’s why:

Reason #1: A Clear Path From High School to Career

Students want momentum, not detours. OIART’s audio program offers an 11-month curriculum to help you transition from classroom to career quickly.

Instead of spending years on general courses, you jump straight into practical training, building the skills to become a music producer, work in music engineering, or handle live sound as a sound technician. For high school grads ready to start, OIART is the natural next step.

Reason #2: Hands-On Learning From Day One

From week one, students step into studios where they record, mix, and produce in real-world environments.

You’d be surprised how quickly working directly with professional gear builds confidence. Every class ties theory to practice, helping high school grads transition into professional-level work without the steep learning curve of other programs.

Reason #3: Professional Studios and Industry Gear

Access to pro-level equipment is a big draw. OIART has eight studios that mirror real studios, stocked with SSL compressors, Neumann microphones, Yamaha instruments, Waves and Soundtoys plugins, and acoustically treated spaces.

Students practice with DAWs, consoles, and hardware they’ll encounter in their careers, so by graduation, the gear feels like second nature, giving them an edge in professional studios.

Reason #4: Small Classes and Personalized Mentorship

OIART’s studio sessions often include just four students. Instructors know everyone by name, offering guidance tailored to individual goals, whether that’s audio for visual media, live sound, or production.

This level of mentorship is rare, making OIART’s School of Audio Engineering a creative community where students feel comfortable, supported, and challenged.

Reason #5: Exposure to Every Corner of Audio

The curriculum spans music production, live sound engineering courses, audio for visual media, and sound technician courses. Students record bands, run live sound engineering performances , and design audio for film, TV, and games.

High school grads exploring what path fits them best discover their true passion while building a portfolio that prepares them for multiple career options .

Reason #6: Industry Connections and Career Success

OIART graduates walk into the industry eager and ready. Career support includes resume guidance, interview prep, and job search strategies.

The school’s reputation opens doors: alums work in recording studios, broadcast facilities, touring companies, and production houses worldwide. For students fresh out of high school, this level of employment success demonstrates a real return on investment.

Reason #7: A Dedicated, Focused Environment

Every studio, lab, and classroom at OIART trains you in audio. You won’t be sharing space with unrelated programs or fighting for time on the gear. That means more hours recording, mixing, and producing, more projects under your belt, and more control over your learning.

For high school grads stepping into post-secondary for the first time, this focused environment is energizing and professional , just like you’ve stepped straight into a real-world studio.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

Why OIART Stands Out as Canada’s Leading Audio Engineering School

Students across Canada typically compare recording schools before deciding where to study. OIART stands apart because it’s a specialized school of audio engineering, not a general arts program with an audio track. Four decades of training professionals, plus facilities rivalling pro studios, make it the go-to choice for music students in Canada.

Gear from Yamaha, Waves, SSL, and acoustically treated studios ensures students track full bands, program synths, and mix like pros. With a strong graduate employment record, OIART provides students with a direct path from high school to a career, solidifying its place among the top music production schools in Canada.

A Day in the Life of an OIART Student

Days are creative, varied, and hands-on. Mornings might start with lectures on signal flow, audio theory, or critical listening. By late morning, students are in studios tracking live drums, adjusting levels on a mixing console , or programming beats.

Afternoons include small-group labs, one-on-one instruction, and hands-on practice with live sound, MIDI controllers, or film audio editing. With classmates who share your drive, collaboration is constant, and evenings often include project work, rehearsals, or preparation for live sessions.

This balance of theory, practice, and collaboration mirrors professional workflows, giving students a realistic industry experience right out of high school.

OIART Graduate Testimonials

Don’t just take our word for it, hear from the students who’ve turned their passion into a career:

“I always had musical ideas in my head, but I was never able to express them in a medium. I would use my video camera to record myself playing my compositions live on guitar and piano. After attending OIART, I acquired the techniques and knowledge necessary to produce the music the way I want it to sound through recording, editing, and mixing. I now use the computer (Pro Tools) as an instrument and tool to put together the music I write, instead of my video camera.

My favourite thing about OIART was the community of teachers and students; it was the only school I’ve attended where everyone shared a common interest. I got to collaborate with a lot of people (teachers included!) who were into the same things as myself and ended up creating some really cool stuff; from sound designing for short films to creating rap songs.” - Steven Li.

“My time at OIART was by far the most fun I’ve ever had learning anything in my life. The faculty is phenomenally skilled, and they care deeply about each student’s success. Not only do the faculty care, but with such small class sizes and a massive post-graduate network, all of your peers just want to see you succeed. OIART is a way of life, and everyone has your back.” - Alex Robillard.

“Fantastic school, amazing faculty and course content that sets you apart from the competition.

If you have any thoughts about pursuing audio as a career, you need to come to OIART.” - Jeff Folkes.

Building Skills Beyond the Classroom

True growth happens in the studio. Recording a live band teaches mic placement, artist communication, problem-solving, and making quick decisions under pressure.

Teamwork is key; students rotate roles as producer, engineer, and musician, mirroring the real industry. Each project contributes to a professional portfolio that demonstrates your ability to track, mix, and produce across various genres and media.

Graduates leave ready to create, produce, and engineer across any genre or setting. From studio recordings and live performances to film and media projects, students are equipped to turn opportunities into real-world results.

Why Early Admission Helps

Jumping into OIART straight out of high school gives students a major advantage in skills and career momentum. Instead of spending years in general education courses, you dive right into industry-level training, gaining hands-on experience that most of your peers won’t get until later.

Starting early also means building your professional network sooner. You connect with instructors , visiting industry professionals, and classmates who share your passion for music and audio. These connections often become collaborators, mentors, or even job leads once you graduate.

Early admission also helps maintain your momentum. While friends in traditional programs are still completing general courses, OIART students are already tracking, mixing, and producing, building a portfolio that demonstrates real-world ability. By the time your peers catch up, you’ll have practical experience, a polished portfolio, and a head start on entering the industry as a confident, capable professional.

Take Control of Your Future in Sound. Apply to OIART Today

Your passion deserves a serious path forward . High school grads ready to train in real studios, with real gear and mentorship, find their career in music at OIART. Classes are limited, so applying early secures your spot and gets you ahead of the curve.

This is your chance to turn what you love into what you do. Take the leap and reserve your seat in the next class and launch your music career today.

Different Music Genres & How to Master Them for a Career in Music Production

Mon, 13 Oct 2025 16:47:33 GMT

Music is exploding in every direction — hip-hop beats, pop anthems, EDM drops, classical scores, metal riffs. Each style with its own rules, creative instincts, and production demands. Producers who can move between them rise fastest in the industry.

At OIART, Canada’s number one audio program and recording school (Based on KPI survey results for graduation rate, graduate satisfaction rate, and graduate employment rate), students train to master that adaptability. World-class studios, stocked with drums, guitars, keyboards, and pianos, give you the tools to learn by doing. Projects mirror the real world, so by graduation, you’re already working at industry speed.

Keep reading to explore the genres shaping music today, how producers capture their sound, and how OIART prepares you to turn passion into a professional career.

Exploring Music Genres and Their Demands

Every genre has different rhythms, textures, and cultures. Producing it well takes a strong understanding of the heartbeat behind the sound. From hip-hop’s razor-sharp beats to jazz’s improvisation and rock’s raw grit, learning the DNA of each style makes your mixes authentic and your productions undeniable.

Hip-Hop

Hip-hop runs the global stage in 2025, driven by producers who master beats, sampling, and layered vocals. Drum programming and vocal balance are the foundation.

At OIART, you’ll sequence tracks in DAWs like Pro Tools and Logic Pro, program MIDI that actually knocks, and blend live instruments with digital beats. Ear training sharpens your ability to catch timing shifts or tonal changes, while mixing courses teach you how to keep heavy 808s and stacked vocals clear and powerful.

Pop

Pop is precision. It’s the hook that sounds flawless in headphones and massive in arenas.

At OIART, you’ll learn advanced mixing and mastering techniques that bring commercial-ready shine. You’ll train with industry-standard plugins for pitch correction and vocal processing, and work with live instruments like guitars, keys, and percussion to inject real energy into digital productions. It’s this type of training that sets you apart from other music production schools.

Rock

Rock lives and dies on live energy. Capturing a band in full flight while keeping every instrument clear is a skill on its own.

At OIART, you’ll record in studios built for live tracking. You’ll practice mic placement on amps and drum kits, manage bleed between instruments, and mix multi-track sessions until they hit with clarity and power.

Electronic Dance Music (EDM)

EDM focuses on drops that move crowds and synth layers that stretch sound into another universe. Producers here need mastery of DAWs, sound design, and automation.

At OIART, you’ll go deep into digital production, sampling, and synthesis. You’ll create your own textures in sound design labs, mix sub-heavy basslines without losing clarity, and experiment with controllers and MIDI instruments used by pro DJs and producers on stage.

R&B and Soul

R&B is groove, soul, and emotion in every layer. Vocals lead, but the vibe depends on lush arrangements and warmth.

Students at OIART learn to capture vocal nuance with top-tier microphones, mix tracks for depth and clarity, and layer instruments like keys and guitars for soul-rich textures. Ear training courses sharpen your ability to highlight subtle details — the ones that give R&B its emotional pull.

Jazz

Jazz is live, unpredictable, and honest. The producer’s job is to preserve the performance without flattening its dynamics or spontaneity.

At OIART, you’ll record live ensembles, placing mics for brass, bass, piano, and drums. Courses in acoustics and critical listening teach you how to respect the energy of improvisation while balancing the mix. You’ll graduate with ears trained for nuance, which is a skill every professional music producer needs.

Classical

Classical production involves capturing grandeur: the resonance of a piano, the sweep of strings, or the precision of an orchestra.

OIART teaches microphone techniques, such as XY and ORTF, so that you can accurately record ensembles. With access to pianos, strings, and percussion, you’ll learn to balance natural resonance with technical clarity, preparing you for work in spaces where authenticity matters most — an approach rarely seen in other music production schools in Canada .

Country

Country mixes acoustic storytelling with electric drive. The challenge here is keeping vocals front and centre while balancing the textures of guitars, fiddles, and pedal steel.

Students at OIART learn how to record acoustic instruments with detail, use EQ and compression to carve space for vocals, and build arrangements that feel intimate but powerful. Harmony layering and band tracking round out your skillset, giving you the tools to produce a country sound that feels authentic and radio-ready.

Metal

Metal is loud, fast, and unforgiving. Producers need to wrangle distorted guitars, double-kicked drums, and aggressive vocals without letting the mix collapse.

At OIART, you’ll work in isolation booths designed for high-gain amps and blistering drums. You’ll practice double-tracking guitars, locking in fast drum patterns, and mixing dense sessions where every part stays audible. It’s hands-on training that mirrors the demands of professional audio engineering .

Reggae and World Music

Global genres like reggae, Afrobeat, and Latin music are climbing charts worldwide, fusing cultural heritage with contemporary production.

At OIART, you’ll record projects that expose you to new instruments and rhythms, from percussion-heavy grooves to bass-driven reggae lines. You’ll practice mixing for cultural authenticity while meeting modern audio standards, building versatility that enables you to adapt to any music style in your career

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

Classes That Shape Your Sound

Whatever genre sparks your passion, mastering it begins with the right tools and hands-on training. OIART’s courses put you in front of professional gear and real instruments, allowing you to learn theory while feeling, playing, and producing it.

Here’s how OIART helps you refine your sound and the gear you’ll be using:

Music Recording and Live Tracking

Step into studios like Studio 1 and 2 , where you track drums, guitars, vocals, piano, and acoustic instruments live. You’ll learn mic placement, signal flow, room acoustics, bleed management, and multitrack editing, all skills that let you capture performances that hit hard and sound crystal clear.

Mixing and Mastering

Learn to make every element of a track land just right: guitars crisp, vocals upfront, drums punchy, bass steady. You’ll polish mixes to sound killer on any system, from headphones to club speakers. Industry-standard plugins like Auto-Tune, Melodyne, Waves, and Soundtoys help you tune, shape, repair, and refine your productions like a pro.

Live Sound and Instrument Performance

Studio 7 is designed for full-band tracking and live performance. Students leave knowing how to run front-of-house, set up monitor mixes, rig PA gear, tune rooms, and manage live signal flow. These skills align directly with industry-recognized sound technician courses.

Electronic and MIDI Production

In Studio 6 , the synth and MIDI room, you’ll dive into virtual instruments, keyboards, and synths. You’ll explore sound design from scratch and build your sonic identity in electronic music, beat-making, ambient, and other computer-based styles.

Audio for Visual Media, Foley, and Dialogue

Studios 4 and 5 are for film and TV production. You’ll record Foley, dialogue, and sound effects, working on projects that mirror real sets. Tools like Sound Devices recorders and lavalier mics give you hands-on experience preparing audio for visual storytelling.

Instruments and Gear You’ll Use

To shape your sound, you need to play, tweak, and experiment with real instruments and pro-grade gear. OIART gives you that:

Instruments: Drum kits, electric and acoustic guitars, pianos, keyboards and synths, percussion, full live band setups
Consoles and Outboard Gear: Audient ASP8024 HE large-format console, analog/digital signal flow training, classic preamps and compressors (Urei 1178, Neve 1073, SSL, outboard EQs), analog consoles and console surface control
Recording Spaces: Live floors, isolation booths, large and small tracking rooms, flexible studio floors
Monitoring: Studio monitors (near-field and full-range), headphones, surround sound setups in select studios, and precise speaker arrays
Software/DAWs: Pro Tools HD, Logic Pro, Ableton Live, Reaper, plus plugins for mixing, pitch correction, outboard emulation, and effects

Music Industry Connections

OIART graduates leave with industry connections and a clear path into the music world. Alumni work in recording studios like Noble Street, live sound setups for touring acts, post-production houses for film and TV, and in music engineering roles at radio stations or production companies. Many also freelance as producers, recording engineers, or mix and mastering specialists, moving between genres with confidence.

The program offers mentorship opportunities with professional producers, guest lectures from engineers behind major albums, and hands-on projects that mirror industry expectations. Students build portfolios by recording local bands, producing original tracks, or contributing to media projects.

Learn at OIART and Build a Career in Any Genre

OIART grads leave with skills and versatility that set them apart from other music production schools — it’s why our School of Audio Engineering is recognized across Canada.

Whether you’re aiming to produce chart-topping pop, record jazz quartets, or mix the next big hip-hop hit, the foundation you build at OIART prepares you to thrive anywhere music takes you. Our grads can jump between genres and disciplines — from studio sessions to live sound — and that kind of versatility is gold in today’s industry.

Apply now for your seat at OIART!

Top 5 Tips for Realistic Pitch Correction

Mon, 15 Sep 2025 19:19:49 GMT

Pitch correction is one of those skills that distinguishes professionals from hobbyists in the field of music engineering. Anyone can load up a plugin and tweak a vocal line, but it takes a trained ear and a good understanding of audio to make pitch correction sound natural, not robotic.

At its best, correction doesn’t distract from the performance but enhances it, making the emotion and tone shine without drawing attention to the edits.

For students who want to work in audio, ear training and pitch work are just as important as learning microphones or mixing consoles. The Ontario Institute of Audio Recording Technology (OIART) integrates the technical and creative aspects of pitch correction into its program, ensuring that graduates can confidently enter any studio or post-production session.

Keep reading to learn why ear training is essential for your career, how today’s DAWs make pitch correction sound natural, and how OIART alums have turned these skills into successful careers.

Why Pitch and Ear Training Matter in Audio

In today’s industry, pitch correction can shape sound in film, advertising, games, and theatre productions. If a guitar track is slightly flat or a bass line is sharp against the drums, the entire song will feel off. Being able to recognize and correct these subtleties is what separates good mixes from great ones.

Ear training is the foundation. You can’t correct what you don’t hear. Audio programs place so much emphasis on exercises that sharpen your ability to identify pitch differences, tonal shifts, and harmonic clashes. OIART, a top-rated music production and audio engineering school, combines classroom instruction with real-world sessions, enabling students to hone their skills while working on live projects.

By the time graduates leave, they can follow a plugin’s visual display and make musical decisions based on how the performance feels and sounds.

The DAWs and Tools Behind Professional Pitch Correction

Any major recording school can teach digital audio workstations (DAWs), but what matters is how well you learn them. At OIART, students dive into industry-standard platforms, like Pro Tools, Logic Pro, and Ableton Live, learning the software and workflows that professionals use every day.

For pitch correction specifically, two tools stand out: Celemony Melodyne and Antares Auto-Tune. Melodyne gives engineers the flexibility to manipulate pitch with surgical precision, shifting notes while keeping timing and natural dynamics intact. Auto-Tune, when used subtly, corrects pitch in real time without stripping away character.

Understanding when to use each tool and how to combine them with creative decisions is part of what makes OIART’s approach unique. Students practice on real performances, learning to maintain a human quality in their vocals while still being perfectly in tune.

Top 5 Tips For Realistic Pitch Correction

Now that you know why pitch correction matters, let’s break down five tips to make your work sound authentic.

Tip# 1: Correct Pitch With Subtlety

The most common mistake is over-correcting. Perfectly straight notes sound robotic and remove the emotion of a performance. Instead, aim for natural movement. Correct only what takes the listener out of the moment and leave the natural vibrato or slight imperfections intact. A performance’s charm often lives in the fine details.

Tip# 2: Use Your Ears, Not Just Your Eyes

Plugins like Melodyne display pitch as blobs or lines, tempting engineers to edit visually. But music isn’t made for the eyes — it’s made for the ears. Train yourself to close your eyes and listen before making adjustments. If it feels right, it usually is. Visual tools are there to confirm what you hear, not to replace your judgment.

Tip# 3: Focus on Transitions, Not Just Notes

A note can be in tune, but pay attention to the way it enters and exits — slides, glides, and consonant sounds at the start or end of a phrase. Editing only the sustained portion of a note can make transitions sound unnatural. Correcting the entire phrase, while preserving the singer’s intent, maintains the musical integrity.

Tip# 4: Match Correction to the Genre

A pop record might call for tighter, glossier correction, while an indie-folk track benefits from more looseness. Hip-hop might embrace Auto-Tune as an effect, while film scoring requires invisible correction. Always consider the artistic context before making adjustments.

Tip# 5: Train Your Ear Daily

The best engineers have ears that can instantly pick out subtle pitch differences. Just like athletes practice drills, audio engineers need daily ear training. Use ear training apps, DAW pitch-detection features, or even tuning exercises on an instrument. At OIART, these exercises are integrated into the coursework, so students leave with sharper listening skills than they had when they started.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

Sharpening Your Ears for Pro-Level Audio

Realistic pitch correction begins with developing ears that can detect the slightest variations in tone. Tips for sharpening your ears:

Listen in different environments: Switch between headphones, monitors, and car speakers to catch new details.
Slow it down: Break down recordings at half speed to hear micro-pitch changes you’d miss at full tempo.
Stay consistent: Like muscle memory, your ear sharpens most with short, frequent practice sessions.

At OIART, theory quickly turns into practice. Instructors might challenge you to hear if a note is 10 cents sharp or to correct a vocal track using both Melodyne and Auto-Tune to compare results.

Students also practice with interval recognition drills, daily listening exercises, and A/B testing against reference tracks to fine-tune perception. By the end of the program, your brain is trained to pick up on these subtle details instantly, giving you a technical edge that sticks long after graduation.

Testimonials: From Classroom To Career

From fine-tuning pitch to sharpening ears, OIART graduates walk out with skills that land them work in studios, live sound, and beyond:

Matty Green

After graduating, Matty Green went on to work with world-class artists including Ed Sheeran, Lady Gaga, and Paul McCartney. His mixes are heard worldwide, and he credits his time at OIART for teaching him the technical precision and musical intuition to work at that level.

“I feel like OIART helped me to be ready for anything and everything. OIART really trains students well to understand how all the gear works, rather than just a few pieces of gear. You can walk in anywhere and understand why something is doing something and what it’s going to do.

OIART is giving students the knowledge to figure things out instead of training button-pushing monkeys. The teachers are incredibly supportive, and the extra help is there if you need it. OIART Rocks, I really love that place.”

Jason Dufour

Jason Dufour has established a reputation as a leading recording and mix engineer, earning a Juno nomination for Recording Engineer of the Year.

“As I look back, I realize how invaluable my time spent at OIART was and still is — It gave me the foundational tools that I needed to build upon my skills and develop into my career as a recording engineer/mixer. I would highly recommend OIART to anyone seriously thinking about pursuing professional audio as a career.”

Liam Thompson

For Liam Thompson , running his own studio meant wearing many hats, from engineer to producer to entrepreneur. He’s worked with local bands and national projects, blending technical skills with creativity.

The healthy competition between the students forced me to find out how hard I could actually work, and the guidance of the faculty made sure I had the skills to compete both before and after graduation. Audio can be a lonely career path, and having talent is only half the battle, but OIART provides much more than just information; the experience of working as a team, and the close friendships and professional connections made during that process, helps set you up for success.”

Why OIART Is The Best Place To Learn Audio Engineering

Many music production schools in Canada promise studio time and software training, but OIART delivers a complete education. Students work in professional studios with consoles, industry-standard DAWs, and cutting-edge plugins, gaining hands-on experience instead of just sitting in front of a computer.

More importantly, instructors who’ve built careers with production in music, film, and broadcasting guide them. That mentorship ensures that when you learn pitch correction, you’re making musical decisions the way working professionals do.

By graduation, OIART students have the skills, ear training, and hands-on experience to move confidently into careers in production, post, and beyond.

Make Your Move. Start a Career In Music Production Today

Pitch correction isn’t going away. If anything, it’s becoming more central to music production, sound design, and multimedia. The engineers who will thrive are those who can use it tastefully, training their ears to balance perfection with performance.

OIART gives you the tools, mentorship, and studio experience to make that possible. From DAW mastery to ear training drills, you’ll leave prepared for the demands of today’s audio industry.

Apply now for your opportunity to prepare for a career in music.

Behind The Scenes: Unpacking SFX (Special Effects)

Mon, 18 Aug 2025 15:26:24 GMT

Explosions. Dragon wings. Sci-fi weapons.

Rainstorms, car chases, ghost whispers, and creaky doors.

What do they all have in common?

Someone created those sounds, and it wasn’t the actor holding the prop. That’s the magic of SFX audio, where storytelling lives in the details you hear.

If you’ve ever watched a movie or series and felt completely pulled in by the sound of the world around the characters, you’ve experienced the power of a great SFX editor or SFX recordist. These professionals design entire sonic environments, frame by frame.

OIART grads are doing this every day, for some of the biggest shows, films, and networks in the world. Curious what it takes to get there?

Keep reading to discover what a career in SFX audio looks like, how to prepare for it, and the sound technician courses and gear you’ll train on at OIART—Canada’s leading recording school. You’ll also hear from graduates and see some of the incredible things they’ve gone on to accomplish in the industry.

What Does an SFX Audio Creator Do?

There are two main jobs in audio SFX:

SFX Recordist: Captures original sounds in the field or studio to build a sonic palette, including whooshes, hits, metal scrapes, animal growls, and more. They're the ears on the ground, turning real-world noise into cinematic texture.
SFX Editor: Selects, layers, edits, and syncs those sounds with visual media using DAWs and picture reference. Their work creates the emotional impact of every footstep, explosion, or eerie silence.

Sometimes one person does both. In all cases, you’re shaping emotional impact with sound. Will the audience jump? Will they feel tension or awe? That comes down to the timing, texture, and realism of your effects.

To do this well, you’ll need to:

Understand the science of acoustics
Know your way around mic placement and gain staging
Work fluently in DAWs like Pro Tools
Sync audio to picture with frame-level precision
Layer sounds for realism or impact
Follow creative direction from supervisors, producers, or directors
Help tell the story

And the demand is growing fast. With streaming content booming, video game audio expanding, and post houses juggling multiple projects, trained SFX specialists are needed more than ever.

The Tools of the Trade: Gear, Software, and Setup

To work in SFX, your toolkit must be creative and technical. OIART’s audio engineering program exposes students to the exact tools they’ll use in the field.

Here’s some of what you’ll get hands-on time with:

Microphones

Shotgun mics for directional recording
Contact mics for vibration and impact
Binaural mics for immersive stereo capture

Recording Gear

Portable recorders for field sessions
Boom poles, wind protection, and rigging setups
Patch bays and signal routing for studio captures

DAWs and Software

Pro Tools with full post-production workflows
Soundminer or BaseHead for effects library management
iZotope RX for noise reduction and audio repair
Plugins for reverb, pitch shifting, and layering

Monitoring Environments

Surround sound mixing suites
Studio monitors tuned for detail
Foley stages and dry rooms for capture

But gear is only part of the picture. You’ll also learn the workflow, such as how to organize sessions, tag files, build libraries, and collaborate with dialogue editors, mixers, and video editors. By the time you graduate from OIART, you’ll know how to use the tools and how to think like an SFX professional.

The Classes That Get You There

OIART’s Audio for Visual Media stream is part of an audio program designed for students who want to explore film, TV , and game audio . If your dream is to become an SFX editor, designer, or recordist, this is how our curriculum gets you there:

Post-Production Sound

Learn how to work with dialogue, Foley, SFX, and music in one timeline
Sync audio to picture using frame-accurate workflows
Gain experience with file naming, versioning, and delivery formats

Foley and Field Recording

Recreate sounds using props and custom setups
Capture unique textures and elements to add realism
Learn when to use studio techniques vs. field sessions

Game Audio Integration

Understand nonlinear sound design for interactive media
Work with middleware like Wwise to program dynamic SFX
Study how games use sound to cue player actions and emotions

Mixing for Picture

Balance dialogue, music, and SFX in surround formats
Apply dynamics, EQ, and spatial tools for cinematic impact
Learn how to deliver mixes that meet broadcast and film specs

And because all OIART students rotate through multiple disciplines, you’ll also train in studio recording, live sound , and music production, giving you a broader audio toolkit and job flexibility.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

Meet the Pros: OIART Grads Working in SFX

OIART grads are behind the sounds you hear in award-winning productions, from streaming hits to theatrical releases.

Wayne Lemmer: Crafting the Sound of Blockbusters

After graduating from OIART in 2003, Wayne Lemmer took his skills from small-town Ontario to the heart of Hollywood. He joined 20th Century Fox, where he has contributed sound design to major productions, including Black Swan, Fantastic Four, Transformers, X-Men, and Kung Fu Panda.

Wayne holds six Motion Picture Sound Editors Golden Reel Award nominations and continues to shape the sound of major studio films as a Supervising Sound Editor.

His original goal was music production, but once he discovered sound design, there was no turning back. OIART gave him the foundation to pursue that path, and it has taken him to the biggest stages in film.

“It just grabbed me,” Wayne said. “It engulfed my life. It was an exciting new venue for me to create and perform art.”

Roger Leavens: Building a Sound Empire in Toronto

Roger Leavens graduated from OIART in 1998 and has spent the years since carving out a name as one of Toronto’s most versatile audio professionals. He’s the founder and owner of Boombox Sound, a studio known for its creative work in advertising and television.

Boombox has created sound design and original music for many clients, including Coca-Cola, Cadbury, Ford, Greenpeace, and MuchMusic. Roger also works in music production, with album credits for artists like DIANA, Born Ruffians, and Owen Pallett.

“My education at OIART allowed me to turn my passion for music and sound into a rewarding career in music and sound.”

Jon LeBrun: From OIART to Prime-Time Soundtracks

A 2003 OIART graduate, Jon LeBrun has turned his love of audio into a dynamic career spanning music, sound design, mixing, and location recording. He runs Brown Sound Audio out of Ottawa, where his client list includes prominent names like the NHL, TSN, CTV, Discovery Channel, and TFO.

“Not to belittle other audio schools, but I have worked with people from [other programs], and let’s just say I was extremely happy with my decision to go to OIART. Something I loved about OIART is that it was intense and only 1 year.”

All three alumni show the range of possibilities in SFX: from hands-on editing to business ownership to award-winning broadcast work. And it all started with a foundation built at OIART.

What Kind of Person Thrives in SFX?

This field requires imagination. The best SFX creators are curious, meticulous, and always listening.

You might be a great fit if you:

Obsess over how things sound in movies or games
Love building things from scratch, layer by layer
You thrive fine-tuning the smallest details
Enjoy technical challenges, like syncing frames or solving noise issues
Like working independently and as part of a bigger creative team

You don’t have to come in with every skill figured out. OIART starts at the foundation and helps you build your talent.

You’ll also thrive if you’re the kind of person who loves storytelling. Because in the end, that’s what SFX audio is: helping the audience feel something, through sound.

How to Start Your SFX Journey

If you’re serious about SFX audio, now’s the time to start building your future. Here are a few steps you can take before you even enroll:

Start Listening Critically

Watch movies or games with headphones. Ask yourself: What are you hearing in the background? Where did that sound come from?

Experiment With Sound Recording

A phone mic is enough to get started. Try recording footsteps, slams, nature, or your own sound effects.

Play With Free DAWs

GarageBand or Reaper are great entry points. Try layering sounds, adding reverb, or creating impact hits to enhance your composition. Become proficient in editing waveforms and using plugins.

Watch Behind-The-Scenes Content

Look at how they create sound for films or games. Follow studios and professionals on social media. You’ll pick up terminology, workflows, and gear knowledge.

Book a Tour at OIART

See the gear, meet the instructors , and explore the Audio for Visual Media program in person with a tour. OIART is the top-ranked audio & live sound school in Ontario, Canada — and for SFX audio pros, it’s where careers begin.

OIART Is Where Sound Comes Alive

From editing alien screams to designing the sound of spaceships or creating audio environments no one’s ever heard before, these memorable, heart-pounding experiences start here.

OIART gives you the training, mentorship, and industry-standard tools to break into post-production and make your mark in the world of sound.

Learn how to become an SFX audio professional from OIART. Apply Today!

Become a Sound Pro: 6 Ways to Gear Up For Audio Engineering School

Mon, 21 Jul 2025 15:06:37 GMT

Ready to go from music lover to sound pro? You don’t have to wait for your first class to start building your skills. Already making beats in your bedroom or feeling something when the bass hits right? This is your chance to prepare for the ride of a lifetime.

Audio engineering is a creative, technical, fast-paced, and constantly evolving field that offers many opportunities. If you're heading to a school like OIART , you’ll have hands-on experience with recording, mixing, producing, and problem-solving, all from day one.

Parents, if you're wondering if this path has real career potential, the answer is yes. From music production to game sound design, OIART grads work in industries that are booming right now.

So crank the volume and get ready to explore your backstage pass to everything you can do now before school starts.

Tip #1: Train Your Ears Like a Pro Listener

Your ears are your most important piece of gear. Anyone can buy a mic, but learning how to hear like an audio engineer takes practice. Before you touch a console, start fine-tuning your listening.

Pick your favourite songs and listen to them in a whole new way. What do you notice first? The kick drum? The reverb on the vocal? Try listening for:

Balance (how loud each element is)
Panning (where things are in the stereo field)
EQ (is it bright? warm? muddy?)
Dynamics (what hits hard and what’s soft)
Effects like reverb, delay, or distortion

Break down different genres, even ones you don’t usually listen to. Great ears don’t come naturally; you have to train them; Pop, Metal, Jazz, Hip hop, & Film scores. Each one uses sound differently, and learning to hear those details is a big part of becoming a music producer or engineer.

Tip #2: Get Comfortable With Tech and Software

In 2025, your audio workstation mixes hardware and software. If you’ve never touched a DAW (Digital Audio Workstation) , now’s the time to start.

Popular DAWs, such as Pro Tools, Logic Pro, Ableton Live, and GarageBand, are where nearly every project begins. Pro Tools is the industry standard, and it’s what you’ll use at OIART . But any DAW is a great place to start exploring how audio works.

You Can Make Beats Using Virtual Instruments

Lay down your first groove or build a full arrangement with virtual instruments, like drum machines, synths, pianos, basses, and more. Whether you're dropping 808s or layering orchestral strings, you can tap into a massive sound library to craft your vibe from scratch.

You Can Edit Loops and Samples

Chop, stretch, slice, reverse — loops and samples are your playground. Drop in pre-recorded sounds and edit them to fit your tempo or mood. Flipping a vocal hook or fine-tuning a drum break gives you complete control over every beat and bar.

You Can Record Yourself Or Others

Capture vocals, guitars, keys, or whatever else you’ve got. Plug in a mic or interface and start recording audio straight into your project.

You Can Play With EQ, Panning, and FX

Shape your sound like a pro with built-in EQ, panning, and effects. Brighten vocals, beef up the low end, or send that synth soaring into space with reverb, delay, or distortion.

You Can Export Mixes and Bounce Tracks

When you’re ready to share your masterpiece, just export the mix. You can bounce tracks individually or as a full stereo file. High-quality audio, ready to drop on Spotify, YouTube, or wherever your audience lives.

Bonus tip: OIART uses Mac-based systems. If you’re more familiar with Windows, it’s worth taking some time to get familiar with a Mac to make the transition easier. Even a used or borrowed one will help you feel more at home.

Want to go deeper? Grab a simple interface and a pair of headphones, and start exploring. Tools like the Focusrite Scarlett 2i2, PreSonus AudioBox, or budget bundles from music stores are perfect for beginners.

Tip #3: Record Something — Anything!

Think your first big audio project has to be a song? Nope. Start simple.

Record your dog barking, your voice, or a fan blowing across a mic. The goal is to start experimenting and figuring out what sounds cool, what doesn’t, and how to fix it. That’s how real producers and sound engineers sharpen their edge.

Use your phone’s mic. Or plug a USB mic into your computer. Download a free DAW like GarageBand or Cakewalk. Start layering tracks. Try adjusting volume and pan. Add effects. Make something weird. Make something awful. Then try again.

Want to record vocals or instruments? Grab an audio interface, a budget condenser microphone, and headphones; many starter kits are available for under $200. The quality won’t be world-class, but the experience will be.

Each time you record and listen back, you’ll hear something new, and your brain will start learning how sound works.

Students who have already experimented with recording software usually feel way more confident when school starts. They ask better questions, try crazier ideas, and get more out of studio time.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

Tip #4: Play an Instrument (Or Just Learn the Basics)

You don’t need to play an instrument to be a killer engineer, but it helps. Understanding how instruments work makes it way easier to record, mix, and communicate with artists. That’s why music producer programs, and audio engineering colleges (like OIART) offer hands-on experience whether you're already a musician or just passionate about sound, there's space for everyone.

The piano is a great starting point. It teaches you melody, harmony, and song structure. You’ll also be able to use it for MIDI programming and production work. The guitar is another solid choice that many genres rely on, and it helps develop your ear.

The more you understand different instruments, the more versatile you’ll be in the studio. Even learning basic music theory, such as chords, scales, tempo, and key signatures, can give you an edge.

As a producer or sound tech, you help shape the performance. Knowing the difference between a tight drum groove and a sloppy one, or when a vocal is out of tune, can significantly change a session.

You don’t have to be a master musician to study sound engineering or produce music. What matters is having the passion, creativity, a good ear, and the willingness to learn and work hard. Speak the language of music fluently enough to lead when it counts.

Tip #5: Build Your Inspiration Playlist

Great engineers are great listeners. Before you learn how to make a great sound, you need to understand what great sound is.

Start a playlist of tracks that blow you away. Look for songs where the mix, the vibe, the punch, the space, or anything that grabs you. These will become your reference tracks, and you’ll use them to calibrate your ears in new studios or speaker systems.

Explore:

What do the vocals sound like?
How tight is the low end?
Is there a lot of reverb, or is it dry?
If you can hear everything clearly?

Add a mix of genres. Include tracks known for their engineering (like Steely Dan or Billie Eilish), and stuff you love. As your taste grows, so will your internal library of “what great sounds like.”

Many pros play a handful of reference tracks before mixing, just to remind their ears what’s possible. Let your playlist be your mentor.

Tip #6: Connect With the Industry Now

Follow engineers, producers, musicians, and studios on Instagram, YouTube, TikTok, and LinkedIn. Watch how they work. Read their captions. See what gear they use, and what problems they solve. You’ll learn more than you think just by paying attention.

Even better? Introduce yourself. Not with a long message or a resume, but just a quick note saying you’re getting ready for school and excited to learn. Ask a short, smart question. Let them know you’re here.

While you’re at it, start building your own digital footprint. Post your learning journey. Share music that inspires you. Document your first mixes. When you look back in a year, you’ll see how far you’ve come, and so will anyone checking out your profile.

The music and sound industry is based on relationships. Being enthusiastic, humble, and curious puts you miles ahead of someone who just waits to be discovered. Start connecting now, and by the time you graduate, you’ll already be part of the scene.

This Is Your Audio Pro Moment

Audio school is your backstage pass to the industry, and every tour, film, podcast, video game , and album needs skilled pros behind the scenes. At OIART, you’ll be in the studio from day one, learning from professionals who’ve been where you want to go.

Start prepping now, and you’ll be ready to learn, collaborate, and level up fast. Your future classmates are already out there, some recording riffs in their garage, some remixing vocals at 2 a.m., all of them chasing the same dream. Want proof it pays off? Check out the alums and see where this journey can really take you.

If you're fired up, that's a good sign. It means you’re on the right track.

Book a tour and get started with your music career today.

Why Live Sound Engineering Is the Hottest Career in Audio Right Now

jalves@oiart.org (Jeremy Alves) — Thu, 26 Jun 2025 14:32:13 GMT

Why Live Sound Engineering Is the Hottest Career in Audio Right Now

Live shows are back — louder, bigger, and more complex than ever. Whether at a packed stadium concert, a festival in the park, or a local music venue, one thing powers the experience: sound.

Behind every unforgettable show is a live sound engineer making sure every lyric, beat, and bass drop hits just right.

Since the return of in-person events, the demand for skilled audio professionals has skyrocketed. Tours need consistent crews, venues are hiring, and tech has advanced. While artists might get the spotlight, live sound engineers are at the heart of every performance.

If you’re passionate about music, love tech, or want to turn your interest in sound into a real job, this could be the path you’ve been looking for.

Keep reading to learn how the industry has changed, what live sound engineers do, and the skills you’ll need to succeed. Discover how live sound schools like OIART are empowering grads to turn this fast-paced world into a career they love.

Live Sound Is Back, And Bigger Than Before

The pandemic shut down concert halls, clubs, and theatres worldwide. Once restrictions were lifted, something unexpected happened: audiences came back fast, and they came back hungry.

By 2023, global touring had surpassed pre-pandemic levels. Festivals were selling out, and artists who delayed tours booked back-to-back dates. Even small venues found themselves busier than ever, hosting everything from band showcases to spoken word nights.

This rapid rebound exposed a major problem: there weren’t enough trained audio professionals to keep up. We’re seeing a golden era for live sound engineers ; every stage needs them.

Theatre, corporate events, churches, esports, conferences, and political rallies rely on skilled technicians who can manage microphones and mixers, and monitor systems under pressure.

New production technologies, from immersive audio rigs to wireless digital consoles, have also raised expectations, creating even more opportunity for those trained to handle modern setups.

If you’ve ever wondered who’s behind the clarity of a singer’s voice in an arena, or why the bass thumps just right at a festival, that’s the work of live sound engineers. And right now, they’re in high demand.

What Does a Live Sound Engineer Do?

Live sound is one of the audio world's most active, fast-thinking, and hands-on areas. At a basic level, engineers handle setup, mixing, and teardown of all audio gear.

That includes microphones, speakers, mixing consoles, monitors, wireless systems, and more. But the way they work in real time sets them apart. There are two main roles in most live setups are:

Front-of-House (FOH) engineers mix what the audience hears
Monitor engineers create mixes for the performers on stage

Both require precision, teamwork, and a good understanding of acoustics. You might be EQing a vocal mic for clarity one moment, then troubleshooting a crackling cable mid-show the next. There’s no pause button. Everything happens live.

Andrew Brown, an OIART grad, knows this firsthand. As a touring audio engineer, he’s mixed shows across Canada. His sound technician training in live sound prepared him to adapt quickly, stay calm, and deliver consistent results, even under pressure.

Devon Nutty , another OIART alum, is now a Live Sound Producer. He works closely with artists, venues, and stage crews to create memorable experiences from a technical and creative angle. His job demands technical precision and a strong passion for music.

Many live engineers also work across genres and formats. One week, they handle a rock band’s headline show, the next, they manage wireless mics and lecterns for a corporate event. The variety keeps things fresh and the learning constant.

Skills You’ll Need, and How OIART Teaches Them

Live sound engineers need to think fast, communicate clearly, and stay focused when things go sideways, because in live environments, they often do. Some essential technical skills include:

Understanding signal flow and gain staging
EQing for different room sizes and acoustics
Mixing vocals and instruments live
Managing feedback and wireless interference
Setting up and breaking down gear efficiently
Using digital and analog consoles

But equally important are the soft skills:

Staying calm under pressure
Solving problems on the fly
Working closely with artists and stage crews
Listening critically in loud environments

OIART students learn and apply these skills in real-world scenarios, embodying the excellence in sound engineering in Canada. The school features dedicated live sound labs that mirror actual venues. Students work with industry-standard gear, from digital consoles to PA systems, and practice in conditions that simulate live performances.

You won’t just run sound in a classroom. You’ll learn to troubleshoot gear during sound checks and deal with mic bleed and stage volume. You’ll also make decisions in seconds and see the immediate results of your mix, just like on tour.

Because OIART keeps class sizes small, instructors can give each student direct feedback and coaching. And since instructors are working professionals, you’ll learn what works and what’s expected in the field.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

Career Paths in Live Sound

People often picture studios and recording booths when they think of music production careers. However, music production and engineering schools provide the diverse skills needed to explore various paths, including live sound– an area that opens up a whole different lane, one with variety, travel, and endless growth potential. Some career options include:

Touring FOH or Monitor Engineer: Mixes audio during live shows, either for the audience (front-of-house) or for the performers on stage (monitor), often while travelling with artists across multiple venues.
Venue Audio Tech: Sets up, maintains, and operates audio equipment in a specific venue, ensuring consistent sound quality for every performance or event.
Festival Stage Crew: Handles audio setup and changeovers between acts at multi-stage outdoor events, typically working in fast-paced, high-pressure environments with tight timelines.
Corporate AV Technician: Runs sound, and often visuals, for events like conferences, product launches, and meetings, where speech clarity and reliability are top priorities.
House of Worship Sound Operator: Manages sound reinforcement for live music , sermons, and multimedia presentations during religious services, balancing clarity and atmosphere.
Audio Lead for Performing Arts Centres: Oversees all technical audio needs for theatre productions, dance shows, and other performances, working closely with directors and stage managers.
Live Broadcast Audio Mixer: Balances and mixes real-time audio for television, radio, or livestreams, ensuring clear, clean sound for remote audiences.
Stage Patch Technician: Connects and routes all microphones, instruments, and monitors on stage, ensuring everything is correctly wired and labelled before and during the show.

OIART grads like Devon Nutty mix sound at festivals , venues, and political rallies. Others tour with bands across North America and beyond, or land steady work in theatres and churches. The skills are transferable across formats, which gives live engineers more flexibility and stability.

And for freelancers, there’s the freedom to choose gigs, build a personal brand, and grow a network in the touring world.

Why Live Sound Appeals to Music Lovers

For those who love music, working in live sound is like being part of the band, without picking up an instrument. You’re there during rehearsals, shaping how everything sounds, and you’re side stage during performances, riding every cue and transition.

When the audience roars after a flawless drop, you’re the one who helped create that memorable moment. The thrill of live audio offers something that studio work simply can’t. It’s high-stakes and high-reward. Quick thinking, flexibility, and trusting your ears are essential.

It’s also a place where musicians thrive. Many live sound engineers started in bands or behind drum kits. They inherently understand what performers require in their monitors, and engage seamlessly with performers through shared language on stage.

If you’re passionate about gear, tone, or making music sound better, live sound gives you a front-row seat and a way to make a living from what you love.

Career Security and Industry Demand

There’s a growing gap between the number of live shows and the number of trained engineers available to run them.

Tour managers are booking experienced FOH and monitor engineers months in advance. Venues are hiring full-time audio staff again. Crews require dependable techs who know how to hit the ground running.

Because OIART grads train in real-time scenarios and understand the pressures of live events, they’re often hired quickly and called back for future gigs. In this industry, reputation matters, and great sound engineers get noticed.

There’s also growing demand in areas beyond music: conferences, esports events, theatre, corporate launches, even livestreamed panels and webinars. Live audio professionals are essential wherever sound needs to be captured and amplified in real time.

Make Noise, Make a Living

Live sound is one of the most exciting, rewarding, and rapidly growing career paths in the audio world. It’s a profession built on precision, passion, and performance.

At OIART, students live and breathe audio. They train with real gear, work in real conditions, and graduate ready to confidently jump into live events.

If you’re a music lover looking for a hands-on career — or a parent wondering if this path has staying power — the answer is yes. Live sound engineering courses offer a front-row seat to the moments people remember for the rest of their lives.

OIART is where the love of music becomes lifelong work.

Explore Live Sound Careers at OIART

Top Careers in Music and Audio You Didn’t Know Existed

jalves@oiart.org (Jeremy Alves) — Sat, 31 May 2025 13:59:40 GMT

Most people think a career in music means being a performer, a producer, or maybe a recording engineer behind a big console. But attending a sound engineer college shows you that the audio industry is full of specialized, creative, and technical roles. These in-demand careers span film, TV, gaming, podcasting, and live events—many of which fly under the radar.

At OIART, we meet many students who come in with a love for music and sound but no clear picture of their future career path. They’re certain of one thing: a typical desk job isn’t for them. We also talk to many parents who want to support their kids’ passion but also want to make sure that passion leads to something real.

The encouraging news is that it absolutely does. The world needs people who understand how to shape, manipulate, and deliver sound that works across different platforms. These professionals don’t simply get by–they excel and thrive.

Keep reading to learn about the diverse careers in music production and other paths available in music and sound today– including fields such as game audio, podcast production, and many more. Discover why graduates from OIART aren't just finding jobs, but are building lasting careers across the audio and music industry.

Why Audio Careers Are Broader Than You Think

Sound is everywhere. Every Netflix binge, concert, video game, and podcast episode relies on audio technician jobs to make it work. And that opens up more career paths than most people realize.

A modern audio education, including specialized sound technician courses, can lead to working in a studio, tech, education, healthcare, advertising, and more. Think about everything from the background music in a shopping mall to the sound design of a mobile app — someone made that sound happen.

This is why schools like OIART don’t just focus on music production. We prepare students to work across multiple industries, giving them options, not limits. It’s not about choosing one narrow path, but building a flexible, creative career based on what you love.

Careers You Didn’t Know Were This Reachable

When people think of music production, they usually picture a music producer or a recording engineer. Yes, those roles exist, but they’re more varied and accessible than most people assume.

Music Producer

You don’t need to be in L.A. with major label contacts to become a working producer. OIART grads often start producing indie artists, syncing music for commercials, or building beats for content creators online.

Mixing Engineer

Mix engineers bring songs to life, and not just for mainstream albums. From independent artists to game trailers to short films, there’s constant demand for skilled mixers who can work quickly and creatively.

Live Sound Engineer

Concerts, conferences, theatre, and touring productions. Live sound engineers often become a show's unsung heroes, ensuring every mic, monitor, and speaker performs perfectly under pressure.

Mastering Engineer

A track isn’t done once it’s mixed. Mastering engineers prep the final version for release. This detail-oriented career is technical and artistic, and can be done freelance from anywhere.

These may sound like high-level jobs, but they all start with strong foundational skills, which is what programs like OIART provide. And because students train on pro gear and real projects from day one, they graduate with experience they can show.

Careers You Didn’t Know Existed, But Probably Should

The world of audio has expanded far beyond music studios. Here are a few jobs you may not have heard of, but OIART grads step into every year:

Sound Designer for Games

From footsteps to explosions to atmospheric reverb, video games need layers of sound that react to player actions. Game audio is one of the fastest-growing sectors, and studios are actively hiring creatives who understand Wwise, middleware, and interactive audio design.

ADR Editor

In film and television, actors often re-record dialogue in the studio to replace noisy on-set audio. ADR editors do that clean-up and syncing process, which requires precision, timing, and a sharp ear. It’s a niche skill and a valuable one.

Foley Artist or Editor

Foley artists often work in custom-built studios with props and surfaces that mimic the real world, using their own movements to bring texture and realism to films, TV shows, and even high-end video games.

These sound specialists recreate physical sounds like doors creaking, fabric rustling, or glass breaking to match a scene. It’s incredibly hands-on work that blends creativity with performance and a good understanding of how audiences respond to sound.

Podcast Producer or Editor

The podcast boom isn’t slowing down. Producers manage the sound, pacing, and structure of episodes; editors shape interviews, cut noise, and polish hosts' sound. Whether it’s a narrative series, branded content, or talk shows, any podcast needs audio experts behind the scenes.

Audiobook Engineer

Audiobooks require crisp, clean narration and seamless editing. Engineers in this field work with voice talent and publishers to ensure quality across long-format recordings. It's ideal for people who love language and attention to detail.

Technical Support Specialist for Audio Software or Gear Companies

Brands like Avid, Universal Audio, and Shure all hire support pros who understand the tech from a user’s perspective. It’s a solid path for those who love gear, enjoy helping others, and want job stability in the audio space.

These roles are available and growing. Since they are not as widely known, there’s often less competition for those who qualify.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

Crossover Jobs: Where Audio Meets Other Industries

One of the most exciting things about audio is how it intersects with other fields. You don’t have to stay inside the music industry to have a rewarding, sound-based career.

Education: Schools and universities hire AV technicians, online course editors, and accessibility specialists to make sure students hear content clearly
Health & Wellness: Sound helps people focus, heal, and sleep better, from therapy sessions to meditation apps
Corporate & Events: Conferences, livestreams, and branded experiences all rely on polished sound to make an impact
Advertising: Sound effects, audio branding, and voiceovers shape how people perceive and experience ads, and advertisers pay well for audio that sticks

With a versatile education and solid portfolio, audio grads can pivot between industries while still working in the field they love.

How OIART Prepares Students for These Careers

OIART trains students for a lifetime of opportunities by covering music and sound production from every angle.

Students rotate through studio recording, live sound, post-production, and acoustics, building real-world experience across the full audio spectrum. They get hands-on with Pro Tools, analog consoles, immersive audio systems, and actual client projects that mimic what they'll face in the industry. By the time they graduate, they’re fully-trained, versatile, confident, and job-ready.

But more than that, they build problem-solving skills, develop a professional ear, and learn how to work under pressure because that’s what the job demands. We also emphasize career readiness, which includes:

Resume and portfolio development
Mock interviews with real industry pros
Connections to internships and job leads
Workshops on freelancing, contracts, and client communication

By the time students graduate, they’ve already done the kind of work employers are hiring for. Since our instructors are working professionals, they keep the program aligned with what’s happening now, not what worked five years ago.

So yes, the career outcomes, the skills, and the demand are real.

From Passion to Paycheque: Debunking the “Starving Artist” Myth

The idea that loving music leads to a dead-end career is no longer true. In fact, today’s industry is built on people who followed their creative instincts and learned how to use them professionally.

Being successful takes preparation, versatility, and the right training.

Audio professionals work full-time in dozens of industries — film, TV, gaming, music, live events, and more — often with flexible hours, remote options, and a healthy mix of freelance and salaried opportunities. It's a career path made for creativity, adaptability, and long-term growth.

The myth of the “starving artist” comes from a time when jobs were scarce, and training wasn’t specialized. Today, there are more platforms, tools, and demand for creative audio than ever before.

Parents who worry about stability can rest easier knowing that OIART graduates are entering a field that demands their skills and pays well for them.

Explore the Many Music and Audio Career Possibilities

OIART grads work in studios, on tours, in post houses, and behind the scenes in your favourite films and games. If you (or your kid) love sound and want to turn it into a real career, there’s a path forward, starting here.

We’ve helped thousands of music lovers launch careers they didn’t even know existed when they started. And because our grads work across music, film, TV, gaming, podcasting, and live events, they’re proof that a passion for sound can lead to more than one type of success.

Some go freelance, building their own client base and choosing the projects they care about. Others join studios or production teams and grow into senior roles. A few even create their own companies or invent their own niches, because when you understand sound, you can take your career in just about any direction.

You don’t have to figure it out alone. With the proper training and support, the possibilities are limitless.

Explore our full list of career outcomes .

Everything You’ll Learn In a Modern Audio Engineering Program

jalves@oiart.org (Jeremy Alves) — Wed, 30 Apr 2025 20:55:35 GMT

From the songs we stream to the games we play and the movies we love, audio is behind it all. Someone’s capturing it, mixing it, cleaning it up, and making it sound amazing. And in 2025, those “someones” are in high demand.

At OIART, we train sound professionals who do more than just fiddle with gear. We give music lovers the tools, studio time, and one-on-one coaching to turn their passion into a full-time career.

Keep reading to learn how this school of audio engineering program breaks down into real-world skills, why employers hire our grads, what kind of projects students work on, and how our facility feels more like a studio than a school.

What Sets OIART Apart From Other Audio Engineering Programs

There are so many music engineering programs out there, but few are like OIART. We’re not a giant lecture hall or a “watch someone else touch the gear” kind of place. We’re a tight-knit, immersive community where every student gets real-time access to professional equipment, starting on day one.

Class sizes are small, so every student gets plenty of one-on-one attention. Even if you’re new to pro audio gear, you won’t be left behind. Instructors meet you where you’re at and help you build confidence.
Every instructor has strong industry experience and knows what employers are hiring for right now. Many have worked on records, live tours, and post-production projects that you might already be familiar with. They’re great teachers and active professionals who bring real-world expectations into the classroom.
You’ll spend more hours in the studio than any other audio engineering school in Canada. From tracking live bands to mixing sound for film, you’ll do it all, not just watch someone else do it.
You’ll graduate with a stacked portfolio, not just course credits. Whether you’re into music, film, games, or podcasts, you’ll leave with a demo reel that effectively highlights your talent. It’s hands-on, client-grade work that proves your skills and helps you stand out to future employers or clients.

OIART lives and breathes sound. What does that mean for you? More mic time, real projects, and confidence when you step into the field.

Inside the Curriculum: The Skills That Shape Future Producers and Engineers

To become a music producer, you’ll need technical skills, creative instincts, and a thorough understanding of how sound works across different environments. You’ll learn all this and more with OIART’s curriculum .

Our program covers a broad spectrum of skills, from recording music in the studio to editing dialogue for film and mixing audio for games. You’ll gain experience across all major areas of audio production, which means you’re not locked into one path.

You’ll graduate with options, ready to take on roles in music, media, gaming, or live events. Since each skill area builds on the next, you’ll develop a flexible mindset and a toolkit that grows with you.

Studio Recording and Mixing

Students learn how to capture and shape audio like the professionals, by:

Using a wide range of mics and placement techniques
Understanding signal flow, EQ, compression, and FX routing
Mixing multitrack sessions using Pro Tools, Digital Audio Workstations (DAWs) and top-tier outboard gear
Getting hands-on time in real studio environments, not just on a laptop

Early projects might include tracking live drums, recording vocalists, or remixing a multitrack session from a past commercial release. These assignments help you build a portfolio you can show to employers.

Along the way, instructors give detailed feedback that sharpens your ears and strengthens your decision-making skills as a mixer or producer.

Live Sound

Sound doesn’t just live in a studio; it moves. We train students to handle concerts, performances, and events of all sizes. Here’s what you’ll learn:

Set up and run full FOH (front-of-house) and monitor mixes
Work with PA systems, wireless rigs, and analog/digital consoles
Mix live shows in OIART’s dedicated performance spaces
Troubleshoot on the fly, just like you’ll need to in the real world

Live sound work requires split-second decisions and a calm mindset. We place students in real gig situations, where things don’t always go perfectly, and that’s intentional.

You’ll learn to adapt to unexpected feedback loops, missing inputs, or artist requests mid-show. Some students even run sound for school-wide events, giving them a taste of what touring or venue work is really like.

Post-Production for Film, TV, and Games

Today’s sound engineers need to understand more than music. We dive into sound design, editing, and immersive storytelling. You’ll get hands-on experience with:

Recording and layering Foley, ADR, and environmental sounds
Syncing dialogue and effects to picture with frame-level precision
Building scenes in surround sound and immersive audio formats
Learning game audio Digital Audio Workstations (DAWs), MIDI controllers & Specialized VSTs for mixing and mastering

Acoustics and System Design

Knowing how sound behaves is essential, especially when mixing or setting up in a new space. You’ll develop real-world acoustic skills like:

Learning how to tune a room for clarity and accuracy
Analyzing reflections, absorption, and resonance
Understanding how to design playback or recording spaces that work
Building confidence in troubleshooting acoustic issues in the field

This well-rounded approach means students graduate ready for whatever the industry throws at them — music, games, film, or live events.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

What Employers Are Looking For in 2025

Studios and production companies don’t hire based on potential; they want people who can deliver from day one. OIART builds its program around real-world expectations. Employers want graduates who:

Know their gear and aren’t afraid to use it
Understand the creative and technical sides of audio
Can work in collaborative, fast-paced environments
Communicate clearly and solve problems on the fly

OIART students leave with hundreds of hours of hands-on experience, working under pressure, just like they will in the field.

Hear It From the Grads: OIART Success Stories

Don’t just take our word for it; ask the people who’ve walked through our doors and into the industry. Our grads work across Canada and beyond, making noise in some of the most exciting places.

“I had an amazing experience working with proven audio professionals (the teachers) and other up and coming students to give myself a great skillset. I feel prepared, and I enjoyed every moment. It's a great feeling when you are excited to be at school and the work doesn't feel like a burden, it gets you excited to see what else you can do with audio ” — Mitchell Hamm

"This past year has been the best school year I have ever had by a long shot. The whole curriculum was well-designed and engaging. All the staff members are passionate about what they do and are always great to talk to. If you are considering getting into the audio industry and don't know where to start, i cannot recommend OIART enough.” - Jonathan Leistico

“OIART effectively bridges the gap between creative freedom and pragmatism. The incredible staff fosters an environment where you can explore what you want to explore, while always being held to a realistic professional standard. When reading these Google reviews before I applied, this place seemed too good to be true. It is.” — Ellis Dix

"OIART prepared me for the industry at large. It not only gave me the resources I needed to pursue a career in Live Audio, but also, in any field of audio. OIART is a great kickstart for your career in sound, wish I could go back!” - Devon

“OIART is an exceptional institute with an outstanding learning environment, offering vast real-world experiences, well-maintained audio equipment, and positive instructors with countless years of experience in the audio industry. Their dedication to preparing students for the audio industry is unmatched, ensuring readiness for entry-level positions post-graduation. I highly recommend OIART to those aspiring to embark on a career in audio.” — Michael McCormick

From indie studios to international sound stages, OIART grads are showing up, plugging in, and making waves.

Designed for Music Lovers, Not Just Techies

You don’t need to know how to run a patch bay or name every plugin to apply. OIART is for people who love sound, whether you’re a musician, a bedroom beatmaker, or someone who can’t stop tweaking levels in your head.

We start with the basics and build your skills from the ground up. You’ll grow alongside classmates who are just as passionate and curious as you are, but may have totally different styles or goals. That diversity is what makes the experience even stronger.

Learning Where the Pros Work

One of the first things people say when they visit OIART is, “This doesn’t feel like a school.” That’s because OIART designed it to sound and run like a real production house. Inside our campus, you’ll find:

Multiple fully equipped recording studios with industry-standard consoles
Dedicated live rooms, isolation booths, and mixing suites
Post-production labs with full surround sound monitoring
Soundproofed classrooms, editing bays, and collaborative workspaces

When you train in a facility that mirrors the real world, stepping into a job doesn’t feel like a leap but more like a continuation. Check out our virtual tour or book an in-person campus visit to see the difference.

What Happens After You Graduate? OIART’s Career Support

OIART’s support doesn’t stop when classes do. We help connect grads to internships, gigs, and long-term opportunities with studios, production companies, venues, and post houses.

Instructors often refer standout students directly to their network, which includes labels, game studios, live venues, and post teams. Whether you’re looking for freelance gigs or full-time employment, we help position you to stand out. Many students get work lined up before they’ve even finished their final term.

That’s the benefit of being known in the industry for producing reliable, skilled, job-ready talent.

Ready to Turn Your Love of Sound Into a Career?

If you’ve got the passion, we’ve got the path. OIART is where music lovers learn to master the tools and techniques that shape today’s audio landscape.

We’re not just a sound engineering course; we’re a community, a creative space, and a launchpad for careers in music, games, film, and beyond.

See why OIART leads the way in Canada’s sound engineering education.

11 Music Production Techniques You Need to Know in 2025

jalves@oiart.org (Jeremy Alves) — Mon, 31 Mar 2025 19:57:49 GMT

Music production in 2025? It's not just evolving — it's mutating. The tools are smarter. The sound is bolder. And if you're still mixing like it's 2019, you're already behind.

Whether you're a student exploring production for the first time or a working professional refining your sound engineering techniques, understanding these new methods will give you a competitive edge.

Keep reading to get a detailed look at the top music production techniques defining 2025, and how attending a top music producing school can help you attain some of these valuable skills.

#1: AI-Enhanced Workflow: From Idea to Arrangement

Artificial intelligence isn’t replacing producers, it’s enhancing them. In 2025, AI tools are embedded into most major Digital Audio Workstations (DAWs) and producers are learning how to wield them as part of the creative process instead of shortcuts.

AI-Assisted Sound Design and Sample Selection

Want a “Blade Runner x Euphoria” vibe? Feed it in. Boom — instant atmosphere.

There’s nothing like hearing your track finally click after a perfect AI-generated texture pulls it together.

AI-based tools use machine learning to analyze your track’s tempo, key, and vibe and suggest real-time complementary samples. These platforms save hours of crate-digging and allow producers to focus more on arrangement and mixing.

Generative Music Tools

Platforms like Google's MusicLM and Suno are great for ideation, especially for ambient textures, MIDI (Musical Instrument Digital Interface) riff generation, or even vocal processing suggestions. Producers aren’t allowing AI to finish their tracks but using it as a co-creator in the earliest stages of production.

#2: Real-Time Collaboration in the Cloud

Remote collaboration is the new norm, not the exception. With artists and engineers often located in different time zones, tools that support seamless cloud-based sessions are essential.

Cross-Platform DAW Collaboration

Cross-platform collaboration allows producers to work in real time across different setups. In modern music production, new recording techniques have helped more producers build entire EPs through the cloud this year, with vocalists, session musicians, and mixers logging in live to contribute.

Shared Project Versions & Instant Feedback

Modern collaboration tools automatically track every mix tweak, take, and effect chain. Producers can instantly revisit earlier versions, which is great for client feedback or artistic revisions, without rebuilding entire sessions.

#3: Spatial Audio and 360-Degree Mixing

Stereo is cute, but spatial audio is where the magic’s heading. With Dolby Atmos and Apple’s immersive formats hitting mainstream platforms, producers are now mixing for space, not just left and right, but above, behind, and around the listener.

It’s a whole different emotional impact. A hi-hat swooping behind your head? That’s theatre. That’s immersion.

Dolby Atmos in Home Studios

Affordable Dolby Atmos tools allow even indie producers to mix in immersive formats. Learning to place elements in a 3D field is just as essential as EQ and compression.

Object-Based Mixing Techniques

Instead of stereo tracks, music is broken into ‘objects’, with a drum loop here and a vocal snippet there. These can be moved independently in space, allowing producers to create mixes that feel dynamic and enveloping, perfect for headphones or surround sound systems.

#4: Hyper-Realistic Virtual Instruments and Plugins

The realism of software instruments in 2025 is staggering. Many producers have turned to plugins that rival or exceed live instrument recordings in realism, with much greater control and consistency.

Physically Modelled Instruments

Plugins like AAS Chromaphone and SWAM Engine use mathematical modelling instead of traditional sampling to emulate how real instruments vibrate and interact with space. These offer expressive depth that sampled instruments often lack.

AI-Assisted Humanization

New tools like Liquid Music 2.0 can automatically introduce slight, human-like timing and velocity variations. This prevents programmed parts from sounding robotic and brings back the feel of live musicianship, particularly in genres like jazz, funk, and acoustic pop.

#5: Advanced Vocal Production Techniques

Vocal production remains a focal point, especially as producers make more music in bedrooms and home studios. 2025’s cutting-edge techniques go far beyond tuning and doubling.

Formant Shifting and Vocal Morphing

Plugins like Antares Articulator allow producers to dramatically reshape vocal tone and character, even shifting perceived gender or age. These tools not only fix vocals, they reinvent them.

AI-Driven Harmonization and Layering

Producers can generate rich harmonies from a single vocal take using tools like Harmony Engine or DAW-integrated neural harmonizers. These layers sound organic and are fully adjustable by key, scale, or genre preset.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

#6: Modular and Hybrid Production Setups

While many producers still work fully in the box (ITB), others reintroduce hardware, like modular gear, for its tactile control and sonic unpredictability.

Modular in the Digital World

Virtual modular environments allow you to build synth patches from scratch, without the expense or complexity of physical gear. These plugins integrate directly into your Digital Audio Workstation (DAW) and can be controlled with MIDI or CV-compatible devices.

Hybrid Setups with Hardware Controllers

Modern producers combine the hands-on feel of hardware (like the Ableton Push 3 or Akai Force) with the flexibility of software. This hybrid workflow combines the best of both worlds : the physical immediacy of analog gear with the precision of digital editing.

#7: Advanced Sampling Techniques

Sampling transforms audio creatively and technically, resulting in entirely new textures.

Spectral Resynthesis

As part of audio mixing tips, tools like Photosounder let producers break down samples into individual frequencies and rebuild them into pad-like textures or new instruments entirely. This process is gaining popularity in cinematic scoring and ambient music.

Time-Stretching Without Artifacts

Another audio mixing tip producers use is to stretch or pitch-shift samples drastically thanks to algorithmic processing improvements without introducing glitches or artifacts. This strategy allows for more experimental sound design while retaining clarity.

#8: Genre-Fluid Production

One of the most significant creative shifts in 2025 is the collapse of genre boundaries. Music is influenced by hip-hop, techno, metal, and jazz, often combined within the same track.

Fluid Arrangements

Producers are ditching traditional song structures in favour of mood-based transitions and tempo changes. Techniques from scoring (like leitmotifs and ambient swells) are showing up in dance and pop records, and glitch effects are as likely to appear in folk tracks as in IDM (Intelligent Dance Music).

Sampling Across Cultures

With global sample libraries and tools like Splice Sounds, producers are sampling instruments and vocals from dozens of cultures. The key is context: combining traditional elements with modern production to create something respectful and fresh.

#9: Dynamic Automation and Real-Time FX Control

Static mixes are out. In 2025, the best productions sound live, constantly moving, evolving, and changing with intention.

Macro Automation

With multi-parameter control systems, producers can modulate entire effect chains with a single knob. This process allows dramatic shifts, like slowly increasing reverb and delay on vocals during a build-up, without overcomplicating automation lanes.

Live-Recorded Automation

More producers are recording automation by hand using MIDI controllers or touch surfaces like the iPad’s TouchOSC. This method adds a human, intuitive element to effects modulation, especially for risers, filter sweeps, or vocal throws.

#10: Immersive Mixing with Head-Tracking and VR Integration

Virtual and augmented reality are merging with production environments, allowing producers to move around their mix like sculptors in a sonic 3D space.

Head-Tracking for Headphones

Systems like DearVR MONITOR track your head movement to simulate real-world listening environments. This process makes spatial audio mixing more intuitive and reveals issues that might not appear in static stereo environments.

DAWs in VR

Experimental platforms like Endless Studio VR and SoundStage VR allow producers to manipulate audio in a 3D space using virtual hands and tools. While still niche, this could redefine how we interact with sound design and mixing in the near future.

#11: Education Meets Gamification

One unexpected trend in 2025 is the gamification of learning music production . Apps and platforms use progress tracking, challenges, and AI coaching to improve producer skills faster.

Interactive Learning Platforms

Tools like SoundGym and Hooktheory are now AI-enhanced and offer tailored exercises based on user skill level. These are used by beginners and seasoned producers brushing up on weak areas.

The Future of Music Production Is Human + Machine

As advanced as our tools become, music remains an emotional, human-driven art form. The best producers in 2025 are fluent with plugins and understand how to use technology as a creative partner .

Whether you're working with Dolby Atmos, layering AI-generated harmonies, or collaborating in the cloud, the same rule applies: the technique serves the story.

But, the old ways won’t cut it in 2025. If your production techniques still look like a Logic Pro tutorial from 2012, it’s time to reboot. AI, spatial sound, and brutal vocal FX are the tools of this era.

You don’t need a million-dollar studio. You need curiosity, a laptop, and the right mindset to experiment.

Launch Your Audio Career with OIART

If you're a student, producer, or audio engineer, these trends aren’t just cool — they’re essential. If you’re not learning this in an audio recording course, someone else is — and they’re taking your spot in the studio.

If you're ready to turn your passion for sound into a career, OIART in London, Ontario, stands out as the top music producing school with a focused 11-month audio engineering program built for the real world.

With small class sizes, hands-on training, and access to industry-standard gear, you'll learn everything from music production and live sound to audio for film and games. Located in a city with a thriving music scene, OIART connects you with professionals and alumni working across Canada and beyond, helping you create a sound future.

Ready to go from hobbyist to hired? Apply now to our school of audio engineering or book an in-person or virtual tour today!

Canada’s Live Music Boom!

Wed, 05 Feb 2025 16:34:25 GMT

What It Means for Aspiring Audio Engineers & Music Producers in Canada

If you’ve ever dreamed about working behind the scenes at massive concerts or bringing your favourite band’s sound to life, now might be the best time to dive into live sound engineering courses and music production schools in Canada. According to a groundbreaking report by the Canadian Live Music Association (CMLA), the live music industry in this country hit an impressive milestone: it generated $10.92 billion for the economy in 2023 and supported over 101,640 full-time equivalent jobs. Those numbers aren’t just statistics; they’re flashing lights pointing to a booming industry that’s hungry for new talent—talent that could be you!

The Rising Wave of Live Music

When you picture Canada’s live music scene, big events like Toronto’s bustling festival circuit or Vancouver’s world-class outdoor concerts might spring to mind. Yet the real story is even bigger than that. From local indie shows in small clubs to large-scale festivals pulling in visitors from around the globe, live music in Canada has become a key part of our cultural identity and a serious economic powerhouse.

Toronto alone generates around $850 million in annual economic impact and provides 10,500 full-time equivalent jobs in the music sector.
Montreal is celebrated for its jazz scene, but it’s not just jazz these days—electronic, hip-hop, rock, pop, and global music events draw massive crowds.
Vancouver, with its proximity to L.A. and Seattle, has a steady stream of high-profile tours and festivals that require sound engineering, music production, and every other facet of live audio expertise.

All of this points to one main takeaway: Canada is a live music heavyweight, and it needs the next generation of skilled professionals to sustain its growth. If you’re excited by the thought of joining this thriving landscape, you’re in luck. There has never been a better time to look into sound engineering programs, audio engineering programs, or to enroll in a specialized audio recording course that sets you up for success.

Why These Booming Numbers Matter

The report’s headline figure—$10.92 billion—is a big one, but what does that really mean for you? For starters, the surge in live music is creating an equally robust demand for skilled sound engineers, production specialists, and technicians who know their way around professional-grade equipment. These aren’t just entry-level gigs; they’re roles that can turn into lucrative, long-term careers. And with over 101,640 full-time equivalent jobs supported by the live music sector, that demand isn’t just anecdotal hype. It’s baked into the very fabric of the industry.

Here’s how it breaks down in practical terms:

Live Sound for Concerts and Festivals
Think of your favourite music festival—dozens of bands and possibly multiple stages, all running simultaneously. Who ensures that each band’s vocals, guitars, drums, or turntables sound just right? That responsibility falls on live sound engineers and technicians. As Canadian music festivals multiply and expand, so do the opportunities in live sound.
Touring Acts
When a band hits the road, they need their own audio crew to ensure consistent, high-quality sound from city to city. With more acts touring across Canada, especially in major hubs, there’s a constant need for well-trained, flexible audio pros who can handle the technical logistics of life on the road.
Venue Operations
Bars, clubs, arenas, and even theaters all need skilled audio professionals to handle day-to-day technical operations. It could be a small, intimate jazz club or a massive arena show featuring international pop stars; either way, the demand for professional sound engineering is universal.
Music Tourism & Hybrid Events
According to the CMLA, music tourism alone generated $9.9 billion in 2023. Events are becoming more sophisticated, often blending in-person concerts with livestreaming or interactive digital elements. If you have the skills to work in both traditional and digital audio environments, you’ll be well ahead of the curve.
Streaming & Virtual Performances
While live shows remain the bread and butter, many artists and venues have broadened their reach by offering streaming options. Being adept at music and sound production for these hybrid events means you’re trained to handle a fast-evolving space that merges the best of live and virtual.

The Secret Ingredient: Quality Education

Before jumping straight into the industry, it helps to have a solid educational foundation. Music production schools in Canada and specialized audio engineering programs provide more than just a diploma—they give you hands-on experience, mentorship from industry pros, and a network of like-minded peers who might become your future collaborators.

This is where OIART (Ontario Institute of Audio Recording Technology) stands out. Why? Because we focus on both the theoretical side of audio (so you know what’s happening on a technical level) and the practical, real-world application of those skills.

What OIART Offers:

Hands-On Experience with Professional-Grade Equipment
From large-scale mixing consoles to digital audio workstations (DAWs) that top-tier producers use every day, OIART’s facilities mirror what you’ll find in real-world studios and venues. When you walk into your first professional gig, you won’t be intimidated by the gear—you’ll already be a pro at using it.
Real-World Training in Live Sound
Live events can be unpredictable. Soundchecks run late, equipment malfunctions, and weather can ruin even the best-laid plans. OIART’s approach to live sound engineering courses is designed to mimic these real-world challenges so you learn to adapt and troubleshoot, ensuring you’re prepared for anything the stage throws at you.
Understanding of Both Traditional and Digital Production
Audio work today often requires a hybrid of classic analog techniques and cutting-edge digital technology. You’ll learn how to blend these worlds together effectively, making you an asset in any modern music or audio setting.
Skills in Hybrid Event Production
As the industry transitions toward livestreaming and virtual audience experiences, having a skill set that covers both traditional venue sound and digital content production sets you apart. This dual capacity is increasingly crucial for venues, artists, and event organizers.
Network Connections Within the Industry
Good training is only part of the equation. Building relationships with current industry professionals is what helps you land those first gigs. OIART’s instructors often have extensive networks across North America’s music scene, and they connect students with internships, entry-level positions, or even mentorship opportunities.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

Why Now Is the Perfect Time

The Canadian live music industry’s rapid expansion doesn’t happen in a vacuum. It reflects broader trends: increased tourism, cultural exchange, and a national appetite for live experiences that digital streaming services simply can’t replicate. From an economic per spective, more events = more opportunities for emerging audio experts who can handle the demands of a live show.

Additionally, technological innovation has drastically changed the audio landscape. Gone are the days where a single mixing board was all you needed to know. Today’s sound engineering course might cover everything from MIDI controllers and DAWs, to advanced lighting synchronization and immersive audio setups. These are skills that older generations of engineers may not have learned, which means there’s a fresh wave of opportunities for new graduates who are up-to-date on modern tech.

A Day in the Life of a Live Sound Professional

If you’re still unsure, imagine a day on the job as a live sound engineer in Canada’s vibrant music scene:

9:00 AM : You arrive at the venue for a big weekend festival. Your team starts by unloading the equipment truck—mixing consoles, microphones, cables, monitors, and other gear.
11:00 AM : Soundcheck begins for the first band. You adjust levels, EQ each instrument, and make sure everything sounds balanced. The band’s front person compliments you for capturing the warmth of their acoustic guitars.
2:00 PM : You quickly grab lunch while reviewing the next act’s stage plot. They have an elaborate electronic setup, so you double-check their DI boxes and ensure their MIDI controllers sync with the venue’s system.
4:00 PM : The crowd starts to arrive. You’re at the front-of-house console, making final tweaks to ensure crisp vocals and punchy bass in the large, open-air setting.
6:00 PM – 10:00 PM : Multiple sets roll on and off the stage. Each band has its own preferences, from reverb settings to microphone choices, and you handle these changes seamlessly. By the time the headliner goes on, you’re in the zone, anticipating requests before the artist even speaks into the mic.
Midnight : The concert wraps up to roaring applause. You power down equipment, talk shop with the lighting tech, and chat with the headliner’s tour manager about future gigs. Everyone’s thrilled, and your job satisfaction is through the roof.

This energetic, varied routine is far from a boring 9-to-5 job. It’s more like a front-row seat to music history in the making—and you’re the one making it sound amazing.

Adapting to a Changing Industry

One key trend is the rise of hybrid events —shows that feature both a live audience and a livestream or virtual component. This expansion means you’re not just mixing for in-person crowds but also perfecting the audio feed for online viewers. The skill set here involves understanding digital broadcasting, latency issues, and streaming software. If you have a background in audio recording courses and music producer programs, you’ll be uniquely positioned to handle these multi-platform shows.

Over time, we may also see augmented and virtual reality experiences entering the live music space. Imagine fans at home being able to attend a concert via VR headsets. That opens up a whole new realm for audio professionals to design immersive soundscapes. As a new engineer or producer, staying current with these trends can set you up for cutting-edge, exciting roles that didn’t exist just a few years ago.

Why Parents Should Encourage a Career in Audio

If you’re a parent reading this, you might be wondering if an audio career can offer long-term stability for your teenager. The short answer is yes. While the music industry can be notoriously competitive, the live events sector provides a broad range of stable, in-demand technical jobs. Festivals, tours, corporate gigs, and cultural events all need skilled audio professionals—and Canadians are increasingly spending their discretionary income on experiences rather than goods. That means the “experience economy,” including live music, is likely here to stay.

Furthermore, the technical expertise gained from a sound engineering course or a music engineering course can be applied to a wide variety of roles beyond concerts. Video game audio, film and television post-production, podcasting, and event production all require similar skill sets. A comprehensive audio education at an institution like OIART lays a foundation that can carry your child through diverse audio-related career paths.

Making It All Happen at OIART

So, you’re convinced there’s a future in Canada’s booming live music sector, but how do you get there? As mentioned, schools with audio engineering programs can accelerate your journey. At OIART, we combine small class sizes, direct mentorship, and practical experiences that put you at the center of real projects, not just classroom simulations. The aim is simple: Empower you with the expertise and confidence to thrive in an industry that’s on an unstoppable upswing.

Our alumni have gone on to do everything from front-of-house mixing for major tours to producing tracks for local artists who eventually break onto the international stage. Because we keep our cohorts intimate, you get more one-on-one time with instructors, more access to equipment, and more opportunities to hone your craft without the pressure of competing for studio hours.

Your Future in Numbers

$10.92 billion in economic activity: This translates to countless events, concerts, and festivals nationwide.
101,640+ full-time equivalent jobs : You’re entering a field where the demand for audio experts is tangible and continually growing.
$9.9 billion from music tourism : Tourists are flocking to Canadian music events in droves, boosting the industry and creating even more job openings.
80% of recording industry expenditure in the Toronto region alone: There’s a concentrated market that’s ripe for new talent, especially if you graduate from a top-tier program that readies you for the hustle and bustle of big city gigs.

Ready to Launch Your Audio Career?

Canada’s live music industry is booming, and it needs your skills—whether you see yourself becoming the go-to engineer for stadium tours or the unsung hero of local club gigs. If you’re passionate about music and technology, if you love the idea of helping bands sound their best, and if you’re excited by the prospect of working in a fast-paced, collaborative environment, then it’s time to turn that passion into a real, thriving career.

Looking for the perfect place to start? OIART offers personalized, hands-on training that can make you stand out in a crowded field. With our comprehensive curriculum, state-of-the-art equipment, and close industry ties, we’ll help you evolve alongside the live music industry—ensuring you’re always ready for the next big show.

Your Next Steps

Ready to dive headfirst into Canada’s booming live music scene? There’s never been a better moment to make your move:

Explore Our Program : Check out OIART’s Audio Engineering Program to see how our curriculum aligns with your career goals.
Request Info : Contact our admissions team to learn more about class sizes, hands-on projects, and industry networking opportunities.
Apply Today : Secure your spot in our exclusive classes and get ready to step into a world of live sound, music production, and boundless creative possibilities. Get Started!

Be part of the next wave of audio innovation—and help shape Canada’s live music narrative while you’re at it. We can’t wait to see what you’ll create.

Gear Up for Success: Essential Equipment for Aspiring Audio Engineers

Thu, 09 Jan 2025 20:46:34 GMT

Audio engineers are needed throughout various industries — any business that needs crystal clear audio will need audio engineers.

However, stepping into the industry is challenging without getting your feet wet and hands dirty. Aspiring audio engineers can give themselves a headstart by gearing up so they can master the basics and start learning advanced skills.

Audio engineering programs give you an even greater headstart on your next career while sidestepping the need for significant upfront investments. But learning independently is still valuable, especially if you’re unsure if audio engineering is the right career for you.

Today, we’ll break down all the essential equipment you need to get started working with audio and pave the way for the next step in your career.

The First Step: Define Your Immediate and Long Term Goals

An unofficial term in the audio world is Gear Acquisition Syndrome, which means you’re always buying new gear, thinking it will take your skills to the next level. However, in reality, focusing on audio engineering with a barebones amount of gear will go far in developing valuable skills.

To help keep your gear acquisition focused, ask yourself the following questions to help define your needs and goals:

What’s your most immediate goal with audio engineering? Do you want to produce a completed beat, record your vocals, or engineer a podcast?
What’s your long-term goal? Are you looking to get into a fun new hobby or build a new career?

Combined, your answers identify the gear you need upfront and how to plan gear acquisition over time. For example, you can get started without a MIDI controller and then invest in the right one later.

Computer and Digital Audio Workstation (DAW)

The first and most essential piece of gear for getting started working with audio is the right computer. While gamers prioritize GPUs, working with audio relies on CPU and RAM. Let’s break down the specs that matter for an audio engineering computer:

CPU takes front and center as the main resource used by a Digital Audio Workstation (DAW). Operating a synth to create sounds and playing audio files both rely on processing power.
RAM is secondary but still an important stat, as it helps run more intensive programs and all the software you need simultaneously.
GPU isn’t very important for working with audio, but it’s still worth finding a laptop or PC with a dedicated graphics card, as some integrated graphics chips struggle with anything beyond the basics.

Finding a laptop or desktop with the right resources for your DAW is critical; otherwise, you can have latency issues and crashes that disrupt your audio engineering projects. If you know the DAW you want to use, look up its recommended specs and let that inform your purchase or upgrade decisions.

DAWs

There are plenty of DAWs to choose from and it’s an important decision to make. Take the time to explore all the options, learn what the industry standard is for your goals, and commit to your decision. Bouncing between DAWs as you’re learning will only set you back.

A few of the leading DAWs are:

Pro Tools was one of the early DAWs to gain popularity and remains the industry standard in large format studios around the world; however, Ableton, and Logic Pro have chipped away at their market share for music creation outside of the traditional studio format.
Ableton Live is a solid all-rounder suitable for music production, capturing sound, and overall shines with live sound .
Logic Pro is another all-rounder that’s been well-respected throughout the industry, especially with audio editing.
FL Studio shines with beat making and is widely used throughout hip hop, but it’s certainly capable of handling most audio engineering projects.

The DAW you choose should make sense for your goals, especially if you have an ideal career in mind. Take the time to learn which DAW is the standard for your future goals and focus on mastering that one before moving on to other options, which might not even be necessary.

Plugins (VSTs)

Plugins, or Virtual Studio Technology, (VST) are a specific type of software that’s designed to add new features and capabilities to DAWs. Plugins can help with mixing, mastering, or emulating sounds. A few plugins to consider are:

iZotope has several plugins that add advanced utility to mastering, including intelligent features that help get you started.
Audio Movers offers plugins that help convert signals for both input and output. Their line of products is ideal for audio capture.
Serum is an industry-respected synth that is perfect for music production and has far-reaching utility once you learn how to use it.

However, plugins can be expensive, and overloading yourself with software can be a distraction and even detract from the quality of your work. Most industry-respected plugins are also far from cheap, so it’s important to adopt the right ones strategically.

Fortunately, audio engineer schools will have all the plugins you’ll need to learn how to use. In most cases, being a student also helps you land student discounts on plugins you’ll have throughout your career.

Headphones and Monitors

Of course, you’ll need to hear audio for any audio work, and typical consumer headphones won’t get the job done. Consumer headphones modify the audio in varying ways to produce what the manufacturer considers the best sound.

However, as an audio engineer or producer, you’ll need to hear the audio as it is. Studio headphones and monitors are designed to produce “flat” audio, meaning there are no internal equalizers modifying the sound.

Audio engineering and sound technician courses will help you gain a deeper understanding of how studio equipment works, how it varies from consumer options, and optimal configurations for working with audio. Let’s break down both categories so you can get started on the right foot.

Monitors

Monitors are similar to typical speakers, but unlike consumer speakers, monitors are designed to produce high-quality, flat audio. Consumer options have internal equalizers that modify output, which is great for casual listening but not suitable for audio engineering tasks.

Headphones

Similarly, studio headphones are designed to produce flat audio so you hear your projects as they are. Some models can also be used for casual listening, but it’s important to choose headphones specifically designed for audio engineering.

Audio Interface

An audio interface is a piece of hardware that acts as a bridge between your computer and audio gear. This piece of gear is crucial for recording, engineering, and producing sound.

Essentially, an audio interface converts analog audio signals from input sources into digital signals that your computer can process — or the reverse of digital to analog for headphones and monitors.

Even if all you’ll be doing is engineering and no audio capture, an audio interface produces much clearer and flatter sounds than just plugging into your computer’s headphone jack. A typical headphone jack will have circuitry noise that isn’t a big deal for consumer usage but can significantly affect your audio engineering products.

(Optional) MIDI Controllers and Control Surfaces

You can start audio engineering with the gear we’ve explored above, but MIDI controllers and overall control surfaces are well worth including in our guide. These types of gear aren’t required to start, but they’ll likely be important for your long-term goals.

Let’s quickly define these categories and how they help audio engineers:

A MIDI controller is a device that sends MIDI data to the DAW (or other software). These controllers don’t produce any sound inherently; instead, they allow the creation of MIDI data that’s used by synths and other Plugins.
Control surfaces are designed to provide hands-on control of the DAW with a focus on mixing and editing. Unlike MIDI controllers, these controllers focus more on managing mixing, panning, effects, and mastering.
Hybrid devices also exist that typically combine the basic controls of both devices, making them a great choice for aspiring engineers looking to buy their first controller.

Another benefit of attending a music production course is you won’t have to buy any hardware to learn how to use it. Proficiency with a wide range of controllers is crucial for landing your first job and building a long-term career.

Schools let you sidestep the expense of controllers while still learning how to use them — another solid reason to enroll in a reputable course.

Get Hands-On Experience with Audio Gear at OIART

You can get started with audio engineering all on your own if you’re able to make some upfront investments. If you already have a decent computer, you won’t need to spend too much more to get started.

However, going beyond the basics requires expensive hardware and plugins, and sometimes, they can be hard to learn solo. Avoiding upfront and ongoing gear expenses is another reason why attending an audio recording course is so worthwhile. You will be able to make an educated decision on what you need when you leave school.

Of course, beyond sidestepping gear purchases, you’ll also learn how to use industry-standard equipment from experienced instructors. You’ll graduate with the confidence and credentials to get started in your new career.

OIART is one of the top audio engineering colleges in Canada, and we’re ready to help you kickstart your next career. Is it time to turn your hobby into a career? Learn more about our industry-leading audio engineering course and take the next step in building your dream career.

Music Production & Engineering: Artistry Meets Technology

Thu, 12 Dec 2024 17:26:09 GMT

Behind every hit song, timeless album, or memorable score lies the intricate craft of music production and engineering. While often misunderstood as purely technical, these disciplines are deeply rooted in artistry, collaboration, and creative problem-solving.

Production in music is far from an assembly line with ubiquitous parts. Instead, the final track you hear has creative input from the producer, engineer, and technicians — all right alongside the recording artist.

Learning how to become a music producer can be challenging, and many aspiring producers start by teaching themselves through online tutorials. While this can be a great starting point, you’ll likely need a music production course and proper credentials to truly begin your career.

So, let’s demystify the world of music production and engineering to help you better understand if it’s the right choice for your future career. Keep reading to learn why creativity and technical skills are both important for producers and engineers.

What Exactly is Music Production and Engineering?

Music production and music engineering are separate but related processes that focus on capturing, shaping, and finalizing a track or album. The roles certainly overlap but are distinct in their responsibilities. Let’s quickly break down their differences:

Music production: Producers are often visionaries who guide a project's creative direction. They typically work closely with artists, songwriters, and engineers to develop a track's sound, mood, and overall structure or an entire album.
Music engineering: Engineers handle the technical aspects of recording and sound manipulation. They operate equipment, mix tracks, and ensure that every sonic detail aligns with the producer’s vision.

These fields often overlap, and on smaller projects, they may even be handled by one person. In a typical studio, these experts work closely together to influence the final product's sound.

Typically, you’ll start as a music engineer or sound technician and then move into producing after gaining experience and receiving additional training. However, this isn’t set in stone, as the right program can give you the credentials and skills to step right into engineering.

The Creative Art of Music Production

Ultimately, music production is an artistic endeavor. The “button-pushing” side of it is simply how producers express their art. Producers sculpt soundscapes, craft arrangements, and experiment with tones to bring a song to life.

This career is as much about intuition and creativity as it is about technical knowledge. You’d need to learn the nuts and bolts of playing a guitar before you can be creative with new songs — the same concept applies to producers.

Music production's artistry is blending a track's emotional impact by using technical skills. Instead of playing chords or plucking strings, you’ll use technical skills to shape and change the sound as necessary.

For example, a producer might decide to layer unconventional instruments, add subtle effects, or rearrange song sections to better achieve the creative goals. These choices require a deep understanding of music theory, an ear for detail, and the courage to innovate.

The Role of Creativity in Music Engineering

Music engineering , often seen as a technical field, plays an equally vital role in artistic expression. Engineers shape the auditory experience of a song, determining how it feels to the listener at key steps in the process, which are:

Recording: During recording sessions, engineers capture performances with precision, ensuring every nuance is faithfully preserved.
Mixing: In the mixing stage, engineers balance instruments, vocals, and effects to create depth and clarity. This phase often involves creative decisions, such as panning elements across the stereo field or applying unique reverb effects.
Mastering: The final step in the process, mastering ensures that tracks sound consistent across all playback systems, from headphones to stadium speakers.

Music engineers use their skills to amplify the emotion and impact of a song. Even though they certainly have a more technical role, the creative skills of the engineer will have a significant impact on the final result.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

The Power of Music Production and Engineering in Artistic Expression

Music production and engineering go beyond creating polished recordings — they shape music's emotional core. Every decision, from microphone placement to EQ settings, influences how a song sounds and determines its emotional impact.

A few examples of how this can play out are:

A carefully placed crescendo can heighten anticipation and release in a track.
A subtle vocal delay can add depth and intimacy to a ballad.
A driving bassline can make an EDM track compelling and danceable.
A compressor on a drummer’s kick can increase its impact.

Music production is transformative, turning raw performances into timeless works of art. This practice bridges the gap between an artist’s imagination and the listener’s experience, making it an indispensable part of the creative process.

The Collaborative Nature of Music Production and Engineering

Music production and engineering are highly collaborative fields. Success in these roles requires working closely with artists, musicians, and other professionals. Let’s break down a few ways these roles work together for the benefit of every project:

Understanding the artist’s vision: Producers and engineers listen closely to an artist’s ideas and help translate them into high-quality sound. This process requires empathy, adaptability, and communication skills.
Problem-solving together: Challenges often arise during production, which can range from technical glitches to creative roadblocks. Collaborative problem-solving ensures the team stays on the same page and achieves its goals.
Building trust: A strong producer-artist relationship fosters creativity and encourages risk-taking, often leading to groundbreaking results. Whether it’s their first time working together or they both work for the same studio, trust between these rules is underrated yet critical.

When everything goes smoothly, music production becomes a shared journey where each expert contributes their unique strengths — creating something greater than the sum of its parts.

Learn the Creative and Technical Craft with Music Production and Engineering Schools

It’s not uncommon for producers to start independently, known as bedroom producers. While it’s possible to turn bedroom producing into a career, competing without formal training is highly challenging.

That’s where music production schools come in. These specialized schools prepare students to work in the field with a blend of practical knowledge and hands-on skill-building. A few core topics include the following:

Audio recording techniques
Mixing and mastering principles
Music theory and arrangement
Studio equipment operation

These programs emphasize technical skills as well as creativity, critical thinking, and collaboration—crucial qualities that define successful professionals in the field.

Develop and Transform Your Skills at a Music Production and Engineering School

Finding a reputable music production and engineering program paves the way for a lasting career. A few skills and techniques that help graduates build lasting careers in the industry, such as:

Technical proficiency: Students learn how to navigate complex recording setups and software thanks to access to cutting-edge studio equipment. Without formal training, you’ll struggle to learn how to use equipment beyond a DAW, which can severely restrict employment opportunities.
Creative problem-solving: Solving problems and keeping the project in motion is critical for every producer. Music production programs foster an environment where students are encouraged to experiment and innovate, helping them learn how to tackle creative and technical challenges.
Collaboration and communication: Team projects mimic real-world scenarios, teaching students to work effectively with artists, producers, and engineers. A music engineer course also teaches you how to work as part of a dynamic team of varying experts where being able to communicate, collaborate, and solve conflicts is crucial.
Adaptability: In an ever-evolving industry, a reputable program will prepare students to stay ahead by embracing new tools, trends, and techniques. For example, we’re already seeing a new wave of AI-powered tools emerge; you’ll need to learn how to use them while still expressing artistry.
Industry Standard Practices: Speaking the language, knowing the various microphones, their polar patterns and common micing setups goes a long way. Being able to ingest what other engineers, musicians or producers are asking of you and efficiently deliver is a major skillset to advance in the audio industry.

While it’s not unheard of to start working in the industry without formal training, it’s never been more challenging due to the rise of advanced equipment and tools. Even those who love learning by themselves are starting to look to formal training when they want to take the next step toward full employment.

On top of the above skills, you’ll also build connections with other students and faculty, plugging you into a network that can last your entire career.

Blend Creativity and Technical Skills with OIART’s Music Engineering Course

Vocalists have voices, musicians have instruments, and producers have studio equipment and computers. Even though the skillset can seem like technical button-pushing, knowing how to use all the tools at your disposal requires creativity.

Music production and engineering are far more than technical processes; they are artistry forms that amplify sound's transformative power. Reputable music producer programs prepare you to work in the industry with both technical and creative lessons.

Choosing the right course is critical to learning the right balance of creativity and technical skills. Ending up with a program that leans too heavily one way or another won’t adequately prepare you for working in the field.

OIART offers an industry-leading music engineering program that blends both aspects of music production, so you’re ready to build a long-term career. Explore our audio engineering program today to start making moves toward a fulfilling career.

The Thrilling World of Live Sound Engineering

Sun, 03 Nov 2024 17:16:05 GMT

Live performances and events may focus on the headlining artist or keynote speakers, but a team of engineers, producers, and technicians makes every live event possible. A sound engineer designs the entire sound system based on the venue’s acoustics and the performance's goals.

Conferences, sold-out stadium shows, and exclusive acoustic sets all require sound engineers to capture and broadcast high-quality audio without issue. However, sound engineers need to quickly find solutions and deploy fixes if (or when) issues appear.

Studio producers or engineers often migrate to live sound due to the real-time feedback of a crowd, the fulfillment of a great event, or even seeking out new challenges. Many of the same principles will carry over, but live sound also requires a unique skill set.

Working in live sound can be a highly fulfilling career, and skilled live sound engineers are in demand across a wide range of industries. So, keep reading to learn more about live sound engineering and how live sound schools can help begin or advance your career.

What is Live Sound Engineering?

Live sound engineering is the specialty of managing and manipulating audio signals during live events such as concerts, theatre productions, corporate meetings, and sports events.

Unlike studio sound engineering, which focuses on recording music, live sound is an art performed in real-time, where precision and adaptability are critical to success. Any issues that emerge need to be quickly addressed before they make a negative impact on the event.

Live sound engineers work with complex audio systems, including microphones, amplifiers, mixing consoles, and loudspeakers, to create a high-quality listening experience. A few typical responsibilities include setting up and testing audio equipment, mixing sound for the audience and performers, and troubleshooting technical issues during the event.

The Importance of Live Sound Engineering Programs

The quality of sound can make or break a live event. Even the most talented performer will struggle to connect with an audience if the audio is muffled, distorted, or imbalanced. Beyond entertainment, live sound is critical in conferences, religious services, and any other event where capturing and broadcasting audio is necessary.

Live sound engineers play a pivotal role in ensuring every sound element is clear, precise, and impactful. Skilled sound engineering enhances the emotional connection between the performer and the audience. Although it might come as a surprise, safety is a major component of any event you might attend as an eventgoer. As a sound technician, learning how to set up equipment only goes so far unless it’s done correctly and safely. Rigging includes a significant amount of math and knowledge of engineering principles that are taught at OIART.

Additionally, audio engineers need to tailor the audio to match the venue's acoustics and the performance’s energy, whether it’s for intimate acoustic sets or stadium rock concerts. Studio engineers will likely need to learn more about how sound travels through venues on top of how to work with existing venue equipment. Understanding amplitude restrictions, loudness and how to set up a system that could otherwise cause permanent hearing damage for listeners doesn’t come as a guess for the technicians working any show. The volume and setting the sound systems need to be calibrated effectively with precision and accuracy at every venue. These skill sets take a lot of acoustic training.

Live sound engineering courses teach both the fundamental knowledge and hands-on skills required for working in the field, as well as the importance of safety. Even though current producers will certainly understand many of the principles, training is still necessary when moving to live audio.

The Excitement of Transitioning from Studio to Stage

Working in live sound engineering is exciting, challenging, and highly rewarding. For some, this blend of fast-paced action is exactly what they want from the next step in their career. Live events allow engineers to engage with performers and audiences and watch how they react — making it a highly fulfilling experience.

Many live sound engineers began their careers in studio environments where they learned the technical foundations of audio production, then moved to live sound for a variety of reasons.

Transitioning to live sound introduces entirely new challenges and requires new skills, such as real-time problem-solving and adapting to unpredictable conditions. Attending a live sound engineering course requires new skills and problem-solving techniques, making them well worth it even for working producers.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

The Challenges and Thrills of Working in Live Sound

Live sound engineering is as challenging as it is rewarding. Fortunately, for the right person, these challenges are offset by the adrenaline rush of live events and the satisfaction of delivering perfect sound.

You’ll work in a high-pressure environment while witnessing the audience's enjoyment — creating an unmatched sense of accomplishment. So, let’s break down a few of the challenges you can expect to encounter throughout your career.

Venue Acoustics

Every venue is unique, from echo-prone arenas to tightly packed clubs, requiring engineers to adapt on the fly. Live sound engineers will evaluate several aspects of the venue ahead of time to design a sound system that provides a high-quality experience to everyone in attendance.

During the event, engineers manage the audio setup, mix in real-time, and solve any problems that seem to always emerge. After the event, they’ll review the results and help break down the setup.

Typically, the lead engineer makes the major decisions, while sound technicians will execute those decisions. Engineers will create the design for the event, while technicians will handle setting up and wiring all the components involved.

Equipment Failures

A malfunctioning microphone or speaker can disrupt a performance, which requires quick thinking and technical expertise to resolve. Sound engineers and technicians work together to find and implement solutions for any issues as quickly as possible — the show must go on.

For example, if a microphone suddenly goes off, it’s the technicians who connect a new one and run it out to the performer. The engineer won’t likely need to weigh in on that decision, but if a mixing board suddenly fails, the engineer may need to get creative to find solutions.

Performer Preferences

Artists often have specific audio preferences, and engineers must balance their requests with the audience’s needs. There won't always be a discrepancy between preferences and what’s needed for the show, but it will likely happen sometimes.

Whether a vocalist wants a specific type of mic or a musician has an unusual request, you’ll need to try to accommodate them while still putting on an amazing show.

Audio engineering programs equip you with a well-rounded understanding of live sound engineering. If one component needs to change, you’ll be ready to keep performers happy and ensure the audience has an amazing experience.

Why Formal Training is Essential for Live Sound Engineers

While passion and hands-on experience are crucial, formal training from audio engineer schools is the cornerstone of a successful career in live sound engineering. Sound engineers need a solid foundation in audio principles well beyond working in a DAW, including the following:

Acoustics and sound wave behaviour
Signal flow and processing
Working with digital and analog signals
Equipment operation and maintenance
Rigging and Safety

Sound engineering programs provide structured learning environments where students can practice with professional-grade equipment. These programs also cover industry best practices, from safety protocols to effective communication with performers and crew members.

Career Opportunities in Live Sound Engineering

Live sound engineering courses give you practical skills, hands-on experience, and connections to help find employment. Once complete, you’ll have valuable credentials that showcase your expertise to build your new career. A few career options in live sound engineering are:

Concerts and touring: Experts in mixing audio for live music events and managing sound on the road are almost always needed. The fast pace of touring can be stressful, but it can be even more rewarding when you help the artist provide meaningful experiences.
Theatre and performing arts: From Broadway to your hometown productions, engineers are critical for performing arts. Engineers ensure musicals, dance performances, and plays have clear and dynamic sound for everyone in attendance.
Corporate events: Even corporate events can be challenging and rewarding. With these events, sound engineers ensure high-quality audio for conferences, product launches, and trade shows.
Broadcast and streaming: Live sound engineers are always in demand for any live shows, including TV broadcasts, live streams, and online events. You’ll need to learn how to design and operate audio setups that provide a high-quality audio experience.

Each of these roles requires unique skills, but they all share the excitement of working in fast-paced, creative environments. You’ll need the right blend of training, experience, and temperament to build a lasting career in live sound, and live sound schools can make it happen.

Take the First Step to the Stage with OIART

Live sound engineering is more than a career—it’s a thrilling journey that combines technical expertise, creative expression, and the power to create unforgettable experiences.

For the right person, it can be an exciting, long-term career that allows you to provide memorable experiences while continually pushing your skills. You’ll be able to expand your skills throughout your career while also moving into your chosen industry.

Sound engineers are the backbone of live entertainment, ensuring every event resonates with its audience, from small gigs to global tours. However, becoming a live sound engineer without formal training is difficult, even if you’re currently a studio producer.

Attending a live sound engineering course prepares you to work in this dynamic and challenging field. Working producers will certainly have a head start, but learning from experienced instructors is critical to building lasting success.

Ontario Institute of Audio Recording Technology (OIART) offers industry-leading training that teaches the knowledge, theories, and hands-on skills you’ll need to thrive. Learn more about our live sound program today to start creating unforgettable live events.

Sound Engineering in Canada: Build Your Dream Career at OIART

Tue, 08 Oct 2024 17:05:35 GMT

Sound engineering is a thriving industry in Canada with growing demand across multiple sectors, making it an excellent career choice for those passionate about audio. Canada has always been a go-to choice for filming movies and TV shows, which by itself has given rise to an entire industry of specialists — including sound engineers.

Beyond film, Canada is home to a wide range of recording artists, live events, and broadcast TV requiring sound engineers. It’s a thriving industry with an ongoing demand for those who have completed an audio engineering program.

There is an ongoing need for sound engineers across many industries within Canada and internationally. As a result, Canada is home to a world-renowned audio engineer school that sets the stage for a lasting career in the industry.

The Ontario Institute of Audio Recording Technology (OIART) provides world-class training that equips students to excel in this dynamic field. So, let’s break down why Canada is such a great place to study and work as a sound engineer.

What Exactly is Sound Engineering?

Sound engineering is a far-reaching field with the ultimate goal of ensuring the best audio quality and fidelity. It’s all about delivering sound with clarity, balance, and precision — whether that means producing a podcast free of audio issues, mixing a live concert for everyone to enjoy, recording an album, or designing immersive soundscapes for a video game.

These engineers work behind the scenes, and their contributions are integral to the final product. As a sound engineer, you’ll be responsible for a few common goals:

Capturing high-quality audio during recording sessions
Mixing tracks to ensure each element is balanced and harmonious
Designing immersive audio experiences for various media
Troubleshooting and solving technical issues during live events

This diverse field offers endless opportunities for specialization and creativity, making it well-suited for anyone with the right blend of creativity and technical skills.

Why Canada is an Ideal Destination for Sound Engineering Studies

Canada is a hub for creativity and innovation, with a thriving arts and entertainment industry creating ample opportunities for sound engineers. The country’s multicultural landscape fosters diverse creative projects while its growing tech sector pushes the boundaries of audio innovation.

Access to world-class institutions: Schools like Ontario-based OIART provide industry-leading training and help you form vital industry connections.
A thriving job market: Demand for sound engineers is rising across industries, including music, film, and gaming.
Supportive creative communities: Cities like Toronto, Vancouver, and Montreal are hotbeds for artistic collaboration — and this trend isn’t slowing down.

Studying at a sound engineer college in Canada means you’ll be at the heart of an industry poised for growth. You’ll build connections with others who may work domestically or internationally while strengthening your own local presence.

Diverse Career Opportunities for Sound Engineers

Sound engineering is an overarching specialty needed in a wide range of industries — any industry that uses sound will need a sound engineer. Gaining the right expertise and credentials can help you build a career in almost any industry you want to explore.

There are seemingly endless career opportunities for sound engineers, including:

Music production: You’ll work in recording studios to produce albums, singles, or soundtracks. A school of audio engineering teaches you how to use studio equipment without losing creative expression.
Film and television: Sound engineers are needed to mix and master audio for movies, shows, and commercials with a focus on clear dialogue, Foley, sound effects, or music. The skills gained at OIART will widely apply to these varied roles.
Gaming: Engineers design immersive soundscapes for video games that enhance the player’s experience. Unlike other fields, sound engineers also design how sound travels in the virtual world to make games more engaging.
Live events: Live sound engineers manage the audio for concerts, theater productions, and corporate events. They work with a team to design, set up, and tear down all the gear needed to create a compelling experience.
Podcasting and broadcasting: Sound engineers ensure crystal-clear audio if you’re working on a pre-recorded podcast or live broadcast radio. Their responsibilities include capturing the audio, mixing and mastering it, and ensuring it’s ready for broadcast.
Corporate audio: Advertising, education, and corporations have an ongoing need to manage audio. This can take the form of presentations, training materials, and specific ad campaigns, each of which relies on clear audio to accomplish its goals.

Each of these career opportunities showcases the versatility of earning credentials in sound engineering. You’ll be setting the stage for a lasting career in whichever industry works well for your interests.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

Industry Trends Shaping Sound Engineering Careers

Sound engineering is an ever-evolving field, and new technologies, trends, and fields are continually reshaping the industry. Staying ahead of current and future trends is crucial for building a lasting career. A few of the current trends we expect to continue include the following:

Immersive audio technologies: Formats like Dolby Atmos and spatial audio are redefining how we experience sound.
AI and automation: Machine learning is being integrated into sound editing and mastering, enhancing efficiency and creativity.
Remote collaboration: With the rise of remote work, engineers are leveraging cloud-based tools to collaborate across distances.

Reputable programs make sure students are well-versed in these emerging trends and prepare them to take the lead in a rapidly changing industry.

The Long-Term Benefits of Studying Sound Engineering

Deciding to pursue formal education is no small decision. You’ll be investing time and money into learning skills and earning credentials that lead to a lasting career, whether you decide to stay in Canada or work abroad.

So, let’s break down a few of the long-term benefits of studying sound engineering.

Gain Transferable Skills

Learning the ins and outs of sound engineering with OIART’s Audio Engineering & Music Production Program creates the foundation for various careers, which we explored above. Unlike other career paths, you won’t be locked into one specific career path — instead, you’ll be able to navigate a wide range of options.

For example, you might start in live sound but decide studio work is more in line with what you want out of your career. Maybe after a few years in the studio, you’ll want to work in video game audio engineering.

It all begins with formal training that teaches you foundational skills on which you can build a lasting career, whether that leads you to video games , music, live events, or the film industry.

Earn Credibility in the Industry

Formal training in the industry shows potential employers that you have a fully fleshed-out understanding of sound engineering. You’ll graduate with a diploma that shows you put in the time and investment to advance your career.

Conversely, a common concern with hiring self-taught producers and engineers is that they have gaps, either because they skipped topics they didn’t like or entirely misunderstood material.

Earning a diploma sets the stage for a long-term career by closing skill gaps and giving you credibility in the industry. You’ll stand out from other applicants and have confidence you can handle your first job.

Combine Passion with Profession

Sound engineering is more than just a job — it’s a way to channel your passion for audio into a meaningful career. For some, there’s nothing more rewarding than creating experiences that move and inspire audiences.

Most people who are interested in sound engineering began as music fans or audio fanatics, then dove deeper into how the secret sauce is made. Earning a diploma means ensuring you never forget every ingredient that goes into your favorite tracks and teaching you how to make your own.

Learning the technical skills involved in sound engineering doesn’t replace your passion but makes it your profession. You’ll go beyond appreciating the world of music and start contributing to it.

Why Choose OIART’s Sound Engineering Course?

What sets OIART apart from other options? We are committed to providing industry-standard training throughout every class and a track record to prove it.

Our programs mirror professional studios' workflows and challenges , ensuring students graduate with relevant and practical skills. A few key highlights of the OIART advantage are:

Hands-on learning: Students work with industry-standard equipment from day one, gaining the confidence to operate in professional environments.
Small class sizes: With personalized attention from instructors, students receive mentorship tailored to their strengths and goals.
Networking opportunities: OIART connects students with industry professionals, opening doors to internships and job opportunities.

This comprehensive approach ensures that OIART graduates are skilled technicians and creative professionals capable of making their mark in the music industry.

Earn Valuable Sound Engineering Credentials at OIART

Music engineering programs are structured so that students are ready to work in the field right after graduation. You’ll gain the technical skills, industry knowledge, and creative confidence to turn your passion into a profession.

Deciding to learn sound engineering in Canada also gives you the distinct advantage of benefiting from the thriving and growing entertainment industry. Film, shows, live events, and game studios are becoming increasingly popular nationwide, making it a great place to learn sound engineering and build connections.

OIART is a leading school of audio engineering that makes sure you’re prepared to work in the industry. Is it time to turn your passion into your profession? Learn more about our program today and take the next step in building your dream career.

Music Production Schools in Canada: Launch Your Career with OIART

Fri, 20 Sep 2024 16:49:29 GMT

Every producer starts somewhere, often with a pair of headphones and an endless curiosity about how music is made. Transforming that passion into a career demands more than just enthusiasm and appreciation — you’ll need technical mastery, creative vision, and industry knowledge.

Music and audio engineering schools provide structured training and hands-on experience that help you bridge the gap from passion to profession. These schools offer certifications showing potential employers that you have the knowledge and skills necessary to thrive in the music industry.

Reputable institutions like the Ontario Institute of Audio Recording Technology (OIART) provide aspiring producers and musicians with everything they need to start their new music and audio production careers. We’ve created a clear path to the otherwise obfuscated path to working in the music industry.

Interested in turning your passion for music into a career? Let’s break down why music production and engineering schools are the most direct, valuable path to kickstarting your next career.

The Journey from Music Lover to Music Producer

We can safely say that every music producer began as a music lover. It’s hard to imagine someone who started making music without being an avid listener — producers are almost always people who feel a connection to music much deeper than your casual listener.

Once you decide to become a music producer , what do you do next? The path forward can be overwhelming: where do you begin? What skills do you need? How do you stand out in a field filled with talent and ambition?

The answer to these questions is where music production schools step in. These specialized programs offer a time-tested roadmap for turning passion into a profession. You won’t be left with YouTube tutorials and ebooks to figure out what to learn and how to put it to use when producing a unique track.

Instead, music production programs have a time-tested structure that prepares avid music listeners and producers to start working in the industry. You’ll sidestep the uncertainty of self-taught producing while gaining hands-on experience and an industry-recognized certificate.

Why Choose a Music Production Course?

Music producer programs from specialized institutions teach you everything you need to know to become a working producer. Certain schools like OIART have experienced faculty that impart the nuts and bolts of production and hard-earned insights from their years of experience in the industry.

It’s important to highlight that music production schools near Toronto are more than just classrooms; they are creative environments that prepare students for real-world challenges. Let’s quickly explore what sets our music production school apart from other options:

Experienced faculty: Learn from industry professionals who bring real-world insights into the learning experience.
State-of-the-art equipment: Gain hands-on experience with the tools and technology used in professional studios.
Collaborative environment: Work alongside peers who share your passion, building a network that can last a lifetime.

You’ll also learn how to combine your inherent passion for the creative process of creating music with the technical expertise to bring your vision to life.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

Combining Creativity with Technical Expertise

Music production is as much an art as it is a science. While technical skills are essential, creativity is what sets great producers apart.

The right programs will have a curriculum that balances these two elements, encouraging students to think outside the box while mastering industry-standard practices so that they’ll know how to:

Translate artistic visions into tangible soundscapes.
Collaborate with artists to achieve their desired sound.
Experiment with innovative techniques to push creative boundaries.

This potent combination of technical skills and creative problem-solving is what helps OIART graduates excel in an ever-evolving industry.

How Music Production Schools Transform Passion into a Career

Music production colleges focus on nurturing individual talent while providing comprehensive training. A reputable college offers programs designed to turn raw passion into refined skill — OIART’s graduates are well-prepared for the industry’s demands.

Students are prepared to work in the field thanks to our multi-faceted program. By the end of the program, graduates will have a strong understanding and practical experience in the following areas:

Technical skills: Learning the ins and outs of music production is crucial, even if you’re itching to get to the more creative side. Having technical skills is actually what enables even greater creativity, as you’ll know how to put your tools to use to accomplish the goal of the track.
Genres and styles: Different genres have varying standards when it comes to drum patterns, tempo, and technical components. Knowing these standards and how to bend them to make an interesting track goes far in helping you find work in multiple genres you enjoy.
Versatility: Producers with long-term careers are able to adapt to the times, trends, and artists needing producers. Having versatility throughout genres and even outside of music can go far in building a lasting career. Versatility in being able to work on non-musical products like TV shows or video games can go far.
Innovation: Knowing the best practices, technical skills, and creative techniques is only the beginning. What sets you apart from your peers is the ability to innovate new sounds or trends using everything you know. OIART helps lay the groundwork for innovation so you can make a lasting impact.
Teamwork: On top of training for your individual role as a producer, we also emphasize the importance of professionalism and adaptability. Bedroom producers might work solo all the time, but a studio producer works with artists, musicians, engineers, executives, and other producers to create the final product.

Programs from the right college are crafted so that you’re ready to handle the pressures of a fast-paced industry, whether you’re mixing a live performance or producing an album.

The OIART Advantage: Industry-Leading Training

What sets OIART apart from other options? Our program mirrors the workflows and challenges of professional studios, ensuring students graduate with relevant, practical experience. A few key highlights of the OIART experience are:

Hands-on learning: Students work with industry-standard equipment throughout the program to gain the confidence to operate in professional environments.
Small class sizes: We prioritize small class sizes so that students receive mentorship tailored to their strengths and goals due to personalized attention from instructors.
Networking opportunities: OIART connects students with industry professionals, opening doors to internships and job opportunities.

Our programs make sure you have the right blend of skills to succeed and build a lasting career. This comprehensive approach ensures that OIART graduates are not just skilled technicians but also creative professionals capable of making their mark in the music industry.

Learn How to Build Your Dream Career

A music production school doesn’t just teach you how to produce music; we prepare you for a career. Your training extends far beyond the technical aspects, extending to understanding the business side of the industry and developing interpersonal skills.

Music production and recording schools will teach you everything you need to know to build your dream career, which is far from linear and won’t be the same for everyone. A few possible careers to explore after graduation are:

Music producer: This type of producer oversees the creative and technical aspects involved in recording tracks and putting out a final, polished album. They’ll often work closely with recording artists to define the vision and bring it to life.
Sound engineer: Sound engineers often begin as music producers and handle the technical side of recording, mixing, and mastering. They’ll work closely with creatives and producers to make sure the final product meets everyone's goals.
Live sound technician: A live sound engineer or technician designs and manages audio for concerts, theatre productions, and live events. These experts thrive on the fast-paced environments of live sound and spend most of their time at venues.
Film and game audio designer: This creative role focuses on developing soundscapes that enhance visual storytelling while integrating aspects of the environment in the current scene.

The skills and experience gained at specialized schools are applicable across industries — graduates have the flexibility to adapt to changing trends and opportunities.

Take the Next Step in Your Music Production Career with OIART

Becoming a music producer is a journey that starts with passion but requires skill, creativity, and preparation to meet opportunities head-on. Music production programs provide the guidance and training necessary to turn your music dreams into a lasting reality.

While it’s possible to learn the basics of music production on your own, you’ll likely struggle to start working in the industry without formal training. That’s why OIART’s programs cover everything from the basics of sound engineering to advanced production techniques.

Once you’re done with the course, you’ll have the knowledge, portfolio, and credentials to stand out from the crowd and land your first job. Instead of going it alone, you’ll have the experts giving you personalized instruction so you not only land a job — you excel at it.

As one of the leading music production schools in Canada, OIART helps you kick-start your new career and sets the stage for lasting growth. Is it time to turn your passion into your profession? Learn more about our program today to take the first step in becoming a music producer.

Nathan Bond - Alumni Spotlight

Mon, 09 Sep 2024 18:03:00 GMT

Nathan Bond (’03) has been a prominent figure in the live sound industry for over two decades, having embarked on a remarkable journey since graduating from the Ontario Institute of Audio Recording Technology. We recently caught up with Nathan during a stop in London, Ontario, as he worked with City and Colour on their Canadian arena tour.

A Versatile Career

Nathan’s career has seen him wear many hats: from tour manager to front of house and monitor mixer for a variety of bands. His impressive roster of clients includes Canadian rock legends Our Lady Peace, as well as Serena Ryder, Corb Lund, Dear Rouge, and Alexisonfire.

Starting as a freelance audio engineer after sharpening his skills at a PA shop in London, Ontario, Nathan’s dedication and expertise have allowed him to thrive on stages across Southern Ontario and beyond.

In August of 2024 Nathan supported Alexisonfire as they opened for world-renowned punk rock legends Blink-182 on their Canadian stop at Toronto’s Rogers Centre Stadium.

An Inspiring Encounter

OIART students had the unique opportunity to meet Nathan before he started his work at Budweiser Gardens during City and Colour’s London stop. Nathan’s visit included a guest lecture at the school, where he shared invaluable insights from his extensive career. Nathan discussed his approach to monitoring mixing, offered tips on navigating the industry, and recounted how his career took off after his time at OIART.

Watch the Video HERE

The Role of a Monitor Mixer

The monitor mixer plays a crucial role in live sound during soundchecks and performances. This engineer is responsible for managing the mix of microphone inputs so that performers can clearly hear themselves and their bandmates on stage.

A monitor engineer meticulously sets up microphones, adjusts levels, and fine-tunes EQs and effects to ensure that the performers have the optimal sound mix. During soundchecks, they work closely with the band to make necessary adjustments, ensuring a flawless performance.

Becoming a Monitor Engineer

In his Grad Spotlight, Nathan elaborates on his journey from OIART to managing large-scale stages and balancing family life while on tour. He provides insights into the day-to-day responsibilities of a monitor engineer and how his education at OIART laid the foundation for his successful career.

“Nathan emphasized, ‘OIART was instrumental in shaping my career. The knowledge and skills I gained there—ranging from signal flow and gain structure to problem-solving under pressure—have been essential to my daily work in the industry.’”

Nathan Bond’s story is a testament to the opportunities and career paths that OIART graduates can pursue. His success underscores the value of a strong educational foundation combined with dedication and passion for the craft.

How did OIART help you become a Live Sound Audio Engineer?

00:10 - Going to the school definitely like gave me the the knowledge to excel at the jobs that I had that got me to this point for sure.

It's going to give you just the skills that it doesn't matter if it's going into the studio or post-production or live sound. You're going to learn how to use those skills, be it whichever way you go with it afterwards. But it's really going to help for sure.

00:40 - The diploma from the school means a lot to a lot of people in the industry. They know that people that come out of the school are going to work hard and do a good job.

When did you know you wanted to attend OIART’s Audio Engineering Course?

00:51 - I knew I wanted to do it, for sure. well, before I came here, you know, when I was a teenager, I had a little sound system in my basement, and I played in a band with my cousin, and I was always kind of more drawn to the technical side of things. So I was trying to make recordings my in my basement with a four track, cassette recorder. And, and I always knew

I kind of wanted to do that.

So when I found the school, it was it was for sure the place that I wanted to go to.

What is it like being a live sound engineer?

01:27 - I travel with the band and we carry our own monitor console in-ears, wedge speakers if needed. And, it's my responsibility for the day is to set all that stuff up.

And then I operate the show and tear it all down.

01:43 - So my, my mixing board is usually set up at the side of the stage. And what I'm doing sound for is for the artist. Everything that I do is what the artist hears, not the not the crowd.

Sometimes it's on little speakers in front of them (artist) sometimes it's on in-ear monitors, but I control and work one on one with with the artists. And whatever they need to hear is what I do.

02:08 - You know, I am, responsible for for handling all the RF frequencies, scanning of the, RF environment every day and coordinate all the frequencies so that everything, works together fine, and that we don't have any drop outs during the show.

And on top of that, it's just, you know, I am mixing mixing monitors for the whole band and the crew and the techs and everybody. You know, we travel with the same mixing board everywhere, so everything's kind of already dialed up and saved and, just small tweaks every day.

What is challenging about being a Live Sound Audio Engineer?

02:39 - I find everything really quite enjoyable, especially with these gigs I'm doing now. There's not a lot that isn't fun. Sometimes you have a challenging venue, maybe a challenging low in or a low out, or for the most part, we always make the best of everything and have a good time doing it.

02:56 - You know, travelling and touring is tiring. It can definitely take a toll. You spend a lot of time, you know, on airplanes and a lot of time travelling, but it's also great. You know, we've been literally almost all over the whole world. Though it is, taxing and it can be taxing on your family at home it is a lot of fun, and we always make sure to make the best of it.

We do play a lot of shows, but they’re not always close to home. So when, when family does

get to come out, it's pretty special. my dad likes to come to shows and, and stick by me and and hang out, even though, standing side stage doesn't really sound the best. It's, it's a lot of fun to have family out.

How do you manage having family while you’re out on Tour?

03:33 - I've got a four and a half year old at home and a wife. You know, when you get home, you're home. I don't have to, like, go home and then go to work the next day. So it's nice to be at home and, I get to play with my daughter and and have fun with her. It's tough leaving again after that, but, it's kind of been like that our whole life, So everyone's used to it.

Mixing Monitors for Alexisonfire at Rogers Centre in Toronto Ontario, opening for Blink-182

How does it feel coming back to OIART twenty years later?

[For a bit of context here, every year, our full-time instructors schedule time in the studios to have lectures from our most successful graduates for them to provide leading-edge advice and networking opportunities to help young graduates to get their start in the Audio Industry]

It's really cool. A lot has changed. A few things haven't changed. It was really nice. Just kind of, seeing all the the studio spaces and bringing back those old memories. I had a great time here. I really enjoyed my year at OIART.

I've always wanted to, like, kind of give a little speech here about, about that. And maybe I can inspire somebody to, to become a live sound engineer and and maybe do monitors and,

and if I did, then that's great.

How does it feel coming back to OIART twenty years later?

I've always wanted to, like, kind of give a little speech here about, about that. And maybe I can inspire somebody to, to become a live sound engineer and and maybe do monitors and,

and if I did, then that's great.

Ready to Elevate Your Career? Get Formal Training and Recognition with OIART

A career in music production offers incredible diversity, excitement, and creativity. Unlike many other professions, it provides you with the opportunity to shape your daily work around your passion for music, trends, and collaboration with artists.

While it's possible to begin producing music without formal training, obtaining industry-recognized qualifications can be crucial for advancing your career and securing roles as an in-house producer or achieving significant milestones.

The Ontario Institute of Audio Recording Technology (OIART) stands out as one of Canada's premier music production schools. Our program is designed to equip you with the skills and knowledge needed for a successful and fulfilling career in the music industry. You'll gain hands-on experience with the latest techniques and technologies and develop a comprehensive understanding of the industry's landscape.

Are you ready to embark on your new career path? Apply to OIART today and take the first step towards shaping your ideal workday in the world of music production.

Live Sound Schools: Your Path to Audio Success

Thu, 15 Aug 2024 16:18:13 GMT

Technology has made creating and mixing music from the comfort of your bedroom easier than ever. This democratization of music is undoubtedly exciting and allows more people to explore audio production.

However, an essential, irreplaceable aspect of live sound production remains that can’t be captured in a bedroom studio. Live sound is an art form that requires technical mastery, quick thinking, and creative problem-solving — all in real time.

Live sound schools offer the practical and theoretical knowledge needed to leave the DAW at home and step into a live sound environment. These specialized education institutions bridge the gap between what can be learned independently and what is needed to start working in the field.

While producing in your bedroom can be a great stepping stone, let’s break down why it’s crucial to take the next step with audio engineering schools to truly begin your new career.

The Rise of the Bedroom Producer

A bedroom producer is typically a self-taught producer who works out of their home studio. These types of producers can still find success, but since they lack formal training and credentials, they may struggle to compete against other applicants to start a diverse audio career.

This term can sometimes be used simply to call someone an amateur. Still, more accurately, it refers to someone who learned independently and has yet to make audio engineering into a career.

Bedroom producers are made possible by Digital Audio Workstations (DAWs), which sidestep expensive studio equipment by digitizing the production process. As a result, anyone with a decent computer and a DAW can start making high-quality songs or audio projects.

Plenty of working audio engineers and producers started as bedroom producers, but it’s typically a stepping stone that leads them to attending music production and engineering schools and then on to a lasting career.

What Exactly Are Live Sound Schools?

Live sound is a type of audio engineering that goes beyond making everything in a DAW and instead works with capturing live sound. In many cases, “live sound” refers to performances in venues, but it can also refer to capturing audio from vocalists and musicians.

Even if you can afford the gear, learning will be a challenge. While many of the same reasons used to learn the basics of production may be helpful, you’ll likely struggle to go beyond the basics — a necessity for building a lasting career.

That’s where live sound schools come into play. You’ll benefit from hands-on learning from teachers with real-world experience and use the latest gear that you’ll be expected to know in your future career.

Sound engineering programs equip students with skills that prepare them for working in the field, including:

Gaining a strong understanding of signal flow and audio routing.
Learn how to design, set up, and manage venue sound systems.
Mixing live performances for different genres, venues, and types of events.
Troubleshooting any problems that may emerge during live events — while under pressure.

The right live sound school also fosters the confidence needed to thrive in high-pressure environments, making them invaluable for aspiring sound engineers.

Hands-On Learning: The Key Advantage of Live Sound Schools

Breaking out of the software-only bedroom producer approach is highly challenging for self-learners. You’ll require expensive equipment and hands-on experience to learn how to use it well — and you may find YouTube tutorials insufficient to be prepared to work in the field.

That’s why a core benefit of live sound schools is their emphasis on providing hands-on learning from experienced instructors. Unlike theoretical programs or self-learning, institutions like OIART immerse you in real-world scenarios and recreate the challenges faced during live events.

Students can directly gain hands-on skills that are hard to obtain without access to high-end gear. A few more skills you’ll learn from sound engineering programs that essentially require hands-on learning are:

Analyzing a live venue’s acoustics to help provide the best possible listening experience.
Setting up microphones, monitors, and instrument inputs for live performances.
Configuring digital and analog mixing consoles.
Managing stage acoustics to ensure clarity and balance.
Solving any problems that may emerge in the fast-paced world of live sound.

Students can gain familiarity and confidence in working with professional-grade equipment and learning in practical environments that are almost impossible to replicate with online tutorials or at-home experiments.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

Career Opportunities for Live Sound Engineers

Live sound engineers are in demand across a diverse range of career opportunities across several industries. After you’ve earned credentials for sound engineering in Canada, you’ll be ready to start exploring careers such as:

Concerts and festivals always need experts in mixing live audio for performances to ensure everyone in attendance has an excellent listening experience.
Theatre productions need experts in acoustics for musicals and plays so everyone in attendance can clearly hear every word or lyric.
Corporate events require experts in designing and managing complex setups for conferences, product launches, and presentations.
Broadcast and streaming events need several aspects to ensure audio is captured and effectively transmitted to provide every viewer with an excellent experience.

At OIART, regardless of which route you decide to take, you’ll work in a fast-paced, dynamic environment where no two days are the same. Anyone interested in audio and creativity looking for an exciting career will likely find what they’re after in live sound engineering.

Practical Experience vs. Theory: Bridging the Gap

Theoretical knowledge is certainly important, but a live sound engineering college is so valuable largely due to practical experience. Knowing how a mixing console works is one thing, but operating it under pressure during a live show is another. Live sound schools often address this gap by combining classroom learning with on-the-job training.

Students might participate in internships, collaborate on school-hosted events, volunteer at local festivals or work with visiting professionals during workshops. These opportunities build technical skills and foster problem-solving abilities, adaptability, and confidence in high-stakes situations.

Compare a live sound program to learning on your own. By sticking with the self-taught, bedroom producer approach, you’ll have to:

Afford or rent high-end equipment
Learn how to use this gear without damaging it
Know how to solve live sound problems on the fly
Learn how to evaluate and work with a venue’s acoustics
Gain hands-on experience using specialized gear in a live environment

You can see how nothing on that list is something you learn and perform strictly with a computer in your bedroom. Meanwhile, any live production is quickly becoming more and more elaborate with audio and video fundamentals. Gone are the days when young and under-trained individuals could simply walk on the job and hope to be trained without some previous experience or knowledge. Having even the most basic hands-on training helps give other professionals the confidence you can bring more than a helping hand to the job.

Moving beyond bedroom producing and into live sound isn’t impossible without a course, but you’ll take much longer and probably spend more money when compared to signing up for a sound engineering course.

The Long-Term Value of Formal Education

Enrolling in a live sound school is an investment in your immediate future, but don’t overlook the long-term benefits. Graduates leave with more than just technical skills — they gain industry connections, mentorship, and a comprehensive understanding of professional standards.

Employers in the audio industry often prioritize candidates with formal training over self-taught producers. Live sound schools are the ultimate launching pad for those passionate about sound and ready to move beyond the confines of the bedroom.

A degree or diploma from a reputable institution shows not only competence but also a commitment to the craft of sound production. The reputation of programs like OIART further enhances the employability of their graduates, opening doors to exciting opportunities in live sound both within Canada and abroad.

Once you’ve completed the program, you’ll have credentials that will prepare you to start working in the industry. Getting your foot in the door is often the hardest part of starting a career in music or sound engineering — and specialized certifications make this important step much easier.

Without a formal education, you’ll struggle to get hired in live sound or studio production. And once you are hired, you’ll likely discover some gaps in your self-taught training that will need to be addressed. If there are major deficiencies, getting your foot in the door might be short-lived as you’re sent back to the bedroom.

Take the Step to Live Sound Engineering with OIART

Live sound engineering is an exciting, dynamic profession that is both challenging and rewarding — making it the perfect career choice for the right person. Music production schools in Canada give you a fast track to moving beyond the bedroom and into venues to experience the rush and rewards of working in live sound.

While the rise of the bedroom producer has made music production more accessible, live sound requires skills that can only be honed through formal training and hands-on experience. You can still get started on your own, but you’ll need to take the step to earn credentials and gain more experience to take the next step.

Specialized audio engineering programs offer aspiring professionals the tools, knowledge, and confidence to succeed in this challenging field. Institutions like OIART provide the foundation for a fulfilling career in sound engineering.

Is it time to leave the bedroom behind and step into your new career? Learn more about OIART’s program and reach out to admissions to learn more.

Behind the Scenes: What It Takes to Produce the Biggest Summer Festivals

Wed, 31 Jul 2024 16:17:11 GMT

Music festivals are a perennial highlight for almost every genre of music, with fans gathering for several days to enjoy their favorite artists and summer weather. An ideal music festival also goes beyond the music itself and combines the genre's overall culture, artistry, and community.

However, producing a successful music festival is no small undertaking. There are plenty of opportunities to make mistakes that detract from attendees’ experiences—which can range from getting stranded in the desert to simply not having a fun time. Production in music is important, but planning a festival is a significant task that involves more moving parts than the music itself.

Suppose you’re considering attending a music festival or being part of a studio or team. In that case, you need to be aware of everything behind the scenes to create a successful summer music festival.

We’ll be breaking down how everything from precise live sound engineering to meticulous permitting are necessary for your festival — give yourself the best chance at creating an amazing experience.

Planning and Development

Creating a memorable festival begins with a strong vision. This initial step involves selecting a unifying theme that resonates with the target audience and distinguishes the event in a crowded market.

So, let’s look at a few specific steps early on in planning a festival. However, each of these topics is an overview, and your specific music festival will have unique needs and challenges.

Venue Selection and Setup

Where will you host the event? Choosing the right venue is critical. You’ll need to consider a few different factors that each play a significant role in the overall experience of the music festival:

Location: Are you setting up a brand new event in the middle of nowhere or renting an existing space? How will people arrive and park?
Capacity: How many people do you expect to attend, and what is the maximum amount? What if more people show up than expected?
Accessibility: Will you have the necessary accommodations for attendees with disabilities? How will you ensure they have access to everything necessary to have the same experience as others?
Infrastructure: How will you provide power and plumbing? Does the chosen venue have the right electrical grid for multiple shows to occur at once? Are you relying on portable bathrooms, and where will they be set? Will you have medical services available?

These questions demonstrate some of the key difficulties that occur right at the beginning and start influencing the success or failure of your event.

Logistics and Operations

A successful music festival depends on impeccable logistics and operations, from planning to execution. Between vendors, artists, attendees, and all the equipment everyone needs is no small task.

You’ll need to coordinate how the equipment will reach the venue location, the specific personnel roles you’ll need, and a host of accommodations for artists plus their own teams. Additionally, a team of experts in music engineering and live sound engineering is crucial to making sure everyone can experience each show as the artists intend.

Planning for all these moving pieces takes time and is one of the underlying factors determining a successful festival. It’s often worth bringing in experts in event logistics to handle many of these tasks, as they can be complex and benefit from specialized experience.

Artist and Vendor Coordination

A festival's lineup is a key draw for attendees. You need artists to bring the music to the music festival, and you’ll also need vendors to flesh out everything else that separates your festival from a show—other forms of art, merchandise, food, and drinks.

Negotiating contracts with artists and ensuring a variety of food, merchandise, and service vendors are available are pivotal tasks. If you overpay, you’ll either cut into possible profits or risk charging too much for attendance — so negotiate with every third-party vendor and artist to pay a fair price.

Licenses, Permits, and Legal Considerations

Hosting a medium- or large-scale event requires a range of legal considerations. Your specific considerations will vary based on the specific region and size of your festival, so you’ll need to look into the specific requirements.

The major areas to consider are:

Permits and other requirements: Securing the necessary permits and understanding local regulations are crucial for festival planning. Make sure you have all the necessary permits to host a large-scale event, from noise ordinances to capacity limits.
Insurance and liability: With thousands of attendees, the potential for incidents is a reality that organizers must prepare for. Don’t underestimate the importance of comprehensive event insurance and strategies for mitigating risks to keep everyone safe.

Sustainability and Community Impact

Festivals have a significant environmental footprint and have other effects on the local community. You’ll need to keep the following items in mind and include them in your planning:

Environmental considerations: Festivals have a significant environmental footprint. Explore green initiatives like waste reduction, recycling programs, and efforts to encourage sustainable transportation.
Engaging with the community: Festivals can have a profound impact on local communities. Engage with the community and convey the benefits and challenges of hosting festivals, such as the positive economic impact, community involvement, and strategies for fostering positive relationships with local residents.

Marketing and Promotion

Even the best music and sound production ever experienced at a music festival will be for nothing if nobody shows up. A few ways to get the word out about your festival include the following:

Branding: What will you name your festival? What overall mood are you trying to convey? How will everything from font choices to color schemes convey that mood? Branding is critical, challenging, and worth exploring many different options before making firm decisions.
Marketing strategies: How will you spread the word once you’ve ironed out all the logistics and branding? Leverage digital marketing, social media, and traditional advertising to build hype and sell tickets.
Sponsorship and partnerships: You can offset the initial costs by securing sponsorships and partnerships. Reach out to companies relevant to your festival's theme and major genres and explore ways to integrate their requirements without negatively impacting attendees' experiences.

Don’t underestimate these efforts — marketing, and promotion are crucial to drawing attendees.

On-site Management and Execution

You’ve done all the preparation and the first day of the festival has arrived. Now, the challenge becomes executing your plan, adapting to problems, and making sure you provide the experience attendees expect.

There’s a lot of moving pieces involved and they’ll vary for every festival. However, we can still go over topics that will give you the best chance of hosting a successful event.

Coordination and Communication

Effective on-site management is vital for a smooth festival experience. On-site management includes the role of event staff and volunteers and the importance of clear communication channels throughout the festival's duration.

Your teams should be able to solve any issues that emerge, from technical issues to medical emergencies. Established lines of communication, such as handheld radios, can help identify and respond to issues.

Crowd Management and Security

Ensuring the safety and security of attendees is paramount. Take plenty of time to create strategies for effective crowd control and security measures.

You should have teams in place to prevent and respond to incidents to minimize any potential harm. For example, what happens if more people show up than you can accommodate and they find ways to sneak in? This has happened at other festivals and can quickly escalate to serious issues and hefty fines.

Be aware of the potential for harm and take active steps to prevent it, including having the right teams in place to focus on keeping everyone safe.

Post-Festival Activities

Gathering feedback from attendees, artists, and vendors is crucial for continuous improvement if you’re planning on making your festival an annual event. Collect feedback from attendees in the form of a post-festival email, ask artists how their experience went, and communicate with vendors throughout the festival so you’re aware of any issues they experience.

Reflecting on lessons learned and beginning the planning process for the next event is an ongoing cycle. Take insights from the first festival to enhance future events and strive to become a must-attend highlight of the summer festival season.

Get Prepared for Festival Season with Sound Engineering Programs at OIART

Producing a major summer festival is an enormous undertaking that sometimes requires year-round planning, a dedicated team, and a passion for creating unforgettable experiences. If successful, providing a memorable experience and establishing your festival as one of the major festivals of the summer can be fulfilling and rewarding.

One critical skill summer festivals require is expert live sound engineers. Attending a sound engineering school helps prepare you to take on this specialized role to add more value to the festival team.

OIART offers industry-leading audio engineering programs so you can pursue your festival dreams. Ready to take the next step towards earning a formal qualification in the art of live sound engineering or become a music producer? Apply today to kick-start your career.

Breaking Into Video Game Audio Engineering: A Beginner's Roadmap

Fri, 28 Jun 2024 16:16:55 GMT

Audio production and engineering is a far-reaching field with applications in nearly every industry, from live sound to entertainment. One popular application of audio engineering is creating immersive, compelling environments in video games.

The audio engineering focus of video games requires a similar overall skill set to other fields but applied differently, along with unique tasks that aren’t usually found elsewhere.

Due to this uniqueness, you’ll likely need to acquire a diverse range of necessary skills from audio engineering programs to be ready to contribute to a project.

So, we’ll explore how audio in video games has specialized needs that will appeal to someone interested in learning the right skills to contribute to incredible gaming experiences.

Understand the Basics of Audio Engineering

Jumping right into video game audio isn’t usually the best way to go. Instead, start by focusing on audio production and engineering, then learn how to apply those skills to video games as you grow. Let’s go through a high-level overview of how to get started.

Fundamentals of Sound and Music

Audio engineering colleges often start with the basics — how sound travels through the air and circuitry, what makes music compelling, and how to work within digital environments. Other foundational topics, such as music theory, are also learned early on into your course.

Gaining this knowledge prepares you for capturing live sound, creating soundtracks, and working within a gaming environment. The goal of the sound engineering course is to impart these skills, which often begin with a fundamental understanding of music and sound.

Introduction to Audio Engineering Tools

You’ll be using a wide variety of tools for video game audio engineering, including some tools that other types of engineers don’t use at all. But learning how to use video game-specific tools begins by learning the foundational software and hardware, including:

Digital Audio Workstations (DAWs)
MIDI controllers
Specialized VSTs for mixing and mastering

Audio engineer schools invest plenty of time into teaching you the skills necessary to work with these tools and gain hands-on experience with them.

The Role of Audio in Video Games

Video game audio is a unique audio engineering focus that uses many of the same overall principles and techniques but might be applied differently. For example, rather than considering the acoustics in a live venue, you’ll need to apply acoustical understanding to a virtual environment.

Audio in video games goes beyond music and covers everything from sound effects to dialogue. This makes audio engineering in video games more challenging than it can initially seem but also equally rewarding for the right person.

What role does audio play in video games? While the specifics will vary by project or even by level, the following are ways audio in video games affects the entire experience:

Procedurally generated music changes the instrumental based on what’s happening in the game, such as entering combat or entering a new area.
Sound effects don’t exist on their own and often need to interact with the environment in some way.
Specific sounds related to combat can significantly impact how satisfying combat is overall, making sound design highly important.

Presumably, you play video games, so pay attention to the audio and look for other ways it makes an impact during your game time.

Developing Your Video Game Audio Skills

How can you go about improving your video game audio engineering skills? The right approach is a blend of practice, experience, knowledge, and skill. Taking the time to enhance each of those areas as necessary will help you advance your overall abilities and what you bring to future projects.

Let’s explore a few ways you can improve your video game audio engineering skills.

Practical Skills Development

A high-level overview of the practical skills you’ll need, which is not all-inclusive, helps demonstrate what you should be able to do:

Sound design for any effects in the game
Music production
Procedural music generation
Integrating sounds into the environment
Using the right file formats for performance

Crafting unique sound effects to give the game a consistent feel and aesthetic is a core responsibility of the audio team. Sometimes, heading out into the field and taking live recordings, then applying post-production techniques is the best way to go. In other situations, opening up Serum (or a similar synth) and fine tuning a sound is what the project needs.

It’s also important to have the ability to compose music that enhances different gaming genres and moods. On larger projects, you might have a dedicated music team and a dedicated sound design team, but it’s worth learning both skill sets to help enter the industry.

Technical Skills Enhancement

You’ll need to develop technical skills to be able to contribute to a game development team that aren’t often found in audio engineering.

A prime example is that you might need to learn a programming language, or at least have a functional understanding of them, so you can correctly engineer the audio for optimal performance.

The skills learned from an audio recording course may also prove to be useful, as video game dialogue and live sounds are common.

Keep Gaming

If you were a music producer, listening to music from other producers would be an important part of improving. So, working as a video game audio engineer means that playing games is critical for expanding your skillset.

Whenever you’re playing a game, pay attention to the audio, how it interacts with the environment, how it responds to what you do, and the impact it makes on your session. You might discover interesting ways other engineers used their skills, which you can then analyze and integrate into your own work.

Preparing to Enter the Industry

How do you actually get started working in the video game industry? While working in gaming is notoriously difficult for some positions, you might be surprised how many studios are often in need of skilled audio engineers.

However, you shouldn’t expect to start working without a little bit of legwork. Fortunately, experience might not be necessary as long as you can demonstrate your abilities and that you’ll be a good fit.

Create a Diverse Audio Portfolio

Build a portfolio that demonstrates what you can do. In the beginning, your portfolio won’t likely be from any shipped games. Instead, it can be a sample of specific projects you’ve worked on by yourself, like sound design or instrumentals.

Focus on the specific elements of gaming audio that you enjoy and excel at. Come up with example projects you can create that showcase these skills — you’ll have a strong head start on landing your first job.

Online Presence and Networking

Develop an online presence that helps expose you to people in the gaming industry. Your presence can be as straightforward as a few social media profiles or as complex as an active YouTube channel.

The overall goal is having a public facing online presence that showcases your knowledge, skills, and experience. Keep everything active and make sure to remain professional.

Gaining Experience

You can also sometimes find open-source games that would love an audio engineer stepping in to contribute. It might take some time as there aren’t as many open-source games as traditional games, but they do exist, and it’s worth finding one you can regularly contribute to and help build your portfolio.

Additionally, look for internships and entry-level jobs on smaller projects to gain more experience in the industry. You can also develop an audio-focused indie game to showcase your abilities.

Preparing for Career Advancement

Once you land your first entry job, what’s next? You’ll need to keep growing, learning, and be a great addition to any team.

Keeping Up with Industry Trends

All audio engineers and music producers have to keep up with industry trends — but as a video game engineer, you’ll have to keep up with both gaming and audio engineering.

You need to stay aware of new audio tools that emerge, how to use them, and how they’re being used in projects. At the same time, you also must stay on top of audio in gaming and how it's evolving.

For both, knowing that a specific tool or trend exists isn’t enough. You also need to know if gamers like it, why, and how to integrate it with your own projects.

Advancing Your Career

Gaining experience and expanding what you bring to the table are the foundational aspects of career growth. Yet, don’t make the mistake of focusing on technical skills — soft skills are also hugely important.

Communicating, collaborating, and resolving conflicts makes you a valuable member of a project. This can lead to internal promotions or earn a referral from a previous coworker.

Build the Skills You Need at OIART’s School of Audio Engineering

Working as an audio engineer can be an extremely rewarding career as you work with a team to launch an entire gaming experience for others to appreciate. However, you’ll need to start learning and keep growing throughout your career to succeed.

Developing the right blend of skills and knowledge takes time, but attending a formal course on the topic can go far in taking you from inexperienced to working in the industry. OIART is one of the leading audio engineering schools to equip you with everything you need to start working.

Are you ready to launch a new career in the gaming industry as an audio engineer? Apply to OIART’s audio program to take the first step towards working in gaming.

Behind the Scenes: The Multifaceted Role of a Music Producer

Mon, 27 May 2024 15:59:14 GMT

Do you want to become a music producer? For the right person, music engineering and production can be the perfect career that blends creativity with technical aptitude.

However, those who appreciate a consistent workday or a specialized, narrow role may not be the best fit for a career in music production. Producers are expected to wear many hats, depending on the project's needs.

Sometimes, the producer steers the creative direction of a track, but their technical experience is needed on the next project. Many projects will blend both, varying from day to day or even hourly.

So while you’re exploring music producing schools, let’s explore what your future career might look like based on the many roles you’ll be expected to fill.

The Many Roles of a Music Producer

People outside of the industry tend to think of music producers as creatives focused only on making the track and working with artists. While that is a big part of working as a music producer, most producers go far beyond that role.

Anyone looking to gain the necessary skills from music engineering programs should know what their future might look like before enrolling.

So, let’s break down a few overall categories of roles that a producer might take on throughout the course of their career, or even within a single day.

The Creative Guide

Music producers generally need to bring their creativity to the project, often advising the artist or label and aiming to bring their vision to life. Over time, your creativity might be why you’re sought after by artists.

Your experience and unique creative perspective don’t exist by themselves, however, and you’ll need to contribute to a collaborative project that likely has input from several different people.

Executing other's input, on top of adding your own style, is how you ensure a lasting career. Even if your own creative impulses aren’t the most interesting or don’t make the cut, bringing others’ input to life is a vital aspect of this career.

The Technical Expert

The overall task of producing music requires a strong technical understanding of all the moving pieces, from audio capture to specialized VSTs. A producer must also have a strong grasp of not only how to set up and use these tools but also how to fix them when issues arise.

Some days you’ll focus more on the creative side, but other days will be strongly focused on tech. For example, when working with a recording artist, pre-production is usually heavily technical as you make sure everything is set up and functional so you can start recording the moment the artist arrives.

You may also need to take a music engineering focus, especially on smaller projects, and need to dive deeper into the technical side of the entire process than usual.

The Business Mindset

A career in production in music isn’t just about the music. Producers need to have a business-minded focus frequently throughout their careers. For freelancers and contractors, music producers will essentially be running a small business and need to continually find the next client.

However, even full-time producers at a studio need to have a business mind for one consistent reason: you’re trying to make a marketable product. Even though the artistry of music is a driving force behind the industry, making tracks that get sales and streams is ultimately the goal.

Understanding the business motivators behind the specific project is a critical role of the producer. Being able to make a song that becomes popular will work wonders for your career, and that begins with a business mindset.

Necessary Skills to Succeed in Music and Sound Production

You’ll need specific skills related to the roles we discussed above. Being able to shift from a creative focus to a technical one as necessary is challenging for many people. Still, those who can develop this ability are set up to succeed in this career.

Moving between roles relies on having the necessary skills for each of the major roles you’ll be expected to fill. Let’s explore the specific skills in the same categories so you can decide if acquiring them from music producer programs is the right choice for your career.

Music Skills

You’ll need a strong foundation in music theory, sound design, and how to make a specific artistic vision become reality. Working as a music producer is a blend of a strong grasp of music and what makes a great song combined with more granular technical skills.

That’s why music engineer programs don’t just focus on the technical aspects of the career but instead impart a strong understanding of how music works from theory to a completed track.

If you think you have no musical talent, don’t worry, you can learn how to make incredible music. A sense of rhythm can be developed, as can your tastes and understanding of music theory. While there may be some latent talent that gives people a boost in music production — it’s not a requisite.

Technical Skills

The primary technical skill you’ll need is working with your Digital Audio Workstation (DAW) of choice. There are several DAWs out there to consider, but the three most common options in the industry are:

Pro Tools
Logic
Ableton
FL Studio

Don’t make the mistake of hopping between these DAWs while learning. Evaluate them, sign up for free trials, and then make your decision. Once made, focus on becoming the master of your chosen DAW rather than a jack of all DAWs. If you need to switch in the future due to working on a specific project or needing a specialized capability, the same underlying principles will carry over.

Your chosen music engineer course will most likely focus on a single DAW, or maybe two, to give you more experience. The industry-leading software from Avid (Pro Tools) will be standard DAW for any high-end or cutting-edge facilities. If you’re looking to work in a professional studio, or planning to go to school to learn about audio, be sure to evaluate which DAWs they will be teaching. Read more here .

Soft Skills and Business Acumen

Are you easy to work with? How do you handle conflicts? Can you market yourself with confidence? These and other similar questions will play a large role in getting started in the music industry and then continually growing your career.

Working as a music producer means inherently working in a collaborative position. Some projects will have more independence and creative input than others, but as a general rule, expect to work with others throughout your career.

Additionally, knowing how to put together a resume and portfolio, handle yourself in an interview, and speak confidently about your abilities is critical to lasting career growth. Soft skills are also needed for finding your first job, internal promotions, or moving to another studio or facility.

Challenges Music Producers Often Face

While the roles and associated skills involved with music production make it an exciting career, there are some challenges to be aware of. So before you sign up for a sound engineering course, let’s quickly touch on a few challenges you should know about:

Balancing creative vision with expectations of commercial success: Going from a hobbyist to a professional can be exciting, but you’ll now be expected to craft tracks that find commercial success. Learning how to fit yourself technically and creatively into someone’s artistic vision with a can-do attitude is extremely important. Either way, the success of what you create will inform your reputation.
Keeping up with the latest technologies: This career choice involves staying current on the latest DAW version, popular plugins, sound libraries, VSTs, or overarching technological breakthroughs that affect your job. For example, a new wave of AI-enabled VSTs has been released, but which ones are worth your time and which aren’t? You’ll need to know.
Managing time and resources: Even though you’ll typically work collaboratively, you’ll still often be in charge of how your time is spent on specific tasks. Additionally, some projects might have a given budget for licensing samples or hiring musicians, and that also needs to be managed properly. Time management and business acumen will always be important.

Some people will look at these challenges as additional reasons why music production is an excellent career choice, while others may be better suited for exploring another side of audio engineering . Whatever you choose, it’s well worth understanding the potential downsides of your future career.

Prepare for Your Multifaceted Career at OIART

Working as a music producer is a perfect career choice for someone who likes every day to be a little different than the last, wants to blend creativity with technical aptitude, and loves the artistry of crafting music that brings an overall vision to life.

Work days often involve both creative and technical roles at once, while other days call for focusing more on one aspect over the other. Throughout, staying professional and business-minded is important.

Music production and engineering schools prepare you for the multifaceted roles you’ll take on throughout your career. Researching before enrolling in the right program equips you with the musical, technical, and business skills to build a lasting career.

OIART offers industry-leading music engineering programs designed to train you to work in the field after graduation. Ready to take the first step towards working in the music industry? Apply to OIART today and get ready to learn all the skills you need for this multifaceted career.

Top Strategies to Enhance Your Music Production Skills in 2024

Thu, 25 Apr 2024 15:53:35 GMT

Some careers require initial training and minimal to no ongoing education — music production is not one of these careers. Succeeding as a music producer requires continually striving to advance your skills, knowledge, and how you manage your workday.

Music production and engineering schools focus on teaching you the skills necessary to thrive, but music trends and technology never rest. Even once you’re in the industry, you still need to take time to enhance your skills.

Of course, if you’re still in the early days of music production, strategically investing time in establishing and enhancing your skill set will go far in landing your first job. Attending a school of music production in Toronto might not be the only way to get you started with a foundation of all the necessary skills to succeed.

So, keep reading as we explore how you can establish and enhance a broad range of skills necessary to form a lasting career in music production.

Embracing New Music and Sound Production Technologies and Tools

Production in music is driven largely by technology. The way producers craft tracks today is unrecognizable from the processes of the 80s and 90s — embracing and adapting to technology is crucial to enhancing your skills. As new tools emerge, knowing how to use them is how you stay a valuable asset to any production team.

Let’s look at a few ways to stay on top of new developments to keep improving.

Artificial Intelligence and Similar VSTs

Undoubtedly, AI is the latest new technology to affect the music industry. It remains to be seen which AI-driven VSTs will become the industry standard and how other applications of AI might affect music production.

Yet, it’s well worth your time exploring this new wave of AI VSTs to see which ones might be useful in your workflow. Stay aware of what your colleagues, clients, or managers are doing with AI tools as well, including if they don’t want you to use them at all.

Latest DAW Versions

Every few years, there’s an entirely new cycle of DAW versions to learn and explore. Typically, new versions carry over popular features you already use but also introduce entirely new capabilities.

Resist the urge to focus only on what you know from the previous version and dive into anything that was just introduced. Figure out how it works and think about how you might be able to use it during your workflow. Just knowing that the capability exists will go far, as it might come to mind while you’re working on a track.

Virtual Instruments and Sound Libraries

Having more tools at your disposal can go far in boosting your production skills. You’ll be able to expand your specific style and range of possibilities by trying out new VSTs and sounds.

However, try to avoid the mistake of overloading your toolbelt — sometimes it’s better to focus on what you already have and mastering how to use it. Tactful take on more sounds or VSTs as necessary, either once you require them or once you’ve mastered your existing tools.

Live sound schools also teach you how to capture sound, enabling you to capture sounds from the field that can be used in production and become a lasting part of your local sound library.

Composition and Arrangement Techniques

How long should the intro be? How many bars does your genre typically have in a verse? What sounds or styles should you focus on?

Knowing how to compose and arrange your track is a skill you’ll use on essentially every track. We’ll break down a few ways you can enhance these abilities to help improve your workflows and the quality of the end result.

Explore New Genres and Styles

Step out of the genres you produce and generally enjoy to explore something new. You might discover specific attributes of different styles and genres that you can incorporate into your own music.

Each genre has its own standards and styles that help define it. For example, venturing into hip-hop from EDM will expose you to an entirely new range of drum patterns, sampling usage, and melodies.

Listen critically, which we’ll discuss more below, to really take away valuable lessons as you explore new genres.

Practice Critical Listening

Set aside time to listen to music within the genres you typically produce, but don’t listen passively. Shift into a producer's mindset and break down what you’re hearing. Focus on a few key areas, such as:

What aspects of the song do you like? What do you dislike?
Why do you like or dislike the specific element?
Does it evoke any specific emotions or moods?
Focus on the specific stems - what individual tracks stand out, and why?

You can add anything else along those lines to your critical listening focus list. Take this exercise even further by writing down (or typing up) your thoughts and analysis while listening.

Enhance Workflow Efficiency

While hobby and bedroom producers have the luxury of getting absorbed in music production, those working professionals are at work.

You’ll still need to work efficiently and often be up against a deadline to hit your goals, so we’ll explore a few ways to improve your productivity and effectiveness.

Organizational Techniques

Staying organized is a highly important yet overlooked skill for a music producer . There are a few different ways organizational techniques come into play as a product, which include:

Managing your collection of sounds: You’ll need to organize your local storage (or cloud) of one-shots, loops, and samples. Since you may end up pulling from this collection on every track, having it easy to navigate and utilize will go far in improving efficiency.
Project organization: Within the DAW, your decisions on how to label, colour, and generally manage everything going on in a project will go far in keeping you on track. Getting lost in your own project and having to figure out what’s going on can significantly eat into your day or even cause issues that make it to a finished product.
Budget or resource management: You might have a budget for a given project depending on your exact role. Keeping a project on or under budget requires strict organization of who you hire, samples you buy, and other possible expenses.

Time Management Strategies

You won’t always have the luxury of deciding when to take breaks and how long they should be, such as days working with a recording artist or pushing to meet a deadline. Still, even in these situations, many time management strategies will still be helpful.

However, you’ll have plenty of opportunities to explore the best time management strategies that make sense for you. A few strategies to explore are:

Prioritization: At the beginning of your project, make a list of everything you need to do. Then, assign a priority to each task so that the lowest priority items could spill into the next day without issue. Now, you’re ready to focus on what matters most for your workday.
Use a work/break timer: Traditional jobs give you 15-minute breaks every few hours. While you can certainly follow this method, you can also explore different ways to manage when you work and when you take a break. For example, the Pomodoro Technique calls for 25 minutes of focused work, then a 5-minute break. Try it out and other similar ways to manage your workday. This technique is great for keeping your ears fresh and not overworked as you build up your skills.
Restrict distractions: If you’re easily distracted, explore ways to restrict or remove things that shift your focus away from the task at hand. For example, you might set your phone in the other room or block a social media website on your laptop while you’re working using browser extensions.

Productivity Tools

The right tools at your disposal make all the difference when producing a track and that same principle applies to being productive throughout your day.

Adopting a project management solution, for example, can go a long way in keeping you focused on the most important task. This type of software is also ideal for collaborative projects.

Other tools that tackle the specific challenges we discussed in the above two sections can also be extremely useful. For example, a browser extension that blocks access to distracting sites for a given period of time can help keep you on track.

Go Further with A Music Production Course at OIART

Enhancing your music production skills is an ongoing process of exploration, learning, and growing throughout your career. Prioritizing staying on top of the latest tech, musical trends, learning to work with others, and optimizing workflows will go far in building a lasting career.

Your career begins by establishing these skills and a great way to kick start that process is by attending one of the reputable music production schools in Canada. The right program will prepare you to start working in the field and you’ll know how to strategically enhance your skills over time.

OIART is an industry-respected music production and engineering school with state-of-the-art facilities and experienced instructors, all ready to help you start your next career. Apply now to take the first step in a fun and challenging career as a music producer.

University Degree vs. OIART's Diploma: What’s the Difference?

jalves@oiart.org (Jeremy Alves) — Mon, 26 Feb 2024 16:22:31 GMT

Deciding to pursue an education in audio and sound engineering can be a great choice, but you’re immediately faced with another decision: what type of course should you attend?

There are a few different types of music production and engineering schools to choose from. You can choose from a certificate audio program, a diploma program, or a university degree.

How do you navigate these different options? It’s a complex but important decision, so we’ll guide you through the major options, including the pros and cons, to help you make the right choice for your career.

We’ll also show you why choosing OIART is the right choice if you’re passionate about audio and sound engineering.

Audio Engineering Schools: Certificate vs. Diploma vs. Degree

Choosing between a certificate, diploma, or degree program depends on understanding the differences and finding the best choice for your career goals, time, and budget. Let’s break down these three types of programs to help you hone in on the right choice for your career.

What is a Certificate Program?

Certificate programs are usually short-term courses focusing on a specific skill, offering practice knowledge and hands-on experience relevant to the given specialty. For example, a music engineering course will provide a certificate specific to your new knowledge of engineering music.

These programs can vary in length but are generally shorter than diploma and degree programs; they may run from a few weeks to a few months. As such, they are generally the least expensive option of the three types of programs.

Students looking to gain a quick, targeted understanding of specific aspects of audio engineering, such as mastering or live sound, may want to consider a certificate program.

What is a Diploma Program?

An audio engineering or music production diploma is earned by completing a program that’s typically more comprehensive than a certificate program but not as extensive as a degree. Focused music engineering programs offer a diploma at graduation to showcase the new skills you’ve learned.

Your diploma indicates to employers that you’ve learned a broad range of topics within the field alongside hands-on experience.

These programs typically last for one or two years. They are ideal for students seeking a balance between gaining a strong understanding of audio engineering, hands-on experience, and time effectiveness.

Another perk of the shorter one-year programs with access to top-of-the-line equipment, commonly means you’ll be working with the same gear you’ve worked on in school.

What is a Degree Program?

Universities offer degree programs and include associate’s, bachelor’s, and master’s degrees. Audio engineering colleges offer the most comprehensive education option and include a well-rounded education, which doesn’t only include audio engineering courses.

These degrees dive into the theoretical aspects of sound and engineering, including practical training and hands-on experience. Programs cover topics such as acoustics, studio techniques, sound design, and potential aspects of business management.

However, university degrees can range between 2 to 6 years, depending on the level of degree you’re pursuing. Bachelor’s degrees are the most commonly sought after and generally take four years to complete. Costs will also typically be higher than in diploma and certificate programs.

A degree program is a great choice for those looking for a thorough, in-depth education in audio engineering or ready to advance an existing career in the world of audio.

Pros and Cons: Earning a University Degree

Earning a university degree in audio or music engineering can be a great decision for many students looking to build a career in the world of audio. Attending a sound engineering college and earning an associate’s, bachelor’s, or master’s degree can give you a strong foundation and a head start in your career.

However, it’s not without some major drawbacks. Let’s dive into the specifics to help you decide if it’s the right choice for you.

Pros

In-depth knowledge and skills training: Perhaps the biggest benefit of attending an audio or music engineering college is the depth and breadth of course material. You’ll receive a well-rounded education beyond audio engineering, alongside diving deep into the principles of sound engineering.
Networking opportunities: Universities are able to connect you with working professionals, alums, and peers who may become valuable contacts in the future. While many of these benefits are available in other programs, universities shine in this respect.
Career opportunities: Many employers require a Bachelor’s degree, even though you may learn the right skills with other options. Consider how you want to build your career, and lacking a university degree might hinder your options.
Earning potential: Like other industries, a university degree will typically increase your earning potential. You might still start off with the same annual income as someone with a diploma, but over time, you’ll have the credentials to exceed entry-level positions.
Focus on soft skills: Universities go beyond industry-specific skills and provide a well-rounded education, including soft skills. Sharpening critical thinking, problem-solving, and communication skills will go far in helping you throughout your career. Employers also tend to expect bachelor’s degree holders to have strong reading and writing communication skills.

Cons

Costs: One of the biggest drawbacks of a university degree is its costs. Even with scholarships, you’ll still need to pay for books, equipment, and the remaining tuition. You’ll also have to cover living expenses while being a full-time student.
Time commitment: Compared to a diploma music production course, you’ll be committing to a much longer program before you can enter the workforce. A bachelor’s degree will take four years to complete and absorb more hours per day during that time frame.
Theoretical knowledge vs. practical skills: Depending on the specific school, you may end up learning too much theory and not enough practical knowledge. Theory-oriented curriculum can still be valuable, but if you don’t have the skills to start working after graduation, you may still need to attend certificate or diploma recording schools.
Core requisites: Core classes contribute to sought-after soft skills and overall education, but they also delay getting into your major’s focus. Students should be aware of the specific degree's requisites and when they’ll start learning audio engineering material.
Keeping up with a rapidly changing industry: Audio engineering is a quickly changing industry, especially as advancements in AI and machine learning are being applied. While not always true, some academic programs can struggle to keep up with the latest technologies, affecting your career after you graduate.

Pros and Cons: Earning OIART’s Diploma

Here at the Ontario Institute of Audio Recording Technology (OIART), we’ve developed diploma programs with a range of focuses to help you get started working in the industry faster than a university degree and costing considerably less.

However, there are still some drawbacks to be aware of as you’re choosing the best way to start your career in production in music.

Pros

Specialized curriculum: Audio engineering and live sound schools focus only on specialized material, removing core requirements and other topics that deviate from the diploma program’s focus. While this can also be a drawback, having a focused specialty streamlines your education and cuts costs.
Industry connections: OIART has strong connections throughout the world of audio production to help you find a career after graduation. Your peers may also end up being valuable industry contacts as graduate’s careers progress.
Focus on hands-on experience: Our audio or music engineering course isn’t just about theory; you’ll gain plenty of hands-on experience with the software and hardware necessary to thrive.
Faster courses: Music producing schools focusing on a certificate or diploma are much faster than a university degree. While length varies based on the specific course, you can be working in the field in a year or two rather than four.
Smaller financial commitment: Tuition costs vary based on the OIART diploma program, but you can expect them to be much less than a university degree. You may also be able to maintain a job and other responsibilities during the program.
No Filler Courses: If you attend an audio engineering program with a diverse curriculum but later want to change your career for example: music production, you will not lack any skills to make the change.
Increased Career Options: Our Audio Engineering school prepares you specifically for producing music, working in Live Sound and Audio for Film and Television. If you decide to pursue live sound engineering later, for example, you can easily make the shift.

Cons

Narrower focus: Music producer programs focus on the skills you’ll need to work in the field as a producer. You’ll have minimal training on soft skills and will be completely without the core requisites involved in a university degree. While we also listed this as a pro, for some, it will be a con.
Less emphasis on soft skills: Our program still includes some soft skills, but we won’t focus specifically on reading and writing, critical thinking, and other soft skills you’ll gain in a university setting.
Intensive course load: Our courses can move quickly so we can cover all necessary ground to prepare you for entering the workforce. This workload can be intensive for some students, and you should be ready to focus on the program throughout its duration.

Why Choosing OIART is the Right Choice

When it comes to your future career in sound and audio engineering — it’s important to gain the hands-on experience needed to excel. That’s why learning at the best audio engineering and production school in North America can make all the difference.

Here are just a few of the reasons why OIART should be at the top of your list if you’re interested in a music and sound engineering program:

Specialized in sound and audio engineering: OIART specializes in audio studies. You’ll learn everything from industry tools, sound design, music production, acoustics, and more in a specialized all-things audio environment.
One-to-one access to instructors: Smaller class sizes ensure students have one-to-one access with their instructors for mentoring and tutorials.
State-of-the-art facilities: Take advantage of our state-of-the-art facilities, including eight real-world environments using leading-edge technology.
Gain hands-on experience: Learn best practices while developing valuable industry skills through hands-on experiences.
Receive job placement assistance: All graduates receive job placement assistance and lifelong career support from OIART.
Earn a valuable Diploma at a fraction of the cost: You can complete OIART’s 11-month program at a fraction of the cost when compared to traditional college and university programs.

Ready to Start Your Career in Sound Engineering? Enroll in OIART’s Diploma Programs

Not everyone who wants to be a music producer or audio engineer wants to invest the time and money necessary to earn a degree. Certificate and diploma programs are a great option to gain the skills you need to start working in the industry. If necessary, you can consider a university degree in the future once you’re already in the field.

OIART offers industry-recognized sound engineering programs to help students gain the knowledge and practical skills to start working in the industry.

Ready to get started? Get more information about OIART by checking out our website or contacting our admissions specialist, Jeremy today!

Devon Nutty - Alumni Spotlight

Tue, 28 Nov 2023 22:15:00 GMT

From OIART Graduate to Live Sound and Event Production Pro: The Journey of Devon Nutty

If you've been out to a concert in the past eight years, you may have heard a PA system tuned by OIART's 2014 Graduate, Devon Nutty. What does PA tuning mean, you might be thinking?

As a system tech for PRG ( Production Resource Group ), Devon is one of the crew members who will go on tour with the equipment and ensure the show goes on for every act on stage. If you've been to the Boots and Hearts Festival, Wayhome Festival, Digital Dreams, or the MMVAS, you would have experienced Devon's work.

Audio System Technicians play an essential role in the audio team at major concerts and events to ensure the show runs smoothly for the PA system. We're not talking about a few speakers with a small amplifier. These PA systems will shake a stadium or arena show and need experts in Live Sound Production like Devon. PRG supplied the audio equipment with Devon's latest Pantera 2023 tour, and it's a perfect example of technology and audio expertise coming together to recreate an iconic musical sound for legendary musical acts to tens of thousands of music fans night after night.

On a recent tour with Daniel Ceasar, we caught up with Devon in London, ON where he trained for the role at OIART. He explained that as a system tech, he's responsible for flying the PA system with his teammates and then analyzing the acoustics of the arena or venue with advanced technology (SMAART). He'll then make the needed adjustments to the equalization and overall levels, ensuring the sound quality meets loudness standards and a balanced sound for all attendees in the arena. Devon is responsible for setting up and running all of the equipment for the concert, then working with the Front of House Mixer to make sure their mix comes out of the PA as anticipated.

This size/level of tour is heavily coordinated in advance, with many checks and balances made well before anyone steps on the bus for the first show. Devon and PRG make sure the whole tour goes smoothly. Still, there will always be hurdles, problems and challenges where professional training and experience come into play for a role like "System Tech."

Some recent highlights from his professional journey include:

Formula 1 Las Vegas Grand Prix - PA Tech (Opening/Closing Ceremonies)
Daniel Ceasar - System Engineer
Pantera - PA Tech
Budweiser Stage and Echo Beach - System Tech
Electric Island - System Tech
Dua Lipa - PA Tech
Lollapalooza Argentina - PA Tech
Alexisonfire - PA Tech
Arkells - PA Tech.

After training at OIART in 2014, Devon started his journey as an intern with the world-famous Noble Street Studio in Toronto, ON. He went on to work in Toronto's Casa Loma, working his way up to Technical Director. Devon says: " That’s right around when I started getting more PA tech roles, and tours started to roll in." Gaining more and more experience in the live world, Devon took roles with PRG as PA tech, travelling with the tours they supported.

He's also worked on significant tours as a guitar tech and backline with artists Alessia Cara and Nelly Furtado to name a few. When he's not on tour, he can be found at major venues like History in Toronto, mixing monitors and front of house for significant acts. He moved into the System Tech world five years ago with PRG.

Devon says: "OIART prepared me for the industry at large. It not only gave me the resources I needed to pursue a career in Live Audio, but also, in any field of audio. OIART is a great kickstart for your career in sound, wish I could go back! ”

Education at OIART:

Devon Nutty's journey began at OIART, where he gained a major interest in the Live Sound and Event Production component of OIART’s 11-month Audio Recording Technology course. With a strong foundation in audio engineering, he was well-prepared to dive into the fast-paced world of live events.

Devon has quickly built a remarkable track record of work in the live sound industry and has continued working with PRG to configure PA systems in venues as iconic as Maddison Square Gardens. As a Freelance Live Sound Engineer, Devon had the opportunity to work on a diverse range of events, from music concerts to the latest Formula 1 races in Las Vegas (2023).

OIART Alumni Impact:

Devon's journey is a prime example of how OIART's education and networking opportunities can propel graduates to success in the live sound and event production field. His story demonstrates the real-world application of the skills and knowledge acquired during his time at OIART. We're incredibly proud of Devon's achievements and look forward to seeing more OIART graduates follow in his footsteps, making their mark in the world of audio and production.

Keep your eye on the big desk by the front of house next show, and you might see him there!

If you'd like to learn more about Devon Nutty and his work, visit his LinkedIn profile here .

How to Choose an Audio Engineering School in 2024/25

Tue, 07 Nov 2023 13:45:00 GMT

Choosing the right choice from all available audio engineering schools involves considering several crucial factors. It can be daunting to gather all the necessary information and start comparing, but it’s essential to put in the time to make the right choice.

You need to evaluate the curriculum, understand faculty expertise, have well-equipped facilities, be affordable, and foster a collaborative community. It’s a lot to examine, but it's worth putting in the time to find the right one for your needs.

The right choice should align with your goals and provide a comprehensive education in a conducive learning environment, setting you up for success in the audio engineering field.

So, let’s review why you should go to a school, cost vs. earning, and then how to hone in on the right audio program for you.

Why Should You Go to a School of Audio Engineering?

Attending one of the best audio engineering schools can offer several valuable benefits for individuals aspiring to pursue a career in music production, sound engineering, and other similar fields.

For some jobs, you’ll struggle to land an interview without being able to prove you’re ready to handle leading-edge equipment and the responsibilities involved — making attending a course or college crucial to starting your career.

Let’s go over some key reasons why it’s worth attending an engineering or audio recording course:

Structured learning: Audio engineering schools provide a structured curriculum to systematically cover essential topics, techniques, and technologies.
Comprehensive education: Schools offer a well-rounded education that covers various aspects of audio engineering, including recording, mixing, mastering, acoustics, signal processing, and music theory.
Hands-on experience: Many schools have state-of-the-art recording studios, labs, and equipment that allow students to gain practical, hands-on experience in a controlled environment.
Expert instruction: Receiving guidance from experienced instructors who are often industry professionals can accelerate your learning and provide valuable insights.
Access to equipment: Schools often have access to equipment that might be expensive or difficult to obtain individually, allowing you to learn on professional-grade gear.
Networking: Attending a school allows you to connect with fellow students, instructors, and industry professionals, building a valuable network that can help with future collaborations and opportunities.
Industry connections: Reputable schools often have connections with recording studios, production companies, and other industry entities, which can lead to internships and job opportunities.
Feedback and critique: Instructors and peers can provide constructive feedback on your work, helping you refine your skills and techniques.
Focused environment: Immersing yourself in a dedicated learning environment can help you concentrate on your studies without distractions.
Portfolio building: School projects can serve as building blocks for your portfolio, showcasing your skills to potential clients or employers.
Exposure to different genres: Schools often expose you to various musical genres and styles, broadening your knowledge and adaptability.
Real-world projects: Some programs offer opportunities to work on real-world projects, such as recording local bands or producing tracks for artists.
Learning industry trends: Schools aim to keep their curriculum current with industry trends, ensuring you learn the latest techniques and technologies.
Job placement assistance: Many schools offer job placement services, helping graduates connect with potential employers in the industry.
Confidence building: Completing a formal program can give you a sense of accomplishment and the confidence to approach projects professionally.
Career Management: An Audio engineering college should provide insight to the nuances with applying to a job. For example, when applying to a union, international work visas, jobs at major studios, post production facilities and working on set or on tour all come with a variety of challenges and hurdles that vary in the application process.
Soft Skills: Outside of technical skill sets taught at audio school, soft skills when working with artists and creative producers can be equally important for improving the chances of full time work after graduating.

While attending an audio engineering school can offer numerous advantages, it's essential to research and choose a program that aligns with your goals, learning style, and resources.

Self-learning, online resources, and mentorship can also contribute significantly to your growth as an audio engineer.

The Cost and Earning Potential of Audio Engineering

The cost of audio engineering education can vary widely based on factors such as the type of program, location, school reputation, and course duration.

While costs can be daunting, compare them to future earning potential to understand the overall net gain and if an education is worth your time and money.

Cost of Audio Engineering Education

Let’s provide a general breakdown of potential costs for audio engineering colleges and courses, which will undoubtedly vary based on the individual schools you consider:

Certificate programs: Short-term programs offered by community colleges or specialized schools can cost anywhere from a few hundred to a few thousand dollars. Audio engineering programs are cost-effective and valuable options that let you focus on the skills you need and start working in the field.
College degree: Canadian colleges set their own tuition, but if we look at overall averages, a Canadian citizen can expect to pay CAD$6,000-7,000 per year for a degree . Costs increase for postgraduate programs, but you won’t need to go that route to begin your career.
Online courses: Online courses can be more affordable, with costs ranging from a few hundred to a few thousand dollars for individual courses or certificates.

It's essential to consider additional expenses like books, equipment, software, and materials. Financial aid, scholarships, and grants may also be available to help offset the costs.

Earning Potential in Audio Engineering

The earning potential in audio engineering can vary based on factors such as experience, location, expertise, and the specific industry sector you work in.

Let’s look at the U.S. Bureau of Labour Statistics for a general idea of potential earning ranges, which may vary in Canada or other countries but will likely follow similar trends:

Lowest 35%: The lowest earners are typically in entry-level positions like studio assistants or paid internships. The lowest 10% is US$31,200, while the lowest 25% is US$41,600.
Median: As you gain experience and expertise, you’ll likely work into the median earner bracket of $60,670 per year.
Top 25%: You may enter the top 25% as your career grows, earning C$99,470 annually.
Top 10%: The upper echelon of audio engineers earn US$135,950, which often includes working in sought-after industries and having years of experience. However, it’s still possible to reach this level.

Notably, freelance work and self-employment are typical in the audio engineering field, which can result in income variability.

Choosing the Right Audio Engineering School for You

Now, you can see how the cost of music engineer programs will likely be offset by working in the field, possibly within a single year. So, how do you pick the right college or certificate program?

Remember, the best audio engineering school for you will depend on your individual goals, preferences, and circumstances.

Take the time to thoroughly research your options to make an informed decision that will set you on the path to a successful career in audio engineering. Let’s discuss some of the critical areas to evaluate as you make your decision.

Curriculum

Thoroughly review the curriculum of each school to ensure it covers the topics you're interested in. Look for programs that provide a well-rounded education in recording techniques, audio equipment, sound design, mixing, mastering, and relevant software.

Consider whether the program offers specialized courses in your preferred genre or industry sector. For example, if you want to work in the gaming industry, make sure your chosen school offers a specialty or classes for video game audio engineering .

Faculty

Experienced and knowledgeable instructors play a crucial role in your education. Research the faculty members' backgrounds, expertise, and industry experience. Instructors with real-world experience can offer valuable insights and connections within the industry.

Facilities

The quality of the facilities can significantly impact your learning experience. Visit the school's recording studios, labs, and classrooms to ensure they are well-equipped with modern technology and professional-grade gear.

A hands-on learning environment with access to the latest equipment is essential for practical skill development. Having the right facilities is even more critical for live sound engineering , where you can only get so far without working with high-end equipment.

Admissions and Costs

Understand the admissions process, including application requirements, deadlines, and prerequisites. Some schools may require a portfolio or an audition showcasing your work. Ensure that you meet the admission criteria and prepare all necessary materials in advance.

Additionally, understand the costs and possible hidden fees that are not included in the tuition cost, to ensure it’s within your financial means before applying.

Culture and Community

Consider the school's culture and the sense of community among students, faculty, and alumni. A supportive and collaborative environment can enhance your learning experience and networking opportunities. Look for schools that foster a creative and inclusive atmosphere, and ask to speak with previous graduates or current students of the program.

Schedule a Visit

Whenever possible, schedule a visit to the campus . A visit lets you experience the environment firsthand, interact with faculty and students, and see the facilities in person. A campus visit can help you gauge whether the school's atmosphere aligns with your preferences.

Consider OIART for Your Future Career in Audio

Ultimately, the right audio engineering school for you should offer a curriculum that covers the technical and creative aspects of the field, provide access to experienced instructors and cutting-edge facilities, and offer a vibrant community. Carefully evaluate each aspect and consider how it aligns with your goals.

OIART is an industry-recognized institute that prepares students for lasting careers in the world of audio. Our short-term, affordable programs give you the skills and experience necessary to get started in your new career.

Ready to take the first steps in becoming an audio engineer? Apply today or contact us to learn more.

What is a Music Producer Responsible For?

Mon, 30 Oct 2023 17:00:00 GMT

A music producer is a multifaceted professional responsible for overseeing and guiding the creation, recording, and production of music tracks or albums. A producer has a deep understanding of music and sound production and how to use their skills to meet the current project's various needs.

Their role involves shaping the artistic direction of a project, collaborating with artists, and managing the technical and creative aspects of the recording process.

Music producers can work across various genres, including pop, rock, hip-hop, electronic, and much more. Producers can also work on movies, TV shows, and video games to produce thematic scores.

Anyone who wants to become a music producer should first learn what a producer does before exploring music producing schools . So, let’s dive into exactly what a producer is responsible for to help you choose if it’s the right career for you.

What Exactly is a Music Producer?

A music producer can wear many hats throughout their career and even a single project. A day in the life of a music producer might look different depending on the current projects and individual tasks within them.

Music producers can have varying degrees of involvement, from hands-on production to advisory roles, depending on the artist's needs and the producer's style. Producers play a crucial role in translating an artist's vision into a tangible musical product, making them pivotal figures in the music industry.

Additionally, the roles of a producer will vary depending on the size of the team or studio. Sometimes, the producer will handle everything from composition to music engineering ; other times, they’ll be laser-focused on one element, like sound design or audio recording.

What Might a Music Producer Be Responsible For?

A music producer undertakes a wide range of tasks throughout the music production process, spanning from pre-production planning to the final stages of post-production. Your exact role will depend on the studio you work for, the team's size, and the current project's needs.

Attending a music production course that understands the real-world working environment a producer may face is crucial so students are ready to dive right into their new careers.

Let’s break down some of the key responsibilities of working in production in music to give you an idea of what you might be doing throughout your career.

Pre-Production

A music producer will work closely with artists to define the project's vision, style, and goals. Possible tasks include:

Selecting songs or compositions to be recorded.
Assisting with song arrangements and structure.
Planning the overall sound and sonic direction of the project.

Studio Recording

Producers guide musicians and vocalists to achieve the desired performance during recording sessions. A producer will provide feedback, suggest improvements, and ultimately strive to ensure a cohesive musical arrangement. Tactfully providing specific criticisms is an essential soft skill for this task.

Sound Design and Composition

Producers contribute to the creation of the sounds involved in the track by selecting instruments, sounds, and textures that align with the project's concept. This role often involves making decisions about instrument arrangement and track composition and may include sound design.

A producer arranges and structures the musical elements to create engaging dynamics and a captivating progression within the song or album. If needed, entirely new sounds may be designed from scratch to achieve the desired outcome.

Technical Direction

Producers work closely with engineers to achieve optimal sound quality. They make decisions about microphone placement, recording techniques, and mixing approaches. On smaller teams, the producer may take on the role of an engineer directly.

Editing and Mixing

Producers oversee the editing of tracks to correct any imperfections and enhance the overall sound. They’ll also identify and fix any timing issues or tuning problems. Additionally, the producer may work with mix engineers to balance instruments, adjust levels, and create a polished final mix — or handle these tasks independently.

Post-Production

This final phase involves several critical processes, all focusing on creating a final polished track. This step can include:

Adding sound effects, specialized VSTs, or additional samples to work towards the artistic vision.
Mastering the track if engineers are not handling this step.
Ensuring that the mix translates well across different playback systems.

Collaboration and Leadership

Producers collaborate with artists, songwriters, engineers, and session musicians to bring the project to life. Typically, the producer facilitates creative collaboration and ensures everyone aligns with the project's vision.

They’ll provide overall leadership and maintain a positive and productive studio environment. Some aspects of producing a song can be tense, especially if multiple takes or significant revisions are necessary, so a producer helps prevent or resolve these issues.

Project Management

Producers often take on the role of project manager to streamline the project from start to finish. These tasks can include:

Be aware of the total budget for the project and manage expenses accordingly.
Managing timelines and talent to ensure the project's smooth progression.
Coordinating various elements of the production process, including scheduling recording sessions and mixing dates.

However, there may be a separate project manager in some situations who handles these tasks.

Artistic Direction

An essential role of the producer is to guide the creative process while respecting the artist's vision, helping to shape the music to enhance its commercial viability and artistic integrity. Achieving this involves balancing creative input with respect for the artist's vision and prioritizing strong communication skills to avoid potential conflicts.

Mastering Coordination

Mastering a track before it’s ready to ship is a technical task that also requires musical expertise. Attending a music engineer course will help you gain the skills and experience needed to prepare you for this specialized and crucial role. Producers may collaborate with mastering engineers to prepare the final mastered tracks for distribution.

How to Become a Music Producer

Becoming a music producer involves a combination of education, practical experience, networking, and developing your musical and technical skills. Let’s explore some quick tips on how to pursue a career as a music producer:

Develop musical skills: Gain proficiency in playing an instrument. You don’t need to master it but learn the ropes. Additionally, study music theory and composition to understand the fundamentals of music structure.
Establish technical knowledge: Learn the basics of sound recording, mixing, and audio equipment. Familiarize yourself with digital audio workstations (DAWs) and the various VSTs you’ll use on almost every track.
Consider a formal education: You can jumpstart your career by completing music producer programs or audio engineering courses offered by universities, colleges, or specialized institutions such as OIART. Online courses, tutorials, and workshops are also valuable resources to learn specific production techniques.
Gian hands-on experience: Start producing your own music projects to apply and refine your skills. Find other musicians, vocalists, and artists to work with and gain more experience.
Internships and assistant roles: Seek internships or assistant positions at recording studios, production companies, or with established producers. Learn from experienced professionals and observe everything from workflows to how they interact with artists.
Portfolio building: Create a portfolio showcasing your production work, including completed tracks and projects across different genres. Develop a professional online presence through a website or social media platforms.
Network: Attend music industry events, workshops, seminars, and conferences to connect with fellow producers, musicians, and industry insiders. Join online communities and forums to share your work and engage with other aspiring producers.
Learn about different genres: Experiment with producing music in various genres to expand your versatility and creative range. Even if you decide to focus on one or two genres, having a broader understanding will still be valuable.
Stay updated with industry trends: Keep up-to-date with technological advancements, production techniques, and trends in music production. For example, AI is already making an impact on the industry.
Assist and collaborate: Seek out established producers and ask to assist them on projects to gain insights into their workflows and techniques. Additionally, collaborate with artists and songwriters to diversify your experiences.
Develop your own sound: Establish a unique production style that sets you apart from others in the field. Experiment with different techniques and effects to create a signature sound. As your career progresses, artists will ideally seek you out because they like your style.
Persistence and adaptability: The music industry is dynamic and competitive. Simply put, stay persistent, keep learning, and adapt to changes in musical trends and technologies.

Ultimately, a music producer wears many hats, acting as a creative visionary, technical expert, collaborator, and project manager.

The role of a producer is pivotal in translating artistic ideas into tangible music that resonates with audiences, whether you’re working with a major recording artist or composing the score for a film.

Become a Music Producer with OIART

Starting and growing your career as a producer takes time and dedication. It's important to continuously refine your skills, expand your network, and keep honing your craft to achieve your goals in the industry.

OIART is one of the leading music production schools in Canada with a reputation for preparing our students with the skills and experience needed to work in the field. Does a career as a music producer sound like the right choice for you? Apply today to take the first step.

Digital vs. Analog Audio Recording: What’s the Difference?

Tue, 24 Oct 2023 20:41:37 GMT

Digital and analog audio recording are distinct methods for capturing sound. The differences between them affect the overall result, making it crucial for audio engineers to choose carefully based on the project's goals.

Analog records sound as continuous waveforms on physical media, offering a warm and natural character, albeit with potential degradation. Conversely, digital translates sound into numerical data via sampling and quantization, yielding accurate fidelity and convenient editing.

Deciding between them hinges on preferences; neither option is better than the other in every scenario. Some artists and producers favour analog aesthetics over digital precision, while others prefer digital sound for the project. Additional factors like budget and equipment availability also play a role.

It's common for modern recordings to blend both approaches to leverage their unique strengths. Attending an audio recording course will give you hands-on experience with different types of equipment, so you’re ready to use one or both in your projects.

Understanding the differences is crucial to understanding how to take a hybrid approach or focus on one over the other. So, read on to learn more about both types of recording.

Want to learn more?

Become a professional in Audio Recording in only 11 months!

OIART's Audio Program Includes:

✓ Small Class Sizes

✓ On Site Facilities

✓ Industry Leading Instructors

✓ Post Grad Support & Guidance

✓ Exclusive 11 Month Program

What’s the Overall Difference Between Digital and Analog?

Audio engineering has a wide range of applications, from video game audio engineering to mastering the song of the summer. A common responsibility of an engineer is capturing sound, so having a solid grasp of analog and digital recording is crucial.

Let’s take a step back from recording and look at digital and analog at a fundamental level. The overall difference between digital and analog audio recording can be summarized in several key aspects:

Representation of sound: An analog sound is a continuous, smooth waveform. Digital sound is represented by numerical values obtained through sampling and quantization.
Signal processing: Signal processing is a crucial component of digital and analog. In analog, processing involves manipulating the continuous electrical signal directly, often using analog hardware. Digital signal processing involves manipulating numerical values using digital algorithms and software.
Sound fidelity and quality: Proponents of analog argue that analog recordings can offer a warmer and more natural sound due to the continuous representation of sound waves. High-quality digital audio can achieve an accurate representation of sound, but digital recordings can sometimes exhibit artifacts like quantization noise.
Editing and manipulation: If never digitized, editing analog recordings involves physically cutting and splicing tape, which can be more labour-intensive and less precise. Digital recordings allow for precise and non-destructive editing, making manipulating individual samples and applying various effects easier. This disparity is why a hybrid approach is more common than going pure analog.
Durability and degradation: Analog recordings can degrade over time due to wear and tear, temperature, and humidity. They may also be susceptible to noises and hisses that worsen with every play. Digital recordings are relatively immune to degradation but can still be affected by factors like data corruption, making backups and duplicates crucial.

Each method has advantages and disadvantages, and the choice between them often depends on factors such as sound quality preferences, intended use, and available technology.

The Difference Between Analog and Digital Recording

Now, let's explore how these differences affect the world of audio recording. Digital and analog audio recording are two different methods of capturing and storing sound. Recording schools prepare you for working with both. Let’s break down these differences between exploring advantages.

Analog Audio Recording

Analog recording is the older of the two methods, and it involves capturing sound by directly imprinting it onto a physical medium. The most common analog recording mediums are magnetic tape and vinyl records. Here's how analog recording works:

Sound wave representation: Analog recording represents sound as continuous waves — the electrical signal generated by a microphone's diaphragm or any sound source directly analogies the original sound.
Signal processing: These types of recordings can undergo various signal processing techniques, like equalization and compression, which manipulate the electrical signals directly. These processes can enhance or modify the sound.
Storage: The captured analog signal is stored on a physical medium, typically a magnetic tape. The signal is stored continuously and smoothly, without any discrete steps.
Playback: To play back an analog recording, a playback device reads the physical medium and converts the analog signal back into audible sound (turntable for vinyl records or reel-to-reel machine for tape).

Digital Audio Recording

Digital recording is a more modern method that involves converting sound into numerical data that can be stored and manipulated electronically. Here's how digital recording works:

Sampling: In digital recording, the continuous analog sound wave is sampled at regular intervals. Each sample represents the amplitude of the sound wave at a specific point in time.
Quantization: The samples' amplitude values are quantized, meaning they are assigned specific numerical values. This process digitizes the analog signal, turning it into a series of discrete values.
Storage: The digitized samples are stored as binary data (1s and 0s) on a digital storage medium.
Playback: The binary data is converted back into analog signals using a digital-to-analog converter (DAC) to play back digital recordings. This analog signal is then sent to speakers or headphones to produce sound.

The Key Differences To Understand

Both recording methods have their strengths and weaknesses, and the choice between digital and analog often depends on the specific goals, preferences, and equipment available.

Sound fidelity: Analog recordings can capture the continuous nature of sound waves, which some audiophiles argue results in a warmer and more natural sound. Digital recordings are based on discrete samples and can sometimes exhibit artifacts like quantization noise.
Signal quality: Analog recordings can degrade over time due to factors like tape deterioration or wear on vinyl records. Digital recordings can be copied and reproduced without loss of quality as long as the bit depth and sampling rate are maintained.
Editing: Digital recordings are more flexible for editing due to their numerical nature. You can manipulate individual samples with precision. Analog recordings are less flexible, and editing often involves physically cutting and splicing tape.
Portability and storage: Digital recordings are easier to store, duplicate, and distribute due to their digital format. Analog recordings require physical storage space and can degrade with each generation of copying.

Remember that a hybrid approach can help blend the advantages of both methods to get the sound you want without sticking to analog methods of editing and storage.

Digital vs Analog: Which is Better?

So which is better? This frequently debated question has no direct answer — it depends on various factors unique to every project, including personal preferences, the intended use, and the specific characteristics of each recording method.

It's also worth noting that technological advancements have made digital recordings more indistinguishable from analog sound quality, making the decision even more nuanced.

Both digital and analog recording have their strengths and weaknesses, so what is considered "better" can vary from project to project. Sound engineering requires understanding how to use or blend these methods based on current needs.

Advantages of Digital Recording

Accuracy: Digital recordings can achieve high accuracy and fidelity, especially at higher bit depths and sampling rates.
Editing: Digital recordings allow for precise and non-destructive editing, making manipulating and shaping audio easier.
Convenience: Digital recordings can be easily duplicated, stored, and distributed without quality loss.
Signal Processing: Digital signal processing offers many possibilities for applying effects, corrections, and enhancements.
Durability: Digital recordings are less prone to physical degradation over time.

Advantages of Analog Recording

Sound Aesthetics: Some people prefer the warmer, more natural sound often associated with analog recordings.
Artistic Expression: Analog recording can offer a unique creative process due to its limitations and characteristics.
Tactile Experience: Analog recording involves physical interaction with equipment, which some find enjoyable and immersive.
Vintage Appeal: Analog recordings have historical and nostalgic value, and analog equipment can be visually appealing.

Ultimately, It’s Up to You

The choice between digital and analog recording is subjective and should be based on your artistic vision, practical needs, and available resources. The "better" choice depends on what you prioritize.

Sound quality: If you're after pristine accuracy and have access to high-quality digital equipment , digital recording might be preferable.
Artistic intent: If you're seeking a specific analog character or vintage vibe, analog recording could be more suitable.
Convenience and workflow: For efficient editing, copying, and distribution, digital recording is generally more convenient.
Equipment and budget: The equipment's availability and budget could influence your decision. High-quality analog equipment can be expensive to acquire and maintain.

Keep in mind that many modern recordings incorporate a combination of both methods. For example, some artists might record in analog for a specific aesthetic and then digitize the results for editing and distribution.

Learn How to Work with Digital and Analog Audio at OIART

It’s vital for a professional sound engineer to understand how to use both recording methods and have a strong understanding of the differences between them. Attending an audio engineering program teaches you the fundamentals and gives you hands-on experience with different equipment.

OIART is an industry-leading institute for students wishing to become audio engineers or music producers. Our curriculum offers hands-on experiences with both cutting-edge technology and classic equipment. You’ll learn the foundational theories behind both digital and analog signals.

Are you ready to take a decisive step towards your new career? Apply to OIART today or contact us to learn more.

5 Ways to Improve Your Music Production Skills in 2023

Mon, 02 Oct 2023 17:45:27 GMT

Music production is a never-ending process of learning and growth. You’ll be able to start making music after completing a course or after a year or two of learning on your own, but there’s always more to explore.

One of the appeals of this career is the unique blend of creativity and technical aptitude. Both of those elements of music engineering and production can be strengthened throughout your career. You’ll undoubtedly find your ideal workflow and likely develop a signature sound, but at the same time, you’ll always have more areas to dive into to deepen your knowledge.

It’s common and expected for producers to reach several plateaus throughout their careers. It’s crucial to push past these plateaus by striving to improve your technical and creative skills to become a better producer.

So let’s explore a few ways you can improve your music production skills, whether you’re just starting out or already have some experience under your belt.

1. Learn Music Theory and Applications

One of the best things you can do to become a music producer is learn the fundamentals of music theory and how to apply it in your tracks. It’s entirely too common for producers to view music theory as either overly complex or unnecessary — both of which are false.

The basics of music theory help you craft chords, melodies, basslines, and compose the final product in a way that will sound pleasing at a fundamental level. You’ll keep everything in the right key and complementary rather than being scattered.

Without understanding music theory, you may end up with tracks that seem like they should sound great, but there’s something off about them you can't quite put your finger on.

The Circle of Fifths, for example, is a perfect blend of theory and application. It’s a relatively straightforward tool designed to help you understand what notes sound great together, which is applicable for every element of your track.

Additionally, you’ll struggle to work with vocalists without being able to keep your compositions in the same key as the vocalists. Understanding the basics of keys and scales helps make sure everything works well together.

2. Seek Out and Embrace Criticism

Criticism is one of the best ways to improve your production and engineering skills. Other people, even if they’re not experts, can reflect both the creativity and engineering aspects of your final tracks.

For example, most people will be able to tell you if the quality of your song is subpar, even if they can’t explain why. Poor mixing and mastering stand out and greatly impact the end result, even if the melody, chords, and bassline are all well-made.

However, seeking out feedback from professionals and experts will likely be much more helpful. They can give you similar feedback as an untrained listener but then go beyond it and tell you how to improve. For instance, they might say your kick is being drowned out by your bassline and then tell you to dive into sidechaining.

Additionally, try to avoid soliciting feedback from friends and family, who will mostly like to be positive. You can certainly share your tracks with them, but it’s unlikely you’ll get constructive or actionable feedback from them.

3. Break Your Routine and Keep Experimenting

It’s easy to fall into a routine once you start producing, including the technical skills you use and other aspects, such as how you construct your chords or drum patterns. It’s understandable; if you try something and end up liking the results, you’ll probably do it again.

However, you can end up turning production into a formulaic and repetitive practice — which means you’ll inevitably reach a plateau. So intentionally avoiding the things you usually do helps make sure you keep getting better.

Let’s run through a few ways you can break out of your routine to help keep enhancing your skills:

Avoid tools you typically use: An easy way to get out of your routine is to start a new track and make a conscious decision not to use one or more of the VSTs you typically choose. For instance, avoid using Ozone to master the track and try to replicate the results with other tools.
Watch tutorials: Plenty of self-taught producers rely on YouTube tutorials to learn the basics and then move on to more advanced skills. You can find seemingly endless tutorials for all common DAWs and specific genres. Even if you already have a ton of experience, check out a new tutorial to see another producer in action — you’ll almost certainly learn something new to help you experiment.
Dive deeper into music theory: A baseline understanding of music theory is necessary to reach a professional level of production, but you don’t need to be a music theory scholar to have a successful career. However, there’s always more to learn based on centuries of music composition and critique. Explore new topics, and you’ll undoubtedly break out of some habits.
Learn to play an instrument: Learning a new instrument exposes you to a new way of thinking about music. Producers consider the entire track: instruments, vocals, and technical details. Playing an instrument focuses on one element of a given song while also imparting a new sense of rhythm. For example, learning to play the bass guitar will almost certainly result in more creative basslines in your next track.
Collaborate with another producer: Learning from your peers can do wonders for rapidly growing your knowledge. And you don’t necessarily need to work with a more advanced producer, although that’s excellent if you can. Working with someone at your same skill level will still show you how they work, which will likely vary from your processes.

You can explore each of the above ideas whenever you feel stagnant or even losing passion for producing. Breaking habits and trying new things helps you stay excited and improve throughout your production career.

4. Avoid Buying New Gear or Software

It’s always tempting to buy a new MIDI controller or a new VST you keep seeing producers talk about. However, embracing a minimalistic approach to learning and getting better helps you focus on the fundamentals.

This method doesn’t apply in the beginning; you’ll need to get a base level of gear to get started producing music. However, once you have a DAW, a VST or two, and some basic hardware — it’s time to focus on what you have.

The appeal of buying new gear often boils down to thinking it’s going to help take you to the next level. And it might, but striving to get better with what you already have will strengthen your core skills and won’t be dependent on having the latest tools and gear.

5. Critically Listen to Music

You almost certainly listen to other artists’ music regularly, but most people listen passively. As a producer, you can listen actively and pick up specific techniques you can apply directly.

Learning production in music unlocks a new level of attention to detail with a focus on how music is made. You’ll quickly apply this newfound focus to your own tracks to focus on what you do or don’t like before finalizing a project.

That also means you’ll be able to focus on any music you listen to and dissect it. It’s similar to how experts in software development can use any app just as a user but still understand how the nuts and bolts of the program operate.

For example, if you make EDM, you can listen to top producers and DJs to see how they build compelling drops. Passive listening makes you think, “Wow, that was an amazing drop,” but active listening hones in on how the various tracks changed leading up to it, the gap between the riser and impact, and technical details like an automated filter.

There’s certainly value in passively listening and just enjoying the art. But you should also set aside time to listen to your favourite artists critically. Listen to the same track repeatedly, focusing on different instruments and what you like and don’t like. You can even take notes to really drive the takeaways home.

Attend Top Music Engineer Programs to Improve Even More

We’ve explored many ways you can get better at music production, but we’ve intentionally avoided one of the most effective ones: attending a music production school.

Taking a music production course will go far in advancing your production skills. You’ll learn new production techniques, directly applicable music theory and gain hands-on experience with leading-edge tools. Even if you’ve already been producing for years, a formalized education will fill the gaps and give you access to leading-edge hardware and software.

OIART is one of the top music production and engineering schools in Canada. We’ve helped many graduates improve their skills, start or grow their careers, and we’re ready to help you, too.

Are you ready to get started producing music or enhance your existing skills? Learn More with OIART for industry-leading music production training.

Live Sound Engineering 101: Getting Started with Live Sounds

Tue, 18 Jul 2023 17:38:38 GMT

Live events are at the core of a performing artist’s career, corporate events, and even performances at your local bar. The performers write the song or speech, rehearse, and then walk on stage expecting to carry out what they’ve practiced.

But sometimes, even if the performer does everything perfectly, the audience can still feel like it was a bad show. Why? Because the live sound engineer dropped the ball.

Conversely, a live sound engineer can significantly enhance the audience’s experience by making sure everyone in the venue can hear what’s happening on stage at the highest possible quality.

The goal of a live sound school is to prepare students for a long, successful career as live sound engineers. The skills and training necessary to be an effective engineer vary quite dramatically from other roles in the world of audio, and it’s a much more complicated discipline to teach yourself as well.

So let’s explore exactly what live sound engineers do and how it varies from other similar sounding roles, and you can get started forging your next career.

What is Live Sound Engineering?

Live sound engineering is the practice of properly configuring and operating the technical aspects of a live performance, which can include anything from a mainstream artist’s concert in a massive venue to a corporate event in a hotel.

The core goal of the engineer is to ensure that the sound being made by those on stage is heard clearly by everyone in the audience. While that goal might seem simple, executing it depends on having a robust understanding of sound physics, a significant amount of gear knowledge, and the ability to work effectively under pressure.

For some, live sound engineering is an exciting career where no two days are the same, you get to work with the latest and greatest gear, and you work with a team to execute a flawless live event. These unique attributes can make it more appealing to some students than other roles, such as music producer or audio engineer.

Live Sound Engineering vs. Audio Engineering

“Engineer” is a common job title in the world of audio and is usually preceded by a specific discipline, such as a live sound engineer. Other roles are audio engineers, sound engineers, and music engineers , which all describe different and specific engineering applications.

The core distinction between live sound engineering and other types of audio engineering is the focus on live events. Audio, music, and sound engineers generally focus on studio sessions and work alongside a producer. They can also work in post-production for movies and shows or even work on video games.

Live sound engineers can undoubtedly work in the studio to help capture vocals and instruments, but the term is more commonly applied to engineering live events.

How to Get Started With Live Sound Engineering

So how do you start a career as a live sound engineer? You’ll start with the foundational knowledge, start developing applicable skills, and gain hands-on experience so you’re ready to work in the field. Let’s go through a high-level overview of beginning your new career.

Learn the Physics of Live Sound

An effective live sound engineer has a strong understanding of how sound works and moves throughout a venue. While a studio music producer only needs to worry about this when recording vocals or live instruments, a live sound engineer will consider how sound works at every event.

You’ll need to understand how sound moves through a venue, how it’s captured by microphones, and how the signal moves through all the involved gear. Additionally, you’ll want to know your way around a soldering iron, and know how electricity works at the fundamental level so you’ll know what every piece of equipment does.

For example, you need to know how the signal is modified when it goes through an amplifier and into a speaker or monitor. How do speakers and monitors use that signal to produce sound?

Gain a Strong Understanding of the Gear Involved

Gear is at the heart of a live sound engineer’s daily responsibilities. During pre-production, you’ll need to understand all available gear and how to use it effectively. Properly designing and configuring the technical components is a large part of what makes a compelling show.

Of course, you also need to know how to use all of the involved gear, including hot-fixing any issues that may arise during a performance. Some of the gear you’ll need to know how to use is:

Mixing console
Equalizers
Crossovers
Amps
Speakers
Monitors
Subwoofers

There is certainly plenty more gear that you’ll need to learn about, both how it works and how to use it when working with live sound. For now, that list demonstrates the detailed expertise you’ll need to develop.

Feedback Mitigation

Feedback is one of the crucial elements of live sound mixing that can really ruin a performance. Live sound engineers need to know what causes feedback and how to prevent it from happening.

Feedback can be either mechanical or acoustic, which means there are many different ways it can be caused. Mechanical feedback happens when a loop is created by sending the signal back to itself. Acoustic feedback is created when a microphone hears its own sound, which is the most common form of feedback that can ruin a show.

You can prevent feedback with proper speaker placement, microphone placement, and several more configurations throughout the setup that eliminate or mitigate the possibility of acoustic feedback.

Since feedback can frustrate performers and audiences, avoiding it is a crucial job duty of a live sound engineer.

Hands-on Experience

Experience is everything in most job roles, and it’s a necessity for live sound engineers. You don’t just need to know how the equipment works; you need to use it directly.

Fortunately, you don’t have to rely on working in the field to gain hands-on experience. Attending a reputable school for live sound engineering will give you plenty of opportunities to work with individual equipment, break things, then fix them, and engineer a mock-live event.

Alternatively, you can gain hands-on experience by starting out as a technician, even though you’ll still need some baseline skills to land that role as well. You may also be able to find a mentorship with a working live engineer to gain experience.

Non-Technical Skills You’ll Need

Live sound engineering is certainly focused on the technical aspects, but an effective sound engineer will have other skills that help them perform their role exceptionally well, including:

Critical listening and thinking skills: You’ll only work alone during the planning phase, and even then, you may still work with other engineers. Otherwise, you’ll be working as part of a multidisciplinary team and need to be able to critically communicate with them. Properly conveying and absorbing details about the show is vital to having a successful event and growing a lasting career.
Working Safely: Safety is paramount in the live sound event industry, serving as the bedrock upon which successful productions and performances are built. Every event where crowds gather for a performance or presentation that includes large and heavy equipment like speakers and lights, you’ll need to know how to set up and configure a concert under the proper safety regulations.
Thinking on your toes: Being able to solve problems as they occur is crucial for a live sound engineer. Equipment can break down, be improperly configured but overlooked until the performance, and many other issues that disrupt the configuration you had set up. You’ll need to be able to quickly.
Working under pressure: There’s no shortage of pressure during a live event. Even when everything goes according to plan, you’ll still need to execute that plan precisely. And similar to the above point, equipment can have issues (and so can performers), and you’ll need to be ready to both think on your toes while under intense pressure.
Patience: In live events, patience is a virtue that makes you a valuable part of the team. Even if you’re the best live sound engineer at a technical level, it will hurt your career if you’re quick to become impatient and angry with your co-workers. Patience is crucial to maintaining great morale for the entire team.

You can learn and work on every single one of these skills, even if it might not seem like it. Don’t be dissuaded from pursuing this career if you’re not the best under pressure right now; that’s something you can improve over time.

Gain Formal Training From Live Sound Engineering Courses

Completing a respected course in live sound engineering is one of the best ways to start your new career. While you can teach yourself some other audio roles with a decent computer and a DAW, live sound engineers need direct experience with a significant amount of gear and tools to be ready to begin their careers.

Receiving formal training gives you the right blend of knowledge, skills, and experience, so you’re ready for your first live event. You’ll also be able to show future employers that you’ve completed the course, giving them confidence in your ability to work effectively.

The right school will impart all of the elements we discussed above so that you’re ready to engineer a flawless live event.

Become a Live Sound Engineer with OIART

Live sound engineers fill a unique and crucial role in the world of sound, taking the helm of a live event and making sure the performance is captured correctly and transmitted to everyone in attendance. Becoming a live sound engineer can be the perfect career choice for the right type of person who loves sound, technical details, and fast-paced work environments.

OIART is one of the top live sound engineering schools in North America. Our courses prepare students with the skills, knowledge, and hands-on experience necessary to begin lasting careers in live sound.

Are you ready to begin your career as a live sound engineer? Learn more with OIART.

How to Become a Video Game Audio Engineer / Sound Designer

Thu, 08 Jun 2023 17:29:41 GMT

Video games are a multi-billion dollar industry with a competitive yet fulfilling landscape. Game designers and developers are often in the spotlight when it comes to working in the industry — but there’s a constant need for experts who know how to work with audio.

Audio engineers and sound designers play a crucial role in producing a polished, engaging video game. The right sounds and execution significantly impact the gamers' experience, including the soundtrack, special effects, and how audio sounds within the game environment.

This type of work can be extremely rewarding, but it’s also highly competitive. Fortunately, attending a school of audio engineering like OIART teaches you the core skills you’ll need to work in the game audio industry.

So keep reading to learn more about what an audio engineer does in the gaming industry and how attending a sound engineer college can help make it your career.

What Does a Video Game Audio Engineer Do?

Audio engineering and sound production is a sought-after discipline in various fields, including gaming. An audio engineer in gaming is responsible for using audio in various ways to enhance the gaming experience.

Responsibilities can range from sound design for in-game effects to engineering dialogue audio to sound correctly within the environment. Music production and composition can also be part of the job but isn’t always strictly involved.

Audio is a core component of any video game and has a significant impact on the gaming experience. For example, sometimes, you’ll see a critique about how a certain attack isn’t satisfying to use. Sometimes, audio is what makes or breaks how it feels to use that attack.

Additionally, since sound effects and soundtracks happen dynamically, audio engineers also need to be aware of how their work impacts the game’s overall performance. You’ll work closely with game developers to make sure loading a song when entering a new zone, for example, doesn’t cause any noticeable lag or other issues.

Sought After Audio Engineer Qualifications for Gaming

How do you become an audio engineer or sound designer in the gaming industry? You’ll need to have the right blend of skills and knowledge, alongside the ability to prove them, to get started in the industry.

The exact qualifications will vary depending on the job listing. One studio might need a sound designer, another might need a music producer, and then a third might need an engineer.

So let’s dive into the common qualifications that video game studios want to see when hiring anyone who works with audio.

Audio Engineer Course Completion

Successfully completing respected audio engineering programs will give you the core skills necessary to work as an audio engineer in the gaming industry. Additionally, completing a course and receiving a certificate helps demonstrate to hiring managers that you’ll be able to handle your responsibilities.

You don’t always need to complete a course to find work in the gaming industry if you already have the skills and a portfolio. The main thing an employer needs is for you to be ready to immediately handle the stated responsibilities.

However, It’s a highly competitive field and having provable, professional training can go far in finding employment. Just like almost any other industry, demonstrating the completion of a respected training program can help you get an interview.

A Solid Portfolio

A portfolio is crucial to demonstrating that you know the skills and knowledge the company needs. The hiring manager needs to have confidence in your ability to take on the responsibilities of the role, and a portfolio allows you to demonstrate them.

Your portfolio doesn’t have to be examples from previous games you’ve worked on, which isn’t impossible when you’re starting out. Instead, you can create examples of how you’ve implemented specific skills relevant to the industry.

If your focus is sound design, craft sound effects that could theoretically be used in a game. For engineering, you can pull audio from an existing game or movie and enhance it, demonstrating your expertise in working with audio.

Hands-on Experience

Working with the software and hardware involved in audio engineering and sound design is crucial to succeeding in the game industry. It’s common to think of hands-on experience as previous work experience, but they aren’t always the same. Attending a reputable engineering program will also give you experience with high-end hardware and industry-leading software.

Experience with the tools of the trade gives any prospective employer the confidence that you’ll know how to use their tools or at least have a minimal learning curve. Course completion and providing a robust portfolio directly show that you’ve had hands-on experience with the hardware and software you’ll be using.

Crucial Skills to Work in the Game Industry

What skills are needed to work as an audio engineer or in other audio roles within the gaming industry?

You might be surprised that it’s not all about technical skills — having a long-term career also depends on the “soft skills” necessary to work well with the rest of the studio.

Let’s discuss the core skills you must develop and continually cultivate to begin a lasting career in the gaming industry.

Strong Knowledge of Audio Engineering, Sound Design or Composition

You’ll need to know how to do the job, whether you’re designing sound effects, engineering how audio operates within the game, or composing the soundtrack. All of the elements we talked about above apply to your specific role — demonstrable expertise in your chosen discipline.

What are the differences between these three typical roles you’ll find in gaming? Let’s briefly define them so you can start thinking about attending a program and building a portfolio:

Audio engineering involves making sure all audio in the game is of the highest quality without affecting the performance of the game. An engineer also captures audio, such as voice-over dialogue or instruments, and correctly replays it within the game environment.
Sound design is a specific discipline focusing on crafting unique sounds. This discipline is necessary throughout music, movies, and video games — it’s an integral part of the final product. A sound designer needs to have a strong knowledge of working with hardware and software tools.
Composition can also be considered music production; the primary focus is creating the soundtrack for the game. However, unlike typical music production, a composer faces unique challenges, such as transitioning between tracks based on player activity or even working with generative AI systems to create music.

Completing a respected course and building a portfolio helps convey that you have the right skill set and gets you in the door. The above disciplines are the most common roles in the video game industry, but there certainly other roles available to consider. For example, major studios will need sound technicians to work alongside engineers for capturing audio.

Excellent Communication and Collaboration Skills

You’ll be working as part of a team, both with other audio engineers or sound designers and other departments of the game studio. As such, being able to communicate and collaborate is crucial to excelling in this career.

Regardless of studio size, you’ll be part of a multidisciplinary team and will need to understand others' responsibilities and be able to properly communicate your own.

Depending on the role, you may still be working independently most of the time, but you’ll also still be collaborating with the rest of the development team periodically to release updates. For example, if a developer says the file format you’re using is causing performance problems, you need to be able to respond professionally and start working on a fix.

These two skills are crucial to being a valuable member of the team, staying employed, and building an excellent reputation in the industry.

Able to Handle Feedback and Adjust As Necessary

Feedback and criticism can be a challenge for anyone, especially creatives. However, as a member of a cohesive team working on a multi-disciplinary product, you need to be able to take feedback and make changes appropriately. That means implementing changes and not becoming frustrated or insulted in the process.

The hard skills involved in any audio role are undoubtedly necessary, but even the most skilled engineer may struggle to stay employed if they’re unpleasant to work with. Keep these soft skills in mind as you start moving towards your new career in gaming — and they’re also necessary for any other career in the world of audio.

Start Your Video Game Audio Engineer Career with OIART

Working in gaming can be extremely fulfilling and lucrative. However, as a highly competitive field, completing an audio program gives you the skills and experience necessary to get started. You’ll also learn many of the soft skills involved in building a lasting, successful career.

OIART is a leading audio engineering school with graduates working throughout the gaming industry, along with many other fields that always need audio experts. Our programs prepare students by teaching the fundamental knowledge of working with audio, applying that knowledge to specific disciplines, and plenty of hands-on experience with high-end gear.

Are you ready to become an audio engineer in the gaming industry? Get started building your dream career with OIART — apply today!

Top 5 Production Techniques for 2023

Sun, 21 May 2023 17:19:53 GMT

Music production is constantly changing, with some techniques becoming exceedingly popular while others fade away. There are also plenty of timeless techniques to master, but the world of music and sound production will continuously evolve.

Specific production techniques affect the mood, quality, and sound of the final track. These techniques are specific tools and skills you apply to channels or even the master track that modifies the existing composition.

Sometimes a technique makes noticeable changes, but other techniques are subtle while still enhancing overall quality. Most people don’t specifically hear a sidechain kick and bassline, but they’ll still appreciate the clearer low frequencies and enhanced rhythm that result from it.

OIART graduates work in everything from music production to video game sound design, all thanks to the skills they learned via our 11 month program and we’re ready to help you, too. If you’re already eager to begin the path toward becoming a professional music/audio producer, apply to OIART to learn these and many more techniques directly from industry leading instructors.

Let’s take a look at the top five production techniques that are crucial for any producer to know in 2023. We’ll not only describe them but also explore how you can put them into practice in your next project.

1. Control Muddy Sound with Filters and EQs

“Muddy sound” is a result of frequency masking, which is when two or more channels overlap on the same frequency range. Unlike other frequency masking issues solved by sidechaining (which we’ll discuss below), the muddy sound is fixed by eliminating frequencies that are out of place entirely.

For example, you might have a snare, which should be in the mid to high-frequency range, that has too much low frequency. This frequency isn’t involved in producing the sound you want and instead interferes with your kicks or bassline. So the solution is to remove the unwanted frequencies with filters or equalizers (EQs), sometimes both.

Filters and EQs provide similar functionalities, but you’ll usually have different tools to work with. Attending one of the top music producer programs will focus heavily on how to use equalizers to mix and master your track.

In this context, you’ll apply filters or modify EQs to any tracks with frequencies that are muddying the waters. Generally, you’ll want to start with filters and only use EQs if necessary.

Using our snare example, you can apply a high pass filter to the channel so that only frequencies above the stated threshold are processed. If there’s still too much unwanted noise, you can use an EQ specific to the snare channel to modify the unwanted frequencies.

2. Experiment with Stuttered Vocals

You’ve likely heard stuttered vocals used in hip-hop, EDM and pop. This technique uses specific VSTs that sample and repeat segments of vocals. Some songs use vocal stutters for the entire hook; others use them as backing vocal chops.

Back in the 80s and 90s, hip-hop DJs accomplished vocal stuttering (and arguably pioneered it) by mixing and scratching vocals from different records. It’s typically done with VSTs now, but the overall result is a compelling method for vocal manipulation.

Creating stuttered vocals depends on your available tools. A popular method is to use Izotope’s VocalSynth2’s Shred module, but other VSTs and built-in tools can also be used. These VSTs let you configure how often a vocal sample is captured, and then a step sequencer dictates how the sample is repeated.

You can couple stuttered vocals with other vocal manipulations to create interesting results. For example, adding a vocoder and chorus can make it robotic yet rhythmic. Experiment with different possibilities and start integrating what you like into your track.

3. Explore Time Stretching and Pitch Shifting

Time stretching and pitch shifting are two more manipulation techniques typically used with vocals. These two effects are achieved with VSTs, often built-in to your DAW, and can be considered opposite techniques:

Pitch shifting: This technique changes pitch without affecting playback speed.
Time stretching: Conversely, time stretching affects playback speed without affecting pitch.

If you tried to do either technique without the right VSTs, you’d experience the correlation between pitch and time when working with an audio file — trying to make the track shorter affects pitch and vice versa.

That’s why these two purpose-built VSTs were developed and popularized. Now you can have only the desired effect and plenty of ways to configure it.

Pitch shifting was used for the voices in Alvin and the Chipmunks and was later used in music for Daft Punk’s “Technologic.” Modern VSTs make it incredibly easy to do this; simply add the plugin to the channel you want to shift. You might not want a dramatic effect like “Technologic,” but subtle pitch shifting can do wonders for creating the right sound.

Time stretching is also done through built-in utilities or VSTs. Still, one crucial thing to remember is that you can introduce audio artifacts — pops and glitches caused by manipulating the time. Different resampling methodologies can help alleviate this, as can a high-quality time-stretching VST or separate audio processing tool.

You should learn how to use both methods and fully understand how to configure your chosen tools. Properly executing both techniques takes a track from mediocre to impressive.

4. Become a Master of Sidechaining

One of the crucial skills to learn for production in music is sidechaining. This core skill is the solution to frequency masking, which is when two or more individual tracks take up the same frequency and interfere with each other. Frequency masking can significantly degrade the quality of the overall track.

Sidechaining is a method of connecting the output between two or more channels so that one becomes quieter when the other is playing. A widespread example is the bassline and kick drum, which can always interfere and in some genres failing to sidechain them makes it overwhelming to listen to.

The exact steps will vary based on your DAW and chosen VSTs, but generally, sidechaining is accomplished by:

Start by applying a compressor to the channel that should become quieter, such as the bassline.
Feed the output from another channel, such as the kick, into the compressor’s sidechain detector.
The kick will now quiet the bassline whenever it kicks. Listen to both tracks and make adjustments within the compressor as needed.

The above usage of kicks and basslines is undoubtedly the most common, but you can use side chains to add rhythm and more dynamics throughout your tracks. For example, if you’re using long, ambient pads, you can sidechain them to the melody or vocals to give them more rhythm.

5. Use Reverb Judiciously

Reverb is often overused and misused by novices and hurts the overall quality of the final track. And yet, reverb is necessary to get the right sound for nearly every song.

The solution is to use reverb judiciously — be tactful with how and when you use reverb. Overdoing can result in being “awash in reverb.” Having a track awash in reverb often means the drums were overdone, resulting in drowning out the melody, vocals, and chord progression.

Carefully consider if reverb is the best choice, whether you’re looking at using reverse reverb to create engaging vocals or more traditional usages to add depth to a snare. All DAWs used for music production will include some free or stock VST plugin to test and learn the different parameters for how reverb will impact your overall sound.

When using trial and error, learn to adjust reverb return levels properly, notch out space in the mix for each sound, and roll off unwanted reverb tails. It’s not just about using reverbs sparingly but also using them correctly.

Bonus: Critically Listen to Music Every Day

Becoming a better producer and learning new techniques doesn’t only happen in the DAW — listening to music you like helps evolve your skills and understanding of what makes a track intriguing and memorable or what makes it mediocre.

Most days, you likely already listen to music, but don’t always just listen passively. Set aside time to listen actively and critically.

Break down what you like and dislike, and think about how the producer made the track. Analyzing popular music or your all-time favourite songs with this focus turns them into a way to advance your skills. Listen to the same track repeatedly and even take notes.

It’s just like how a professional chef can taste a new meal and can isolate its ingredients; a skilled producer can analyze a song just by listening to it and reverse engineer it. Someone else might just enjoy the meal or dance to the song, but industry experts can take away much more from them.

Become a Professional Music Producer with OIART

Putting the above skills to work to produce a high-quality track will take a significant amount of knowledge and experience. Each of the above techniques is some of the nuts and bolts involved with music production, but there’s much more to learn to start producing high-quality songs.

Fortunately, you can find programs that focus on teaching you the core skills necessary to get moving with music production. As one of the top music production schools in Canada, OIART has prepared students for a range of careers in music production and audio engineering. Apply now to secure your seat for next year.

What You Can Do With An Audio Engineering Diploma?

Tue, 04 Apr 2023 16:23:59 GMT

Audio engineering is a diverse field ranging from working with recording artists to making sure live broadcasts are problem free. An audio engineering career is a unique blend of audio, technology, and science that can be a perfect choice for many people.

The U.S. Bureau of Labor Statistics (BLS) estimates the career growth of broadcast, sound, and video technicians to grow by 10% between 2021 and 2031 , which is faster than average job growth. However, it’s worth noting this estimate excludes related fields you may also explore after attending an audio engineering school that may experience even more significant growth.

Pursuing a career in audio engineering typically begins with formal education. The course you attend will lay the foundation for a fulfilling and lucrative career working with specialized technology, the science of sound, and the world of audio.

As such a diverse field, you may help set up equipment for major sporting events or work with your favourite singer as your career progresses. After graduation, you’ll have a wide range of opportunities to choose from based on your interests.

Are you wondering what options you’ll have post-graduation? Keep reading to learn what you can do with an audio engineering diploma to help you decide if it’s the right choice for you.

What Exactly is an Audio Engineer?

Audio engineering is diverse, with engineers typically working with live broadcasts or audio recordings. Attending an audio engineering program will provide you with hands-on training with high-end equipment and leading-edge software. You’ll also attend lectures covering audio theory, including the fundamental sciences of sound and how to produce excellent sound.

Audio engineering is often confused with audio production, which is undoubtedly related but still distinct fields. Audio production is concerned with the overall product, which might be producing a track for a recording artist or finalizing a podcast for publication.

On the other hand, Audio engineers work with a range of hardware and software to capture high-quality audio for broadcast or recording. In the context of live performances, audio engineers also make sure the venue’s system is producing high-quality sound.

Expect Salaries in Audio Engineering

Audio engineering is a diverse field that presents several opportunities for income potential. The range of salaries depends on your focus area, experience, and industry.

For example, in the United States, sound engineering technicians earn a mean annual wage of $67,360. However, if we look at the percentile breakdown, the top 10% of earners have a salary of $124,690 . So your career may start at or below the average, but you’ll have tremendous potential for growth throughout your career.

Different industries will also offer different pay, even for similar job titles. For example, working with recording artists is competitive, often creating lower salary offerings, while other less-competitive industries tend to offer higher salaries to attract talent.

What Are Possible Careers in Audio Engineering?

Audio engineering is a broad field that extends into several industries. Some of the job titles you’ll see that an audio engineering diploma will prepare you for include:

Broadcast Engineer
Audio Engineer
Acoustic Engineer
Live Sound Engineer
Audio/Visual Engineer
Sound Engineering Technician
Production Engineer
Mastering Engineer
Equipment Technician
Acoustic Consultant
And plenty more

There’s a lot of overlap between the above job titles when it comes to the core skill set they require. However, your diploma will prepare you to handle the fundamental responsibilities of each of them, which may then be applied differently depending on the career you pursue.

Let’s take a closer look at a few popular career options for graduates of audio engineering programs.

Sound Engineering Technician

A sound engineering technician utilizes high-end equipment and software to record sound with the best possible quality. Depending on the exact position, sound engineers may work closely with music producers or with other engineers to create a fine-tuned end product.

The BLS estimates that 50% of sound engineers earn a salary of sound engineering technicians is US$60,500 . As discussed earlier, salaries for this field can reach up to $124,690 as you gain experience and explore new career opportunities. Therefore, pursuing a diploma in audio engineering allows you to start gaining experience after graduation and build your career.

Be aware of the job title ‘sound technician,’ which is often an entry-level position that often leads to a sound engineering technician role. The significant difference is that you’ll generally work with engineers to gain hands-on experience before becoming an engineer yourself.

Broadcast Technician

A broadcast technician is primarily responsible for transmitting audio or video signals for radio and television broadcasts. This specialization requires a robust working knowledge of the electronic equipment involved with broadcasting. In addition, you’ll need to understand how to configure and control the equipment to regulate volume, signal clarity, and signal strength.

The BLS estimates the mean annual wage at US$51,280 , while the upper 10% earn US$90,850. Salaries are also further differentiated by industry, with the top earners working in the Federal Executive Branch and the second highest working in advertising.

Attending a school of audio engineering will prepare you with the fundamentals of becoming a broadcast technician. However, you’ll likely begin in an entry-level position as you gain experience specific to broadcasting.

Audio/Video Equipment Technician

An A/V equipment technician works heavily with all the hardware and equipment involved in audio. An A/V technician will need a strong understanding of setting up, configuring, and dismantling the following gear:

Video monitors
Audio monitors
Microphones
Sound and mixing boards
Video cameras and servers
Specialized equipment for concerts, conventional, and sporting events

You may still work with software, but this position is strongly focused on the equipment side of engineering and is ideal for someone more interested in audio hardware.

The BLS estimates the mean annual age for A/V equipment technicians at US$55,310 , with the top 10% earning $90,180. Software and legal are the two highest-paying industries for an A/V technician.

Related Careers in Audio

We mentioned earlier that audio production is a similar yet different career in the world of audio. Some students enroll in an audio engineering program but discover they’re more interested in the production side. Fortunately, OIART also offers an audio production program to allow students to make an easy change.

Other related careers in audio engineering include:

Electronics engineering and repair
Electronics testing and quality assurance
Installation and repairs of audio equipment

You may discover that you’re more interested in the above careers as you start working in the field. Fortunately, your audio engineering diploma will still help prepare you as you’ll have a strong understanding of electronics and the science behind their work.

How Can You Prepare Before Attending a School of Audio Engineering?

You’ve decided to attend an audio engineering program; what can you do before your first day? There are a few ways you can start preparing and exploring before you take a single course, such as:

Experiment with DAWs: Digital Audio Workstations (DAWs) are at the heart of music and audio production. Many audio engineers will need a solid working knowledge of how to use them, especially those specializing in mastering. Many DAWs, such as Ableton and FL Studio, offer free trials so you can explore the software before you start classes.
Learn more about specific career responsibilities: We’ve given you plenty of foundational knowledge, but there’s still a lot to learn about specific careers in audio engineering. Did any of the jobs we’ve discussed catch your attention? Dive deeper and learn everything involved to help you decide which career path is right for you.
Take preparatory classes: If you’re in high school, take electives related to audio engineering to help build a strong foundation. Computer science, physics, and electronics courses will each help prepare you for audio engineering. If you’re no longer in high school, you can look around your area for local classes covering these topics.

Preparing ahead of time will help you identify and overcome gaps in your knowledge before your course begins. Then you can focus on what’s truly interesting instead of catching up on the foundational skills.

Earn Your Audio Engineering Diploma with OIART

Audio engineering is an exciting industry and an excellent choice for those interested in audio, technology, and how they overlap and interact with each other. Earning an audio engineering diploma imparts you the right skills, training, and credentials to start your new career.

The Ontario Institute of Audio Recording Technology (OIART) is an industry-recognized institution that offers diplomas in audio engineering, music production, and other specialties throughout the world of audio. Are you ready to take the first step toward becoming an audio engineer? Apply today for free .

What To Expect From a Career in Audio Engineering & Sound Production

Wed, 15 Mar 2023 19:45:00 GMT

Pursuing a career in audio engineering and sound production can be highly rewarding for people with a technical and creative mindset. Sound production and engineering are two distinct fields, but both involve applying technical knowledge and skills to create a high-quality end product.

Attending an audio engineering or audio production program prepares you to begin your new career in the world of sound. You’ll learn the skills, theory, and mindset that make a successful engineer or producer.

Working in music or audio is undoubtedly appealing, but you should have realistic expectations about what working in the field will actually be like. For example, how much will you earn? What exactly will you do? What’s the best way to get started?

Keep reading to learn the answers to these essential questions to help you decide if a career in audio is the right choice for you.

What is an Audio Engineer and Sound Producer?

An audio engineer and sound (or music) producer are two distinct roles that often share responsibilities and work closely together. We’ll focus mainly on engineering, but plenty of this information also applies to producers.

Let’s briefly define the differences between these roles:

An audio engineer focuses on the technology, science, and electronics involved in audio recording or broadcasting to ensure the highest possible quality.
A music producer takes a big-picture approach and applies technical aptitude and creativity to guide a project's overall direction and vision.

Now let’s focus on audio engineering to help you get a feel for what you can expect if you choose this career path.

What Salary Can You Earn in Audio Engineering?

Audio engineering is a diverse field with several applications throughout various industries. Therefore, your salary will depend on your chosen industry and your experience, skillset, and soft skills.

Overall, the U.S. Bureau of Labor Statistics estimates the mean annual wage of a sound engineering technician is US$67,360 . In addition, the top 10% of earners bring in $124,690, while the bottom 10% earn $29,110. These figures demonstrate the significant range of possibilities and the potential growth you can expect throughout your career.

Where Does an Engineer or Producer Work?

Audio engineers are needed in nearly every industry, including some you might not anticipate. If we drill down into the BLS report, we see that the top-earning sound engineering technicians work in the following industries:

Accounting and Tax Preparation ($98,120)
Advertising and Public Relations ($94,260)
Computer System Design ($91,990)

Each of those industries has a low concentration of engineers but demonstrates how nearly every industry needs your future skill set.

The industries with the highest concentrations of audio engineers are more aligned with what you expect:

Sound Recording Industries ($66,020)
Motion Picture and Video Industries ($85,020)
Performing Arts Companies ($66,460)

Combined, we see that the more specialized audio engineers who work in unexpected industries have a higher mean wage than the industries that first come to mind. Remember this takeaway as you consider audio engineering and take the first steps toward building your career.

Note: All of the above figures are USD and represent the annual mean wage per the BLS .

What is the Lifestyle of Someone Working in Audio?

Deciding on your new career isn’t just about the money and industry; you also need to consider your daily workday and environment. So what will a ‘day in the life’ of an audio engineer look like?

As expected, your daily workday will vary depending on your industry and your company. Let’s touch on a few common industries and explore how your everyday working environment might look:

Music and sound recording: You’ll work alongside producers, artists, and other engineers to create a high-quality track. Some work days will be long, busy, and potentially stressful, while others will involve pre-production setup and configuration. You won’t likely provide creative input, but you may handle mixing and mastering to fine-tune the song before it’s finalized.
Motion picture and video: You’ll spend some workdays on the set of a TV show, movie, or live broadcast. On these days, you’ll make sure all equipment is configured correctly and operating optimally to capture sounds. On other days, you’ll work alone or with other engineers planning how to set up equipment to record audio properly.
Performing arts: Live audio engineering is an entire skill set that uses available equipment to deliver high-quality sound to the entire venue. Depending on the project, you may also record during the live performance. Workdays during showtimes will be busy and potentially stressful, and you’ll be expected to fix any issues that may arise. Pre-production will involve thorough setup, configuration, and testing of a venue’s system.

Did you notice the common theme? Workdays will be highly varied in each of these industries. You’ll have a mix of long, busy days combined with pre or post-production work days focusing on setup or mastering.

Ultimately, the lifestyle of an audio engineer is one in which nearly every workday will be different from the last.

How to Get Started in Audio Engineering

If everything above sounds like your dream job, how can you get started becoming a working audio engineer? Read on for a concise overview of going from inexperienced to working in the field.

Explore the Field First (Optional)

You can enroll in a sound engineering college immediately, but it’s worth stepping back and exploring the basics first.

An easy and affordable way to explore audio engineering on your own is by exploring Digital Audio Workstations (DAWs). A DAW is the heart and soul of any sound or music project; it’s where all recording tracks and MIDI compositions live together, and where everything is mixed and mastered before being finalized.

Several DAWs offer free trials with limitations, such as the inability to export or re-open projects. Fortunately, you can still explore them within these limitations. The goal is to see how well you learn the new software and how much you enjoy working with it.

Some popular DAWs with free trials are:

Ableton Live
FL Studio
Pro Tools

Each of the above DAWs is professional-grade and is the go-to standard in specific industries. Learn the basics, experiment with mixing and mastering, and play with different plugins to alter sounds. If you’re enjoying the process, it’s worth taking the following steps toward becoming an engineer.

Enroll in an Audio Program

An audio engineering program is typically offered by a specialized educational institution, although some universities also offer audio programs. The overall purpose of your chosen program should be to prepare you for working in the field — it’s not just about earning the degree or certification.

Look for schools that provide hands-on experience in a studio environment. The course should also include learning the theory and science behind sound and how electronics work at a fundamental level.

Upon completion, you’ll be ready to find an entry-level position working in the field. Ideally, your school will also help with job placement.

Continually Develop Your Skills

The world of audio never sits still. As an engineer, you’ll need to stay on top of the latest electronics and technologies that impact your job. So keep exploring what’s new and see how it can improve your job.

Additionally, even though your formal training will prepare you for working, you’ll likely still have plenty of opportunities to deepen your knowledge and learn additional skills.

Education never truly stops in audio engineering. Keep learning, practicing, and growing throughout your career.

Seek an Internship

Internships are typically unpaid positions that provide real-world experience working alongside engineers and technicians. Fortunately, you don’t need to wait until graduation to start an internship — see what’s available in your area so you can attend classes and work in the field simultaneously.

It’s also worth noting that paid internships exist, but they’re generally harder to find and competitive. View internships with a long-term perspective, the skills you can learn working closely with a studio or movie production company can do wonders for your career in the long run.

Find an Experienced Mentor

Mentorship is valuable in every field and perhaps more so in audio engineering. Every experienced audio engineer has knowledge and skills refined throughout their career. Finding a mentorship lets you learn from their work experience and rapidly advance your training.

Internships can help you find a mentor. You’ll get to know everyone on the team, and throughout your internship, you may identify highly skilled audio engineers on the team. You can then approach them and ask if they’d mentor you — you might be surprised how many professionals want the opportunity to share what they’ve learned.

Begin Your New Career with OIART’s Audio Engineering Programs

A career in audio engineering can be the dream career for someone interested in audio, technology, and electronics. Most work days will be entirely unique, and you’ll have the fulfillment of contributing to a polished final product, whether it’s the next top 10 track or an acclaimed indie movie.

You can start your career in sound engineering faster than you might think by attending a specialized audio engineering program. Ready to take the next step? Go to OIART today to apply.

What Skills Do You Need to be a Sound Engineer?

Wed, 01 Mar 2023 15:15:15 GMT

Audio engineering is a broad field of study that teaches students various skills they’ll use as they pursue various career paths. The goal of sound engineering programs is to prepare students to build their ideal career, whatever that may look like.

For example, one graduate of a sound engineering course may record audio for a recording studio. At the same time, another will manage and configure the hardware involved in the live broadcast of a sporting event.

Whichever career you pursue post-graduation, you’ll need a strong understanding of crucial audio engineer skills. Keep reading to learn more about how engineers use their skills; then, we’ll dive into specific skills you’ll acquire while at audio engineering colleges.

How Does an Audio Engineer Use Their Skills?

Audio engineers will put their skills and knowledge to work by managing all the technical components involved in recording or broadcasting audio, including music, voices, and effects. Audio engineers need a strong understanding of both hardware and software, making it an excellent career for technically-minded students.

Additionally, audio engineers will need the same soft skills many other careers require. For example, an audio engineer may have periods working alone, but they’ll usually be part of a team of engineers, vocalists, and producers working towards a common goal. Therefore, understanding how to communicate and collaborate is essential.

Some general job duties a sound engineer may perform that use their specialized skills include:

Improving the sound quality of recordings during production and post-production
Solving issues with hardware and software
Removing unwanted sounds from recordings with software
Coordinating with the entire team of producers, artists, and directors to create a polished final product
Setting up, configuring, and testing equipment during pre-production

You’ll have specific duties based on how you build your career. The mission of a school of audio engineering is to prepare you for whatever your career will call for by teaching you essential skills.

Audio Engineering Skills You’ll Learn at Sound Engineering College

What skills will you pick up while attending audio engineering schools? Upon completing the course, you’ll have a range of skills that will prepare you for your career as a professional audio engineer in various industries.

Let’s explore common knowledge and training you’ll learn during your education.

Digital Audio Workstation

Most engineers will spend plenty of time in Digital Audio Workstations (DAWs). Music and sound production depend on DAWs to manage recordings, compose music, mix different channels, and master the track for publishing.

Audio production is highly focused on DAWs, but audio engineering programs will also teach you how to use this software to perform critical duties. Most industries have a DAW that’s considered the standard, such as Ableton, Pro Tools, Logic, or FL Studio. It’s worth learning a few and specializing in the DAW your future industry typically uses.

An engineer will ensure all hardware is connected correctly and configured to feed audio to the DAW. Additionally, you’ll learn how to mix channels, master tracks, and may even take on the producer role in some cases.

Hardware Management

Hardware is involved in any audio project that involves recording or broadcasting. Microphones, monitors, mixing boards, and other specialized gear are vital to the project's success.

Audio engineers are the go-to experts on the team for setting up, configuring, and testing hardware. During your education, you’ll learn the ins and outs of various types of equipment, how they interact with each other, and how to set up a complete production environment.

A few types of hardware you’ll use are:

Studio monitors, both for the artists and producers
Monitor isolation pads
Acoustic panels
Bass traps
Audio interfaces
MIDI controllers
Mixing boards
Pop filters
Cables and connectors

Mixing Techniques

Audio mixing involves taking all recordings and MIDI tracks in a project and blending them together to create the perfect sound for the project. Mixing is the intersection of technical knowledge and creativity, as you’ll need to know what sounds great and how to make it happen with the tools at your disposal.

Mixing itself is an entire specialty, and in large projects, an engineer might focus solely on mixing tracks. There are seemingly endless mixing techniques to explore, but some of the most common techniques are:

Panning: You don’t usually want every audio track to play equally on both left and right channels, known as the center. Panning involves tactfully altering which side the audio will play from, such as making closed high hats play mainly on the left. Auto-panners are also commonly used to provide a more dynamic experience.
Reverb: Reverb adds depth and breadth to the track, filling up more of the audio spectrum. Strategically adding reverb, such as to the snare, can enrich the sound and help work toward the project's overall vision.
Compression: You’ll see compression used in various ways throughout your career. Generally, compression adjusts a sound’s loud and quiet aspects, allowing whispers to gain volume without amplifying everything else on the vocal track. You may also use compression to amplify the thickness of a kick or the intensity of a bassline.
Noise Reduction: Sometimes, the recording will capture unwanted background sounds. Noise can also occur due to a misconfiguration in hardware, but it isn’t severe enough to warrant re-recording. Noise reduction is a technique focusing on removing what you don’t want while keeping what you do.
Filtering: Specific software allows you to filter a recording or MIDI track to modify the overall sound. Some filters will cut off everything above a chosen frequency, some will cut off everything below it, and complex filters will pick and choose what to remove. Using filtering tools effectively can significantly improve a track.

Equalizing

An equalizer (EQ) is a specialized type of software within the DAW that enables you to monitor the entire spectrum of audio based on specific frequencies. You’ll then fine-tune how specific frequencies are played, such as lowering the high end and increasing the low end for a kick.

The term EQ generally refers to software, but many hardware components modify sound frequencies during recording or broadcasting. For example, mixing boards, amps, and guitar pedals equalize sound before it reaches the DAW.

Learning a range of specific EQ techniques helps you improve the quality of a recording or the track overall. In addition, you’ll often work closely with the music producer to help modify tracks to accomplish the producer’s overall vision.

Using an EQ involves mastering, but mastering is not limited to an EQ. We’ll explore mastering more below.

Mastering

Mastering is usually the final step in a project before the track is exported and delivered. First, composition, recording, and mixing have all been completed to achieve the project's overall goal. Then, mastering fine-tunes everything, producing excellent sound quality on any equipment while also working towards the project's overall vision.

EQs are an essential tool in the mastering process. An engineer may apply an EQ to every individual track to ensure no frequencies overlap unintentionally, alongside mastering the master channel to produce ideal output. Other software tools may also be put to work, such as limiters or adaptive compressors, to improve the quality of the result.

Testing is an essential step in the mastering process. Few people will listen to the result on high-end studio monitors, and most speakers and headphones have built-in equalizers that will modify how your track sounds. Anticipating these variances is essential to having the end product sound great wherever it’s played.

Acoustics

Any project involving recording or broadcasting will require a strong understanding of acoustics. For example, a recording booth will need to only capture vocals or instruments, not echoes, and a venue will aim to provide a great experience to everyone in attendance.

Live sound engineering courses impart both hands-on training with hardware alongside teaching the science of sound. First, you must understand the scientific principles of sound so you can adapt to any environment. You’ll then put these principles into practice as you set up, configure, and test hardware for a recording or live sound project.

Music Theory

Music theory is complex, and an audio engineer doesn’t usually need to know every principle and term. However, it’s a good idea to have a strong understanding of the basic principles of music theory, especially if you plan to work within the music industry.

A sound engineering course will impart a firm grasp of terms like tempo, meter, and keys. You may also explore ideal chord progressions, the Circle of Fifths, and other components of music theory that help you contribute to how pleasing the final product sounds.

Soft Skills

Everything we’ve discussed above is specific to the world of audio, but to succeed in the industry, you’ll also need to work on your soft skills. Generally, soft skills describe elements of your job that aren’t directly related to your core roles but are still crucial to learn. Important soft skills for an engineer include:

Communication: How well can you work within a team? Can you take criticism well? Can you convey specific tasks you need to complete to move forward with your own responsibilities?
Adaptability: Sometimes things don’t go according to plan; how well can you maintain a level head when problems or roadblocks arise? Can you stay calm and re-evaluate how you can handle your responsibilities to help the project stay in motion?
Time Management: You’ll typically have deadlines for specific tasks but may not have someone watching your every move to ensure they’re completed. How well can you work semi-independently to accomplish specific responsibilities and keep the project on track?

An audio engineering school will teach you how to succeed in your new engineering career by being an excellent person to work with.

Attend OIART’s School of Audio Engineering to Begin Your New Career

Audio engineering is an exciting career option for those interested in a technical career within the world of audio. It’s often a blend of creativity, technology, and science, which can be highly fulfilling for the right person.

Are you ready to take the first step toward your new career? Start building your skills with OIART today — apply now.

Andrew Brown - Alumni Spotlight

Tue, 14 Feb 2023 19:03:00 GMT

We talked to Andrew (’06 Graduate) the last time he visited London on tour with Mother Mother. In 2022 he toured 203 days across 20 countries, mixing Front of House in clubs, outdoor festivals, arenas and football stadiums. Mother Mother recently supported Imagine Dragons across Europe and headlined their 2nd US tour, immediately followed by a headlining tour of the EU and UK.

In February of 2023, Mother Mother takes their first trip to tour Australia and New Zealand.

Andrew has been a Tour Manager and Live Mix engineer for numerous bands. He has mixed Big Sugar opening for AC/DC. He has worked as a Tour Manager and Front Of House mixer for Kira Isabella, Tyler Shaw and Wide Mouth Mason. He also works freelance for many Live sound companies, including Solotech, PRG, Metalworks, PA Plus and Apex, to name a few, and has performed numerous shows with the stage union IATSE.

Andrew says, ‘I’d say OIART provided me with an excellent foundation, with which I’ve been able to build upon and find support throughout my career. Almost subconsciously, I refer back to things I learned in the program, everything from basic signal flow when troubleshooting to how to manage professional situations on an interpersonal level.” Congratulations Andrew!

Top 5 Things Professional Audio Engineers Do During Their Career

Tue, 14 Feb 2023 17:09:52 GMT

Audio engineers are found in any industry involving sound, including recording, broadcasting, and live performances. Engineers put their knowledge and training to work by using hardware and software to create the best possible sound quality on every project.

Pursuing a career in audio engineering, also known as sound engineering, gives you the freedom to work in a range of industries and take on a variety of roles. Your work days will range from long, busy hours to days spent planning and configuring equipment prior to production.

Completing a sound engineering course puts you on the fast track to working in the field. You’ll learn the necessary theories, science, and skills required to excel in your new career.

However, before diving into a course, it’s worth learning more about what exactly you’ll be doing as an audio engineer. So keep reading to learn the top five things professional sound engineers do in various roles to help you decide if enrolling in a course is the right next step in your career.

What is an Audio Engineer?

Before we dive into the common things they do, let’s define exactly what an audio engineer is. Audio engineers leverage electronics, software, and knowledge to configure the given environment to capture the highest quality sound possible.

Typically, audio engineers do not provide creative input to the given project, instead putting their skills to work to assist producers, directors, and artists in accomplishing their vision.

Attending audio engineering programs prepares you to take on a range of roles and tasks typical in the audio world. You won’t only learn about each component but also how each component works and how every component complements the entire project.

Five Common Roles of an Audio Engineer

Sound engineering is an in-demand discipline found throughout a wide range of industries. Let’s explore some of these industries and precisely what engineers do within them.

1. Work Closely with Producers and Artists

Audio engineers are an essential part of any music producing team. The audio engineer leverages their in-depth knowledge of hardware and software to capture high-quality audio for the project. Every component in the studio must be appropriately configured, tested, and ready for recording. Additionally, an audio engineer will often handle mixing and mastering the track before it’s finalized.

Small budget projects may call for someone to handle both music production and audio engineering, but typically, they are two specialized roles working in tandem. The engineer will often take direction from the producer, while the engineer will lend their technical expertise to advanced technical tasks.

2. Engineer Audio for Video Games and Movies

Video games and movies are well-known for their soundtracks, and audio engineers help with each track in the end product. However, the precise tasks will vary in these two industries; let’s explore how:

Video Games: Music is found throughout gaming, but it’s not the only one found throughout the game. Voice actors, sound effects, and the soundtrack are necessary for the finale game. Engineers help capture vocals, design sound effects, and assist with music production. Additionally, the engineer guides with the implementation of when and how to play specific sounds within the game.
Movies: Working on movies or TV shows often involves working with music producers, but an engineer working for a movie studio will likely do much more than the music. Capturing an actor’s lines can make or break a take, and an engineer is responsible for recording the highest-quality sound. Similar to video games, the movie's sound effects and other audio aspects will involve the audio engineer’s expertise.

Attending an audio program from a reputable educational institution prepares you to work in either of these fields. You’ll learn the foundational skills and theories for sound design, mastering, and recording, so you’re ready for whatever your new position requires.

3. Ensure Quality with Mixing and Mastering

Mixing and mastering will likely be a large part of your job, regardless of your chosen industry or field. Both processes are necessary to create a pleasing sound in which frequencies of different tracks intertwine and do not harshly overlap.

While these processes have a creative component, they also require an in-depth technical understanding of audio and the equipment involved. So let’s briefly explore both processes and how an audio production program will prepare you to take them on:

Mixing: Everything in a recording exists on different channels. For example, your kick will be on one channel, the vocals on another, and so on. If all of these channels are configured the same way, the track will likely be hard to listen to, even if all the individual pieces are excellent. Mixing is concerned with balancing every channel, so they complement each other. Panning, compression, and filtering are standard mixing techniques, but there’s plenty more you’ll learn.
Mastering: Mastering follows mixing and closely examines every audio frequency in the track and optimizes them to produce the overall goal of the track. Equalizers and limiters are standard tools used in the mastering process. Additionally, the audio engineer will consider how the end product will sound on a wide range of speakers and headphones. Ultimately, the engineer is usually the last person to work on a project before it’s finalized.

Music producers can often take on these processes, but it’s worth bringing in an audio engineer on larger budget projects to guarantee they’re handled correctly.

4. Manage Gear During Live Performances

Live performances require several audio engineers and technicians to plan, set up, configure, and test every component involved in the performance. There are certainly overlapping engineering skills with other industries, but working with live sound is a much different scenario.

The term live sound applies to a wide range of specific types of events, including:

Concerts of all sizes
Sporting events
Performance arts
Conferences and lectures
Other outdoor events

Live sound engineering courses are the best way to learn everything you’ll need to know to take on a live show. These specialized courses cover many of the same topics as generalized audio engineering programs. Still, they will dive deeper into the specific aspects you’ll need a strong understanding of for live performances.

5. Assist Other Engineers or Technicians

Each of the above roles and tasks will sometimes require one or two audio engineers, although live performances will also need plenty of sound technicians. Pursuing a career as an audio engineer often requires working as a sound technician as you gain experience and on-the-job training specific to your industry.

A sound technician assists engineers or senior technicians with various tasks throughout a project. For example, you might be asked to set up microphones and monitors in a recording studio or run cables throughout a live venue.

Sound technician tasks are often considered the ‘nuts and bolts’ of engineering, while the audio engineer will handle making sure all the components are correctly planned and configured.

Sound technician courses impart the fundamentals of working with components, connectors, and software so that you’re prepared to assist engineers on any given project. For example, when the engineer asks you to set something up, you’ll know precisely how to complete the task.

Advance Your Career With an Audio Engineering Program

There are undoubtedly many fields throughout audio that don’t necessarily require formal education. For example, some music producers study and learn on their own for years and then prove they can take on a project.

However, audio engineering is both hard to learn independently, and finding a job without credentials can be challenging. Your degree or certification is much more than a piece of paper — it gives employers the confidence that you know how to work with expensive, sensitive equipment.

Attending an audio engineering program will give you direct, hands-on experience with high-end equipment that would otherwise be out of reach. For example, you might be able to download a Digital Audio Workstation (DAW), but buying a high-end mixing board might take some time.

Of course, you’ll also learn how to set up, test, and configure components from qualified instructors. So you won’t be left figuring out how to use your new mixing board, and instead, be taught precisely how to use it by the experts.

Enrolling in an audio engineering course is the best way to gain the training you’ll need and be ready to prove to employers that you’re ready to be a valuable asset to their team.

Become an Audio Engineer with OIART — Apply Today

A career as an audio engineer allows you to explore the above roles and tasks however you see fit. The core skills of an engineer are widely applicable to each of them, so once you build a strong foundation, you can explore different opportunities to discover the best fit.

Is a career as an audio engineer your next step? Get started with OIART and learn the foundational skills and knowledge you’ll need as you continue to advance your career.

Is Audio Engineering the Same as Music Production?

Wed, 01 Feb 2023 17:00:01 GMT

Music production and audio engineering are related fields with plenty of overlap, but they are distinctly different roles within the audio world. Understanding how these roles vary from each other can help you choose between music and sound production or audio engineering programs.

Music production is a creative role involved throughout the creation of a new track. This role is often managerial, as you may need to manage artists, musicians, and engineers. You may also take on the role of the composer and craft a MIDI track to accompany a vocalist. Additionally, you’ll gain a technical skill set and apply it creatively to projects.

Audio engineering is a more technical role focusing on the actual recording of sounds, which can be vocals, instruments, or even sound effects. You generally will not provide creative input but will instead cater to the needs of creative roles like producers and artists. This role involves a strong technical and scientific understanding of electronics and sound.

Which career path will provide you with a fulfilling career? Keep reading to dive deeper into the differences between these two roles to help you hone in on the best choice for your future career.

What is Music Production?

Music production blends software and creativity to produce a final product aligned with the artist or your artistic vision. Attending a music or audio production program prepares you for this role by providing hands-on training and an in-depth understanding of music theory. By graduation, you’ll know how to produce a track from start to finish, work with artists, and provide guidance to engineers and technicians.

Let’s explore your daily responsibilities as a producer, key challenges, and examine if it’s the right career for you.

Core Music Production Responsibilities

A music producer sees the big, artistic vision of every project they work on. You’ll develop a trained ear for music, a feel for what makes a good song, and add your own artistic touch to most projects.

The music producer often takes on a managerial role for larger projects. For example, if a track involves several vocalists and musicians, you’ll need to coordinate recording times and impart the overall goal of their part. Additionally, you’ll coordinate efforts with sound engineers, technicians, and composers.

It’s worth noting that most projects will be unique, so precisely what you do will vary on every track you work on during your career.

For example, you might work with an aspiring artist on a small project. You’ll then be responsible for the entire track beyond providing vocals, such as building drum patterns, composing melodies, and crafting basslines. In addition, you’ll handle mixing and mastering.

Challenges of Music Production

If you asked a dozen working music producers about their biggest challenges, you’d likely get a dozen different answers. Every producer has their own hurdles, challenges, and even dislikes of working in the field.

One common challenge in music and sound production is working with the artists themselves. You’ll have to accommodate specific requests, manage their vision and expectations, or sometimes even work around their ego. For example, can you ask a major artist to re-record a verse because the first take wasn’t quite right without bruising their self-esteem?

Another challenge of working as a producer is you need to constantly stay aware of the latest trends in production and music overall. While this isn’t usually an unpleasant challenge, it’s still something you’ll need to invest time in to make sure you’re aware of what listeners are appreciating.

Is Music Production Right for You?

Should you choose production over engineering? You might already have a rough idea after reading the above sections, but let’s examine the characteristics of someone well-suited for a career in music production:

You’re able to conceptualize the overall vision and sound of a track
You have excellent soft skills, such as interpersonal communication and managing different personalities on a project
You have both a technical and creative mindset. As a result, you can learn new software and tools whenever necessary while also providing creative input and guidance to others.
You can manage complex projects with several moving pieces. Prior experience in any form of project management is helpful.
You take feedback and criticism well and can incorporate them into the project.

What is Sound or Audio Engineering?

Audio engineering, often also referred to as sound engineering, is the practice of configuring the hardware and software involved in recording or broadcasting to provide the highest possible quality sound. Music engineering is a more specialized form of audio engineering in which you’ll apply the same skills to assist producers and artists in creating a polished track.

Audio and music engineering programs impart a strong understanding of sound's technical and scientific aspects, including how it moves through electrical components and the room itself.

It’s time to break down the field of sound engineering to help you decide if it’s the right choice for you.

Core Responsibilities of Audio Engineering

The primary task of an audio engineer is to ensure all the hardware and software used in recording audio is adequately set up and configured to capture high-quality sound.

You need to know how to set everything up and the theory behind how components work together. For example, you must understand how signals move through your setup before reaching the DAW. This level of understanding allows you to adapt to the available equipment, recording booth, or arena and contribute to the overall project.

Unlike music producing, you won’t typically take on a managerial role or provide creative input. However, you may manage a team of engineers and sound technicians on larger projects.

Audio Engineering Challenges

Audio engineering is a highly technical role, making it challenging for those without an aptitude for learning about technology and electronics. You need to know what every piece of equipment does, how it works, and how components work together.

Additionally, an audio engineer must also know how to test and troubleshoot any issues that may arise. For example, the last thing anyone on a project wants is a delay in recording due to malfunctioning equipment. Can you fix it or find a suitable alternative?

Engineering can also be a struggle for those who want to lend their creativity to a project. While there’s no hard rule against providing input, audio engineers generally provide little to no input that guides the creative direction of a project. This factor isn’t an issue for some, but music production might be a better fit if you’d like to contribute creatively.

Is Audio Engineering for You?

Should you choose audio engineering over music production? Let’s explore some of the core characteristics that might make you better suited for engineering over production:

You enjoy working with technology and electronics
You’re interested in manipulating sounds with the tools at hand
You’re organized and able to take instructions
You excel in scientific and technical fields, plus find enjoyment in them
You’re okay with rarely providing creative input, instead focusing on the gear and technology that helps producers and artists bring their vision to life

Will You Ever Do Engineering and Production?

Some projects will call for handling the roles of a music producer and an audio engineer. Having the skill set of both roles can help make you a valuable asset, and you may enjoy learning both sides of the audio world.

Generally, it’s projects with smaller budgets that seek out professionals capable of taking on both roles rather than hiring several specialists. For example, a smaller label or independent recording artist won’t have the budget for a team of experts but still want to produce a high-quality song.

It’s not as common, but medium to large projects may even require wearing both hats. For example, imagine a scenario where the producer is suddenly unavailable. You’re already in the studio as the engineer — being able to step in as the producer saves the project and showcases your value to the company or artist.

Ultimately, if you’re interested in both, you don’t necessarily have to pick only one option. For example, you can start with a music production program and later return for an audio engineering course.

Enroll in OIART’s School of Audio Engineering

Attending a formal program for either career option will teach you the skills, techniques, and theories behind production and engineering. You’ll gain a deep understanding of your chosen path and be prepared to start working in your new field.

OIART is an industry-recognized education institution with music production and audio engineering programs designed to prepare you for your new career. You’ll gain hands-on experience in the industry and be ready for your first day in the studio. Ready to begin? Take the first steps to get formal training to get a diploma and start your new career.

The Day in The Life of a Music Producer

jalves@oiart.org (Jeremy Alves) — Wed, 18 Jan 2023 21:32:38 GMT

Music and sound production is an exciting career not only due to its creativity but also because every day will be unique and often exciting. You’ll unlikely have the same workday twice in a row or even twice in a month.

Every working producer in the industry has their own ideal workday, different areas of specialty, and varying routines based on what works best for them. Having control over your workday and the flexibility to manage different projects and responsibilities is one reason why people are drawn to music production.

Ready to become a music producer? Keep reading to take a glimpse into what a day in the life of your future career might look like.

Dispelling Music Production Workday Misconceptions

Before diving into what a music producer’s workday is, let’s dispel some myths about what it has to be:

Myth 1: Start a new song and work on it until it’s done: In the beginning, it’s good advice to focus on a song from start to finish. However, working producers rarely, if ever, work on a track straight through. Instead, they’ll put time into a track and come back a day or two later with fresh ears.
Myth 2: Only work on one song at a time: Most producers work on multiple tracks throughout a day or workweek. Sometimes you want to focus on mixing or mastering, so you’ll do that for tracks in the final stages. On other days, you’ll need to record vocals for several different tracks. So it’s unusual for producers to only work on one song at a time until it's finished.
Myth 3: Finish every song you start: Sometimes, a track doesn’t have the sound or feel you were going for. Don’t lock yourself into finishing every song you start; sometimes, it’s better to start over rather than try to save a track that took a wrong turn.
Myth 4: Work on tracks eight hours every day: Working on tracks is essential, but you must also listen to music, explore new VSTs and technologies, and stay on top of industry news. Working on tracks constantly can ultimately hinder your creativity and even the quality of the final result.

Some of these misconceptions may end up actually working for you, but they’re myths because they’re often thought of as rigid rules. A great thing about music production is there are no rules about how you structure your workday.

Days Can Vary Dramatically

Music producer programs will teach you various tools, techniques, and processes to help you build your ideal work routine. You’ll learn what works for most producers and less popular but still effective processes worth considering.

Let’s explore some common daily tasks music producers tend to work into their routines. Be aware that not every day needs to be exactly the same; you might spend an entire day on one of these items or all of them and more in a single day.

Producing New Music or Revisiting Ongoing Projects

It’s common for producers to have several, sometimes dozens, of ongoing projects at a time. But, even then, you might have a sudden inspiration or assignment that calls for creating a new project.

Producers often bounce around between ongoing tracks to keep things fresh. For example, they may have an idea for a bassline for one track, then be inspired to change the 808 pattern on another. Not having rigid guidelines allows producers to work on whatever they want, provided they meet applicable deadlines and responsibilities from employers or clients.

Research, Explore, and Develop

Producers must stay on top of emerging trends, technologies, and industry news. It’s common for producers to set aside time every day, often in the morning, to check music news sites and producer-focused communities to stay aware of any changes that might impact their jobs.

For example, VSTs are a necessary tool for producers. If a new VST comes out that might help with a specific process, it’s worth exploring. Additionally, popular VSTs might have updates that need to be done manually, and missing out on updating means not having new features.

Sound Design and Recording Time

Sound design is the art of crafting specific sounds for your tracks. Some producers will do this during the overall production process, while others set aside specific time to dive into their synths or gear and create unique sounds.

Depending on your job, you might have entire days working with recording artists to capture vocals for their albums. Vocalists might want to record multiple tracks in a single session, so it’s impractical to try to produce the rest of the track simultaneously. Instead, you’ll focus on ensuring you have the right vocals you need to work with later.

Workout Your Ears

A little-known side effect of music production is ear fatigue. It’s a common phenomenon for music producers who spend hours or days on a single track. It’s part physiological and part psychological, and the result is you no longer accurately understand how your track sounds.

You might export a track at night and think it’s incredible, only to listen to it the following day and dislike almost everything about it. This experience is an example of ear fatigue in practice.

To combat ear fatigue, take breaks to work out your ears. Listen to something else, whether it’s a podcast, music from your favourite producer, or nothing at all. Take ear workout breaks throughout your day to keep ear fatigue at bay; you’ll prevent spending hours working on track you end up throwing away.

Mixing and Mastering

These two distinct processes focus on creating the final product ready to export and finalize.

Mixing is a variety of techniques concerned with balancing all the individual tracks in a song to blend and create the exact sound you’re after. An example of mixing is setting your high-hat track to auto-pan every bar and changing it to -2 decibels. You may then side-chain your kick to the bassline or increase vocals by 0.5 decibels.

Mastering is another set of techniques that fine-tunes the entire track, so it sounds great regardless of where it’s played. Like mixing, mastering also focuses on creating the exact sound, mood, and feel you want. Detailed equalizers, limiters, specialized mastering engineers and a properly treated studio are the standard tools used in mastering.

When it comes to a producer's day, they might set aside time to mix and master several ongoing projects over a few hours. Some producers also mix as they produce and then just do a final check before moving on to mastering. Ultimately, it depends on the producer’s workflow.

Workdays Are Also Based on Your Career

An added factor that influences your workday is how you build your career. You’ll have more restrictions if you decide to become an in-house producer for a recording label or studio. For example, you might be expected to go to the office every day and spend some time in the studio or have a busy schedule working with recording artists.

Conversely, suppose you work independently and sell finished tracks to artists or license them to businesses. In that case, you’ll have more control over your workday and be free to do whatever helps you consistently produce new tracks to keep generating revenue.

Check Out These Grad Spotlights

Want to see what a real OIART grad does in a day? Check out the following grad spotlights for some inspiration!

Ryan Tuer - Scary Gnome Productions - Owner & Operator
Graduated OIART in 2000
Watch the YouTube Video
Matt Andrews - Sovereign Audio - Owner
Graduated OIART in 2021
Watch the YouTube Video
Anton DeLost - Room 21 Sound - Producer, Engineer, Songwriter & Mixer
Graduated OIART in 2012
Watch the YouTube Video
Joel Harder - JKev Music - Freelance Mix Engineer
Graduated OIART in 2021
Watch the YouTube Video

Ready to Skill Up? Get Formal Training and Recognition with OIART

Careers in music production are incredibly diverse, exciting, and creative. You’ll have more control over your average workday than many other careers and spend your time focusing on music, trends, and working with artists.

You can undoubtedly start producing without formal training, but you may need industry-recognized qualifications to overcome plateaus or land a job as an in-house producer.

The Ontario Institute of Audio Recording Technology (OIART) is one of the best music production schools in Canada. We prepare you for a long, fulfilling career in the music industry. You’ll learn the latest techniques and technologies and have a strong understanding of navigating the industry.

Ready to start your new career? Apply today and start working towards your ideal workday.

Music Production: Your Complete Guide for 2023

Wed, 04 Jan 2023 15:00:00 GMT

A career in music production makes it your job to create compelling and attention-grabbing music. You’ll spend your days absorbing new music, analyzing what you like, and using various tools and equipment to craft your own tracks.

But how can you make music production your career? It begins with a strong understanding of the basics and getting the necessary tools and equipment to start making tracks.

Attending a music production school in Canada like OIART will give you hands-on experience, instructor-led courses, and avenues for job placement when you graduate. However, you don’t need to wait until your first day of class to start preparing for a career in music production. Exploring all facets of music production will help you decide if you want to make music your career.

Have you always wanted to start making music but aren’t sure where to start? We’ve got you covered — keep reading to learn everything you need to know to start producing.

What Exactly is Music Production?

What do we mean when we say music production? It’s common for people to have a general understanding of the term, but we need to get specific before going further.

Music production is the art and process of making music using various tools and techniques with the ultimate goal of releasing completed tracks to the public.

For example, you might work with major artists on their next hit single or produce tracks for businesses to use in marketing videos. Either way, the ultimate goal is to create a finished product that meets your specific goals.

Let’s clear up some common terms, so you have a firm understanding of where you want to take your career.

Music Production vs. Sound Engineering

Sound engineering is a highly technical skill closely related to music production but distinctly different. A sound engineer will operate the soundboard, fine-tune microphone input levels, and configure other equipment for the ultimate benefit of the recorded product.

Typically, the recording studio employs a sound engineer and works directly with music producers and recording artists. Most companies hiring sound engineers will want to see formal training, such as the completion of a sound engineering courses, so the studio has confidence in the engineer’s technical abilities.

It’s common for music producers to have overlapping skills from a live sound engineering course, and experience as sound engineers in a studio, but most major studios will have a specialized sound engineer on the team.

Live Music Production vs. Recorded Music Production

Music production is a diverse field but can be broadly broken down into two primary categories worth understanding:

Live music production: This category is any type of production focused on music performed for a live audience, including anything from a packed stadium concert to a small theater performance.
Recording music production: Conversely, recording music production focuses on tracks captured on a medium for distribution, such as a digital file, vinyl record, or CD.

Many music producers work with recording music and may never explore live music production. However, if you’re more interested in live music production, it’s worth keeping that goal in mind as you get started.

How to Get Started in Music and Sound Production

Getting started in music production may require some upfront investment. However, it’s also never been more affordable, thanks to the latest in audio production technology.

Ready to dive in? Here’s how you can get started making your first track.

Step 1: Pick a Digital Audio Workstation (DAW)

A digital audio workstation (DAW) is a vital tool and the cornerstone of production in music . There are several DAWs to choose from, and you’ll find heated debates about which one is the best. Popular DAWs include:

FL Studio
Logic Pro
Pro Tools
Ableton Live
Cubase
Studio One

Ultimately, the best DAW is the one you like and makes sense for your workflows. Most of the above options offer free trials to experiment with them and see how they work for you. However, most trials have limitations, such as the inability to export completed tracks or reopen projects.

Here at OIART, we teach Ableton Live and Pro Tools, both found throughout the world of music production. These DAWs are flexible and capable of working well for various needs, ranging from live music production to music composition.

Check our our Top Digital Audio Workstation Software and Music Production Tools of 2022

Step 2: Gear Up

You can start producing music with a surprisingly minimal setup — don’t think you need to buy a soundboard or even a MIDI controller to get started.

The right computer is essential, and you might already have that covered. Music production is resource intensive and consumes CPU and RAM, especially when running synths or working on complex projects. If you need to buy a new computer, prioritize those specs over video cards to maximize your budget.

Once you’ve got the right computer and DAW, you’ll also need the following:

Audio interface: An audio interface is a USB device that handles audio input and output. Audio output is manipulated by your operating system, which is fine for everyday listening, but detrimental to music production. An audio interface will also remove the ‘humming’ you may receive while recording vocals.
Studio headphones: Similarly, you need headphones designed for music production to provide a flat response, which means you’ll hear your music as it is. Consumer headphones have built-in equalizers that change the sound based on the manufacturer’s design. Your studio headphones plug into your audio interface.
Studio monitors: Depending on your budget, you can buy monitors later and start with headphones. Studio monitors are specialized speakers designed for music production and will also plug into your audio interface.
MIDI controllers: You can create MIDI tracks directly within your DAW, but many music producers prefer to play a MIDI controller instead. There are plenty of cost-effective MIDI controllers with enough keys and pads to get you started.

Step 3: Source Sounds and VSTs

You’re almost ready, but where does the actual sound come from? You have three main options, and it’s worth using all of them as you get started:

Microphones: These are the most essential tools of audio industry trade if you’re looking to record your own sound. Starting with a basic selection of dynamic and condenser microphones can help sculpt the exact sound you’re looking to capture, from vocals, drum kits and guitar amplifiers.
VSTs: Short for Virtual Studio Technology, VSTs are necessary for music production. Synths, like Serum, are VSTs that will help you craft nearly any sound used with MIDI tracks. Other VSTs are ideal for creating unique drums or mixing and mastering. Your DAW will likely include stock VSTs.
Sound Packs: Another option is sound packs. Sound designers and producers release sound packs you can legally use in your tracks. Packs will often include kicks, snares, 808s, and vocal chops.

Combined, you’ll have plenty of options to start making music.

Step 4: Learn, Experiment, and Explore.

Now, you’re ready to make your first track. So how do you know where to start?

It’s time for experimentation and exploration. First, look up tutorials for making songs with your chosen DAW and then experiment from there. Free tutorials can get you started on the right track by familiarizing you with the DAW and the basics of using it to produce a complete song.

Additionally, tracks may need to follow a specific format depending on your chosen genre. For example, hip-hop and pop will require a fairly strict verse/chorus format, while EDM is more open-ended. Learn how producers compose the overall track as you dive deeper.

Mixing and mastering is the final phase of a track and is an entire field of study. However, you can start experimenting and learning from the very beginning and learn more as you go. Play around with different decibel levels, panning, and equalizers as you produce.

Step 5: Consider Formal Training

Formalized training can significantly reduce the time it takes to get you from a beginner to a professional. Of course, learning on your own is a great way to go, but you may find yourself running in circles or hitting plateaus without knowing what to do next.

Consider a formal course in music production to help take your career further with additional knowledge and industry-recognized certifications.

Common Jobs and Roles of a Music Producer

Taking a music production course will prepare you for various future careers. There are plenty of avenues to explore; let’s explore some of the common career paths.

In-House Producer for a Recording Company

According to PayScale, the average salary for a music producer is US$54,521 (C$72,739.19) with the ability to increase dramatically based on skill and experience. PayScale primarily refers to in-house producers who work with a recording studio, label, or other organization as salaried employees.

Going this route is an excellent way to gain real-world experience and build a career with a consistent and reliable income. Remember that PayScale’s average is based on certifications, training, and years of work experience, so you’ll continue to increase your income as your career progresses.

Independently Sell Instrumentals

Many independent artists don’t want to learn music production and would instead focus on writing and recording compelling vocals. These artists seek out producers to work with and often license instruments directly. Additionally, stock music remains a lucrative option for independently-minded producers.

Marketplaces exist for producers to reach both artists and companies looking for instrumental tracks. If you go this route, register with a Performance Rights Organization (PRO), such as ASCAP , to ensure you’re always paid fairly for your work.

Working at a Studio

Starting at a studio from various levels has major advantages outside of the financial realm. Mentorship and interning can provide a level of on the job training and experience that is unparalleled anywhere else. Being an effective assistant and working with skilled producers could be the fastest way to learn the music production craft, but these types of jobs commonly come with high expectations where previous training and studio experience is a necessity.

Get Hands-on Experience and Industry-Recognized Training with OIART

Enrolling in a reputable music production course is an excellent way to kick-start your career, regardless of your chosen route. Whether you want to take the stage, work for yourself, or become an in-house producer, formal training will set you on the right path and even help with job placement.

The Ontario Institute of Audio Recording Technology (OIART) is an industry-recognized music production school with instructor led-courses to prepare you for a career in production. At OIART, you’ll learn the following:

Audio recording
Modern recording techniques
Music production
Pro Tools & Ableton Live
Live sound and event production
Music theory
Sound design
Networking and the music business
Entrepreneurship and self-employment
And much more, depending on your specific goals

Are you ready to see how our comprehensive courses can prepare you for a lasting career in music production? Apply today to take the first step toward your new career in music.

Music & Sound Engineering 101: Getting Started with Audio

Thu, 22 Dec 2022 18:14:33 GMT

Sound engineers play a vital role in audio recording, music production, post production and live performances. Engineers take on the technical aspects of the entire process, including a practical understanding of the physics of sound.

Anyone interested in diving deep into the technical aspects of the world of audio should consider pursuing a career as an audio engineer. While many prefer music production, others might be more intrigued by engineers' fine-tuned, detail-oriented role.

How can you get started with sound engineering? You’ll need some equipment, experience, training from audio engineer schools, and an interest in the more technical components of the audio industry. Keep reading to learn how to get started on your own and grow your passion into your new career.

What is Sound Engineering?

Sound engineering is the study and practice of leveraging available technology and understanding the physics of sound to record, process, and optimize sounds to benefit the project's final result.

A sound engineer college education will include an in-depth study of physics and technology, as both are essential to your future career. Fortunately, you can get started on your own before enrolling in an audio or music engineer course to determine if it’s the right path for you.

Let’s briefly dissect the different types of engineers and compare this career to the often-confused path of music production.

Music vs. Sound vs. Audio Engineering

There are several types of engineers related to the world of sound. You’ll see the following three terms often used interchangeably. The core skills of these engineers are similar; the difference is how their skills are applied. The standard engineering job titles are:

Sound engineers: Sound engineer is arguably the broadest job title for an engineer working in sound. You might set up a sound system for a live performance, set up microphones, or record sounds from unique locations. However, this title can also be applied to the more specific audio and music engineering titles.
Audio engineers: You’ll typically see audio and sound engineers as interchangeable terms. In most cases, there isn’t a notable distinction, and it’s more about how the company or job posting describes the role. However, audio engineers often focus more on the recording aspects of audio rather than sound overall.
Music engineers: Music engineering explicitly focuses on the musical applications of the engineer's skill set. You’ll pick the right equipment, set up microphones for optimum recording quality, and calibrate all related hardware and software for the best possible result.

Audio Engineering vs. Music Production

There is plenty of overlap between audio engineering and music production, and for small-budget projects, one person might take on both roles. However, in most cases, they are distinctly different roles.

Audio engineers typically focus on the in-depth details of recording audio from vocalists or bands, alongside configuring mixing consoles and other equipment as necessary. In addition, audio engineering programs hone in on sound physics and detailed technical training rather than diving into creating an entire track from scratch.

Music production focuses on the big picture of the final product. For example, a producer will work with the engineer and use recorded audio to compose a track. Additionally, the audio engineer will often handle mixing and mastering to fine-tune the music producer’s work before it’s finalized.

Which role sounds more appealing, the big picture or the technical aspects? If audio engineering sounds intriguing, let’s explore how you get started with the basics.

Getting Started with Audio Engineering

You don’t necessarily need to enroll in a school of audio engineering to get a feel for the basics of the career path. However, you’ll find a formal education in the field will help your career, but you can get started before applying to audio engineering colleges.

Learn Core Sound Terms

One of the first things you’ll learn in music or live sound engineering courses is a few basic terms. We won’t go over an entire glossary, but it’s worth touching on important terms before going further.

Frequency: The frequency of a sound wave is measured in hertz, with the bass having a lower frequency and higher-pitched sounds having a higher frequency. Recording, mixing, and mastering each involve understanding and blending varying frequencies of sounds, so they’re complementary.
Pitch: Frequency is the technical measurement of a sound wave, while pitch is an overall description of the musical value of said frequency. Pitches typically need to match within a given musical key and scale to sound pleasing; otherwise, they can be harsh.
Amplitude: You can think of amplitude simply as volume described in decibels. There are technical differences, but for now, consider amplitude as a foundational part of mixing a track, so certain sounds do not overpower others.

Explore The Basics of Music Production

We talked about how music production and engineering are different, but most engineers will still want a foundation knowledge of production. Additionally, learning to use a Digital Audio Workstation (DAW) is typically more cost-effective than buying a slew of expensive equipment.

What DAW should you explore? It’s a heated debate, but we believe Ableton Live or Pro Tools are ideal for sound engineers to learn. Both DAWs are found throughout audio engineering, whereas others are typically more focused on music production. Our music engineering programs focus on these two DAWs as a result.

Additionally, it’s worth investing in some equipment as you begin:

Studio headphones: Headphones explicitly engineered for music production and engineering. They’ll output the authentic sound of your project, especially when combined with an audio interface.
Audio interface: An audio interface is a USB device that processes audio input and output, bypassing the simple audio processing in your computer's motherboard.
Studio monitors: Monitors are speakers designed for music production rather than standard listening.

You may need to upgrade or replace your computer. You’ll want a powerful CPU and high RAM machine for working with audio.

Music engineer programs emphasize this equipment and often provide hands-on labs to save you from the upfront investment. From there, you’ll explore the concepts of music production before getting more in-depth into the engineering side.

Gear Up and Start Recording

If you’re not ready to enroll in a sound engineering course, you’ll eventually want to start practicing with more gear and recording audio. Recording is an essential aspect of audio engineering but can be challenging at home. Sound engineering courses generally have learning studios with high-quality equipment and recording studios carefully constructed for optimal recording.

However, even if you aren’t recording high-quality audio ready for a professional track, learning to record and work with audio files is still valuable.

You’ll need the audio interface from earlier, along with the following:

An XLR microphone
A ‘pop’ screen filter to remove unwanted sounds, like exhales, to improve recording results
Starting with basic absorption pads to dampen your home recording studio
(Optional) A soundboard, also known as a mixing board, to experiment with and learn how it affects recordings
If you’re looking to create your own studio here’s the complete guide to Building Your Own Studio

Once set up, record yourself talking or singing and explore how to improve the recording within your DAW.

Find Opportunities for Hands-On Experience

We can’t overstate the importance of hands-on experience in building a career in audio engineering. Any industry experience helps you learn more and build your resume, whether it's internships or even entry-level sound technical jobs. The closer you can get to working audio engineers, the better.

Don’t worry about getting paid much, or even at all, initially. Learning from an engineer and interacting with professional-grade gear will help you grow your career in the long term.

Take Your Education Further

There’s plenty of debate in audio engineering about whether you need formal education and training. Some aspiring engineers who are self-motivated, do well learning on their own, and don’t mind working for free might find success without formal training.

However, taking an audio or music engineering course will jump-start your career by teaching you the technical skills you need to begin your career. You’ll have hands-on labs with professional gear, learn from experienced engineers, and have recognized credentials to help land your first job.

Enroll in Sound Engineering Programs with OIART

Formalized training from sound engineering programs will help you land a paying job in engineering much faster than learning on your own. You’ll quickly acquire practical skills to help you get into the industry, and you’ll have credentials to show potential employers to give them confidence in your training.

The Ontario Institute of Audio Recording Technology (OIART) is an industry-recognized institution that provides practical yet detailed training for students pursuing music production and sound engineering careers. Ready to discover why we have one of the highest job placement rates in the industry? Apply today to start your new career.

What is a Sound Technician and What Do They Do?

Fri, 16 Dec 2022 16:59:00 GMT

Working in music and sound production is an exciting industry that blends creativity with technical expertise to create a polished final product. For example, you might work with a recording artist on their next single or help a movie studio with the audio for their next blockbuster.

Along with the range of companies and industries needing audio experts, audio production itself has several essential roles, such as sound technicians.

Sound technicians play a vital role in the overall production of any audio project, ranging from a hit album to the evening news. You’ll work closely with engineers and producers to create a high-quality result.

What do sound technicians do throughout their day? How do they contribute to the final production? Keep reading to learn more about exactly what a sound technician does and how you can start pursuing a career in the technical side of audio.

What is a Sound Technician?

Sound technicians work side-by-side with audio engineers and music producers. Typically, sound technicians will handle the “nuts and bolts” of the project, such as properly connecting and configuring microphones, speakers, amplifiers, and other equipment.

A technician may also assist with post-production and take on other more advanced roles in the project. Technicians have similar responsibilities as engineers and apply sound engineering skills. However, technicians are generally in entry or mid-level roles compared to engineers.

Sound/Audio Technician vs. Audio Engineer: Is There a Difference?

You’ll often see sound technicians working alongside audio engineers, but they are distinct roles. The engineer will determine the overall technical aspects of a project, and the technician assists in configuring the individual components.

Working as a sound technician is a great way to advance your career and become a sound engineer. You may still need to complete a sound engineering course , but it's often easier to find a job as a technician while you acquire real working experience.

Once you get some experience under your belt, you can seek higher-paying roles as an experienced technician or become a sound engineer. You may also be drawn to the more creatively-driven side of music production and decide to dive deeper into that side of the music industry.

The Many Roles of a Sound Technician

We touched on how sound technicians are found throughout several industries, but what specific roles will they take on? Some of the common jobs of a sound technician include:

Utility Sound Technician: A technician works with TV and film production companies to record high-quality audio and often assists with post-production. Depending on the project, a technician's role may include engineering and production responsibilities. Live sound schools focus on the training you’ll need as a utility sound technician.
Broadcast Technician: Radio stations require experienced technicians to make sure they’re broadcasting high-quality audio, regardless of whether it’s an AM talk show or a top 40 FM station.
Recording Technician: Capturing high-quality audio from a vocalist or bands is essential when producing an album. These specialized technicians are experts in configuring, connecting, and placing recording equipment in a studio environment.
Mixing Technician: Mixing requires balancing several individual recordings, so they merge together for a pleasing result instead of harshly overlapping. Depending on the project, music producers, audio engineers, and sound technicians can all be responsible for mixing.
Mastering Technician: Like mixing, mastering is the final step in a project that fine-tunes frequencies and other adjustments before the project is ready for a commercial release. Mastering happens after mixing and requires a trained ear and knowledge of how the track will sound on different speakers and headphones.

Sound engineering programs impart the skills you’ll need for each of the above roles. In addition, you’ll gain hands-on experience in professional-grade studios. You may even be able to find an entry-level technician position while completing your program.

What to Expect from a Sound Technician Career

Before you sign up for sound technician courses, what will you learn, and what career can you expect upon completion?

We explored the different roles of a technician, which can be generally divided into three categories: pre-production, production, and post-production: Let’s explore how your training at a sound engineering college will prepare you for both and what you’ll do within them.

Working in Pre-Production

Pre-production is setting up the environment for capturing audio for everything from a concert to a studio session. There is plenty of setup involved in any audio project, and sound technicians play an essential role in this part of the overall process.

Some common roles in pre-production are:

Analyze the acoustics of the environment to determine the best setup for equipment
Position and adjust microphones, amplifiers, and speakers
Communicate with the entire team to prepare for the production process
Apply your technical skills to complement the artistic vision of the project
Test and potentially repair equipment before production

While it can vary based on the project and industry, pre-production is when a sound technician is most involved with a project. You’ll take on configuring and testing everything involved in capturing audio before the artist or TV hosts arrive, levering your training to optimize quality and prevent issues.

Working in Production

Production ranges from a live show broadcast to recording audio for a podcast. Any task or responsibility that happens during audio capturing falls into the production category.

Live sound engineering courses focus heavily on a project's pre-production or production side. You’ll be tasked with making sure everything is ready to go before the project and making adjustments during production.

Typical tasks and roles in production include:

Monitor the recording or transmission of audio to catch and correct any potential issues
Identify sound-quality deviations or other malfunctions that may affect production
Assist in starting and stopping recording sessions, providing feedback to the artist, engineer, or producer as necessary

Technicians are usually heavily involved in production to ensure the project stays on course. For example, you may need to expertly change a microphone’s positioning or swap out a better model, alongside re-configuring mixing boards or amplifiers as the production progresses.

Working in Post-Production

Post-production is often considered the realm of producers and engineers, but technicians can still play an essential role in the process. For example, combining individual recordings in the overall composition of a song, mixing channels, and mastering before release are all part of post-production.

A technician may take on the following responsibilities during post-production:

Mixing different channels to create the intended result
Synchronize finalized audio with visuals
Assist in mastering before the project is finalized
Create and modify sound effects

A technician's involvement in post-production will vary depending on the project and industry. For example, lower-budget projects may rely more on a technician, while large-scale projects often have producers and engineers taking on most of the post-production work.

Don’t Skip the Soft Skills

Working as a sound technician focuses on the technical aspects of audio, but you’ll also work closely with your team. You’ll almost certainly have time to work alone, but developing your soft skills alongside your technical training is crucial.

Every role in the audio industry requires soft skills, and sound technicians are no exception. Soft skill is a term that describes your interpersonal skills, at-work behaviours, and personality traits. Essential soft skills for a sound technician include:

Communication: A sound technician regularly takes directions from engineers, producers, artists, and set managers — often all on the same project. It’s important to understand what’s being asked of you and take criticism well.
Critical thinking: People drawn to the technical side of sound will often already have strong critical thinking skills, but it’s essential to be aware of room for improvement. Thinking about a project when it’s over can help you reflect on any issues you could’ve prevented.
Adaptability: You can safely assume a project will change during any phase, from pre-production to post-production. It’s vital to be able to adapt both your mentality and the technical setup on the fly. Similarly, you should be able to keep a cool head when unexpected challenges arise.

Improving your soft skills takes time and effort, but fortunately, you can work on it throughout your personal life and professional career. Therefore, take it upon yourself to reflect on any challenges related to soft skills and learn how to overcome them.

Start Your Sound Technician Career with OIART

Sound technicians are responsible for various vital tasks and roles within a project. Your responsibilities will vary based on the industry, project, and stated role. Additionally, it’s common for engineers or producers to start their careers as technicians, while others will find fulfilling careers as experienced technicians.

The Ontario Institute of Audio Recording Technology (OIART) offers programs to prepare you to start your career as a sound technician, producer, or engineer. Ready to explore our industry-recognized courses? Apply today to get started or learn more about what we offer.

Top Digital Audio Workstation Software and Music Production Tools of 2022

jalves@oiart.org (Jeremy Alves) — Tue, 15 Nov 2022 20:30:00 GMT

Taking your first steps as an audio engineer or music producer can be daunting. There are so many considerations to make, from the equipment to buy for your home studio to the classes you’ll take at recording schools.

One of those decisions that will impact your success significantly in the future is the choice of music production software tools, specifically the Digital Audio Workstation (DAW).

To help make this choice much easier, we’ve compiled a list of some of the most popular solutions on the market and compared their pros and cons.

Introduction: What a “DAW” Actually Does

A Digital Audio Workstation (DAW) is a type of professional software used by audio engineers to record, edit, mix, and process audio tracks. Users can manage multiple tracks together at once, add effects accordingly, and combine them into a finished product. DAW fulfills the same purpose in audio and music production that video editing software has in movie-making.

Musicians often expand the functionality of their Digital Audio Workstations by installing plugins (VSTs), which can include new effects for tracks like equalizers, compressors, reverb, delay, and various others. Changing the tone, pitch, and speed of any number of tracks greatly increases the amount of control and customizability one has over the music.

Choosing Your Own DAW: A Rundown on the Most Popular Solutions on the Market

Music and sound production is a popular field, so it’s only natural that many software platforms exist to fulfill the audio editing needs of professional artists and sound engineers. With so many options on the market, it can be difficult to decide which one serves your specific needs best.

After all, there are many different “types” of audio engineers from the casual enthusiast to the serious career-chaser. Your choice, which will impact your work significantly and serve as the primary method of control you have over your recordings, depends on factors like your budget, amount of technical skill, and personal preferences.

Many of the options on this list provide free trials, with different limitations, to help you get hands-on experience before you make your purchase. Explore the different options for free to make sure you pick the right one for you.

Let’s go over some of the most well-known Digital Audio Workstations so that you can jumpstart your search and hit the ground running.

FL Studio: A Solid Entry-Level Choice

FL Studio has a lot going for it: it’s available in multiple pricing packages to fit a wide range of budgets. It works fairly well for beginners thanks to its number of starting features and plugins. And the timeline is generally fast and easy to use once you get used to it.

That being said, there’s a reason why we believe FL Studio is mostly geared towards hobbyists rather than professionals. Because the developers focused mainly on ease of use, the platform lacks many of the bells and whistles found in more premium software packages, which is a point brought up in many online reviews of the software. There are also many people complaining about the cluttered nature of the UI.

Nonetheless, FL Studio remains a well-known DAW that often ranks highly in the market, especially for new producers. However, it’s worth noting that FL Studio is still used by professional music producers, particularly those specializing in hip-hop. The DAW has several features that make it worthwhile for producers who appreciate its practicality and expand its potential with added VSTs.

Avid Pro Tools: An Industry Standard with a Steep Learning Curve

Avid Pro Tools is another famous Digital Audio Workstation and is often cited as the industry benchmark for DAW products.

We love the program’s customizability in terms of its functionality, and Pro Tools functions as the #1 DAW taught at OIART. Both professional audio producers and amateur home studios have found a use for Pro Tools, as you don’t necessarily need top-grade studio hardware to get the most out of the program’s extensive editing and mixing capabilities. We also appreciate the support network and continual updates from the developers.

Although it’s common to see online reviews that point out frustrations or flaws with the Pro Tools DAW, many of these result from the steep learning curve to configuring Pro Tools effectively. Because of its complexity and hardware integrations needed in their professional configurations, it’s simply not a “use out of the box DAW” in any professional setting. Formal training is highly recommended since this industry-standard software is used in for a variety of applications in major studios, film and television and live performances worldwide.

Available in two subscription models, Avid Pro Tools offers a less expensive version with functionality that any hobbyist or amateur recording engineer could need. Their more expensive Ultimate version includes support for more complicated workflows and hardware suites with more advanced features to support professional-level projects.

Studio One: New Kid on the Block

Studio One is relatively new in the DAW market. It was originally developed as a less technical and easier to use platform for musicians, and it largely succeeds in that regard.

One of the first features you’ll notice after booting up Studio One is the intuitive drag-and-drop interface for applying edits and effects to audio tracks. The layout can even be customized to suit your specific workflow. And best of all, there’s a free version available, with paid tiers offering additional content and plugins.

We do feel obligated to mention some of the performance issues many users have been experiencing. While most have been ironed out in successive updates post-launch, occasional freezing may still occur in current deployments.

Studio One still has room to grow, but it's developers have certainly been active. The company was recently acquired by instrument manufacturer Fender, which emphasized simplicity and ease of use as goals for the platform. Interested artists should stay tuned for new developments.

Audacity: Free and Functional, But Also a Bit Shallow

You can think of Audacity’s role in the DAW sector as akin to Microsoft Paint’s role in the art industry. It’s free to use, accessible to almost anyone, and also rather simplistic in its feature set and capabilities. However, it is more geared towards editing audio files rather than fully-fledged music production.

Developed by two college students over 2 decades ago, Audacity is an open-source and easily customizable audio editor. Many developers have added their own modifications and released their own versions of the program.

The advantages of Audacity are that it’s free and simple to use and it’s compatible with a wide variety of operating systems. The result is that it’s an excellent starting point for many amateurs.

Unfortunately, that simplicity comes at a price. More serious users interested in production in music will almost certainly have to add their own plugins and features. The built-in multitrack audio support is fairly limited as well, and there’s very little technical support available in case you need assistance.

We won’t call Audacity barebones as it does what it intends to do quite well. But more serious audio professionals are unlikely to turn to this DAW in the long-term.

Cubase: The Elder of Modern DAWs

Cubase has the distinction of being one of the oldest software solutions on the market, having been released back in 1989. This DAW boasts excellent editing features, stock plugins, and a robust MIDI engine. It’s also incredibly stable and runs with few issues on many machines.

But Cubase also shows its age quite a bit now. The interface looks arguably dated compared to the more sleek options available today. And the complicated workflows render the learning curve rather steep.

Cubase had its moment in the sun many years ago, but we think it’s slowly being eclipsed by newer and more advanced solutions today. Some industry veterans still swear by it though.

Ableton Live: Creativity’s favourite DAW

Modern recording artists and DJs absolutely love using Ableton Live. It’s popular thanks to its suite of audio effects and rich built-in library of sounds. If you’ve ever heard original electronic music, there’s a good chance it was mixed with Ableton.

What we especially love about the program is that it’s available in three different packages, making it perfect for almost any audio engineer from the experimenting newbie to the thorough expert. If you ever take a class at OIART, then you’ll be using this DAW.

The Intro plan allows for a limited number of tracks, scenes, and input and output channels, but it still contains all the features needed for quality audio editing, such as Comping and tempo following. The Standard and Suite versions are far more expensive, but they expand the scope significantly with new content packs and special features like linked-track editing.

Want to Become a Music Producer? Get an Introduction from OIART

Are you interested in becoming a music producer? Regardless of whether you want to pick up an entertaining hobby or make it your career, picking your DAW is your first step.

One of the best ways to boost your confidence and gain some valuable experience alongside other like-minded individuals is through taking an audio recording course. The Ontario Institute of Audio Recording Technology (OIART) is one of the sector’s best-performing training programs with an employment rate outperforming the industry average by 30%.

Are you ready to take the first step towards learning how to become a professional music producer? Learn more about our institute today to begin your journey.

What Equipment Do Professional Audio Engineers Use?

jalves@oiart.org (Jeremy Alves) — Wed, 02 Nov 2022 19:22:33 GMT

For those pursuing a career in audio engineering, it’s considered a rite of passage to start building your own workspace with all the professional equipment you will need for the job.

Having the tools of the trade within arm’s reach shows that you are dedicated to your craft and can properly focus on producing quality audio for any number of applications.

The type of equipment involved in sound engineering is different from the standard microphones and desk speakers you see in a typical office. The first step in your journey to producing audio recordings professionally is to think about your workstation and the tools within it.

Read on to learn more about the tools that professional audio engineers use every day throughout their careers.

What to Consider First

Before you make your first purchase, do some planning to get an idea of what your studio will look like.

What do you intend to accomplish? Are you heading towards a full-time career as an audio engineer, or are you recording as a hobby? Or maybe you might be somewhere in between, such as an enthusiast looking for part-time gigs. Either way, the scope of what you intend to accomplish will decide your budget.
Will you be mobile or stationary? While most audio engineers work in dedicated studios, it’s not uncommon nowadays to see many of them working from home or even traveling to different recording studios around the country. If the latter describes your situation, then you should look at portable recording equipment.
What type of environment will you be working in? Audio engineers working from home offices should think about background noise and whether the area they live in is conducive to professional recording. Think about investing in acoustic treatment and soundproofing for your home or office to filter out background noise.

Remember during your shopping that you can still upgrade or change tools over time should your needs change. Many audio engineers find that their careers evolve to the point where traveling might eventually be necessary, for example.

Choosing the Right Equipment for the Job

Production in music doesn’t require you to spend tens of thousands of dollars for an ideal setup. With a few basic components, any home office can be converted into an excellent space to work on your career. Mark Vogelsang, instructor at the Ontario Institute of Audio Recording Technology, sheds some light on this topic here , but let’s go over some of the essentials first.

A Studio Quality Microphone

We’re not talking about the cheap desk microphones that a lot of office workers use for Zoom calls. A studio microphone provides quality audio that works with a variety of instruments, from the guitar to the vocals.

Don’t forget to pick up microphone accessories either.

A pop filter cuts out excessive low frequencies, making audio editing much easier in post.
A stand with angle adjustment holds the microphone in the perfect spot to capture the sound.
Cable management tools run the wires along the ground in such a way that no one can trip over them by accident. Most studios would end up with a mess of cables otherwise.

Some studios even have different microphones specialized for each instrument. The drums are a special case, as their sounds tend to be heavily varied in pitch and volume. It’s not uncommon to see multiple microphones set up for each part of the set like the snare drum and cymbals.

Headphones for Monitoring Your Audio

Headphones are a core component of a studio setup. While quality speakers are an option (especially for group listening), audio engineers need to be able to listen closely to their recordings and detect small frequencies to make adjustments. Only a high-end pair of headphones can provide that functionality.

Most consumer-grade headphones can sound different from a studio-quality one because of variations in how they’re built. The type of headphones music production artists wear are designed to reproduce sound as accurately as possible. Brands well-known for producing studio headphones include Audio-Technica and Sennheiser.

That being said, it might still be a good idea to pick up some cheaper consumer headphones (such as wireless earbuds) if you want to know what your music sounds like in a “regular” situation.

Workstation Computers

What’s the best way to get all your hardware and equipment working together? Music engineering today relies heavily on computer workstations to manage and edit multiple recordings. The choice of which one to use comes down to personal preference.

Laptops are, of course, mobile, which helps if you tend to travel or just want to walk around the house with your work right in front of you. They can also be hooked up to a larger display, which helps immensely when editing tracks.
Desktops might make more sense in terms of processing power, longevity, and a better price-to-performance ratio if you don’t need to move around a lot.
All-in-ones are compact, negating the need for multiple wires or a desktop tower on your desk. The result is more room for your other audio equipment, hence why products like the Microsoft Surface Studio and the Apple iMac are so popular in music production.

Keep in mind, however, that most computer motherboards are not built for high-resolution sounds. An audio interface will be required to upgrade the sound output of your computer, as electrical interference inside the case can mess with your audio.

Audio Programs and Software

Hardware is only as useful as the software it runs. Audio engineering software is used to:

Record, store, and edit recordings
Handle large amounts of data from multiple projects while still staying organized
Integrate and control all your equipment at once, possibly through a recording console.

Digital audio workstation (DAW) software helps move around audio tracks as you see fit. It comes with a variety of useful editing tools like equalizers, compressors, limiters, and metering solutions.

There are several dominant DAWs used throughout the industry, and it largely depends on preference. It’s worth trying free trials of dominant DAWs, like FL Studio and Ableton Live, to get a feel for which one you like.

Other Miscellaneous Tools

While you can get started with a computer and basic equipment, you also need to think ahead. Here are a few other purchases to plan out for.

Control surfaces: Ever seen those studio setups with a ton of buttons, switches, knobs, and sliders? Chances are you were seeing a control surface like the CL-16 from Sound Devices . A computer keyboard isn’t sufficient for detailed audio control, so make room in the budget for a control surface.
Cables: Microphones, headphones, and other audio equipment run on specialized cables. Choose ones that are long enough to reach all your devices yet robust enough that they don’t suffer from the distortions commonly found in cheap cables.
Cable testers: Music studios work with a large number and variety of cable connections, all of which can suffer from power delivery issues that add noise and volume dips to the recordings. In case issues prop up, an audio engineer needs to be able to test out all the cables to get back up and running.
Reference tracks: Music artists usually keep a collection of reference tracks, professionally remastered songs to be used for comparisons and benchmarks in order to create mixes or balance out tones.
Makeshift acoustic treatment: Don’t have room treatment options yet? You can actually get away with using carpets, bookshelves, and even soft clothing to boost the acoustics of your studio space. It’s not ideal, but it can work in a pinch.

The list provided here is by no means exhaustive. The further you dig into audio engineering, the more useful tools you’ll find to help you out in your journey.

Get a First Taste of Professional Music Production at OIART

Does studio equipment sound like a big investment? That’s because it is, and working towards a production space is a time-consuming and high-cost endeavour that requires dedication to this line of work.

Brand new and aspiring audio engineers should look to a music production course first before placing the first order. You can not only take time to get used to the workflow in a real studio but also learn important skills that will help you in your career. Apply today for free and browse our course content topics .

The Best Audio Engineering School In Ontario, Canada

Tue, 06 Sep 2022 20:51:09 GMT

OIART has the highest graduation rate, employment rate, and graduate satisfaction in Ontario, Canada!

Graduation rate is the percentage of students who start the program that actually finish the program. Graduation rates are an indication of program quality. Low graduation rates are a result of students not enjoying the program and leaving before completing the program.

Employment Rate in field of study is the percentage of graduates who are actually employed in the field of study (Audio and Music) six months after graduation. Not to be confused with “Employment rate”, which is the percentage of grads who are employed in ANY job six months after graduation.

Graduate Satisfaction rate is the the percentage of graduates who were satisfied with their education and program experience six months after graduation.

Why is OIART the best audio engineering school in Ontario, Canada?

HIGHEST GRADUATION & EMPLOYMENT RATES IN THE INDUSTRY

Since opening, OIART has had over 1,500 students pass through the doors. Of that number, almost 90% graduate and more than 70% have jobs within 6 months.

SMALL CLASS SIZES

Only 68 candidates are accepted each year. We offer only one program with one start date per year making us the only program in North America with true small class sizes. Students enjoy unprecedented access to faculty and studios with over 1,300 hours in 8 state-of-the-art facilities including over 650 hours of hands-on studio time and unrivalled personalized career counselling and support to help land that first job.

1 PROGRAM. 1 START DATE

Unlike other audio schools, OIART offers a focused, comprehensive and relevant audio engineering curriculum delivered over an intense 11-month period. It never remains static and evolves to reflect new technologies and changing software. We do not teach old outdated models of the music industry. Our history and close relationships with numerous major employers in Canada and the US allows our curriculum to reflect the needs of the employers and what they are looking for in our graduates. OIART graduates walk out of the program with skills that are in-demand today, not 10-20 years ago.

THE ONLY PROGRAM STILL RUNNING SINCE 1983

We’ve been teaching audio engineering since OIART opened in 1983. We’ve only offer one program which has allowed us to quickly adopt any technological advancements in recording, producing, and mixing music & audio. While other schools offer multiple programs and are slow to adapt, OIART is constantly adjusting our curriculum to be current which provides our graduates with real world skills that are in demand TODAY.

WE’VE BEEN SOCIAL DISTANCING SINCE THE ’80s SMALL CLASS SIZES & BIG FACILITIES

To ensure each student gets all the attention they need, we limit our enrolment to only 68 students per year, and we only have 1 start date.

Students enjoy unprecedented access to faculty and studios with over 1,300 hours in 8 state-of-the-art facilities.

Each of our classrooms combine a working studio environment with comfortable theatre-style seating. Classroom tools resemble the ones used throughout OIART facilities, so that you learn on what you use.

You start using our student-dedicated studios in the 1st week of the program and after 11 months and over 650 hands-on hours in these creative spaces, you will know them like the back of your hand.

Hands-on practical studio experience is crucial to the OIART experience and you spend every second of it – in small groups of no more than 4 students at a time — in our extensive on-site facilities.

How To Build Your Own Recording Studio: A Quick Guide

Wed, 06 Jul 2022 22:04:00 GMT

Just like how every carpenter needs a hammer, you need the right tools for the job if you want to be involved in music and sound production.

If you’re serious about being involved in sound production, what sets apart the amateurs from the aspiring professionals is simple: proper equipment and the training to use it.

Knowing how to make a home studio lets you bring the professional-grade equipment and electronics you need for quality audio recording right into your own home. But while most musicians dream of having a homemade recording studio, how exactly do you build one? What should you consider? And what are the challenges when building a studio?

Why Should You Build Your Own Studio?

DIY projects can be a rewarding experience for anybody, but why does it make financial and logical sense to build a music production studio in your own home?

The cost makes sense for long-term musicians: When the rent cost of a professional recording studio can be tens or even hundreds of dollars an hour, a home studio makes financial sense if you’re sure you’re sticking to it in the long-term.
You don’t have to worry about time limits: When paying by the hour, some indie musicians feel pressured to rush the work in order to avoid overage charges. Doing so often compromises on quality, which no one wants to risk.
It’s available 24/7: When inspiration hits at the most random times, there’s no need to track when the recording studios close. Whether it’s early in the morning or at 2 AM, you always have your studio ready for you.
And it’s right in front of you: Traveling to a professional studio can also cost gas money or transportation tickets. And when the rain starts pouring, a home studio doesn’t require you to reach for that umbrella.
You can customize it: Much like a home office, designing your own space means choosing all the tools, equipment, and furniture. Getting inspiration for your work is usually much easier when you’ve designed your workspace yourself.
It’s fully yours: It can be nerve-wracking, especially for new artists, to go to a public recording studio. Gain inspiration in the comfort of your own home with a DIY project.

And, of course, you can consider developing your own recording studio as a sort of rite of passage for your career. Let’s get into how to build a studio from scratch.

How To Build a Recording Studio In Your Own Home

Much like any major personal project, don’t expect everything to work out immediately. Building a studio may take several days, and you might want to make changes as you progress. Here are some steps to get you going.

Stage 1: Planning

Don’t get too excited just yet. Before you start spending any money, plan out what you aim to achieve with this recording studio. Whether you’re looking to record some demos or dive deep into audio engineering, your goals will dictate how you prioritize your budget and pick your hardware. Keep in mind that your objectives may change over time, so get ready to be flexible with the budget.

Speaking of the budget, think about whether you want to implement a spending cap now or you’re okay with buying new items incrementally. And, of course, don’t forget to check out the second hand market to save some extra money.

Stage 2: Choosing the Room

Few rooms in a typical household are optimized for recording, but you can certainly optimize your starting point. Ideally look for a room that has:

A solid door with few windows
A high ceiling
Carpeting for sound absorption
Resistance against outside noise, also known as soundproofing
A large enough space for your equipment

Another concept to grasp is acoustic treatment, which differs from soundproofing. The layout of your studio and the position of the equipment can change the sound flowing through the room, so set up in such a way that any recording retains its integrity. Do your research on this topic, as there’s plenty of considerations to make in this regard. You’ll probably have to add some acoustic treatment material (such as foam or fabric absorber panels) to get more accurate sound reproduction. If you don’t want to build your own absorbers, the company Primacoustic offers some great “studio in a box” solutions.

Stage 3: Equipment

Music production is heavily dependent on having the proper recording equipment. Gear up your home recording studio with these essentials:

A computer: Think about a desktop or laptop computer, which will run all the desktop software and applications you need to take control of the recording process. Pair it with a digital audio workstation (DAW) software package, such as Pro Tools, Logic Pro or Ableton
An audio interface: An interface converts the analog audio signals into digital files that the computer can work with. Good interfaces also incorporate microphone preamps as well as handling instrument level signals such as from a guitar. The Scarlett range of interfaces from Focusrite are a popular choice with many different price points and input/output configurations.
A microphone: Of course, you can’t forget a high-end microphone. Whether you need a condenser, a dynamic, a ribbon, or any combination of these options, pair your mic setup with any needed accessories like XLR cables or pop filters. Shure, Rode and Blue Yeti are some manufacturers popular with the home studio market
Speakers: Studio monitors are named so because they allow you to accurately monitor your own work and make adjustments to your sound accordingly. KRK and Yamaha both make great sounding studio monitors that won’t break the bank.

The task certainly sounds daunting, but don’t be fooled; any artist can get started on a home recording studio. Just ask Ryan Tuer, owner of Scary Gnome Productions (and OIART alumnus!), who details in this video how he accomplished this task to accelerate his career.

Go From Hobbyist to Professional with OIART

Thanks to the cost of equipment going down and rising markets for indie artists, production in music is a far more accessible industry for regular people than it used to be. Putting together your own home studio is a major step towards your success in that regard.

But if you really want to jump start a fruitful career, you want to learn the tricks of the trade alongside other like-minded people. The Ontario Institute of Audio Recording Technology (OIART) offers live classes with low student-teacher ratios. Students get hands-on experience using all the same software and equipment as the pros.

Whether you’re based in the US, the UK, or Canada, our programs are designed for the aspiring producer, sound engineer, or any other related audio professional. Apply today for free but don’t delay. We only accept a maximum of 68 students per year.

What Working in the Audio Industry is Actually Like

Fri, 01 May 2020 13:38:00 GMT

You may be in the process of getting an audio engineering degree and preparing yourself to pursue a career in the audio industry. Before you leave school and jump into your job hunt though, have you wondered what working in the audio industry is really like? Careers in the audio industry do not necessarily follow the same schedule or path as other jobs, but it can still be exciting and rewarding! Keep reading to find out what is in store for you in your audio industry career.

Be Prepared for Long & Odd Hours

Working in the audio industry rarely means a regular 9-5 schedule. Recording sessions can take place at any time of the day, and if you are doing the mixing as well, this will add hours to your work day as you spend long hours at the mixing board. It is not uncommon for engineers to stay at the studio until late at night, only to come back again early in the morning for another session with another artist.

If you are freelancing, your hours will vary even more. Some days you may be on location at a session, making for 10-12 hours days, with your hours being dictated by whoever hired you for that project. On days that you are working from home (or wherever you choose to work from) you can set your own hours, but there will be times when you are working all night in order to meet a deadline for a client.

Odd hours like these are why it is important that you love what you do! If you are passionate about the work you are doing, long hours like these will be easier to handle!

How much will I make?

In the audio industry, pay can range widely. If you are freelancing, you will have certain clients who have higher budgets than others, therefore making those jobs more profitable than others. You may also go through periods when you have a lot of projects on the go and are bringing in a lot of income, and other periods when jobs are harder to find. If you are permanently employed at a studio or elsewhere, you income will be steadier, but again will vary depending on the size of the studio, your experience and responsibilities, and other factors.

On average, the starting salary of an audio engineer, for example, is around $20,000 per year, and then as you gain experience and begin to move up in the industry, salaries can increase up to $150,000 per year or more.

Working with People

Throughout your career in the audio industry, you will be required to work with a wide variety of people. You will have to be prepared to work under pressure and meet the demands of all the different people you will be working with. With temperamental artists, demanding corporate clients, producers, and more, you will have to become very good at dealing with people. It is crucial that no matter how easy or difficult each person is to work with, you know how to work with them professionally and diplomatically.

There is no set career path

The audio industry is diverse, and your skills will be applicable to a number of different jobs across different sectors of the industry. This means that your career path will likely not be as straightforward as you are imagining it. At the start of your career you may need to take odd jobs that are not necessarily in the sector you are aiming for in order to gain the experience necessary to move forward in your career. The audio industry can be hard to break into, so take the jobs that you can in order to build your resume.

Who You Know Often Matters More Than What You Know

Unfortunately, success in the audio industry is heavily based on your network and connections. This does not mean that you shouldn’t also focus on building your portfolio and widening your skill set, but as you do so, make sure you are forming positive relationships with each person you work with. You never know who is going to be able to help you in the future or who may be important in helping you reach the next level of your career!

Be Prepared for Lots of Problem Solving

In the audio industry, there will always be problems on a project, and you will have to be able to work through them professionally and efficiently. Also, no matter how long you have been in the industry, there will always be new problems that arise. Because of this, you will not be able to rely on a formula for solving issues, you will need a unique solution for each unique problem. This can seem daunting, but soon you will develop such strong problem solving skills that you will be able to handle any problem that comes at you without any hesitation!

What is a DAW?

Tue, 21 Apr 2020 13:38:00 GMT

DAW stands for Digital Audio Workstation and is a type of software that you use for recording, mixing, editing, and processing digital audio. DAWs may come in a variety of forms ranging from a single software program on a laptop to a highly complex system of multiple components that is controlled by a central computer, but all DAWs have a central interface that allows the user to alter and mix multiple tracks into a polished final product.

What does a DAW do?

DAWs allow you to record and edit multiple audio files at once, adding effects to the tracks, pan tracks, and more!

Like in a mixing console, the DAW displays each track along with controls that allow the user to adjust the volume, equalization, and stereo balance (pan) of the sound on each track. This allows you to adjust each part of the song you are working on. You may adjust the volume of each track so you can hear each individually and then the whole song together as a whole. Once you are satisfied with the way your song sounds, you may export the completed mix!

DAWs also allow for the installation of countless plugins. Each one of these plugins has its own unique function, and therefore expands the overall variety of sounds and manipulations that are possible. Plugins can alter the sound of a track with distortion, resonators, equalizers, synthesizers, compressors, chorus, virtual amp, limiter, phaser, and flangers. Each has their own way of manipulating the soundwaves, tone, pitch, and speed of a sound and transforming it into something totally different. If you want to really get creative and make an even more unique sound, you can add multiple plugins in layers to further manipulate the sound!

What is the difference between a DAW and an Audio Editor?

There are two main types of recording software that you will use to produce music: DAWs and audio editors. While DAWs allow you to edit and mix multiple tracks at once, as mentioned above, audio editors only allow you to edit one track at a time. In an audio editor, you can edit the track, adjusting volume, splitting the track, and making other edits, but you may only do this to one file at a time. Once you are satisfied with how you have edited this track in your audio editor, you would import it to your DAW in order to mix it with the other tracks and create the final song.

There may be some crossover between the two, as some editors also have multi-track recording and most DAWs have some editing capability, but for the most part, this is the difference between the two.

How to choose the best DAW for you

There is a wide variety of DAWs available for you to choose from. Which one you choose will depend on a few things: your budget, your technical skills, and your needs. There are many DAWs out there, with both free and paid versions available, so shop around and see which one fits your needs the best!

A few examples of free DAWs are Reaper, Cakewalk, Audacity, and GarageBand. GarageBand is intuitive and easy to learn, but it is only available to Mac users. Audacity and Reaper are both available across multiple platforms, and are open-source, so although they have a more primitive interface, they offer a lot of potential for customization by each user. In terms of the DAWs used by audio professionals, Avid’s Pro Tools and Apple’s Logic Software dominate the marketplace.

Most DAWs offer free trials, so take advantage of these! Download the demos or trials and try a few out before making a final decision about which one is best for you.

How to Land an Internship in the Music Industry

Tue, 14 Apr 2020 13:38:00 GMT

Internships are a fundamental first step in your career, especially in the music industry. Many companies will hire their interns in the future, making the connections you form during your internship extremely valuable. But how do you go about getting one? Some positions are not widely advertised, or not advertised at all, and it can feel impossible to get a position in such a competitive industry. Although it can be difficult, it is definitely not impossible! With hard work and the right strategy, you will be able to land an internship in the music industry!

Make a List of Companies/Studios You Are Interested in Working For

The music industry is massive, so there are countless places you could potentially do your internship at. This many options can be overwhelming though, so to give yourself a place to start, make a list of the companies or studios that you would be interested in working for. Think about things like the size of the company, where they are located (Can you commute there? Will you have to move?), what exactly they do, and what types of music they produce. You want to make sure the company and the position are something you are truly interested in or you will not have a positive internship experience. If you are not passionate about the company and what they do, you will not enjoy your internship!

Start Reaching Out

While some companies will advertise internship positions widely, there may be some that are harder to find or not advertised at all. In order to find those ones or to get a position at your dream company, you may have to take your chances and simply reach out to the company asking if they have any positions available. Before you do this, however, make sure you do your research! Look into the company’s history, clientele, projects, and more. Make sure you understand exactly what they do and how you will fit into that!

When reaching out, make sure your email is addressed specifically to the person you are emailing, it is polite and professional, and you outline exactly what you can offer them as an intern. Tell them what you studied in college or university, what sort of qualifications you have, any previous experience, and any applicable transferable skills. Although an internship is a learning experience, you have to have something to bring to the table to start off! Be confident about what you are capable of, without being cocky.

Make Yourself Stand Out

The music industry is competitive, meaning there will be other people applying for the same positions that you are. In order to be the one to land the job, you are going to have to stand out. In order to prepare for your internship hunt, do things that will beef up your resume. These can include relevant volunteer opportunities, joining clubs through your school, or independent projects. Show the companies you are applying to that you are truly passionate about the industry and you are actively involved in it.

Come With a Reference

The music industry is all about connections and reputations! Just like when you are applying for a full-time position, your best bet for getting an interview, or potentially the position, is to know someone who works at the company, knows the person doing the hiring, or knows someone at the company. If you are just starting out as an intern, chances are you do not have very many connections in the industry yet, but just start thinking about who could possibly give you a recommendation. For example, maybe one of your professors or instructors knows someone in the industry and would be able to connect you!

Internships or entry-level positions tend to be lower stakes, so don’t worry if you don’t know anyone who could give you a reference or recommendation. As you begin volunteering, interning, and working in the industry, you will meet plenty of people to add to your professional network, and this will help you with future opportunities!

With these tips in hand, you’ll be sure to land the internship of your dreams! Just remember that even if you feel like you are starting from scratch, with the right amount of hard work, you will be able to get a great position at a great company.

How to Build a Network in the Music Industry

Sat, 04 Apr 2020 13:38:00 GMT

The music industry is heavily based on who you know and what kinds of connections you are able to make. This means lots of networking! Networking can seem like an intimidating task, but it doesn’t have to be! Start with small steps, and you will be an expert with a solid network in no time!

Go to Music Industry Events

In order to create a network, you must actively put yourself into situations where you will meet people. A great place to look for network connections is at industry events where you know there will be a large concentration of industry professionals. These events can be conferences, musician meet-ups, trade shows, and so many more.

If meeting new people is intimidating to you, start with smaller events and set yourself a small goal of meeting three new people, for example. Once that seems easy to you, raise your goal and slowly work your way up to larger events and meeting lots of new people at each event you attend.

Do Your Research

Before attending these events or reaching out to people, do some background research. In networking, confidence is key, so doing a little bit of homework beforehand will help you conquer the room. Look into who will be attending the event so you can determine who you want to make an effort to introduce yourself to. Once you have decided who you want to talk to, do some research on them and their career so you have a clear understanding of what they do and what they have worked on. Having this prepared will help you sound more knowledgeable when you are talking to these industry professionals and will also act as great conversation starters!

Practice Your Pitch

If you are networking with the intention of meeting potential business partners or employers, you do not only want to talk about them though, you want to let them know what you are working on and what you have to offer! Before going to each event, make sure you are prepared to talk about your current projects. You don’t want to sound scripted, but you should practice so that you can talk about what you do in a clear and concise way. Be proud of what you have worked on, without bragging!

Maintain Your Network

After meeting someone at an event, make sure you follow up. This can be as simple as an email the next day letting them know you enjoyed talking to them last night and you hope you can stay in touch.

After this, maintain the connection. This can be done through periodic emails, likes or comments on social media, or anything else that will remind that person that you exist and remind them of the connection you made at that event. It may take time before the connection turns into anything that will directly benefit you professionally, but fostering as many connections as you can will increase your chances of making it in the industry and landing your dream job!

Differences Between Networking in a Small City and Networking in a Big City

If you are living in a small city, you may feel as though there are fewer opportunities for you because there are no industry events hosted in your city and there are very few industry professionals in your area. This does not mean networking is impossible though!

You may not be able to attend big events in person, but you can still reach out to people online. Almost all industry professionals have their contact information available on their company’s website. It can be harder to make genuine connections online than it is in person, but if you keep in contact enough it is definitely possible.

When living in a large city with a large concentration of industry events and professionals, it can feel overwhelming and almost as though it will be impossible to make yourself stand out among all those people who want the same thing as you. Instead of getting down, use this concentration of people to your advantage. Build new friendships and create mutually beneficial business deals with other industry professionals. Be genuine in your connections and business dealings and you will eventually begin to build a reputation for yourself in the industry, despite the huge number of people around you.

No matter where you are, it is possible to build a strong network of professional connections. If you put yourself out there, make genuine connections, and do your research, you will be able to find people who can connect you to the right opportunities and people to advance your career in music!

How to Break into the Video Game Industry as a Sound Engineer

Wed, 25 Mar 2020 13:38:00 GMT

Breaking into the video game industry can be hard, especially in a position as specific as Sound Engineer. Jobs in the gaming industry are not as plentiful as other fields and they also tend to be more precarious, as more companies hire freelancers for individual projects than full-time salaried employees. If you are willing to take on that risk and are passionate about gaming, then this has the potential to be a very rewarding career for you!

Start with an Internship

A natural place to start when trying to break into any industry is to get an internship.

Not every studio will have an official internship program, but most are open to the idea of a part-time, temporary, and inexpensive (or free!) worker that could help them finish their game. You do not have to have extensive experience to get an internship, so this is a great way to start your career and gain some valuable experience and connections in the industry.

Get a College Degree

In addition to getting an internship, a good starting point in your career is a college degree in a relevant field. If your goal is to be a sound engineer, then a natural choice would be an audio engineering program, but as long as your degree is relevant to the position you are hoping to land once you finish school. Most positions that state they require a Bachelor’s Degree do not specify which field your degree must be in.

Getting a formal education will give you a solid foundation for when you go out to look for your first real job, as you will have the knowledge necessary to succeed in your desired role.

Build a Network

When trying to break into a difficult industry like the gaming industry, connections are everything! Work hard to connect with a wide variety of people in your industry and make a positive impression on these people. As you are searching for an internship or your first job, leverage these connections, as you never know who will have an opportunity for you or will be able to connect you to the person who will give you your first job!

This network can be developed anywhere and you should continue developing your network throughout your career. When you are first starting out, make sure you get contact information from professors you were close with, your internship supervisors, and anyone else you connected with on a professional level.

Develop a Portfolio

When you are searching for your first job, you may feel like you are caught in an inescapable loop: in order to get a job, you need experience, but in order to gain experience, you need a job. Get yourself out of this rut! If you cannot find anyone who will give you something to work on, get some equipment or software and start creating things for yourself. Work on independent projects and create a portfolio that you can present to people when you are applying for jobs or going in for interviews. Having a portfolio gives potential employers an idea of what you are capable of and shows them that you already have a little bit of experience and technical knowledge, which is crucial in any job.

How to Become a Music Producer

Sat, 14 Mar 2020 13:38:00 GMT

Being a music producer can be one of the most exciting jobs in the music industry. You get the chance to work with a variety of artists on projects of all kinds and oversee the creation of many records. As a music producer, you’ll get the chance to work on the creative side of music production, as well as the business side, giving you the chance to be involved in the making of the record from beginning to end. Unfortunately, breaking into the music industry and becoming a successful music producer can be difficult. But with hard work and determination, and by taking the right steps, you can make your dream a reality. Keep reading below for some important steps to take in order to become a music producer.

1. Thoroughly Understand Music

Understanding music theory will allow you to help your artists produce the best music possible. The best way to do this is to learn an instrument (or more than one!) as this will formally educate you in music theory and give you a deeper understanding of music itself. In addition to this, you can read books and do independent research. Work hard to make sure you understand what makes a song work and how to make them stronger. Listen critically to song after song to increase your knowledge and understanding of how the music is structured and what makes the song sound good.

2. Learn engineering and mixing sills

While this is not the only path to success as a music producer, most of the top producers have some background experience in engineering or mixing. This experience allows you to fully understand how the different elements of a song work together sonically. Once you have this knowledge, you will have a much stronger understanding of music and be better prepared for when you are sitting in the producer’s seat. As a producer, you will be making decisions about how the track will ultimately sound, so it is crucial that you know what you are talking about!

3. Get an Education

Although there are no set educational requirements for becoming a music producer, having some formal education in a related field is important. Consider education in music production, music business, or other related topics. Education on topics of copyright law, marketing, or artist management can be helpful as well. You want to have a full understanding of the industry you are going to be working in if you want to be successful!

4. Build a Network & Collaborate with Others

Collaborations allow you to create new connections, as well as learn some valuable skills. Collaborating with others helps you to learn how to work well with other people and share ideas, as well as how to compromise. You can also build your own brand and leverage the audience and fan base of other artists by working together.

Collaborations also help you to build relationships with people who work and think like you, which is crucial in the music industry. Being successful in the music industry relies heavily on who you know and the relationships you have with people in the industry. Take any opportunity possible to connect with other artists or producers as the more people you know, the more opportunities for work you will find. Throughout each job you have, work on building positive relationships with those you are working with, as you never know when these connections will come in handy! In addition to opportunities for work, network connections provide opportunities for growth. Connect with those who are higher up in the industry than you, as they have more experience and will be able to teach you things that will help advance your career!

5. Build your portfolio and get your work out there!

The more music you have worked on and the more genres you have experimented with, the more equipped you will be to help an artist produce their own track! Play around with creating different mixes at home, and then upload them to YouTube, Soundcloud, or other online platforms. No one can hire you if they do not know that you are producing music! Social media has made it easier to gain exposure, so harness that power. Connect with other people online to get feedback, and then continue working on your projects to build your repertoire and improve your skills!

There is no set path to becoming a music producer, but these tips will help to push you in the right direction! The most important thing is to remember to work hard and constantly continue improving your skills, so that you become an even more valuable asset to everyone you work with!

How to Become a Mastering Engineer

Sun, 01 Mar 2020 13:38:00 GMT

Yet another exciting role in the audio industry is the mastering engineer. A mastering engineer is hired by the artist or producer of an album to complete the audio mastering process during the post-production of an album. The mastering engineer has specific expertise in preparing and transferring audio from one raw format to the desired master format.

Becoming a mastering engineer can be an exciting and interesting career in the audio production industry.

So how do you become a mastering engineer?

The first logical step in any career is to get a relevant education. To become a mastering engineer, you may consider studying music engineering or production. Studying music theory and music history can also be beneficial to an aspiring mastering engineer as these studies will train your ear (your most valuable tool as a mastering engineer!) and give you a deep understanding of music. Once you have completed your degree, use it to get your foot in the door in a studio as an intern or an assistant. Although you want to be a mastering engineer, you will not become one overnight! It will take time before people feel you are experienced enough and trust you to master their records. Start with an entry-level position to get a foothold in the industry and work your way up!

Develop Your Technical Skills

In addition to a formal education, work on developing your technical skills. In order to land even an entry-level position with a studio, candidates must already possess a certain level of technical knowledge! The best way to do this is the buy some equipment and start playing around with it. Acquaint yourself with a number of local bands or artists and start doing some work for free. Doing work for free may not seem ideal, but gaining experience is the only way to move up in the industry! Make sure that you understand exactly how to get the best sound from your equipment so that you can produce the best tracks for your artists and clients. While understanding your own equipment, also make sure you are up to date with the latest technology and mastering techniques and trends.

Gain Real Experience!

The best training to become a mastering engineer is on the job. Experience is key! Once you land that first position as an intern or assistant, never stop learning and developing your skills. Listen to everything you can, so that you can train your ear. Some people specialize in one genre, but you will open up many more doors if you are able to work on a wide variety of genres. As you become experienced, you can get promoted either within your studio or be able to apply to higher up positions at other studios, with each promotion getting you one step closer to your goal of mastering engineer!

It may be a long time before you make it to the position of mastering engineer. You will have to start on the very bottom in an entry-level position, but after you have spent time on the job and significant time in the studio, you will develop the skills necessary to become a mastering engineer.

Making the Most of an Internship at a Recording Studio

Wed, 19 Feb 2020 13:38:00 GMT

Internships are an important first step in your career and can open the door to a certain company or career path you are looking to pursue. They may get a bad reputation as many internships are unpaid, and you hear horror stories of interns did nothing but get coffee for their entire internship, but there are benefits to doing an internship and ways to make sure you avoid doing coffee runs all summer long!

What are the benefits of doing an internship?

Gain Experience & Develop Your Skills

An internship is a great way to gain some experience before you go out into the workforce! This experience will give you a leg up on your competition when you start applying for full-time jobs. Some companies even hire their interns immediately after the end of their internship! But even if this does not happen for you, you have gained valuable experience to add to your resume.

Trial Run of a Job

An internship is also a great low-risk way to make sure you like a certain job. As internships are short-term, you can try a job for a little bit and make sure you actually like it before you pursue a full-time position! Use this time to try out any different areas of the industry so that you can find out which ones you really like and which ones you do not enjoy before you commit to a full-time job.

Build a Network

The music industry is all about who you know and what kinds of connections you have. An internship is the perfect place to start building this professional network. Make a good impression on your supervisors and co-workers so you can use them as references in the future and keep those valuable connections. You never know when those connections will come in handy!

These are only a few of the benefits of doing an internship! There are so many things you can get out of an internship, you just have to know how to make the most of it.

How Do You Make the Most of an Internship at a Recording Studio?

Have a Good Attitude & Be Willing

No matter what tasks you are assigned during your internship, have a positive attitude! As an intern, you are on the bottom of the food chain, and so you may not always be given the most exciting tasks. Be willing to do anything, even if it is cleaning the kitchen, and make sure you do it well. Eagerness and a good effort will not go unnoticed, and eventually you will be given more interesting tasks to do as people will realize they can trust you with a little more responsibility!

Be Proactive

There will be times when you do not have anything to do, either because you have not been assigned anything or you have finished the things you were assigned to work on. However, you should not sit around doing nothing! Poke around without getting in the way, and ask if there is anything you can help with or anything else you can work on. If there is not, find something to clean or organize. People will notice hard work and this will help you build a positive reputation with your supervisors!

Treat Your Internship like a Job

Even though you are probably not getting paid and you may not be working on the most interesting things during your internship, you should treat it as though it is a full-time job. Be on time, put in effort, and be professional. Small things like this will go a long way in making you stand out. Slacking off, lateness, and general laziness will give your co-workers a negative impression of you, which will mean they most likely will not involve you in the more interesting tasks or give you a future reference or job offer!

Be Constantly Observant & Ask Questions!

An internship is one thing above all: a learning experience. As you are working, be constantly observant of what is going on around you. Even though you may not get to be involved in everything, simply look around and take in what is happening. Observe what professional relationships are like, take note of how the company runs or how certain procedures work. Take in everything!

While you are observing, ask questions about anything that interests you! People like a willingness to learn, and will appreciate that you are putting in the effort to learn more. If there is something you are interested in, ask questions or offer to help.

The more questions you ask and the more initiative you take, the more you will be allowed to participate in! Things will not just be handed to you, so in order to make the most of your internship and take advantage of all the benefits it offers you, be proactive and get involved in your workplace! Even if you are not getting paid you should leave any internship with at least two things: valuable work experience and a reference from your supervisor! Those are incredibly valuable tools to have in your pocket as you go out into the world and start applying for full-time jobs!

How much can you make as a video audio engineer?

Mon, 10 Feb 2020 13:38:00 GMT

In the gaming industry, “audio engineers” may be called a number of different things: sound designer, audio designer, and so on. But the job description is basically the same wherever you go, as they all make the sound effects, ambient effects, and often the music for the video game. Annual income for these positions varies widely, with entry-level audio positions beginning as low as $20,000, and senior audio engineers in lead positions having the potential to bring in well over $100,000 every year.

Whether you are working as a permanent employee of a studio or you are a freelance audio engineer, you have the potential to be paid very well compared to other gaming roles.

So, how much do video game audio engineers really make?

Annual incomes for audio engineers in the gaming industry vary widely, as rates change based on experience and other factors, and with freelancing, engineers may be able to make large amounts of money if they are able to lock down project after project.

If an engineer is a salaried employee at a game studio, they could start at around $30,000 per year, with the potential to grow all the way up to $150,000 per year as they gain experience. Freelancers can earn anywhere from $100 per project (with minimal experience and working on an indie game), to $150,000 per project on the high end, when working in a senior position for a larger, AAA-quality game.

What factors determine how game audio engineers are paid?

There are a variety of factors that will determine how much you are paid as the audio engineer for a game, including:

1. Your experience

Just like any other job, the amount of experience you possess will determine how much you get paid. The more experience you have, the more you will be paid.

2. The project size/scope

How much you are paid will depend on what type of game project you are working on. If you are an audio engineer for a small, indie game with a team of only a few people, you will be paid significantly less than if you were working at a large studio on AAA-quality games.

3. Whether or not asset ownership is retained

When audio engineers work under a “work for hire” contract, the ownership of any assets they create during that job will be transferred to the studio they are working for. This means the engineer is not free to use those assets for any other company, but they are usually paid more for their work in exchange.

Should I Become a Game Audio Engineer?

If you are comfortable working as a freelancer instead of a permanent employee at a studio, and are passionate about audio in the gaming industry, then becoming a game audio engineer could be a very fulfilling career for you! Just be aware that game audio jobs are not the most plentiful field and you may need to work in non-game jobs first before you can secure your dream job as a video game audio engineer.

5 Popular Music Production Techniques

Mon, 03 Feb 2020 13:38:00 GMT

There are many different music production techniques out there, and it can be overwhelming as you may feel you need to master them all in order to succeed. To help you get started, I have compiled a list of 5 popular music production techniques. These techniques are simple, but they will get your mixes sounding great in no time. They are popular for a reason, after all!

1. Parallel Compression

Getting punchy drums is key in almost any genre these days, and parallel compression is one technique that can help you achieve that. To do this, you simply duplicate your drum track (or any other type of track), and then heavily compress the duplicate, leaving the original uncompressed. When you play them both back, you get the powerful breathing dynamic sound of the compressed version, while maintaining the detail, brightness, and clarity of the uncompressed version.

2. Sidechain Compression

Effectively sidechaining will eliminate the issue of frequency masking. This is when two elements (such as kick drums and basslines) with competing frequency ranges occur at the same time and clash awkwardly with each other. To do this, add a compression plugin to the bass track and feed the kick output into its sidechain detectors. This will quiet the bass when the kick drum comes through, producing a pulsating effect between the two sounds, rather than a clash.

3. Reverse Reverb

Reverse Reverb is exactly what it sounds like: the reverb tail of any instrument or sound, reversed. In music today, reverse reverb is often used to dramatize vocal passages. If you are working with and entire vocal recording, isolate one word at the beginning of a verse, otherwise, drag a one-shot vocal sample into your DAW. In either case, you will duplicate the selected vocal onto a new track, then reverse it, and add your favourite reverb plugin.

4. Gated Snare

Noise gates are similar to compressors, but instead of quieting signals set above a certain threshold, they quiet signals below a certain threshold. To achieve a punchy, clean gated snare, add a reverb with a decay time of ten seconds or more to your snare, then sidechain the snare track to itself using the sidechain detector in the noise gate. Turn down the threshold until you are able to hear you reverb-soaked snare, then reduce the release time, trimming the reverb until it sounds bright and percussive.

5. Pitch Shifting and Time Stretching Vocals

Pitch Shifting is a technique that has its roots in TV cartoons – think Alvin and the Chipmunks – and changes the pitch of a vocal without affecting its playback speed. It then made its way into music production to create robotic sounding voices that have most recently found a home in EDM music.

Time stretching is a technique that changes the speed of a sound without changing its pitch. This often serves a more technical purpose than pitch shifting, like speeding a vocal up or slowing it down to match a drum break.

These techniques will act as great tools under your belt that will have your mixes sounding great. Once you have mastered these, you will be well-equipped to go out and experiment with other techniques to create a sound that is truly unique to you!

10 Ways to Improve Your Music Production Skills

Wed, 15 Jan 2020 13:38:00 GMT

If you are hoping to make a career of music production, or even if you are just doing it as a hobby, you should constantly be looking for ways to improve. You should look for ways to improve your music production skills so that you can produce better and better tracks and move forward with your craft. The better you are, the bigger gigs you will be able to get and the faster your career can move forward. Below are ten ways you can start improving your music production skills right now!

1. Listen to more music

Don’t listen to the same music you have been listening to every single day. Dive deep and listen to songs that are not on the charts, listen to genres that you wouldn’t normally listen to, listen to new music, and listen to music from the past. Find the music that inspired your favourite artists, and understand their influences. Even if you don’t currently make that type of music, widening your knowledge and understanding of different types of music will have an influence on the music you create. You may have to dig through some bad music in the process, but the knowledge and inspiration you gain will be worth it!

2. Understand Basic Music Theory

In addition to listening to all different kinds of music, make sure you understand music and how it is made. Learning an instrument and gaining some basic knowledge of music theory is crucial to improving your music production skills, as it will widen your knowledge of writing and creating music. You don’t have to be an expert, but at the very least learn your chords and scales. If you don’t want to take traditional music lessons, there are countless tutorials online that you can use to teach yourself!

3. Collaborate

When you work with other people you will begin to come up with ideas that you never would have thought of on your own. Other creative minds will see things from different perspectives which will in turn open you up to new ideas. It may be a melody or chord progression, or you may be introduced to a brand new genre of music! Collaboration inspires creativity and some of the greatest music was made through collaborative efforts!

4. Embrace Critique

Part of collaboration and your production process should be remaining open to constructive criticism. If all you ever seek is positive feedback on your music, you will never improve! Look for people who will tell you where your music is lacking and where there is room for improvement. Taking these critiques will let you know where you can grow and what you need to do to make your music even better.

5. Experiment

Stop using the same chord progression you’ve used over and over again, stop using the same sounds and the same tired drums you always use. Intentionally try things that you haven’t before, and step outside of your comfort zone! Don’t let yourself get into a rut by always staying within the same patterns.

6. Learn to Use the Gear You Have

This is not to say that it isn’t important to have good gear or software, but stop constantly looking for the next best things. It is easy to get lost in all the options you have and always be looking to update to the latest version, but focus on understanding the tools you have first. If you are always looking for the next thing, you will only ever have a surface-level understanding of each piece of gear or software that you get. Take the time to dive deep into the capabilities of your equipment and you will be able to produce better quality music.

7. Set Up Your Speakers Correctly

Even if you spend a ton of money on great sounding gear, it won’t matter if it isn’t set up properly. You can only operate your gear effectively based on what you can hear in your listening space. To ensure you are setting up your speakers effectively, keep them as far from the walls and corners as possible (even a few inches can make a difference!), and try to position them so that there is the same amount of distance between each speaker and wherever you will be (creating an equilateral triangle) while you are listening and mixing. This will allow you to make more accurate decisions about panning and respective levels across the stereo field.

8. Get Minimal

Learn that less is more when it comes to producing your music. This means learning how to edit your ideas and incorporate only the best ones into your final mix. This comes down partly to experience – essentially, you know what will sound good because it has worked before – but it is also having a clear understanding of what you want the track to do and why you are making it in the first place. Once you know this, it will become clear to you what should stay in the track and what should be cut.

9. Learn how to create your own sounds!

Stop relying on presets and learn how to create your own sounds! If you want to truly make a mark and stand out, you will have to be willing to try new things that other people may not be willing to. You will no longer have to go through your presets looking for a specific sound you are thinking of, you can just make it yourself! It may be hard at first, but eventually you will get the hang of it, and having the ability to make your own sounds is a major asset!

10. Make Your Music for the Right Reasons

Don’t produce music simply with the intention of making money, do it because you love it and are passionate about it! This does not mean that you shouldn’t make money through your music production if you can, but make sure that making tons of money is not your primary goal. If you are only focusing on making money, your craft will suffer and you will not develop your creativity or create the type of music you truly love.

As you work on producing more and more music, make sure that you are constantly seeking to learn more and develop your skills further. Put these tips into action and you will start to see an improvement in your music production and you will gain the confidence to go even further outside your current comfort zone and produce some truly great music!

10 Benefits of Taking a Music Production Program

Fri, 03 Jan 2020 13:38:00 GMT

Want to turn your passion for music into a career, but not sure what to study in order to make that happen? There are many paths you can take If you want to work in music production, but there are many benefits to taking a music production program. These benefits include the hands-on experience you will gain, the strong network you can create, and the ability to choose the career path that is right for you.

1. Hands-on Experience

As many music production programs are in trade schools or colleges, the programs are structured to offer more hands-on experience than traditional lecture-based classes, allowing you to get your hands dirty and learn a lot. You will actually get a chance to work with real equipment and learn by participating in the music production process, rather than just hearing about it.

2. This experience is immediately transferable to the workforce

This hands-on experience in school means that you will immediately have all the skills necessary to be an asset in the workforce. You will have an edge on those who did not take music production or chose a degree that did not afford them the opportunity to have as much hands-on experience as you did in your program.

3. Collaboration

By taking a music production program, you give yourself the opportunity to work alongside like-minded people. You will collaborate with your classmates on projects throughout your education, so you will be able to learn from them and broaden your horizons through those projects.

4. Network Building Opportunities

In addition, you can connect with your professors. Your professors will be people who have worked in the industry, therefore they will have lots to teach you and will have connections that can help kickstart your career once you graduate. If your program has a work placement or internship requirement, this is also a fantastic way to build your network. Cultivate positive relationships with everyone you work with throughout your schooling and you will have a solid network built up just in time for when you graduate and are looking for a full-time job.

5. Less time Spent in School

Many music production programs are shorter than the typical four-year university degree. This is an advantage for you because you will be able to be out in the workforce sooner, allowing you to get a headstart on your career.

6. Lower cost

A shorter program time also means a lower cost! The cost of your program will vary depending on which institution you choose to study at, but in general, since you are in school for a shorter period of time, your overall tuition costs will be lower than if you had taken a four-year university degree.

7. Build a Career That is Right for You

Part of the beauty of a music production program is that you are not limited to only one career option after graduation. Music production graduates have obviously gone on to work in recording studios, but they have also started careers in radio, live events, film, television, gaming, and more! The skills you will gain through a music production program are transferable across different industries, allowing you to take your career wherever you want.

8. Deep Understanding of the Industry

Music production programs allow you to dive head-first into producing music, giving you a deep understanding of not only how to produce music, but how the music industry works. This information will be invaluable to you as you start your career. You will know all the steps in the music production process, all the people involved, and all the small details about what it takes to produce music on a daily basis. When you get your first job, you will already have an understanding of how the business works and what your role is within it.

9. Smaller class sizes

Many colleges and music production school boast small class sizes, which is extremely beneficial to your education. In a smaller class, you will get more one-on-one time with your professors, meaning you can ask more questions and get more detailed answers. This will also allow you to have more time with equipment, as there are fewer students for the available time to be split between.

10. Learn What You Love!

If you have a passion for music and music production, then a music production program will not feel like school, you will likely enjoy the assignments that you are being given. The hands-on experience you will receive will be enjoyable because it is what you want to pursue as a career. Each project will be an enjoyable new challenge that will hone your music production skills and prepare you for the workforce!

As you can see, there are many benefits to taking a music production program. You will gain in-depth knowledge about music production through hands-on experience, you will build a professional network that you can leverage to advance your career, and so much more. There is a wide variety of music production programs offered through many different institutions, so there is definitely one for you. Do your research and find the program that best fits your needs and career goals!

What is the Difference Between a Music Producer and a Sound Engineer?

Sun, 15 Dec 2019 13:38:00 GMT

If you are pursuing a career in music production, it is important that you understand each of the roles involved in the process. Music producers and sound engineers are two roles that are essential to the music production process, although it can get a little confusing as to which roles each person is responsible for.

What does a Sound Engineer do?

Sound Engineers take care of the technical side of the production of the track. The sound engineer is the technician that operates the soundboard and other recording equipment during a recording session, as well as set up studio and recording equipment. Their main job is to work alongside the artist and the producer to develop sounds that will turn the track or the album into what the artist or the music producer is envisioning. The sound engineer is often employed by the studio, meaning they have an intimate knowledge of the recording space, and know exactly how to get the best sound out of it. In addition, the sound engineer is often responsible for mixing recording tracks and making sure the final recording is free of any unwanted sounds or noises.

What does a Music Producer do?

A music producer is generally the creative lead on all musical recordings. The music producer generally operates as the project manager, as they are responsible for the entire production process as well as managing all the individuals involved in the creation of the record. The music producer oversees the recording, mixing, and arranging of all tracks and songs, from beginning to end. As many music producers are also good sound engineers and have a deep knowledge of music composition, so they are able to give the artists advice on the direction he or she should take the track.

So what is the difference?

The main difference between a music producer and a sound engineer is the managerial responsibilities that are required of music producers. While many music producers are good sound engineers, and understand that side of the production process, there are not many sound engineers who could also double as a music producer. The producer takes on a much more creative and managerial role, as they are responsible for managing the team that is creating the track or album and they also dictate the creative direction of said production.

Sound engineers are highly skilled in the technical portions of music production, and know exactly how to create and manipulate sounds to produce the final product both the producer and the artist are looking for. They are not as well-equipped to manage the team or the creative direction of the track, as this is not their job or skill-set, so they rely on the producer for that and work to deliver the producer’s creative vision for a track or album.

In addition, there is also no one who knows the recording studio like the sound engineer. They will know exactly how to work within that space to create the best sound possible for the artist.

So, although their roles may overlap, music producers and sound engineers do hold very distinct roles in the recording studio. The music producer manages the team and dictates the creative vision for the track, and the technically-skilled sound engineer works with him or her mix the track. Both roles are essential in the music production process, though!

OIART Grads work on Chris Farley – Anything for a Laugh Documentary.

Mon, 03 Jun 2019 17:19:00 GMT

Congratulations to the stacked OIART alumni audio team that worked on the A&E Biography: Chris Farley – Anything for a Laugh . The sound in the documentary is phenomenal. It was amazing to see so many OIART grads in the credits. Great work from everyone!

John Diemer …………………. Sound Supervisor > IMDB
Mark Vogelsang …. Supervising Sound Editor > IMDB
Carlo Scrignaro ………………… Dialogue Editor > IMDB
Brennan Mercer …….….. Sound Effects Editor > IMDB
Rob Taylor ………….…. Assistant Sound Editor > IMDB
Brandon McGilvery … Assistant Sound Editor > IMDB
Jon Bartel ……………..…… Re-Recording Mixer > IMDB
Mixed at ……… The Farmhouse Creative Labs

You can watch the Documentary >> https://www.aetv.com/…/biography-comedy-…/season-1/episode-1

Feature Friday – Blair Bondy (11) – Monitor Mixer and Guitar Tech

Fri, 12 Apr 2019 17:19:00 GMT

Feature Friday

Grad of 2011 : Blair Bondy – Follow him on Instagram @Superdialtone
Current Position : Monitor Engineer and Guitar Tech for Post Malone

Blair’s drive and ambition has brought him some high-level success in his audio lifestyle. He is currently in the middle of a world tour with Post Malone and they have just finished shows in Europe and South America.

Afterward, Blair will be heading to Australia and New Zealand for almost a full month for a string of shows. When this tour is done, there is no stopping for him. He will be back out on some secret events that will be announced later, as well as some American festivals and some shows in South Africa.

Keep up the solid work Blair. We are so proud of what you have achieved!

An Audio Lifestyle by Chris Teixeira

Thu, 11 Apr 2019 18:33:00 GMT

OIART AUDIO LIFESTYLE

Chris Teixeira – Sound Designer – Big Viking Games

Many OIART Alumni have achieved personal goals and with dedication and hard work, get to the positions they deserve. We took some time to catch up with grad, Chris Teixeria, a graduate from 2011 to ask him a few questions about his Audio Lifestyle.

“What was it that got you started in audio?”
So, I’ve always tinkered with audio. I had a tape recorder as a kid, messed around with computer audio. So, I’ve always wanted to take that further and become a sound designer and composer.

“Why did you choose to go to an audio engineering school, and why did you choose OIART?”
I felt like I couldn’t get the skills that I needed by just learning it on my own, and I wanted to learn it really quickly. So, I felt like OIART was the best place where I can sort of use the gear that they had there, learn from all the teacher’s experience and really take my career to the next level.

“How did OIART prepare you for this job?”
OIART prepared me by allowing me to learn about all the different aspects of audio production. So when this job came around, I was ready, because I learned about sound design, learned about live audio, music production, acoustics, and a whole bunch of other things that allowed me to fit into this role perfectly.

“What was your first job after graduation?”
After graduation, my first audio job was working live sound. I worked for a couple of different companies mixing live events throughout the city.

“How did you land your job at BVG and how did you prepare yourself?”
I just worked on my skills recording bands and doing sound design on the side, until I had a friend that worked at Big Viking Games and I just bugged him until he gave me a job here. Luckily, I was ready with my audio skills, and I was ready to take on the role.

“What is a typical day look like at Big Viking Games?”
A typical day at Big Viking Games starts with me opening up ProTools and getting to work on the newest feature that we are working on, whether it be sound design work or composing.

“What is the most rewarding part of the job?"
The most rewarding part about working here is probably getting to work on a live product. It’s really amazing working on sound design and music for a game that people are playing and enjoying already, adding new features that they are going to enjoy for years to come.

“What was the most challenging part?”
The most challenging part of the job is that we are working on live games, where the game is out already, so we have to make sure that every new thing we add, meshes with the old stuff and make sure these new features are fun and people enjoy them.

“When it comes to a job like yours, what are the most important skills you took away from OIART?"
I’d say the most important thing is your listening skills, you have to make sure that you can come up with something that matches the visual style of the game. Always making sure that you have good taste and your matching the audio to the visuals.

“What are you most proud of?”
The thing I’m most proud of is that I have sound design work that can be heard on all the major platforms, PC, PS4, Xbox 1, Nintendo Switch. It was a dream come true to release games on those platforms.

“And finally, is there any advice you would have given yourself when starting out?”
The advice I’d give myself when starting out would just be to keep creating, you don’t really need to worry about what jobs are out there or what opportunities are out there right now, you just have to make sure your skills are up to where they should be and the opportunities will come.

Five Things You Need To Know Before Becoming a Music Producer

Fri, 05 Apr 2019 14:23:00 GMT

Music Producers are anyone who are involved with the production of music. Whether it be songwriting, composing or recording, these are the people who work as/alongside artists to shape the outcome of a music project.

There is a big overlap between music producers and other roles in the music “production” process, including engineers, mixers, masters and composers. A music producer may wear many of these hats, or simply be at the recording or recording session to help push the artist in a particular direction.

Plenty of music producers have become a household name as legendary industry titans such as Rick Rubin and Dr. Dre, however most music producers are relatively unknown. On one side of the spectrum, you have producers like Mark Ronson who produce full albums using sessions musicians and pop artist features. In this same vein are artists such as DJ Snake and Calvin Harris. The rise of music producers as the lead musician has been on the rise in recent years.

Alternatively, if you aren’t a music performer, you (like many producers) would best be suited working with artists to develop their singles or albums. Many of these producers are relatively unknown to the average listener, but are well known to industry professionals.

However you see yourself in the industry, there’s no question a huge spectrum exists and the beauty is you can place yourself wherever you’d like on it.

Education

Yes, yes, even in the age of the internet where everything is available to you, the idea of an “education” shouldn’t be thrown aside. Music Production, like literally any profession gives you a leg up on getting a start in your industry.

Some of you may be thinking, “Why do I need to get an education to be a music producer when so many successful ones are self taught?” You aren’t wrong. There are and will always be many exceptions to the rule. However, just because a couple famous few made their way through the ranks on pure talent and hard work alone, doesn’t mean that education wouldn’t have helped them to begin with. Of course, it’s worth noting that not everyone has access or the financial means to enroll in a higher education, but to those who can, I say this: don’t rule it out.

A music producer is the link that keeps everything together during the production process. They work with artists, engineers, songwriters, business owners, management, mastering engineers and more. As a producer you need to know how to speak to all these people, and understand their individual stake in the process. Further, you should have at the very least, a basic understanding of how they work and can speak in their language. Let’s say you want to hear a specific vocal quality boosted, how would you communicate that to the engineer or mixer? Or perhaps you are in a songwriting session and think the song should resolve a specific way, how would make the parties involved understand what you are asking?

A music education in this field could be any of the following: music theory, song production, mixing, mastering, audio engineering, songwriting or even artist management. The list goes on. Figure out what interests you and go from there. You don’t need to be an expert with everything, but a fundamental knowledge of the industry will help you massively.

Your First Producing Experience

Whereas an education will open doors for you, it’s what you do with that education that will ultimately be more valuable to you landing gigs.

Since no one starts on level playing grounds, the great equalizer is experience. More specifically, “experience” should be defined more clearly in this case as what you do with your work. Many artists get their start producing low-level artists in basements. You are able to show your worth by doing the best you can with what you have.

This is why landing your first “experience” is such a difficult thing to define. Many of us have grappled with the idea of landing our first big gig as a way of showing our worth, but I’d argue that that pursuit is a missed opportunity. Rather than waiting for a gig producing a big name artist, why not take an indie artist’s material to the next level. To be able to say that you produced a viral hit with a small budget and big ideas is far more impressive than producing a well-established artist with a big-budget (and a fanbase with set expectations).

It’s why in this industry, what gets you the furthest is determination and skill.

Industry Expectations

When we talk about music producers, most of us instinctively think of mainstream pop artists and hip hop artists…really anything that gets major radio play. The reality is, in the grand scheme of things, the pop industry is just the tip of the iceberg. And to be honest, if your dream is to be a pop music producer, you’re joining a VERY large club. Not to turn you off of your dreams but if you want to keep food on the table you will have to be open to working on any style or genre of music that comes your way.

On that note, how professionally challenging would it be to produce for radio play? Pop music, while great, is a highly defined, over-produced genre. Unless you are Pharrell, you likely wouldn’t get much opportunity to experiment on these kinds of projects. Pop artists come with a great deal of pressure with them in the studio: expectations from the label that their music is accessible, expectations from fans to produce something similar to their previous music and of course their own expectations that things will sound a certain way. This kind of baggage doesn’t leave very much room for experimentation.

Creativity

So what’s the point? If your goal is to simply work with high-level artists rather than make your mark, I’d argue that you have the wrong motivations to be in this industry. The best music producers took work not because of the klout associated, but because of the potential for maximum creativity. If you enjoy the craft for the craft, you’re more likely to take on any project and therefore more likely to build out an impressive resume. If you think you’re better suited in a particular genre it’s fine to stick within that, but don’t get stuck doing the same work over and over again.

Embracing Your Personality

While we are on the topic of genre, another big no no is to get stuck within the bounds of industry expectations. As you know, the music industry is built off trends and is extremely fluid. Think about the last decade, and how many new styles have come and go. From dubstep to Tropical House, style evolved and changes. If it weren’t for the creative few that took the chance on a new sound or style, we would be stuck in a world of cookie-cutter music genres. You never know how a particular style is going to take off.

That’s why it is so important to embrace your inner style. When people hire you (especially artists starting out) they hire you for your expertise and unique perspective. No one has the same influences, music and otherwise — so embrace your personality and bring it with you on every project. It doesn’t have to be anything groundbreaking, just unique to you. People will notice.

Everything You Need To Know Before Becoming a Freelance Audio Engineer

Fri, 29 Mar 2019 14:23:00 GMT

Stepping away from a full time gig to pursue a life as a freelancer can be one of the scariest decisions most people make in their careers. Leaving full time employment means leaving behind serious perks like a consistent salary, group benefits and a stable work schedule. There’s also a social aspect to office culture that’s highly fulfilling. Celebrating major achievements, birthdays and successes in a group setting feels far more rewarding than working on your own. Going off on your own as a freelance professional means leaving all this behind and for some people, the risk is not worth the reward.

Risks aside, freelancing can be a highly rewarding experience both professionally and financially. Freelancing means setting your own schedule, choosing the projects you work on and not having to answer to anyone (clients excluded). There’s a reason this type of work dynamic is so appealing. In fact, today, freelancing represents 35% of the U.S. workforce, and that number is growing. Some experts believe freelancers will account for 50% of the workforce by 2027. I guess people really hate their bosses…

If you’re reading this as either an aspiring audio engineer or one looking to take a leap of faith, there are a couple things you should know first. A lot of us audio engineers work as freelancers either on a project basis or on contract. Even engineers who belong to individual recording studios are technically freelancers, hired on a contract or hourly basis. In these cases, even if you belong to a studio, you’re still expected to keep track of your own hours, cover your own medical bills and keep track of your accounting.

Ready to get started in the wonderful world of freelancing? Here’s what you should consider before getting into it.

Write a Business Plan

The only people who accomplish goals are the people who set them. The first step you should take before joining the freelance community is write yourself a business plan.

A business plan should have clearly stated, measurable goals. The kinds of questions you want to answer may include the following:
• The types of clients you want to work for?
• How many clients you’d like to have?
• Annual salary expectations?
• Do you want employees one day?
• Is freelancing a first step towards something else?
• What does your business or career look like five years down the line?

Answering these kinds of questions will get you thinking about what you want and how you plan on achieving that. In your plan, rough out your expectations in a reasonable timeframe and set up checkpoints along the way. That way you can track your progress in shorter intervals to see if you’re on pace to meet those goals.

Start Small

Before you quit your job, a bit of patience is required. Part of your business objectives should include the scale of your freelancing career. For instance, some people start freelancing on the side of full time gigs as to dip their toes in the water. Instead of making one giant leap of faith and quitting your job with no clients or little experience, start small and work your way up.

Take on one new client at a time, gaining experience to build out your portfolio. Do this until you feel as though you have to consider turning down offers due to lack of time. At that point you might make the decision to go full-time freelance. However, don’t expect a clear fork in the road moment.

Even when you get to a point where there are too many projects to take on outside of work, it still might not be enough to fill your day. The leap of faith moment happens when you make the call to switch. Finding enough gigs to pay the bills will be rocky at first. You will need to work hard to gain trust and find new clients, but in the end it will be worth it.

Create an Online Portfolio

The best thing you can do once you actually have completed projects is to build an online portfolio. For audio engineers, this might be in the form of a SoundCloud, Bandcamp or Vimeo page where you can post projects you’ve worked on. Think outside the box too, like a Spotify Playlist that has exclusively the artists you’ve worked with.

Alternatively, it never hurts to have a website. With sites like Wix and Squarespace, it’s’ really never been easier to build websites with little to no experience with that kind of thing. Websites are great too because it allows you to add more than just material. Including customer testimonials, a bio, a contact form and a client list are surefire ways to attract new customers.

Define Your Style

Unless you’re living under a rock, you probably know that everyone with a Apple computer can learn to become an amateur engineer in a couple hours of YouTube binging. As a freelance engineer, you’ll be up against thousands of your peers all trying to land work. Experience aside, what makes you stand out is your style. This is part of the artistic side to your business: what is it about your engineering style that will make people choose you over the next person? Finding a niche that works with your skill set adds value to you as a business.

What this doesn’t mean is find a genre and only working within that. What I mean is to find something unique about your approach that other people don’t have. That might include the equipment you use, your music production approach (if you come from a musical background) or even specific like the presets you use in your mixing. Be specific enough that people recognize your ability, but broad enough that it’s still applicable to any project.

Be Strategic With Your Pricing

Setting a rate can be one of the trickiest parts of running your own business. Being strategic with your rates requires a good deal of research, intuition and finesse. Why? No two projects will require the same amount of hours, energy or skill. This is because no two bands/artists operate at the same efficiency level. Where a full-band, four song EP might take one band a couple days to knock out, it could take another less experienced group a couple weeks of back and forth.

For that reason, do a bit of research before you say yes to a project. If you’re being cold called or put on the spot, a potential client might hound you for your rate off the bat. But before you go giving away a random number, insist on getting a little bit more knowledge about the project.

Have a series of on-boarding questions to level the playing field. Those questions might include “On a scale from 1-10 how complete are the songs”, or “Is this your first EP/Album/Project”. All these questions will help you build out a clearer picture of what commitment you’re getting yourself into. Once you have a better idea of what’s ahead of you, there are two ways you can approach pricing: a) hourly rates, and b) project-based. There are benefits and cons to both. Let’s walk through them:

Hourly

Don’t make the assumption that many make which is that all hours spent working on a project are the same. As a freelancer, you have to wear many different hats such as accountant, project manager, editor / mixer or producer. For that reason, you may want to have different rates depending on what you’re doing. For instance, if your hourly engineering rate is $35 an hour, you may want to also have a $25 rate for administrative services like answering phone calls and emails to the artist or management team. It’s also important to remember that hourly doesn’t give anyone the right to waste your time making endless edits. I’d suggest a tiered edit system. For instance, you may want to charge that same $35 rate for every hour mixing up until five hours at which point the rate increases to $50 an hour. This way you are ensuring your time is well spent and helps you avoid endless editing loops.

Project-based

The other option is charging a flat-rate for a project. This could even be on a per-day or per week basis. Just be sure to set the parameters first.

It’s extremely important to set expectations that a “per-day” cost only includes a certain amount of hours. For instance, after 10 hours in the studio you may want to switch overtime and charge an hourly fee. Be sure to bake in those outside costs like studio time, rentals and administrative hours. Even the five minutes here and there answering emails is time spent so don’t count it out.

Now you might be thinking, all question dodging before you give a price would be alienating — which is especially troublesome when you need the work. As much as you’d like to, you will want to say yes to a new project immediately, but I highly urge you not to. Setting expectations for both yourself and the client will do wonders for your business down the line.

Going way out of scope, managing underprepared artists or spending too much time editing will cause you a lot of stress if you haven’t accounted for it. This can also affect other projects you are working on at the time if you don’t budget your hours (and energy) correctly. The last thing you want is a bad project affecting your relationship with other clients.

It’s also important to remember that charging too little undervalues your time and charging too much can put a strain on your working relationship. The fastest way to get new business is through word of mouth, so if you burn bridges your business will surely suffer.

Running your own business as a freelance audio engineer is not an easy job by any stretch. In order to survive you need patience, a rock solid work ethic, and an unrelenting drive. Even if you don’t have a business-first mindset, make up for it with your passion and creativity. You need to have boundless love for your job, and have the motivation to keep pushing. Being the sole proprietor of your business, all the successes and failures fall on you. Good luck!

7 Careers In Music Production You Should Know About

Fri, 22 Mar 2019 14:23:00 GMT

One thing that I’ve learned from my time as an audio engineer is that landing a job in music production isn’t something a lot of people just “fall into”. I can’t say for sure, but I highly doubt that anyone who ended up a mastering engineer or a foley artist found their path through one of those career aptitude tests back in high school. We all ended up where we are because we wanted to be a part of the process of a craft we so passionately love.

However, just because you know that industry you want to work in, doesn’t mean you know where you fit in. If you’re interested in a career in music production, you’ve come to the right place. Here are 7 careers in music production you might not know about.

Recording Engineer

A recording engineer is a person who controls a sound board in either a recording or live setting. In a studio setting, this person is the technical director of a recording session, similar to a director of photography in film.

Recording engineers work with assistants to ensure microphones are placed correctly near instruments. Since different instruments require specific microphones, they would be in charge of knowing which is the correct ones to use. Engineers may work on singles, albums or musical scores, voice overs for TV, film or video games and a number of other sound-related media productions.

You will also find audio engineers at live concerts as the one in control of the live sound board. This is the controller where all instruments, voices, and recordings are sent through. The quality of a live performance usually hinges on whether or not the audio engineer did their job correctly!

Producer

Producers are sort of like the directors of the music world. Producers are brought on to albums to help shape the overall sound and quality of the project. They would be instrumental in picking the right people to work on a particular project such as audio engineers, session musicians, mixers and mastering engineers.

Their involvement may be involved in the actual songwriting process, or brought in to the studio to help direct the band and audio engineer to achieve a desired sound.

While it’s not a necessity, many music producers have a background in musical theory or are musician themselves. In many cases, producers help write the song with both songwriters or the artists directly.

Music Mixer

A mixer is someone who edits the recorded musical session using an analog or digital mixing board. For this reason, many audio engineers mix on the fly during a recording session. However music mixers typically work during the post production phase, after the recording is done. As most engineering is done on digital audio workspaces or DAWs these days, each instrument and voice are recorded onto separate tracks. These tracks are determined by the sounds being picked up by each microphone. Mixers add effects such as panning: left or right in the speakers; equalization: adjusting frequency response; compression: making a track more or less dynamic and other effects. This task requires a certain artistry; like a painter making certain colours more or less prominent and adding flourishes to the finished product.

Music Programmer

A music programmer is someone who composes music using a DAW or similar audio software. Whereas a computer programmer uses code to write software, a music programmer uses notation to write music. These artists use digital equipment to notate music, or perform them using MIDI keyboards. Many programmers also play with music samples from previous recordings to achieve a desired sound. Many artists who write their own music are music programmers, and the same goes with producers.

Studio Technician

Have a knack for fixing things? Do you like taking things apart and putting them back together? Sounds like you might be a great Studio Technician. There are hundreds of pieces of recording equipment in the average studio, and it’s the studio technicians job to make sure it’s all functioning correctly. Sometimes a change in temperature or slight movement can affect how equipment like amps and receivers perform. Technicians may also play a role in keeping the studio’s recording drive up to date. Otherwise all of their precious recordings are lost. A recording studio can have the best engineers and assistants in the industry, but with improperly functioning equipment they face serious issues.

Studio Owner

If you love music production but prefer to work on the business side of it, you may enjoy a career as a studio owner. Studio owners are the ones who deal with the day to day of running a recording studio. That means hiring talent like engineers and mixers, purchasing the best equipment and finding new clients. Studio owners are usually quite social, attending music conferences and events finding new people to work with.

Now this is not something that can happen overnight. Becoming a studio owner takes years of time working in the industry. They are required to have a great deal of knowledge for how the industry work, have relationships with other industry professionals and are up to date on the latest music trends.

Mastering Engineer

A mastering engineer is someone who prepares a mixed song (album or score) for distribution, such as CD, vinyl or digital release. They are the last person in the production chain before the song is ready for release. Using a series of specialized audio-processing programs, these engineers take the final edit of an analog or digital recording and tweak the sound so it sounds most pleasing to the human ear. These processors allow them to edit out unpleasant squeaks, scratches or other sounds that stick out. Mastering Engineers will also listen to an album as a whole and make changes so it sounds consistent throughout.

OIART @ The 2019 Juno Awards

Wed, 20 Mar 2019 22:17:00 GMT

Last week was a HUGE opportunity for our students and alumni. London, Ontario was the Host City for the 2019 Juno Awards and we figured, there isn’t a better way start their audio lifestyle and get hands-on experience in every aspect of what we teach here at OIART.

We set the students up with some of the companies involved with the production and broadcasting of the Junos so they can get engaging hands-on experience. Students and Alumni took on jobs for the Local IATSE in the Audio, Video, Automation, Carpentry (Stage building) and Lighting Departments, as well as Stage Hand during the Junos to make sure all artist changeovers and audio gear were set up quick and efficient.

On the Location Audio side of the Junos, we were involved with the production sound and post-production sound design, dialogue/music/fx editing and mixing for the Juno promotional spots, Juno Gala videos, and production mixing for backstage talent interviews during the Juno Awards Ceremony.

Overall, it was a great, real-world work experience and an amazing opportunity for the students. One of the biggest things we aim at in our audio engineering program and why we are one of the best recording schools in North America is that we are setting students up with engaging, exciting, real-world projects like the Junos and the New years eve Event in Niagara Falls. Our Revolutionary Program allows us to give the students some unique learning environments with the freedom to explore all aspects of an audio career.

Student Life: OIART Live 2018

Fri, 08 Mar 2019 19:36:00 GMT

For the past few years at OIART, the students get to prepare and be a part of a concert at The Aeolian Hall. Some of the jobs students had were : Audio System Technician, Front of House Mixer, Lighting Designer, Video Technician, Stage Production Staff, Monitor Mixer, Stage Crew, Mobile Audio Mixing, Technical Director, Location Recordist, Production Sound Mixer, and more. Every job done for the show was done by an OIART student.

It’s a culmination of a very long year for them. They get put through a lot in all aspects of music production, audio for visual media and live sound and event production and OIART Live is the day we bring it all together.

This video shows the dedication and hard work, each and every student has put in throughout the year to make this happen.

Song By: Trent Severn – Freedom

Student Life: Semester 1 projects

Fri, 08 Mar 2019 17:39:00 GMT

It’s been a busy week for the students. They have started to record all the elements for their projects. In music production this week, we have some drum, percussion, guitar, bass, vocal, and piano sessions happening. Over in Live Sound and Event Production, we are learning about front of house mixing and setting up cue wedges. Over in Audio for Visual Media, students start their Foley recording for their Red Bull projects.

Be sure to check our Instagram story for more updates through the day!

7 OIART Grads Working in the music industry

Fri, 08 Mar 2019 14:42:00 GMT

Are you curious about an education in music and sound production but unsure of where it will take you? Don’t just take our word for it. Take a look at some of the fabulous men and women that have graduated from OIART and where their education has taken them. Here are just a few OIART alumni that are kicking ass in the industry right now.

Michelle Hwu – Graduated 2015

Since graduating in 2015, Michelle Hwu has turned a passion in post-production sound engineering into a career in the Canadian television and film industry. Early on, Hwu gained experience as an intern working in independent films such as The Devil’s Horn and Below Her Mouth, the latter of which premiered at TIFF the year after graduating. Since then, Hwu has worked in post-production for The Farmhouse Creative Labs, a creative studio that works with brands including Uber, VICE, Telus. At VICE, she worked under both the VICE Sports and VICE News umbrella where she was as a part of their impressive coverage on Ukraines proxy war. With a background in percussive performance, Hwu has also worked as a foley artist on several projects including the Freaks and Geeks documentary released in 2018.

Graham Lessard – Graduated 2002

Graham Lessard has had an active and vital role in the Canadian music recording industry. Lessard first got his start out in the early 2000s as an engineer at CBC in Edmonton, where he recorded sessions with numerous jazz, blues and rock artists. Afterwards, Lessard moved to Montreal as an independent recording artist. In 2012, because of his impressive portfolio, Lessard was offered the top engineer position at the prestigious Banff Centre for Performing Arts. Lessard has worked with many of Canada’s top talent including Kevin Drew, The Barr Brothers, Young Galaxy, Reuben and the Dark and Timber Timbre. His work has garnered him several Juno nominations and a shortlist nomination for a POLARIS prize.

Jason Dufour

Dufour is certainly one of OIART’s most impressive alumni. Dufour is a Juno Award Winning engineer and producer, working with artists such as JULY TALK, Tokyo Police Club and Protest The Hero. Dufour first got his start out of OIART as an assistant engineer at legendary Toronto Studio Phase One. From there, he moved on to work at Revolution Recording where he worked with a number of impressive artists. It was there where he helped engineer and produce JULY TALK’s sophomore album Touch. His work on this album won him the title of “Recording Engineer of the Year” at the 2017 Juno Awards.

Kelly Burrow

Kelly Burrow took the skills she learned from OIART in a different direction. Shortly after graduating in 2008, Burrow got her start in music licensing at Corus Canada. Her first gig set the path for her next decade of her career. As a music coordinator, she worked with producers to pair songs with segments on TV shows on the CMT network including The Dakota Sessions, Karaoke Star, Live at Revival and The Show. Afterwards she joined on as an Assistant Music Supervisor on the popular show So You Think You Can Dance Canada. Afterwards she moved on to Bell Media for a position in Music & Media Licensing / Business Affairs. It was there there that she has worked on shows such as Much Music and the MMVA’s, Marilyn Denis Show, Your Morning, Etalk, plus Space and Discovery-related programs.

Ben Spiller

Canadian Screen Award nominated audio editor and sound designer. Ben Spiller has spent his time since graduating OIART as a professional in the Canadian video game and film industry. Following his time in London, Spiller is credited as an engineer on many film and tv programs including Sidekick vs. Superhero, George of the Jungle, Book Of Negroes, Pirate’s Passage and Teen Titans. Most recently, Spiller has been working at Toronto studio Wanted! Sound and Picture. His work there includes Ubisoft’s hit video game franchise Assassin’s Creed for their recent sequel ‘Syndicate’.

Jon Bartel

Since Graduating in 2005, Jon Bartel has been actively involved as a mixer and recording engineer for the Canadian television industry. Bartel has been involved with a number of sports-related projects with a heavy emphasis on NHL content on Rogers Sportsnet and Hockey Night in Canada. He is also credited as a sound editor /engineer for a number of CTV / Bell programs including Discovery, TSN, and The Food Network.

Matty Green

With production credits on records including Paul McCartney, Ed Sheeran, Frank Ocean, and Taylor Swift, surely Matty Green’s resume speaks for itself. This OIART grad took what he learned in London, Ontario and made the move down to Los Angeles where he cut his teeth as an audio assistant. His early work landed him a spot on the production team for Beyonce and Kanye West albums. From there he became the “go-to” engineer to legendary writer Dave Sitek. It was this connection that lead to his work on recordings for Lady Gaga, Yeasayer, TV On The Radio and No Doubt.

Graham Van Pelt

Graham Van Pelt took the skills he learned at OIART and applied them to a more personal career path. As a recording artist and composer in the thriving arts community in Montreal, Van Pelt began working on his project Miracle Fortress shortly after graduating. His 2007 album Five Roses garnered him a shortlist nomination for the Polaris music prize. In the summer of 2018, he dropped the Miracle Fortress moniker began recording as a solo artist. Graham Van Pelt released his debut, solo LP Time Travel in October 2018.

10 Of Canada’s Most Legendary Recording Studios

Thu, 28 Feb 2019 14:34:00 GMT

It’s no surprise that Canada’s music scene is growing and growing.

For a long time it was widely accepted that our southern neighbours dominated the recording industry, with New York and Los Angeles being established as creative epicentres of North America (and the world). In the last couple decades however, Canadian artists have began to dominate the charts alongside American artists, so much so our talent have become of this country’s greatest exports. But that success is just the tip of the iceberg. Canadian musicians have seen success because they are built up by a community of music industry professionals. As well, that means our production facilities had to be top notch as well.

Today, Canada is home to thousands of recording studios from coast to coast. Canadian artists no longer have to cross the border to find a decent recording studio. In fact, we have so many great options in this country, the only hard part is choosing. Here are some of Canada’s best recording studios, from coast to coast.

Greenhouse Sound / Little Mountain Sound Vancouver, B.C.

Greenhouse Sound is recording studio in Vancouver, British Columbia. If the name sounds unfamiliar to you, chances are you may have heard of it’s original name: Little Mountain Sound. Between the 70’s and 90s it was legendary producers Bruce Fairbairn and Bob Rock’s home where they recorded albums for the likes of Aerosmith, Bon Jovi, AC/DC, Metallica, Bryan Adams, Mötley Crüe, David Lee Roth, The Cult and Loverboy. In the 90s it would change its name to Vancouver Studios, and again to Greenhouse Studios. In the 90s the studio would launch k.d. lang, and Sarah McLachlan to stardom with music recorded there. Today, Greenhouse Sound is frequented by famed Canadian rock band Nickelback.

Blue Light Studio Vancouver, B.C.

Minutes from the downtown core of Vancouver, Blue Light Studios is a popular spot for emerging artists across the board of genres. Blue Light Studios is a beautifully designed studio that offers the full gambit of professional services. They do everything: mixing, mastering, recording, production and even voice-overs and ADR for film and TV. Blue Light Studio is known for employing a combination of both digital and analog systems. Production starts with a digital audio interface, combined with a TOFT ATB 24 track analogue board, which offers the warmth of analog but with the flexibility of digital.

Metalworks Mississauga, Ontario

For more than 40 years, Metalworks studios has been the go-to recording studios for many of Canada’s most successful artists. Opened in 1978 by Canadian rock group Triumph’s Gil Moore, the recording studio has won the coveted Recording Studio of the Year a record 17 times at the Canadian Music Week Industry awards. The list of past clientele should speak for itself: Drake, Christina Aguilera, David Bowie, Anne Murray, Bruce Springsteen, Justin Bieber and many more. Some fantastic film and TV soundtracks have even been recorded in part at Metalworks including the film Chicago and The Barenaked Ladies theme song to The Big Bang Theory. The list goes on and on! Check out their website to learn more about what makes this space so special.

Revolution Recording Toronto, Ontario

What makes revolution Recording so special isn’t just their equipment is top of the line or best in class audio engineers, rather the physical environments designed in studio. Revolution offers a number of specialty designed rooms that achieve the highest possible standards of acoustic architecture. This allows for artists to record music in the space it was written for, such as a grand hall for piano ballad or a cozy wood paneled room for a warm acoustic track. Through the combination of live sound and digital effects, Revolution Recording can bring your project to life.

Noble Street Studios Toronto, Ontario

This gorgeous studio located in the heart of Toronto set a new bar of excellence for studio design. Created with comfort in mind with the added feature of natural light, Noble Street is no dingy basement studio. Top of the line equipment and staff top off this space that is a dream for the creative mind looking for a creative space.

Dream House Studio Toronto, Ontario

Since its inception only a few years ago, Dream House Studios has quietly made a name for itself among local and emerging talent as one of the best spaces to record in town. Shad, July Talk, Cadence Weapon, Holy Fuck, the list of recurring artists there past goes on. What makes this space so beloved is their extensive list of equipment and knowledgeable staff. Dream House Studio can bring your wildest recording ideas come to life without the heavy price tag.

Powersound Studio Edmonton, Alberta

This two room studio located in Edmonton is a great studio for both beginners and professional recording artists alike. Powersound Studio offers a facility with top of the line equipment, yet are able to work with almost any budget. The gem of this studio is mixer / engineer Phil Anderson, who has over 25 years of experience recording albums of all genres. Anderson has worked a list of with legendary talent including Mac Miller, Chunk and more.

Frequency Studios Calgary, Alberta

Frequency Studios in Calgary, Alberta is a haven for the serious recording audiophile. What makes this studio so great is their selection of boutique, vintage and high end recording equipment. If the analog sound is something that you are itching for, this studio should be at the top of your list. Frequency is a full-fledged audio production house than offers almost any audio production service imaginable such as musical arrangement to mixing and mastering.

Planet Studio Montreal, Quebec

Planet Studios is a recording artists dream. This Montreal music production house has two gorgeous control room / recording rooms, a private Pro Tools suite for overdubs plus a mastering room helmed by mastering engineer Richard Addison.

Codapop Halifax, Nova Scotia

Nestled right in the middle of downtown Halifax is Codapop studios. This multi-room recording studio is stocked with top of the line equipment, instruments and a knowledgeable staff of audio engineers and mixers. This custom-designed studio is a comfortable space with live rooms, tracking rooms and isolation booths that produce broadcast quality sound. Many emerging artists record at Codapop studio not only because of physical equipment the studio offers, but for their artist development and career guidance programs they offer as well.

14 Awesome Live Sound Production Employers in Canada

Fri, 22 Feb 2019 14:38:00 GMT

AV Companies that are hiring right now

Have you ever been at an outdoor festival and wondered about how everything came together? If you’ve ever thought about how cool it would be to help set sound systems or run audio at an event, I strongly urge you to consider a career in live sound production.

For every live event like concert of festival, there is a staff of dedication audio visual stage hands who have worked work day and night to make your experience the best it can be. In fact, the better they are at their job, the less you think about them. This is because we only tend to think about live production when something goes wrong, say a mic cuts out or sound levels are too low.

If this is something you’ve ever dreamed of doing, luckily for you there are a ton of jobs available in Canada in this profession. Pretty well every major city in Canada has their own group of competing live production companies. Here are just a few to check out:

PRG Canada – Toronto

From large scale corporate events to live music and theatre, PRG Canada does it all. Founded nearly 40 years ago, PRG is a global live production company with teams on nearly every continent. They specialize in advanced technology applications for live events including lighting, video, audio and rigging / automation. If you don’t mind working for a large company, PRG is surely one of the best.

Apex Sound and Light – Toronto

From local shows to National tours, Apex Sound and Light is one of Toronto’s busiest live sound and video production companies. If live music production is your thing, Apex has quite the resume, running live production for artists including Walk Off The Earth, Blue Rodeo, Kelly Clarkson and more. They don’t stop short of production however, offering integration services for private AV tech installations.

Soundbox Pro – Hamilton / Niagara

Soundbox Pro is an award-winning live production group located in the greater Hamilton area in southern Ontario. They specialize in a number of event support and installation services and offer training sessions for internal production teams. If passionate about audio-visual production and love passing on your knowledge, this job might be your true calling!

Solotech – Toronto, Ottawa, Montreal, Quebec

Ever dreamed of working on intricate and large scale live productions? Solo tech is the palce for you. This international live production group offers innovative technological solutions for events in all sectors including sports and music. Some of their most recent work includes the Pyeongchang Olympics and Pink’s Beautiful Trauma World Tour.

FMAV – Halifax, Toronto, Montreal, Vancouver, Calgary, Edmonton and Ottawa.

FMAV offers the full gambit of live production services, but what makes them stand out is their inhouse team of creatives. Their team, consisting of designers, animators, digital artists, photographers, editors and multimedia producers allows them to offer custom-tailored content that bring live productions to life.

Proshow Audiovisual – Most Provinces

The success of some of Canada’s biggest events relied on the skill of Proshow Audiovisual. From the Juno Award Gala to the BC Tech Conference, Proshow Audio visual have quite an impressive list of success stories. They offer a number of live production studios, and are always seeking passionate new team members.

AV-Canada – Mississauga / Toronto Area

Apple, Bell, Microsoft, RBC are just a few names that have relied on AV-Canada’s services.For 25 years, Canada have been providing excellent lighting, audio, video and tech support for live productions.

QProductions – Toronto

This Toronto-based production company has been providing intrucite and eye-catching stage designs for a decade now. While their services don’t stop short of live audio support, it’s their custom lighting and stage designs that truly speak for itself..

P hase 3 AV – Toronto

Phasethree offer a number of high quality production services for live events across North America. Past clients include Coca-Cola, Sick Kids, Unilever and GE.

EPiQ Vision – Toronto

This Toronto live production team offers support for a variety of small to medium scale events. From weddings to conferences, this dedicated team produces top-notch results.

Evolution AV – Most Major Canadian Cities

From coast to coast, Evolution AV offers professional services for both live production support and large-scale audio visual installations. They have offices in many of Canada’s major cities, which means they are always looking for new team members.

Real Time Audio Visual Lighting – Winnipeg

This Winnipeg-based AV solutions group provides services for everything from weddings to concerts. Those services include setting up live audio equipment, projection services and lighting equipment for events big or small. Although their offices are located in Manitoba, they also offer services in Western Ontario and Saskatchewan, which means they are likely always looking for new team members.a

Pacific Audio Works – Victoria

Pacific Audio Works has been providing Vancouver Island businesses with professional production services for 25 years. Providing a wide array of both production and on-site services and live events, there are many opportunities for new and experienced audio / video professionals.

groundSOUND Inc. – Halifax

GroundSOUND is an up and coming A/V production group servicing the Atlantic Provinces. GroundSOUND offer a number of services including audio visual for conference and concerts, sound and lighting as well as stage set up for concerts and festivals. In 2018,their outstanding work won them th title of “Production Company of the Year” at the Nova Scotia Music. Awards.

How To Get A Job In Audio Engineering For Film and Television

Fri, 08 Feb 2019 14:34:00 GMT

Tips on how to breach the industry

Like many trades, audio engineer can take you down many different roads. The role of an audio engineer can be found in so many areas centered around media and the arts. In many ways it mirrors acting: there are roles on TV, in film, on stage, for commercials and more. All these venues may require a fundamental knowledge base, however, the subtleties of each profession is unique and requires a nuanced touch.

If you’re on this page there is a pretty good chance that you are a) interested in audio engineering as a career, and/or b) looking to broaden your horizons in this industry to Film and TV. Luckily for you, we’re about to lay out how to get your foot in the door in the visual arts industry from an audio engineering perspective.

1) Do some research
In the traditional sense, an audio engineer is thought of as the person who operates a board in a recording studio for musicians. However, any studio owner would tell you that a big part of their business comes from the TV, film and digital media sector. Sure, artists take up a decent chunk of time as recording engineer, but it’s not always what pays the bills.

Colleagues of mine who run a studio in Toronto have told me that their music is their passion, it’s not their bread and butter. When they opened their studio they intended on creating a space for Rap and Hip Hop artists to record. However, that side of business isn’t what pays their bills. Many of the artists they produce are regular, every-day people doing music on the side and don’t have a ton of money to block out the studio for weeks at a time. For that reason, these studio owners branched out and began taking work as audio engineers for the TV and broadcast side of things. Now, the majority of their work comes from producing voice overs and music for TV commercials and shows.

Why is this Important, you might ask? Well, if your first instinct is to drop ship and fly to Los Angeles to pursue a career in film and TV, there are tons of other ways to build your resume first. Try finding a studio similar to the one described above where you can try your hand at audio engineering for the screen.

Shop around recording studios close to you; check out their website or SoundCloud and see what they are working on. If there’s nothing available online, give them a call and ask what type of work they do, and if they are hiring. It never hurts to be bold. You might be surprised at how many studios that operate as a music recording studio actually spend a lot of time engineering for TV, film and commercials. If you can find one that does, build your experience and ask to be put onto those projects.

2) Don’t be choosey

Another colleague of mine got his started after attending OIART at a production house that works specifically on children’s television shows. It’s a small studio that records ADR and voice-over talent for animated shows, as well as the music production production side of things. I’m not sure that it was the break he expected to get, but it was fantastic experience nonetheless, and gave him the experience he needed to move up in the world.

If you dream of someday working on an Academy Award-winning film or Emmy-winning show, don’t let go of that dream. However, never think that you’re a) above doing smaller productions or b) that the experience is worthless. Experience is experience. Keep an open mind and don’t pass up on opportunities just because you don’t connect emotionally to the end result. I think there’s a fallacy that people expect to be completely passionate about every article of work that they work on, but in reality that’s just not true.

3) Check Jobs Boards

Unbeknownst to you, there are actually hundreds of freelance gigs floating around at all times. There are plenty of job boards with positions available right now, including my go-to site for freelancing Mandy.com. If you are new to things, look for small-budget independent films or for positions as an assistant. Additionally, look for student films or low-budget web series. It’s typical these kinds of productions need audio engineers to mix sound and music, but don’t have the resources to pay for an industry titan. That leaves a gap for new audio engineers to try their hand at these positions and get experience (for nominal pay however).

4) Understand the Difference

There is a lot of nuance in production when it comes to music vs visual. As an engineer / mixer you have to think about how the listener interprets the visual and audible data that is being presented to them. You wouldn’t produce a radio show or podcast the same way that you would a television broadcast. In TV and film, there needs to be a balance between what the audience is seeing and hearing. As much as the soundtrack and sound effects are vital in visual arts, they shouldn’t take away from what people are seeing. Audio effects, levels and frequency will all (generally speaking) require a different touch than say, recording a rock album.

These are the kind of skills that you will really only learn from two places: school and on the job. You’ll never learn from being an observer, so get out there, get whatever experience you can and you’ll be on your way.

OIART Alumni Jason Dufour Nominated for Recording Engineer of the Year

Tue, 29 Jan 2019 20:48:00 GMT

The Ontario Institute for Audio Recording Technology ( OIART ) would love to congratulate alumni Jason Dufour on his JUNO nomination in the Recording Engineer of the Year category. Jason graduated from OIART in 2007 and has only been proving that he is one of the go to recording and mixing engineers in Canada. His recent credits span many genres and includes acclaimed work with notable artists such as July Talk, Kate Nash, Donovan Woods, Lights, The Trews, Ralph, USS, Scott Helman, The Elwins, Kandle, Valley, and many others. Dufour won Recording Engineer of the Year at The 2017 JUNO Awards in Ottawa for his work on July Talk’s Alternative Album of the Year winning release Touch.

“As I look back, I realize how invaluable my time spent at OIART was and still is.”

Dufour has also assisted on projects by The Barenaked Ladies, Blackie and the Rodeo Kings, Three Days Grace, and legendary Canadian group, Rush. Now independent and working as a freelance recording and mix engineer in Toronto, Dufour had also worked with iconic Canadian metal band Protest The Hero on their latest release “Volition” which won the award for best metal/hard music album of the year at the 2014 JUNO Awards. The album also hit #1 on the Billboard independent charts, and #3 on the Billboard hard rock album charts.

The JUNO Awards will be presented on Sunday, March 17 here in London Ontario at The Budweiser Gardens.

20 Audio Careers in Film and TV

Fri, 25 Jan 2019 17:26:00 GMT

You did it. You’ve completed the first step towards building a stable career and got the education or experience needed to put you on the path towards becoming a successful audio engineer! Now you need a job!

The film and television industries can be fickle and difficult to break into, but once you’re in you have the opportunity to gain valuable experience and grow with your career. It can be overwhelming when you think about where to begin, so to save you some of the stress, here are 20 audio careers you could potentially go after in the film and TV industry.

1. Production Assistant

The production assistant is responsible for providing support to producers and associate producers. Some of your responsibilities may include prepping the sound equipment, assisting with editing the audio, and supporting the producers in any way that they need. This is a great job to get in on the starting floor, and will hopefully allow you to work your way up the food chain.

2. Sound Designer

A sound designer has a unique and interesting job, which is to create audio environments that enrich the content and heighten the audience’s experience. This includes creating environmental sound effects such as explosions, cars or gunshots, and editing sound effects and music. The sound designer has a sound effects library to work with, but it also responsible for creating sounds when needed. For example, it would be the sound designer’s job to build sounds for creatures in movies that don’t actually exist.

3. Sound Editor

The sound editor is responsible for editing all audio content. Sound editing often includes removing undesirable sounds from the content such as dead air, stutters, umms, and any other audio mistakes, balancing levels, tightening the narrative by cutting what doesn’t work or add to the content, and exporting finished audio when it’s ready to go.

4. Music Editor

The music editor is responsible for working out placement of music in a particular scene, as well as adjusting any music edits. The music editor works closely with the composer and the re-recording mixer to make sure that the music is the best it can be.

5. Re-recording Mixer

Re-recording mixers are responsible for combining all of the audio elements, including dialog, voice over, foley and music, into one final project. The mixers are responsible for adjusting sound levels and making sure that all of the audio elements come together perfectly.

6. Dialog Editor

A dialog editor’s job is to focus specifically on the words being spoken in a particular scene or clip. The dialog editor removes undesirable sounds such as dead air, umms, and unwanted background noise when possible, but also listens to the microphones to check the quality of the sound. They are responsible for fixing any technical problems and making sure transitions are seamless and smooth.

7. Sound Supervisors

This is a very demanding leadership role that involves communicating directly with directors, producers and picture editors about everything related to sound. The sound supervisor is also responsible for overseeing the entire sound crew while they work on a particular project.

8. Foley Artist

Foley artists are responsible for creating all non-speaking sounds that the sound designer wouldn’t create themselves. This includes a lot of random everyday noises such as footsteps, kissing, eating, touching and handling objects. The Foley artist makes these noises using various objects that best simulate a certain sound.

9. Foley Mixer

Working with the foley artist, the foley mixer is responsible for capturing and recording the sounds that the foley artist creates.

10. ADR Mixer

An ADR mixer is responsible for recording the actors in a studio. Actors read lines off of a screen and the ADR mixer adjusts microphone sound and makes sure that the sound being recorded matches the lip movements on screen. The ADR mixer is also responsible for capturing sound that would be used in animated films.

11. Recording Assistant

The recording assistant is responsible for setting up instruments or equipment, as well as signal inputs and any tech needed to start the recording process. They do this so that when the recording engineer comes in, they are ready to get to work.

12. Boom Operator

Boom operators assist the sound mixer by holding and operating the boom microphone, which is a microphone that’s attached to a long pole so that it can be positioned to capture dialogue from the actors, as well as other sounds on set.

13. Production Sound Mixer

The sound mixer has one of the most important and demanding jobs on set. Not only are they often brought in during pre-production to help choose which microphones and equipment will be used, but they are also responsible for recording all sound on set. The sound mixer is also tasked with maintaining log sheets for each roll of tape, and taking script notes in case a scene needs to be re-shot.

14. Sound Assistant

The sound assistant works directly under the production sound mixer and boom operator to support the entire sound department and make sure that the recording equipment is well-maintained.

15. Composer

Composers are responsible for creating sound experiences that heighten and elevate the film. Their music is meant to convey emotion and make the audience feel sad, angry, scared, tense or excited at any given moment. A composer does the majority of their work alone, without a team surrounding them. Once they’ve finished creating a piece of work, other people such as recording artists and musicians are brought in to help bring it to life.

16. Musical Director

The musical director is responsible for the vocal and instrumental elements of a film. It is the musical director’s job to teach the cast and crew the music and to work with them during rehearsals. This position may be be more commonly seen working on a musical film or show, but is also an integral part of a non-musical production, as they are responsible for working with the band or orchestra, which creates the film’s score.

17. Post-Production Supervisor

The post-production supervisor is responsible for overseeing all aspects of the post-production process. This includes monitoring the work of the sound team and picture editing team, overseeing reshoots and ensuring delivery to distributors.

18. Voice-Casting Director

The principal job of the voice-casting director is to audition voice-over actors for animated films and television shows. The voice-casting director works closely with the film’s director to help make final decisions about who will voice each character.

19. Soundtrack Engineer

The soundtrack engineer is responsible for producing a recording or live performance. The soundtrack engineer balances and adjusts sound using audio effects, mixing, as well as many other sound techniques. The recordings produced can than be used for film and television soundtracks.

20. Musicologist

Musicologists often work on a freelance basis and are hired to provide research and opinion assistance to film and television production companies. A musicologist will often consult on matters of originality and copyright, as it pertains to the music used in the film. They can also act as witnesses in sound-alike or copyright-infringement lawsuits.

Here Are 4 Six-Figure Jobs You Can Get With a Music Production Diploma

Fri, 18 Jan 2019 17:26:00 GMT

You’ve got the diploma, but now what? Today’s music industry is becoming increasingly fickle and competitive. As the world enters further and further into the digital age, old jobs become obsolete and new jobs that require multiple skills and a large breadth of knowledge are becoming the norm.

It can be overwhelming trying to figure out what to do with the education you’ve just received, but don’t worry, we’re here to help you put that knowledge to good use. Here are 4 six-figure jobs you can get with a music production diploma.

1. Mastering Engineer

Before music reaches your ears, it has to go through a lengthy production process. This process starts with the writer, who then either sells their song to someone else or records it themselves. Next is the recording phase, which is done in a record studio. After that it goes through a bunch of other people, such as audio engineers, sound mixers, and last but certainly not least, the mastering engineer.

A mastering engineer is responsible for taking audio that has been previously mixed, and preparing it for distribution. The audio is prepared for either CD, Vinyl or streaming audio.

While there are no official requirements to become a mastering engineer, typically those in the business have a comprehensive knowledge of audio engineering and usually a large portfolio of work experience under their belt.

It’s typical for a mastering engineer to charge anywhere from $500 – $1,000+ per album, which, if they are mastering over 3 albums a week, equates to a comfortable six-figure per year salary.

2. Music Supervisor

A music supervisor oversees all music aspects of a particular project, whether it be for a film, TV show, video game or commercial. Music supervisors get to select the songs used in movies and TV shows, but also have to deal with obtaining the rights to use a certain song in a project, or collecting and distributing royalties from music used in the film.

Along with managing the music and sound team, a music supervisor is also responsible for booking the talent for recordings. It is also a music supervisor’s job to communicate between the company they work for and the music publishing company.

In a music supervisor role a person could bring in anywhere between $10,000 to $45,000 for a low-budget film and a whopping $150,000 to $500,000 for a big Hollywood blockbuster.

3. Recording Engineer

A recording engineer is one of the most pivotal roles when it comes to the production of music. They are responsible for setting up and operating the recording equipment that is used to capture the sound of an album.

Recording engineers use various techniques and audio effects including equalization, mixing, reinforcement and sound reproduction. Essentially, they make the song sound the best that it can.

Recording engineers also can do set up, sound check and live sound mixing for concerts, theatre and sports games.

While many recording engineers work as freelancers, if you work hard enough and build up a portfolio of top-quality work with well-known clients, it becomes easier to turn your freelance gig into a six-figure job. Recording engineers typically make anywhere from $25,000 per year, with the top ones making $150,000 plus per year.

4. Video Game Sound Designer

A video game sound designer is the person who creates and manipulates audio elements for a particular game. Because the video game world is huge and constantly growing, this is a good area to break into while you still can.

Being a video game sound designer is actually an extremely technical job. You often have to have a degree in audio production or engineering, and you also need to have a lot of experience under your belt. This experience can be gained through self-taught learning tools such as online tutorials, books and videos, and it can also be gained through freelance work and working closely with other professionals in the industry.

Video game sound designers also have to be prepared to work long and tiring hours when working on a particular project. That’s why they get paid the big bucks, however, as video game sound designers can easily make upwards of $120,000 per year depending on the projects.

It’s very unlikely that you will graduate from school and land yourself a six-figure job straight out of the gate. Don’t expect to land a job at your dream company in your dream position right away. Most high-paying jobs require a mix of education and a lot of experience. Make sure to learn from every job you have on the way to your dream job. Gaining relevant experience and making notable connections along the way will be the best thing you can do to advance your career. If you apply yourself to perfecting your craft, work hard everyday and take the opportunities that do come your way, you will find yourself where you want to be in no time.

9 Jobs You Can Get In A Recording Studio

Fri, 11 Jan 2019 17:26:00 GMT

A recording studio is a specialized facility that is used for sound recording, audio production and mixing. Recording studios are often used to record both instrumental and vocal musical performances, but they are also used to record spoken words, including voice-overs and audiobook narration, and other sounds, including background sounds in film and television.

When most people think of recording studios their minds instantly go to the musicians who frequent them. Yes, it’s true that singers and bands spend a considerable amount of time in recording studios, recording the music that you listen to on your daily commute, but there is also an entire crew of people working hard on the other side of the glass.

If you’re interested in obtaining a career that involves the production of sound, look no further than these 9 jobs that you can get in a recording studio.

1. Audio Engineer

An audio engineer plays a large role in producing a recording or live performance. Audio engineers balance and adjust sound sources using various tools and techniques including audio effects, equalization, mixing and sound reproduction and reinforcement. An audio engineer combines musical instruments and technology to create sound for movies, television, video games, music, radio and commercials.

2. Record Producer

A record producer is responsible for overseeing the entire production and recording process of a song, or an entire album. This job is demanding and requires the producer to be involved in every step of the musical process. A record producer may help to gather ideas for a song or album, as well as helping with the selection of material that will go on the finished album. After hiring musicians and selecting which songs will be recorded, a record producer will work closely with the musicians, both in and out of the studio, to improve their lyrics and arrangements.

3. Sound Mixer

A sound mixer’s job is to control the volume and sound quality of the audio that’s being recorded. This is especially important when more than one microphone is being used at a time. A sound mixer must be proficient in their use of sound mixing technology, as each component is specially designed for making real-time sound adjustments, as the recording is taking place. Sound mixers are crucial during live music broadcasts, such as a live radio performance, where the sound cannot be altered afterwards. Sound mixers are also responsible for editing all sound components together, such as for a film or television show.

4. Sound Editor

The sound editor’s job is actually very different from that of the sound mixer. To put it simply, the sound editor is responsible for editing all sound after it’s been recorded, and the sound mixer is responsible for putting all those pieces together to turn it into one, final project. Sound editors help to create the everyday sounds you hear in movies and TV shows, as well as background sounds. Once all of the dialogue, music, background sounds and additional sounds are recorded, sound editors will take out any sound issues or dead air, and then send all of the clips off to the sound mixer to be put together.

5. Sound Designer

A sound designer finds and creates audio that will be used for a wide range of productions including film, television, radio, video games and commercials. They create effects such as explosions, as well as atmosphere sounds, such as traffic or the background noise of a coffee shop. Sound designers work with productions early on, by going through the script and making notes of all of the sounds they will need to create, and then they create them in the recording studio.

6. Foley Artist

A Foley artist is responsible for recreating everyday sound effects that will be used in film, television or other types of media. Oftentimes, the actual sounds made by the actors or the props do not sound the same when recorded, as they do in real life. For this reason a Foley artist is brought in to mimic some of the sounds we would normally hear, such as walking, clothes swishing, kissing, breaking glass or doors creaking. A Foley artist goes into a recording studio and uses various random objects to create familiar sounds, such as a heavy staple gun being used to mimic gun shots. These sounds are recorded and sent off to the sound editor.

7. Instrument Tech

An instrument tech must be extremely knowledgeable in using, setting up and maintaining musical instruments and music equipment. Instrument techs will often have a specialty, whether it’s guitars, keyboards, drums, or something else. While an instrument tech often works with concert tours and stage shows, they also spend a lot of time in recording studios getting everything set up for recording.

8. Recording Studio Manager

A studio manager often owns and operates their own recording studio, or in other cases was hired by the owner of the studio for the job. The studio manager is responsible for overseeing the day-to-day operations of the recording studio, and will have to work closely with musicians, producers and band managers who are renting the space. It is also the studio manager’s job to hire skilled and qualified audio engineers to run the equipment.

9. Entertainer

Last but not least, if sound production doesn’t pan out, you can always go for a job on the other side of the glass as a singer, musician, actor or voice-over specialist.

How To Become A Video Game Sound Designer

Fri, 04 Jan 2019 17:26:00 GMT

If you spent your entire childhood living and breathing video games, then it only makes perfect sense that you would opt for a career in video game production. Not many people realize the amount of work that goes into creating one video game. From animators to illustrators, and voice-over actors to sound designers, there are many pieces that fit together to create an immersive and exciting world for the game’s audience.

A sound designer is the person who creates and manipulates audio elements for a particular game. The first step that all aspiring sound designers must take is to decide if game audio is the right fit for them.

Being a video game sound designer might seem like it’s all fun and games, but it’s important to understand just how much work goes into the role. Aside from having a degree or sufficient experience in audio engineering, you also have to understand how to create emotion through sound, and be willing to devote a lot of time to mastering your craft and getting things right.

Your role as a sound designer will vary from job to job, depending on the company that you work for and the needs of the specific project you’re working on. However, there are a few general things that every sound designer needs, regardless of the circumstances.

How Do I Become a Sound Designer for Video Games?

1. Technical Chops

A video game sound designers job is extremely technical. You will have to learn and master how to use a variety of different hardware and software, as well as numerous different audio techniques. Even if you are well-versed in sound design before you begin, there still may be different applications that the company you are working for will want you to use. In these circumstances you must be willing to learn and ready to work hard.

2. Communication

Being able to communicate clearly and collaborate with your team is going to be crucial to the outcome of the overall project. Creating a video game is done through the work of many different people, in many different departments and it’s never a solo journey. Your ability to collaborate with your team members effectively and communicate with them clearly will make sure that the entire process goes over smoothly.

3. Creativity

The sound designer is responsible for creating sound content, which is done in an audio workstation, and involves recording audio and then matching that audio with animations and environments in the game. Oftentimes, the game will already have a well-established style or aesthetic that you will have to match, but occasionally you will be asked to contribute your own style that works and blends well with the rest of the game. Keeping your creative wheels turning at all times will help you when it comes to the designing aspects of the job.

4. Commitment

Being a video game sound designer often involves long, daunting work hours. In order to get something to sound exactly the way you want it to, a lot of time and work needs to be put it. This means working outside of the traditional nine to five workday, and often on evenings and weekends. Even though it can be tiring at times, watching your hard work come to life makes it all worth it.

If you’re passionate about video games and sound, and think you have what it takes, than a video game sound designer just might be the right job fit for you. Next, you’re probably wondering how you would go about becoming a video game sound designer, right? Well look no further, we’ve got you covered below.

The first thing that you need to do is learn absolutely everything you can about sound design and audio. Attending school for sound design is a good place to start, as it gives you access to state of the art, industry-standard software that you will need to learn how to use. It also gives you access to professors, who are often trained professionals, that can give you hands-on experience, one-on-one advice and offer constructive feedback.

While school is the first step, it probably won’t teach you everything you need to know. The best thing to do, is to make sure that you continue your education outside of the classroom. Take additional classes, watch tutorials, ask experts, do your own research, and above all – practice, practice, practice!

Make sure that everything you do, whether in school or outside of it, gets put into a portfolio for you to keep and revise. When you start searching for a job, your demo reel is going to be extremely valuable. Make sure that it showcases your creativity and some of your unique skills, as that is what will separate you from the crowd.

Testing yourself and giving yourself challenges is also a great way to make sure that you’re ready for a career in video game sound design. One way you can do this is by taking a film sequence or a video game trailer, removing the audio and then adding your own. When doing this exercise it’s important not to listen to or get caught up in the original audio, or you could end up trying to mimic it instead of creating your own unique take.

Once you feel you are ready to start applying for jobs, it’s important to keep an open mind and begin with a very large scope. Narrowing your options to only a few jobs or getting fixated on one specific company or position can lead to disappointment. Start broad and apply for anything that catches your eye, including freelance positions. Freelance work might not be the most stable or lucrative, but it allows you to make money while buffing up your portfolio of work. It also allows you to make connections in the industry, which could be valuable down the road.

Apply for similar jobs at companies you really love and want to work for. Maybe they aren’t hiring for a sound designer at the moment, but they may have a different position open that you are equally qualified for. Being flexible with job titles is important in the beginning, as it allows you to get in on the ground floor and then prove your worth to the company. Then when a sound designer job opens up, you will have a major advantage over the competition.

The last and most important thing to remember is to keep working hard and don’t get discouraged. Your efforts will eventually pay off!

The Best Music Cities In The World (Part 1)

Fri, 28 Dec 2018 15:02:00 GMT

There’s no denying it, some cities are far better for music than others. In fact, you may have heard the term “music city” been used before. This is a term that describes a city that has a strong appreciation for music, and backs up its artists, clubs and venues through government funding and through music-first initiatives.

Some cities may have a strong scene for music production, whereas other cities might have a growing live music scene — but whatever the reason, these cities love music and they aren’t afraid to show it. Here are just a few “Music cities” from around the world that would make a worth destination for the avid music fan.

Tokyo

If one were to think about the most known international music cities, Tokyo, Japan is probably not going to be top of mind. Perhaps it’s because of how far it is away geographically to most known music cities, or it could be due to the fact that the country has few well-known artists in mainstream western music culture. However, you might be surprised to know that the capital city of Japan has a flourishing music and arts community with some of the world’s finest music venues.

Surprisingly, physical album sales are still doing very well in Japan. People can’t seem to get enough CD’s, so much so that they make up 85% of physical sales in Japan. In fact, Tokyo is the only city in the world where a Tower Records shop exists. Tokyo is also home to many fantastic, smaller vinyl shops. Record shops have been popping up around the city for the past few years and have become a popular destination for music-loving tourists.

Tokyo is also home to many venues with the highest quality sound system in the world. What’s better is that to experience them you don’t need to spend a lot of money on an expensive arena ticket like the Budukan or Suntory Hall. Some of the city’s best venues are tiny clubs and cafes like VENT, Sound Museum Vision and Koara. It’s a good thing too, because you’ll need to save up a bit to afford the flight overseas.

Seattle

Seattle will forever have a place on this list for it’s many contributions in rock music history. The Emerald City is the place where many groundbreaking artists in the late 80s and 90s got their start. Nirvana, Soundgarden, Pearl Jam all started their careers here; even Jimi Hendrix got his start as a young artist, born in the Seattle area in the 40s.

With bands like Pearl Jam and Nirvana growing international recognition, Seattle became known as the birthplace of the grunge scene in the mid-80s. Around that time, local record label Sub-Pop helped facilitate the grunge movement, signing Nirvana , Soundgarden , and Mudhoney and other major artists in the genre to their roster.

For the tourist, the Museum of Pop Culture has fantastic exhibits for Pearl Jam, Nirvana and Jimi Hendrix you can check out to learn more. Pro-tip: if you fly to Seattle, be sure to check out the Sub-Pop store in the airport and grab some merch.

Seattle is also home to KEXP, a fantastic radio station known for breaking many rising artists into mainstream culture. If they happen to have an artist in for a live session, be sure to attend and snap a few pics.

Nashville

You’ve probably heard of Nashville being a Music City before, and not just because they made a TV show about it. The city has a rich history of music culture dating back to the civil war. Nashville’s legacy as a music city was written in 1925 at the launch of the radio station WSM, who would soon establish a weekly music program called the Grand Ole Opry. Still running to this day, the Grand Ole Opy is a weekly broadcast that puts the spotlight on new and emerging artists, held at the legendary Ryman Theatre.

Nashville is also known as the “Songwriting Capital of the World”. Musicians from all over the globe flock to Nashville to write, collaborate on and record music. Robert Plant, Black Eyed Peas, Kings of Leon and more international artists have chosen Nashville as the setting to record their albums.

The Bluebird Cafe is a popular destination for tourists and local music aficionados alike, where songwriters go to perform their music and share stories of their process.

New Orleans

Jazz, blues, R&B and soul music all have a unique place in New Orleans, Louisiana’s deep-rooted cultural history. You can’t walk far in this beautiful city without hearing the sounds of horns, drums and voices at the cities various bars, clubs, cafes and even street corners. Live music is everywhere you go, especially if you’re walking down Frenchmen Street in the Marigny Neighbourhood — a bohemian style section full of unique jazz clubs, french bistros and cajun restaurants.

Toronto

Toronto is well on it’s way to becoming one of the most prominent music cities in the world. With a growing music scene full of folk, rock, rap, pop and blues artists, you’d be hard-pressed to any of the city’s many music cafes and venues empty on any given night.

The eyes of music fans have been turned to Toronto in recent years with the success of mainstream pop icons such as Drake, The Weeknd and Shawn Mendes.

Toronto is home to legendary music venues like the Horseshoe Tavern and recently reopened El Mocambo, as well as a growing list of new smaller clubs to facilitate the booming indie scene. Toronto becomes a mecca for music for a couple weeks throughout the year with major Canadian music festivals like Indie Music Week, NXNE and Canadian Music Week all taking place in Toronto.

How to Get Better Sounding Mixes Quickly

Wed, 19 Dec 2018 14:52:00 GMT

The post How to get better sounding mixes quickly appeared first on OIART .

5 Metal YouTubers Collaboration at OIART (Music Video)

Wed, 12 Dec 2018 22:50:00 GMT

One of the responsibilities of being a school (especially one like ours, that is focused primarily on employment after graduation) is to stay current in the industry, follow new trends, and to prepare the students for future careers. Frankly, the majority of careers that younger students will be doing in 10 years, simply don’t exist yet. Therefore, it’s our responsibility as a school to start teaching for careers that will exist in the future, now!

One of the biggest trends that have occurred in music and media, of course, is YouTube.

The thing that we’ve always done as an educational institution, is every year we bring in guest lectures from all over the industry. People come in to speak to the students about different types of jobs, industries, how they got started, and what a typical career path looks like. A lot of the guest lecturers we bring in are driven by student requests. They want to connect with someone that is in a certain career path, or someone that works with a specific genre or artist. In the past couple of years, one of the trends we were seeing is, “Look at these YouTubers, we want to talk to someone like that.”

With this information, in the summer of 2017, we brought in Glenn Fricker from Spectre Media Group , and the students really enjoyed interacting with a YouTube personality. The following weeks after his lecture, the students started wanting more. They asked, “Can we talk with this YouTube star?” and, “It would be great if we can get so and so out to the school.” This is when we started realizing, as an educational facility, a lot of these YouTube content creators are now the new movie stars, the new rock stars of this generation of students. They are being referred to as the influencers; these are the people that are actually getting a message across to this generation.

That’s when we decided, this is what the students want to see and this is starting to become a viable career path. A way to combine your passion, hobby, and education, and show you a way to monetize it through YouTube. Thus, creating a potential future in sound.

So, we started interacting with YouTubers to see just how much work actually goes into making this content, because one of the interesting things is, to the untrained eye, these are people just making videos in their bedroom. They are not able to see the technology, education and the skill set that’s on the other side of the camera lens. That’s what we decided to do for our students, let’s bring in as many YouTubers as we can and show them just what it’s like to go down this career path, either as a content creator or working with the creators themselves.

There are lots of people that want to create content. Obviously, there is going to be a huge demand for a skill set that can help with the process; everything from audio, video editing, and camerawork. As an educational institution within Live Sound, Audio for Visual Media, and Music Production, we are showing students how to connect the knowledge to the YouTube world. We saw YouTube as a unique way to tie that entire skill set together; to open up another range of career paths. Another way for students to take their skill set and passion, and translate that into another income to support themselves.

YouTubers involved in this collab:

PelleK : https://www.youtube.com/user/pellekofficial

Steve Terreberry : https://www.youtube.com/user/SteveTerreberry

Cole Rolland : https://www.youtube.com/user/CRCanada

Trey Xavier : https://www.youtube.com/user/geargodsnet

Cameron Fleury : https://www.youtube.com/channel/UCr-1…

Special thanks to our Grad Siegfried Meier for Engineering the session.

How to Get a Job as an Audio Engineer

Tue, 11 Dec 2018 14:21:00 GMT

If you’re like me when I was first starting out, finding a job was one of the most stressful, overwhelming and time consuming activities out there. The thing is, we all need jobs one way or another, which means we all need to go through the process eventually. Fortunately, every time you go through the process, it gets a little easier and a little less stressful. You may one day even get to the point where you enjoy looking for new opportunities, because it gives you a chance to brag a little about yourself in order to make some money.

Unlike getting a job in something mundane like telemarketing, you’re an aspiring audio engineer which means you actually need to prove to your potential employer that you have the hands-on and theoretical knowledge required to be a pro in the recording arts. But the question you might be asking is where do you get the experience required to demonstrate your abilities without being employed? Luckily for you, there are many ways you can go about landing your first job, even if you are a novice. Here’s how to land a job as an audio engineer.

1. Get an education

Going to school for an audio engineering degree is the most effective and straightforward ways of landing a job as an audio engineer. A good audio engineering program prepares its students for the real world by providing an education from industry professionals, helps them build connections, provides hands-on experience with audio equipment and in some cases offers apprenticeships. In these cases you learn everything you need to showcase your talent to a potential employers by demonstrating that you have the knowledge, practical and workplace experience.

2. Build A Portfolio

It’s the age of the internet, so why not teach yourself some news skills and see where it gets you. Once you think you have a basic idea, download yourself a free DAW and start playing around. Find local artists and friends who need songs recorded and offer to do them for free or cheap. The more experience you have, the easier it will be to get work.

Once you think you have a good enough resume, you can go one of two ways: starting charging for your time proper hourly fees or start shopping your portfolio around at recording studios to become an assistant.

Whatever route you take here, be sure to leverage the internet and put all your work online somewhere. Soundcloud and Bandcamp are both great, free tools that host music portfolios. Better yet, build a Facebook page or website with your material and resume. Anywhere that you can talk about your experiences and skills, and provide examples for people to listen to.

Get active on social media and send your files around to others and get their feedback. The more eyes and ears on your material the better.

3. The Volunteer Route

Before you ask, yes unfortunately to get experience the first time around it means putting in a lot of free work hours.

There are a couple different ways you can go about offering your time to build experience. The first would be approaching recording studios in your areas and see if they have internship or apprenticeship programs, however unlikely. The next would be to approach your local community theatre group and see if they need extra hands running the board. If you’re still in high school, join the communications group or join the tech team associated with drama department. Think outside the box in this case, and build a resume any which way you can.

4. Build Connections

Sometimes it’s not what you know, but who you know. In the best case it’s both. Building connections with industry professionals can help you get a leg up on your peers on job openings, internships and apprenticeship programs.

Go out and meet audio recording professionals at the kinds of places you might expect them to be. Go to live shows and talk to the live mixer (after they’re done working of course) or the artists. You might also want to consider finding a job that isn’t exactly the field you want to work in but a related one. For instance, get a bar job a local venue and make friends with the in house audio engineer. Build up a report with that person and ask them if you can come in on a night off while they are working to shadow them. Down the line show them your skills and see if they would be open to letting you cover them for a show. Alternatively, if you’re a musician, start reaching out to artists and recording engineers you know to see if they have any leads.

Check online for meetups, and get to know like-minded individuals in your city. Meetups are a great way to learn about your profession, who the big players are and build connections.

Lastly, whatever path you decide to take, take it seriously. Audio engineering is a career that requires dedication and hard work. A genuine work ethic is an invaluable skill to have that potential employers will pick up on. If you can demonstrate that you are willing to go above and beyond, put in those extra hours or make those extra tweaks that bring a project to life, you will be considered a superior candidate over the others. Happy hunting!

6 Must-Read Books on Music Production and Audio Engineering

Tue, 04 Dec 2018 14:33:00 GMT

As an audio engineer you have an obligation to never stop learning. When an artist or production house hires you for a new project, they are expecting you to be the best of your peers. It’s no surprise that for many, that expectation will be built on your practical experience. But when it comes down to it, you will also be judged on your knowledge of theory and new and emerging trends. This is because as technology changes, so to does the practise of audio engineering as a whole.

To be the very best at what you do takes more than just going to music production school and gathering your 10,000 hours, it means keeping the pursuit of knowledge alive and seeking new information. Whether you are just starting out or farther along in your career, here are some books that will greatly help you broaden your horizons.

Modern Recording Techniques

Author: David Miles Huber

David Miles Huber’s Modern Recording Techniques is the Bible when it comes to audio engineering. You will find this book in almost every AE / music production class as it is the authoritative textbook for audio engineers, old and new. This best-selling book will teach you everything you need to know about music production both from a technological point of view and from a creative standpoint.

From this book, you will learn how to get the best use out of your studio, whether it be live or digital, with useful info about working with DAWs (Digital Audio Workspaces), networked audio, MIDI, signal processing and more. Now in its ninth version, Modern Recording Techniques has been modified to reflect the most recent updates for common DAW systems, plus signal processing, and mixing and mastering.

The Mixing Engineer’s Handbook

Author: Bobby Owsinski

As technology made computers smaller and smaller, thus shrinking the requirements of studio spaces, audio engineering became accessible to everyone with a few hundred bucks. The Mixing Engineer’s Handbook explores this new world of audio engineering, breaking down the process for engineers of all calibers, from the DIY basement studio mixers to the full size studio owner.

One of the most useful aspects of the book is it’s breakdown of the mix into six elements. Owsinski offers numerous tips and tricks on how to maximize interest through a balanced mix. This book also offers a number of lessons on advanced tools such as automation, pitch correction, sound replacement and more.

Audio Engineering 101: A Beginner’s Guide to Music Production

Author: Tim Dittmar

You’d be hard-pressed to find a list of books out there on this topic without Tim Dittmar’s brilliant Audio Engineering 101: A beginner’s Guide to Music Production. As the title suggests, this book breaks down the entire music production process from mic placement to mixing in a easy to read and relatable manner.

You’ll learn about the different types of microphones and best uses for each, analog recording, digital recording, mixing, mastering and everything in between. I highly suggest this book for anyone running their own studio, whether you’re just about to get started or already have a few years under your belt.

All You Need To Know About The Music Business

Author: Donald S. Passman

Understanding how to produce music is one thing, but how to run a business in the music industry is something else completely. This book is the quintessential guide to getting started in the music industry in a broad sense. Producers, artists, music lawyers, managers and more–if you want to work in music, this book will tell you everything you need to know. Passman provides insight into nearly every corner of the industry, such as navigating a record deal, organizing tours, negotiating music licensing and more.

Although All You Need To Know About The Music Business has been around for 20 years, now in its ninth edition, it has been recently updated to include current industry trends and technological changes.

Hack The Music Business

Author: Dave Kusek

For musicians and producers looking to get a running start on their business, Hack The Music Business is a must-read. Written with the modern-day business owner in mind, this book will teach you tips and trick on how to survive as a one-man business, as opposed to the old days of record deals and big label money.

Indie musicians these days have to operate as a start-up business, which is why Kusek wrote this book. Based on 20 years experience, Kusek shares his insights on touring, recording, writing, self-promotion, writing and producing. While this book doesn’t have a lot to offer in way of hands-on music producing, the knowledge that it will teach you about the industry as a whole is invaluable.

The Song Machine: Inside The Hit Factory

Author: John Seabrook

What makes a hit song a hit? Is it having a new hook every couple of seconds? Is it the melody, or the chord structure it’s written in? All of these questions and more are answered in John Seabrook’s astounding book The Song Machine: Inside The Hit Factory. Examining some of the greatest pop tracks of all time from the likes of Rihanna, Katy Perry and more, Seabrook takes us behind the board and into the minds of some of the industry’s most successful producers including Max Martin and Dr. Luke. By examining the psychology of why we like what we like, Seabrook is able to provide concrete evidence for what makes a song a “hit”.

Here’s How Much You Can Make as An Audio Engineer

Thu, 29 Nov 2018 19:46:00 GMT

Tips and tricks on how you can make more money than you ever thought

Audio Engineers are a well sought after job for enthusiasts interested in a career path in music. An audio engineer is someone who mixes, records or masters music in a professional setting, either for recordings or in a live setting. There is a use for audio engineers is almost every facet of the media industry, including television, theatre, film, live concerts and most notable for music recording.

There’s no set path of employment when it comes to being a sound engineer. Some work as full time employees at radio stations, TV studios or recording studios while others might be hired on a part-time / contract basis. In the recording industry, some smaller-time audio engineers work on an hourly basis by project. In that case they may have an association with a particular studio, and book studio time for projects individually. In those cases, audio engineers would have to bake in the cost of renting studio space into their hourly / project costs, or ask that the employer such as a band or studio pay for those costs separately.

If you are interested in a career in one of these areas, then you might be wondering how much can you expect to make.

Just like being a writer, how much you get paid depends on where you are working, what segment of the industry you work for and your experience.

According to 2017 Bureau of Labour Statistics, Broadcast and Sound Engineering Technicians typically make $42,650 per year on average. That’s works out to be just a little over $20 an hour.

Comparatively speaking, Canada isn’t far off in terms of salary. According to PayScale, Canadian Audio Engineers make an average of $24.56 an hour, equating to roughly $50,000 a year. Converted to USD, you’d be making close to $38,000 per year.

Future audio engineering prospects should know that the industry is on an upwards trend. Projected 2026 numbers estimate the industry will see an 8% growth. That means in less than ten years, the median pay average will reach $46,062.

Location, Location, Location

In the United States, there are areas where it is more profitable and less profitable to be an audio engineer. Engineers are more likely to land a job and make a better salary in areas where the TV, film and recording industries are more active.

In the U.S. the states that are the most fertile for audio engineer jobs are California, New York, Florida, Texas and New Jersey in that order. Tennessee, Georgia, Illinois and Virginia also have booming AE roles.

Right now, in the United States alone where are over 130,000 active audio engineers. Between 2016 and 2017, 10,700 new engineers entered the industry and are actively working.

Profitable Places

In terms of salary expectations, both the East and West coasts have the highest paying salaries. The opposite can said for interior states. Louisiana surprisingly has the highest paying median salary, coming in at $90,640. That’s almost $10,000 more than the second highest-paying state, Connecticut which lands at $80,890 per year. Next in line for highest paying states are California, New York and Washington. At the bottom of the barrel, Minnesota, Oklahoma, Arkansas, Ohio and Pennsylvania have the lowest median income, ranging from $27,00 to $44,000.

Education

Most audio engineers have some sort of post-secondary education like a bachelor’s degree or diploma. While it is not a requirement, audio engineering is unlike mechanical engineering or biological engineering in that some industry professionals can have only a high school diploma to succeed.

Many audio engineers graduate with an associate’s degree before they go off to start their careers. Unlike other types of engineering, going off to school to become an audio engineering is not nearly as time consuming. Programs like OIART’s Audio Engineering program can have students up and running as professional audio engineers in a matter of 11 months.

What level of education you end up with may be determined by two things: where you want to work, and the type of learner you are.

While it’s not always the case, some jobs require applicants to have a specific level of post-secondary education in order to apply. In some cases, employers look for people who have experience working behind mixing boards in a professional capacity. For example, a live TV studio audio engineer would be expected to have spent time behind a live mixer and to have adequate training of working in a fast-paced workplace. Few have access to top of the line, industry-standard equipment that would be available in post-secondary programs like OIART. Education programs are necessary for many who aren’t great at home-schooling. While there are many resources available online these days, some require the sort of hands-on training by industry professionals schools offer rather than learning by one’s self.

Whether or not you go the post-secondary education route or not, your commitment to learning as an audio engineer is never over. As technology is constantly changing and mixing / recording equipment gets better, so too does its complexity. The best of the industry are constantly learning and educating themselves through online training, books, and certifications. The latter are great for the resume, and add value to your as an asset to potential employers.

6 Signs You Were Born To Be A Music Producer

Thu, 22 Nov 2018 19:39:00 GMT

Think you’re the next Rick Rubin? Is Phil Spector your childhood hero? Want to get on Timbaland’s level? If you answered yes to any of these questions, there’s a good chance you have the intentions to become the world’s next elite music producer.

Good news is, everyone has what it takes to be a world class music producer. The bad news is…well, get in line. There are a thousand others just like you who are willing to do whatever it takes to “make it” in the industry. But you already knew that.

So if you’re thinking of walking down the path of a music producer, listen up, because it’s not all just about an ear for music or sheer talent. There are several key qualities that any good producer worth their salt has.

Take note to the following, and if you match these qualities, you were born to be a music producer.

Confidence

This may be an obvious place to start, but confidence is one of those key qualities that is imperative when it comes to this role. The job of music producer is very often a one man show, and that means having to defend your ideas to a stubborn, diva-like artist. You need to be confident that you are making the right decision and be able to backup your ideas. At the same time, you need to know where the line is when it comes to decision making. Even if you are sure you are in the right, you may have to appease artists when they draw a hard line. After all, they are your client, and you need to exercise a bit of customer service.

Flexible

Few jobs will test just how flexible you are like being a music producer. Running a studio will push the limits on just how forgiving you can be because you are dealing with artists, who can be extremely demanding and careless with your time. There’s a reason artists are known to be massive divas from time to time. If you’re lucky enough to get a big artist in your studio you will run into this issue for certain.

One of my colleagues works at a studio that a certain famous rapper had once booked for the day to lay down some vocal tracks. Like any business, the studio typically had clients arrive in the morning between 8 and 10 am. However, after a couple hours of waiting, this engineer started to think that the rapper was a no-show. Near the end of the day when he was about to pack it in, up rolls a massive tour bus with a bunch of classic cars behind it. The artist had shown up at the end of the day with his entire posse. To make things even more ridiculous, he wouldn’t enter the studio unless there was a bucket of KFC readily available in the studio, along with (as he describes it) “jars of weed”. Even though the studio had a strict no-smoking policy indoors, he had to make an exception. After a couple hours of painful waiting, the artist finally entered the studio late at night. The catch? He laid down the track in one perfect take and was immediately out the door.

Being flexible means making compromises for the sake of the business, and drawing the line when you can afford to.

However, being flexible also means wearing many different hats. On any given day, you might be a audio engineer, a receptionist, vocal coach, technician, accountant or personal assistant. It’s a multi-faceted job that will test your patience.

Nighthawk / Early Bird

A good music producer is a nighthawk. A good music producer is an early bird. A great producer is both.

It’s extremely likely that recording sessions start early in the morning or go very late into the night. Either way, you will still be expected not only to stay awake and be focused, but to think just as clearly, and as innovatively as any well-rested individual.

Trust me, there’s nothing that pushes your limits like an artists trying to stretch their recording dollars by sticking within the day rate (that’s why you should always change hourly). Always remember, there is a point of diminishing returns, and spending too much time on a given track will result in worsening performances.

Organized

Please remember that you are running a business just like any other service industry job. That means staying on top of your life, and being organized. You know what’s the worst mistake you can make as a producer? Double booking the studio. Nothing looks worse on you.

If you have a habit of messing up dates, showing up late or forgetting the details, you better smarten up or else this job isn’t for you.

Always Innovating

Just because you do this every day, doesn’t mean you can treat every artist the same. It should be said, that if you aren’t creatively inspired to try new things and innovate, you simply aren’t cut out for this job.

You need to approach every artists with fresh ears, an open mind and a good attitude. Nothing is more obvious than an uninspired or bored audio engineer.

Willingness To Learn

The best audio engineers are educated engineers. Now for all of the home-schooled engineers about to @ me on Twitter, let me finish: I mean either through an educational institution or otherwise. The key is that you are actively learning and adapting new methods. This could of course mean going to an audio engineering school, or it could be reading books, taking online classes, listening to podcasts, masterclasses and so on.

If you were born for this job then you are the kind of person who is in the endless pursuit of learning. Audio professionals have to adapt to emerging genres and musical styles. Do you think steel drums will be the next big thing in EDM? Is tropical house dead and gone? Only someone who has their finger on the pulse of the industry can answer these questions.

Audio professionals are like sharks, the moment you stop moving is when you die.

Five Reasons You Should Work In The Music Industry

Thu, 15 Nov 2018 19:23:00 GMT

How to be that person who loves their job.

The music industry is the greatest industry in the world, and I’ll stand by that. If we’re being honest, I bet you already know that too. But since you’re here, I imagine you need a little convincing.

Maybe you’re hesitant because you can’t play music, or you don’t know where you fit in. Maybe you’re just looking for proof to print out and show your parents so you can convince them it’s a viable job option.

Whatever the reason, we hope you come away from this list with great reasons to make you feel good about pursuing a career in music, and at the very least some talking points to bring up in conversation with your wall street buddies.

1. It’s your passion

I’ll start start here because it is the most important aspect for why you should become a music industry professional. Music is your passion. It always has and it always will be. Besides, what’s that saying “If you’re good at something, never do it for free.” On top of that, if there’s something you love, why not get paid to do it.

For me, I knew I wanted to so something around music early on. I’m not sure there was a eureka moment when I was a kid, as much as a sort of an expectation that grew with me as I got older. I loved listening to music and was always in music lessons learning new instruments so the passion only got stronger as I grew. I never lost that love of music. When it came to choosing a major in school, music seemed like an obvious decision.

2. There are almost endless career paths

Actually being a musician isn’t everything, you know. Just because you aren’t a rockstar doesn’t mean you won’t feel fulfilled. Working in music and being a musician are two different things. On one hand, you are the one writing and performing songs, and on the other, you are supporting that music and getting it out there for the world to hear and enjoy.

The music industry is just like any creative industry. Take advertising, for example. There are those in advertising who make the creative, and those who do all the behind the scenes stuff like marketing, sales, licensing and so on. Music is no different. Where you end up in the industry very much depends on your skills and where your interest lies. That being said, just because you aren’t a touring artist doesn’t mean you can’t be a musician for a living. There are many jobs like songwriting, producing and production music writing that you could do.

3. Work With Your Heroes

The music industry is similar to working in TV and movies in that you get to meet people you’ve come to know and love through their art. At some point in the industry you’ll get to meet and work with someone who’s music or work you admire. When that happens and you actually get to work side by side as equals, it’s an incredibly surreal moment. The first time that happened to me I had this thought “this is exactly where I’m supposed to be”.

On that note, don’t believe that quote of “never meet your heroes”. I’ve heard that so many times, and I don’t buy it. Sure, some artists can be demanding divas who expect everyone around them to bow down, but that really isn’t the case for most artists. The reality is that artists are just regular people, with regular lives. Most of them have families and homes to go back to and they treat the people they work with like any other colleague. I worked at a radio station for a couple years and met hundreds of famous artists. Most of them were kind, considerate and easy-going people. From time to time we would have someone in who was really difficult to work with, but that’s to be expected.

4. You Can Actually Make Money

Believe it or not, there’s money to made in the music industry, and lots of it. 2017 was the third year in a row that the music industry’s average profits grew, bringing in a whopping $8.7 billion in the U.S. alone. With major music labels finally embracing streaming platforms like Apple Music, Spotify and TIDAL, we’re finally starting to see the cogs working together again. Artists are selling tickets because of interest gained through streaming platforms and are travelling to new places. That shift causes a trickle-down effect in the industry, supporting all the people who work at labels, in artist management as well as music licensors, road crews, venue staff, radio stations and so on. With music consumption at an all time high, there’s a need for more people to fill the growing job list that the music industry has to offer.

5. It’s Not Hard To Start

There are hundreds of ways to get involved in the industry right now. The music scene is very much a “not what you know, but who you know” kind of place. That’s why the most important thing is to get your foot in the door where you can. I’d recommend checking out our post on [INSERT LINK HERE ]How to land a job in the music industry[END HYPERLINK] for our full list of ways to get started. Just be sure you have a general idea of where you want to work, start networking, get involved, and start making your place in the industry.

Getting started is much easier than you think too. I got my start as an intern at a radio station before they hired me on full time. All you need to do is do some research of places you want to end up and reach out. A simple email with your resume demonstrating your passion for what they do and the industry goes a lot farther than you might think.

So what are you waiting for? Let us know your dream music job in the comments, and how you plan on getting involved.

Where To Make Money In The Music Industry Right Now

Mon, 12 Nov 2018 19:10:00 GMT

The music industry is profitable again

Over the past three years, music industry executives have come to realize one of the oldest idioms in the book is true: if you can’t beat em’ join em.

Right now, the music industry is more profitable than it has been for a long time. With the age of streaming in full swing, the industry is booming. For the time being, we’re living in the age of music licensing, publishing and everything in between.

Publishers have finally figured out a distribution model that’s profitable (for now), and in response, music listeners are consuming like never before.

In previous years, music publishers and labels failed to embrace online music consumption services. It took nearly twenty years for the industry to catch up with itself before labels got on board with streaming giants like Spotify, Tidal and Apple Music. Once they did, profits started to increase and the result has had a trickle down effect on the industry. More artists are touring, selling tickets, merch all because of how easily accessible their music has become. Sure, CDs aren’t selling as well as they used to, but artists are able to make a living writing music and performing. But don’t just take my word for it. In the first year of growth back in 2015, live ticket sales represented $7.2 billion in revenue. By some estimates, ticket sales are expected to grow to $9.1 billion by 2021.

At home music listening has become highly addictive, consumable advertising for touring artists. Streaming has allowed for artists to have access to geographic analytics in real time. Artists now have more easily accessible, reliable data for which cities they have heavy fan bases in. They can see other artists their fans are listening to which allows them to maximize ticket sales by joining forces by going on co-headlining or supporting tour. It’s true, artists make very little per stream, but I would argue they easily make up the money they might have previously made through CD sales through ticket sales, merch and licensing.

Before artists could get on board, it took some convincing the major labels, which expectedly operate at a glacial pace. All it took was the warm embrace of the “freemium” model, where music listeners are able to stream music in an unlimited-limited capacity. Music listeners can use the services for free, but they are given a limit on how many songs they can skip and are subject to advertisements. The pay version allows for unlimited, advertising-free music listening. Whether it’s through subscription dollars or advertising dollars , the profits are then broken up, split between the label, the artist and their team and of course the distributor (i.e Spotify/Apple Music).

Steaming numbers accounted for 38.4% of total income of the music industry. It was only when publishers got on the same page as consumers and embraced streaming were they able to turn around the 5.4% decline in physical revenue, and offset the 20.5% decline in download sales.

In 2017, the music industry brought in a cool $8.72 billion in the U.S. alone, a 16.5% increase over the previous year which saw $7.5 billion in profit. The United States wasn’t the only market to see such growth. According to the International Federation of the Phonographic Global Music Report (2018), 2017 saw a 8.1% global increase in profit. Internationally, the music industry alone was worth $17.3 billion (U.S.). Incredibly, 2017 marked the third consecutive year of growth in the industry after fifteen years of steady decline.

But how much does all that really add up to? In 2017, streaming numbers grew by 43% of the total industry income in the United States. The means a staggering $5.66 billion was made by streaming alone, nearly two-thirds of the entire music industry income.

But just because CD sales are staggering, it doesn’t mean this is the end of physical sales. The past couple years have seen a renaissance in vinyl sales, and there’s no signs of stopping. Vinyl sales grew 25% in the U.S. last year, selling over 7 million units.

I hope by now it’s exceptionally clear what we are getting at: music streaming is the saving grace for the music industry that was famously in decline for so many years. It may not be a perfect model (as artists get little shares of streaming income), the byproduct of which has allowed for many artists to turn a profit in ways they otherwise wouldn’t have been able to.

But what does this mean for you, the music consumer and industry hopeful? Find a job somewhere in the industry, and support artists through streaming, touring and licensing. There are so many avenues to get into the industry. Finding a gig at a streaming service might be a tough gig, so look for smaller agencies like music licensors, PR agencies, recording studios or radio stations. Artists have to rely on new and innovative ways to make bank, and there’s no better time than now to bring big ideas to the table.

Should You Go to Audio Engineering School?

Mon, 29 Oct 2018 19:38:00 GMT

It would be an understatement to say that one of the most difficult decisions for aspiring industry professionals is the choice between going the educational institution route versus the do-it-yourself route. Post-secondary education by nature is hard, and requires a lot of your time, effort and money. That being said, it can be one of the most rewarding experiences if you make the most of it.

For those who are financially restrained, the decision only gets harder. As the university of the internet grows, some have a hard time justifying spending all of their time and money going to a education institution, when there are cheaper, more DIY alternatives out there.

I can’t make a decision for you financially speaking, but if you are an aspiring audio engineer like I once was, I’d urge you to strongly consider putting the finishing touches on your application and begin down the path of a professional audio engineering school. For the next few minutes, I’m going to lay out some solid reasoning to back up why I strongly suggest a audio engineering institution over doing it yourself. It would be unwise for me to cast a wide blanket on every person, as for some, homeschooling can be just as enriching as a learning experience, but more often than not, hands-on education with instructors produces better results for the average student.

Real People, Real Problem Solving

First off, I’ll give you a bit of bad news: if you plan on learning completely alone, prepare to work completely alone. This is because your education should reflect your desired workplace. Let’s say you want to own a music production studio one day. In that studio you could have audio engineers, masters, producers, writers, artists and assistants in on any given day. You need to know how each of those roles function, who’s responsible for what, and a general feel for what their job entails. If you didn’t have the first-hand experience working with those different roles then you will never quite understand your place. As you work and learn alongside your fellow colleagues, professors and lecturers at school, you gain insights that never would have come your way had you been reading solely from a book or online tutorial.

Practical Experience

Think about it this way: would you be comfortable with a surgeon operating on you if all they’ve done is read books about it? No. They learned from a combination of rigorous studying and first hand experience during their residency. In the audio engineering industry, we talk a lot about gaining your 10,000 hours. This is very much the case when you go through a formal education.

The concept of the 10,000 hours isn’t about hitting that specific specific number, but more the idea that an aspiring professional needs to put in their time to hone their craft. For you, this means not only spending time behind the board, but playing around with instruments and amplifiers, messing around in digital audio workstations and of course completing full projects. No one becomes a master of anything overnight, it takes time to hone your skill; that becomes a lot easier when you have colleagues and industry professionals by your side learning with you and teaching you along the way.

Learning to Fail

School is more than just learning about your desired subject. It’s about all the other things that come along with it that develops soft skills. School forces students to learn how to be better at managing their time, staying organized, coping with workplace stresses and dealing with failure. We learn the most when we make mistakes, and nowhere is that more apparent than in school. Teachers have the gift of being impartial, and setting tough deadlines. When we work on our own, we tend to be a lot more lenient on ourselves when it comes to stuff like deadlines and mistakes. Being forced to hone up to your mistakes and getting a harsh grade form emotional calluses that make us more professional “professionals”.

Learn On Great Equipment

Of course the most exciting part about going to school is the resources that come available to us. I remember when I first went to school, I was most excited to get my hands on a 72-channel console, and to hear my mixes in a fine-tuned acoustic room on surround monitors. Unfortunately, unless you’re some kind of millionaire, chances are you won’t be able to afford to buy yourself the kind of equipment that a great audio school has. That being said, for the love of all that is good in the world, please do not bring your travel mug filled with hot coffee anywhere near the equipment.

Networking

We are nothing without the people in our lives. Any industry professional will tell you that the most important takeaway from school is the connections you make with teachers and colleagues. It’s always amazing to see where all your fellow classmates (and professors for that matter) end up. I like to think of all my connections as sleeper agents, because if the time comes to call in a favour, people you’ve been good to will be happy to put in a good word for you or recommend you for a job. It’s a lot easier to get work when you have people to vouch for you. Beyond that, I can’t tell you the amount of times I have run into my classmates and professors at industry gatherings and talks; it’s just good to know a couple familiar faces.

How To Land A Job In The Music Industry

Mon, 29 Oct 2018 19:32:00 GMT

Landing your first job is often the hardest one to nail down. At some point we’ve all been on job postings for an entry level position that lists a requirement of “five years of experience”. But how the hell are you supposed to get industry experience without, you know…experience? It’s contradictory and ridiculous, but it’s just part of the job search unfortunately.

“What more can I do?”, you might be thinking. You’ve already spent countless hours and more money than you’d like to think about, and all for what? Here you are ready to work, but the jobs aren’t exactly falling in your lap. Most small businesses with few team members (i.e. recording studios, radio stations etc.) are skeptical about employing an inexperienced newbie, and there’s good reason for that. The smaller the team, the more responsibility lies on you. With a bigger team, you share the responsibility. Simply put, your chances of candidacy has less to do with your natural or learned talent, and more about you how well you function as a team member.

Businesses will want to see that you you have experience working with people, meeting deadlines, being organized and handling stressful situations. If you are able to demonstrate that you have these qualities, you are much more likely to be considered for a role. So how do you fulfill this prerequisite without actually having a job? There are lots of ways to get started.

Network

To be completely honest, I always hated the concept of networking as someone who isn’t the best in social situations. I don’t particularly enjoy leaving my comfort zone and chatting up someone I’ve never met before. Fortunately for us all, humans have the ability to adapt and learn to new situations, and that’s exactly what I learned along the way.

If you ignore the social uncomfortableness, networking is by far the easiest way to get a leg up on your competitors. Nowadays it’s pretty easy to find people to connect with. Platforms like LinkedIn let us meet new people in the industry of our choosing. Do some research, and find a company you’d like to work for. Connect with someone in your desired position and ask if they would be able to chat with you, either over the phone or over coffee. If you look put together, are sociable and prepare with questions you will leave a good impression on that person. Ask them to think of you if they hear of any positions at their company or elsewhere. They are more likely to consider / recommend you if you have shared a personal interaction.

Try A Different Angle

Sometimes the best approach for a job isn’t a straight shot, but an angled approach. If you don’t qualify for your dream job, apply for a different position at the company you want to work for. Companies are more likely to hire from within, so if you are able to show your work ethic in a different position, you’ll be a strong candidate.

When I worked at a radio station, we had countless applications for on-air host positions. Unfortunately, there are very few opportunities as openings usually only happen when someone leaves or there are layoffs. That’s why many radio students would volunteer to be on our street team. They knew that’s it’s better to be on the inside than out, even if it means working a job they didn’t exactly want for a short time as they built experience. Even though there were very few positions that opened up (if any), the company would let street teamers gain experience by voicing radio shows over night and at events. That way, even if we couldn’t offer them a position, they were able to grow their experience and put a radio station on their resume. Think about if there are any equivalent positions at your dream company. Getting your foot in the door will do wonders for your career.

Qualify Yourself

If for some reason, you are still unable to find an entry level or place to volunteer, or if those experiences haven’t bared any fruit yet, there’s still more you can do.

Have you exhausted all the knowledge out there? If your answer is yes, then you are dead wrong. There’s always more we can learn. Take an online class, follow blogs and go to conferences. Is there an online certification that would be helpful for someone in your position? There are lots of free certification courses, and others that don’t cost a whole lot. Put down every certification on your resume. Show your potential future bosses that you are dedicated to the craft and are constantly educating yourself. If you don’t have the industry experience to back yourself up, come armed with knowledge and show them nobody knows more than you do! That being said, be careful with how you come across in an interview. Don’t be boastful or braggy, rather confident and enthusiastic.

Students Make Great Employees

My dad always told me during college to not let my “schooling interfere with my education”. What he meant was that the most important part of school isn’t always the books and the formal knowledge, but the practical experience. Students have a leg up on others because they have had to meet deadlines, manage multiple projects at once and work with others. Schoolwork teaches you about your profession, whereas being a student teaches you about the workplace. Being sociable, easy to work with and organized aren’t skills that can be taught in a classroom, but are a direct result of the educational system. That being said, there are other reasons why going to school is a good move for finding a job.

Consider a program like the Audio Engineering & Music Production program at OIART. As you hone your skills as an audio engineer/producer, you’ll have access to personal career counselors who will help you find a job. Upon graduating, over 70% of students land a job within six months. As far as the industry goes, that’s an incredible high rate of employment for such a highly sought after career.

Just remember, your resume might get you an interview, but at the end of the day it’s who you are that will land you the job.

Here Are 8 Jobs You Can Get In The Music Industry

Mon, 29 Oct 2018 19:30:00 GMT

If you’re here, chances are you have a deep, undying passion for music. There’s rarely a day you don’t have your headphones with you, you have a music library as long as a Costco receipt and have an endless pit of useless music history facts. If you are looking to turn that passion into a career, first off– congrats! You’ve found an amazing industry to work in, and you have a leg up on those who are still unsure where their passion lies.

The trouble is, you know what industry you want to work in, but you don’t know where you fit in. You love music, but you yourself are not a musician, so you might be saying “okay so what can I do”. Luckily, there are a LOT of intriguing and rewarding jobs in the industry that aren’t being a musician directly. Besides, there would be no music in your music library without the entire industry supporting them. Here are a couple of jobs that might interest you:

1. Studio Audio Engineer

Audio engineers are probably one of the most popular positions in music production aside from being an actual musician. An audio engineer’s job is to set up, operate and control recording equipment used in the production of music. Most audio engineers work out of a studio, and deal with artists, producers, writers and assistant engineers.

Perks: You get to work with musicians, help shape albums / single.
Drawbacks: Long hours, can be extremely repetitive.

2. Production Music Mixer

Maybe you have a knack for writing jingles, hooks, and melodies, but you aren’t a front person by any means. A production music mixers is the person who writes the music for TV shows, movies and commercials. Many post production music mixers make the bulk of their money creating generic songs and melodies ahead of time, and sell them to music libraries or companies looking for original songs. Others are hired by production houses to write a specific songs or scores for a TV show or movies.

Perks: You could be the next Charlie Harper from Two and A Half Men
Drawbacks: Must be a self-starter. Long hours working alone.

3. A&R Representative

When I was a kid, this was my dream job. A&R stands for Artists and repertoire, and is a fancy way or saying music scout. It’s a A&R reps job to find the next best artist and sign them to your label. In many ways you are an investor, only instead of stocks, your investment is in people (and more specifically their music). A&R reps spend a lot of time going to shows, networking looking for artists before the breakout.

4. Licensing

Music Licensing is its own beast, as there are many jobs in this part of the industry. In this business, music licensing companies (government-run or not), will pay artists to use their art for commercial use, like TV shows movies or commercials. Music licenses need to keep their ears to the ground for new and emerging artists and trending genres. It also helps to have someone with a good knowledge for storytelling mediums like television and movies. This job isn’t purely about identifying a great song as much as it is identifying a song that fits into a scene/commercial etc. Although the success of any popular music can be attributed to hard work touring, recording and writing, many musicians get their first true breakthrough after their song was licensed in a show or commercial. So what we’re saying is that you could be the person to break the next big artist….no big deal.

5. Band Manager

Band meeting! Just think, you could be the next Murray to the next Flight of the Conchords. Am I aging myself here? Maybe. Anway, a band manager, otherwise known as tour manager or road manager is someone who organizes a band’s day to day during tours, press events and otherwise. Typically band managers are freelancers and represent only a few bands at the same amount of time. You would be spending a lot of time on the road with bands during tours as the “parent” of the band. Band managers spend most of their time coordinating with show promoters and booking agents to make sure all the logistics get sorted out. This means looking after hotels, flights, tour riders, payments and making sure the bands stay on schedule. It also means wrangling the band which can be a whole job on it’s own.

6. Promotions Manager

Music Promotions means a lot of different things depending on what sector you work for in the music umbrella. I have worked alongside promotions managers who spend most of their time organizing events for independent companies. In this area, the promotions manager would put everything together for concerts, working hand in hand with show promoters, finding the right venue, artists and media sponsors.

A different promotions manager might represent artists on the label / booking side. In radio, a promotions manager would push new material or upcoming artists to radio stations and music licensers.

7. Press Relations

While we are on the topic of promotions, another form of that job is Press Relations. A PR agent in music is someone who is actively finding new and different ways to distribute artist’s material. This would mean writing press releases, connecting with blogs, radio stations and publications that deal with music. You would be putting music in the right people’s hands who can broadcast it to their audience.

8. Marketing Coordinator

Have a knack for marketing? Pretty much every artist on the planet needs someone to help market their material. Marking coordinators typically either work for a label or freelance for a number of artists. This person would handle the production and management of all band-related retail like CDs, posters, vinyl or merch. This also means filling out and updating marketing charts and calendars, all while liaising between the band, the label, designers and production facilities.

Do any of these careers interest you? If so, that’s great — now you have something to work towards. If not, that’s okay too. There are dozens of different positions available in the industry, too many to write in just one post. Don’t stop looking and keep an open mind, you’ll find something.

Five Steps on Becoming An Audio Engineer for the Absolute Novice

Mon, 29 Oct 2018 19:30:00 GMT

Do you have an undying love of music? Are you fascinated by how a song or album comes together? Do you find yourself catching things others don’t when listening to music? If you answered yes to any of the following, you might want to consider a career in audio engineering (if you haven’t already).

Now for the hard part, where do you start? Starting down a path of any career brings up many anxieties and concerns. It’s easy to psych yourself out before you even start down your path, worrying about stuff like who you’re competing against, your lack of skill and the overwhelming realization of how much work is in front of you. I like to think of starting a new job or career as standing at the foot of the mountain you’re about climb. There might be multiple trailheads for you to choose from, and more experienced hikers strolling by you in more expensive gear, but it’s important not to get bogged down about how far ahead others are of you when you haven’t even taken your first step.

Here are five great ways to kickstart your career in audio engineering.

1. Watch An engineer In Action

There’s no better way to get a real feel for a profession than by watching a master do their job. Believe it or not, it’s not as hard as you think to see this happen, and all you have to do is go to a live concert.

Chances are, knocking on the door of a recording studio to ask to watch a recording session isn’t going to get you very far. Most artists would rather work out of public eye, and just like any office, recording studios aren’t open for public viewing. However, live audio engineers almost exclusively work out in the open.

Most people want to be as close to the stage as possible when they go to a concert to get as good of a view of the band as possible. That’s all fine and good for the average consumer, but if you’re going there for educational purposes, next time position yourself as close to the audio tent as possible. Their are usually position to the center of the stage, three-quarters to the back of the venue. Either right in front or right beside the engineers is the area with the best sound in the house, because they are mixing to their location. That means you are hearing vocals, drums, guitars, keyboards and everything else on stage how they were intended to live. Make a mental note of how everything comes together, and how the audio engineer blends some sounds and makes others stand out. Make a game out of comparing each new song to the last, and see if you notice any changes in effects or levels coming from the band.

You won’t get a hands on approach here, or even an explanation for that matter, but by listening to the live band with a critical ear, you will start to understand the role of an audio engineer better. If you keep doing this at different concerts, you’ll begin to form ideas of how you as an audio engineer can make tweaks and modifications to elevate elements of music.

Pro-tip: buy a pair of high-fidelity ear plugs. They don’t cost a whole lot, but will save your ears and even make the music a bit clearer.

2. Do Some Light, Educational Binging

The first one might be the most simple (and enjoyable, too). Don’t know where to begin? The easiest way to learn more about your future job is to watch the pros in action. Lucky for you there’s a near-endless amount of content available on the internet that will give you a better sense of how an audio engineer and recording artists in general put their work together.

If you like movies there are so many great films available that go behind the console and show world-class audio engineers go to work. Classic Albums – The Jimi Hendrix Experience: Electric Ladyland is an absolute must-watch, and demonstrates how innovative Hendrix was in the recording studio. My personal favourite is I Am Trying To Break Your Heart, a documentary that follows seminal indie group Wilco during the recording sessions of their critically-acclaimed album Yankee Hotel Foxtrot.

If movies aren’t your thing, Song Exploder is an incredible podcast that takes you into the minds of artists as they recall how they wrote, composed and mixed their biggest hits. My personal favourite features Patrick Carney (Black Keys) as he takes apart the Bojack Horseman theme song he wrote and recorded.

3. Volunteer Your Time

No question, volunteering your time at a recording studio or production house is the best way for you to learn from the pros.

If you are considering school, see if your program has internship possibilities or placements. If not, do a bit of research and find a couple recording studios in the area. If you’re able to, volunteer for free, or ask if they have any paid intern positions. Getting your foot in the door is super important here, so if you need to volunteer to run the front desk that’s fine! In that case, take advantage of your opportunity and ask to sit in recording sessions as much as possible, and even request one-on-ones to ask questions and learn what you can.

If none of these are an option, get creative! Community theaters always need all the help they can get for shows. Volunteer to help the audio team or run the boards. You could even consider getting a job at a bar that has live shows, and volunteer to run the board. Do anything you can do to get behind the board, whether it’s in the studio or in front of a live audience.

4. Start Messing Around

Naturally, all of this work would be wasted if you weren’t actually getting your hands dirty and honing your skills at home.

Start by getting a simple audio interface and downloading a digital audio workspace like cubase or Ableton. There are many, many different DAWs available, some free, some not, and have their uses for different types of projects.

If you’re into music mixing and sampling, try making your own beats or remixes. If you lean more towards the engineering side of things, try creating your own mixes from music stems. You may also decide to produce and mix local band’s music for compensation or volunteer (whatever you are comfortable with). Get your hands dirty and try it out!

5. Go To School!

This is the most tried and true method of walking down a career path. Why? Short answer, audio engineering schools will give you the kinds of access that most people are unable to find on their own.

Programs like OIART’s Audio Engineering & Music Production program are training the next top industry leaders. The reason is, students have access to top of the line studio equipment, and get to learn from industry experts. Choosing a program with a low student to teacher ratio is crucial, as you’ll have a dedicated staff that will actually be able to answer your questions and guide you through the process.

If you are able to support yourself through school, there’s no doubt that you’ll come away with some serious skills to help you kick ass in your new career.

Congrats to grad Mark Duffield on being nominated for a Daytime Emmy

Thu, 26 Apr 2018 10:58:00 GMT

Congrats to grad Mark Duffield on being nominated for a Daytime Emmy for sound editing in a children’s animated program.

http://lfpress.com/entertainment/local-arts/londoners-vying-for-daytime-emmy-awards

The 1 Sneaky Pro Hack for Instantly Better Mixes

Sat, 21 Apr 2018 15:49:00 GMT

Are you unhappy with how your mixes are turning out? Do you feel like your song is missing that ‘pop’, that brings it alive? If you can’t get your song to sound great outside of the studio, you’re not alone.

In a sea of tricks and tips, there’s one sneaky hack that you’d be surprised makes a huge difference.

So what is it….well, our trick is to mix in mono.

Before you exit this page in disbelief, hear us out. We realize the irony here, but it’s the truth. Tons of industry professionals mix this way and for good reason.

Kendrick Lamar’s longtime mixer, Derek “MixedbyAli” Ali famously revealed that part of his process was mixing in mono:

“About 80% of my time mixing [I spend] listening to just one Auratone speaker, so yes, in mono! Dre always told me that if I could get something to sound amazing on crappy speakers, it’ll sound brilliant on normal speakers. So I try to get a great mix on the Auratone, and then I’ll go to the NS10s.”

Well if Dre said so, it must be true. But let’s break down why it’s so effective.

Fixes Phase Problems

By bringing your mix into mono, it will help you eliminate issues caused by tracks in phase. For those of you who are unsure, phase is what happens when two identical signals are played out of phase with one another, cancelling each other out as a result. This frequently happens when two mics are placed close to each other, usually on drums or acoustic guitars.

Let’s say you have two identical guitar melodies panned to either side. If they are out of sync you won’t be able to pick unless you have an exceptionally keen ear. Once they are brought into mono, they will cancel each other out, eliminating some frequencies and boosting others. If you’re able to tweak it so they don’t phase each other out, they are going to sound so much better back in stereo.

Reveals Clarity

If your problem is that your song lacks a balanced sound, it may seem counterintuitive to collapse your tracks down into one channel. Once you do, you will notice that your mix sounds completely different. Some tracks sound louder than others, and some get lost altogether in the mix. This is because you haven’t mixed it well enough yet.

If you are unable to hear certain tracks in mono it reveals issues in mixing like compression, automation and overall levels. Now you may lose your guitars, harmonies and other auxiliary instruments you have panned to the side, but that’s okay. What you are listening for is building a solid foundation of your core elements. In a mono mix, you should be able to hear kick, snare, bass and voice distinctly.

Makes EQing Easier

Similar to phase, tracks that are panned all the way left and all the way right won’t sound that bad in stereo, but when you bring them into mono you may notice some huge issues. Songs that have overlapping frequencies will clash in mono mix.

Control Your Bass

When artists started playing around with stereo sound as it became widely available in the digital age, one thing didn’t change for the most part: bass. Partly that’s to do with vinyl not being able to support the low frequencies through stereo, but there’s another more human explanation why. Our brains can’t determine the location of noises lower than 80 Hz, so panning bass has a lesser impact than other instruments.

When it comes to your mix, it’s important to make sure that your bass isn’t overpowering the rest of your sounds. Since lower instruments physically move more energy, they can easily drown out the rest of your mix. In mono, you’ll be able to hear how the rest of your track measures up to your bass and find the right levels. Plus, subwoofers only play in mono, so you won’t be doing yourself any favours panning your bass all the way left for effect.

If you can’t get on board with mixing in mono, do yourself a favour and meet us halfway. Continue your mix in stereo, but sporadically check how your mix sounds in mono.

Four Pre-Mixing Tips to Improve Your Song

Thu, 19 Apr 2018 20:47:00 GMT

Recording and mixing is your craft so it’s no surprise that you want your projects to sound the best they can possibly be. Luckily for you, we have some free tips on how to help you achieve a great, professional sound for all of your recording and mixing endeavours.

While it’s not “sexy” to talk about being organized, preparing both yourself and your layers will help you in big ways once you get mixing.

Gear Up

First, let’s talk about gear. If you run a home studio, or if you’re a part of the building process for a purpose-built studio, one of the most exciting parts is picking out equipment. It may seem obvious, but when it comes to purchasing new equipment, always get the best quality you can afford. It’s like buying a car: you may not be able to afford a new one for a very long time, so you want to make sure that it a) fits your needs, and b) will last until then. This mostly has to do with purchasing mics and studio monitors. Gear like cables, stands and headphones are easily replaced, so you can leave a bit more wiggle room there.

If you don’t have a lot of cash that’s okay. Monitors like the KRK Rokit 6 Gen 3 won’t run you more than $300 for the pair and have relatively good range and an especially detailed bass response. Whatever you end up with, before you get into recording mode, you need to — and I mean need to spend some quality time with those speakers. Listen to a song you know really well, and get to know how they sound. Compare it to how you’ve heard it on other speakers. Getting a feel for their sound will help you down the line what your finished product will sound like outside of the studio.

Fewer Recordings the Better

Contrary to what you may think, the fewer recordings to work with the better — as long as you have what you need.

When it comes to recording your artist, you have to be ruthless. Unfortunately you can’t control how prepared they are when they walk in your studio, but they should show up knowing their parts and be well rehearsed.

Why? Well for many reasons. The first is that your time is precious. Spending all day recording one drum track is a waste of your time and a waste of their money. Secondly, the fewer recordings of a given instrument means less time deciding which one is best. Aim for three really good takes, and cut them off after six tries. If they still don’t have it by that time they might not be ready to record, so move on.

Click edit button to change this text.

Always Be EQing

One thing we’ve come back to time and time again is the importance of equalizing your tracks. This is another sort of post-record, pre-mix tip that will save you a lot of hassle later on. Once you’ve recorded all your tracks and compiled them into the proper buses and groups, you need to spend some time going through your tracks cutting out redundant noise.

Just because you can’t hear the really low frequency of an instrument, doesn’t mean that it’s not going to affect your mix. You want to leave yourself as much headroom as possible because it might clash with another instrument or vocal layer, muddying up the track. This leads us to our next point:

Frequency Grouping

This should be done before you start changing the EQ on tracks: organizing your tracks by what frequency zone they belong to. Mainly this is an organizational trick that you will want to make either a mental note of, or writing it down. I wouldn’t exactly suggest setting up your busses this way, but that is up to you. Get as meticulous as you want with the groupings if you want, but if not stick to the main three at the very least: low end, mid levels, and high end. What it is you are determining is how you plan on filling out the frequency spectrum, while minimizing overlap.

For instance, you may decide to fill out the low end (roughly 250Hz and under) with kick drum, a sub-bass, bass guitar and a low synth skimming the top.

Knowing what tracks are supposed to fill out a certain section of the frequency range will help you when it comes to cutting out EQ. If you fill out the range you’re going to end up with a really full sounding finished product.

Four Common Mixing Mistakes and How To Fix Them

Sat, 14 Apr 2018 20:40:00 GMT

I love making mistakes and you should too. Doing things the “wrong” way not only teaches what best to do the next time around, but gives us the motivation to want to prove to ourselves that we can do better.

Fortunately for you, you work in the mixing and recording industry so there are a ton to errors to be made. For that reason, we put together a couple common mistakes recording professionals make, and how to fix them! Read and learn:

Not Enough Headroom

Problem: This is a big one. Often new engineers don’t leave enough headroom on their tracks and can lead to some serious trouble. Headroom is the space between the highest peak of a given track and 0 dBFS. When it gets too high, your tracks will clip and become distorted.

There’s two main reasons you want to avoid leaving little headroom. First, it minimizes distortion and clipping, which makes it easier to patch your mix bus through plugins. Headroom is also extremely important when it comes to mastering. Simply put, if there’s no headroom, there’s no room for improvement.

Solution: A commonly practised mistake when it comes to headroom, is that mixers will send their peaking track through plugins and then turning those plugins down before going to the next. Problem is you’re still sending distorted signal through your plugin, so to avoid that always turn your levels down to an appropriate amount using faders before sending.

Stereo Widening

Problem: When someone says a song lacks depth, what they mean is that it lacks a proper stereo image. That added depth is what brings the listening into the song. They are able to pickout instruments in different places, as if they are floating around in their head.

In the quest for a 3D-sounding song, some people come up with some not very effective solutions that end up making the track worse than before. For example, a commonly done mistake is by sending parallel tracks to both the left and the right, and reversing one of their phases. This is a cheap solution that won’t sound very good.

Solution: Although it may seem contrary, starting your mix in mono will help you add depth to your track. This way you will be able to better EQ your song, cutting out overlapping frequencies and building out a full sounding song. Another quick and easy way to add that depth to your song is to add reverb.

Keep your core elements like kick, snare, bass and vocals tight in the center, and pan out other parts like harmonies and melodies left, right, and up and down. To add to the mistake previously mentioned, a better way around that would be to take two similar tracks and pan them left to right. They won’t cancel each other out this way, and will fill out your depth.

Overbooking / Take Breaks

Problem: One of the biggest issues audio engineers and mixers face is the time crunch. Every artist has limited money, and therefore have limited time to record which to the inexperienced mixer usually means working long hours and booking sessions evenings and weekends.

Solution: Set a strict time restrains with your artists. Anything over 10 hours in a day is going to be too much for your brain, and your ears will also become fatigued. What ends up happening in these cases is that mistakes will be made that will need to be fixed later. Not taking breaks and overworking yourself is just a waste of everyone’s time and money.

Time Correction

Problem: Time correction is one of the more common problems that arise from amatuer mixes. Usually you can tell if a song was recorded on the cheap by a new or inexperienced mixer because parts of the songs don’t line up together. For instance, it’s common in these cases to hear the guitar and bass parts out of sync ever-so-slightly with the kick drum. It’s a small difference that really degrades the quality of your song.

There’s two reasons why we hear so many songs with out of sync parts. One particular school of thought is that time correcting and syncing removes the feel and the emotion of the music. But it shouldn’t have to. A good correction won’t turn your track into a robotic, computer generated song, rather one that simply works together.

The second reason we hear it so much is simply because it requires hard work. Correcting tracks is both time consuming, and requires a keen attention to detail. In-home engineers and mixers often pass by this process simply because they are in a time crunch.

Solution: Make time for it. There’s no easy way around it, you need to factor in this process to your mix time. But there are a couple ways to make it easier.

It goes without saying that your artists should be using a click-track is possible. Unless your drummer is a timing machine, you should urge your artists to play along to a track to try and stay as close to the click as possible. When it comes down to actually getting into the mix, the best advice we can offer you is to follow your drums because it’s visually easier.

Quantizing isn’t about syncing your instruments to the grid. As humans our timing isn’t naturally perfect, so we listen for something to keep us on beat like a kick drum. Now that’s not to say don’t use fully automated quantising tools, just don’t rely on them.Once you apply it, make sure you go back over your track and fine tune discrepancies between the grid and your kick.

Congratulations To The Mix Contest Winners!

Fri, 13 Apr 2018 15:05:00 GMT

Out of almost 500 submissions, the following entries were chosen as the winners of the Dread Machine mix contest:

First Prize: Rob Morgan
Second Prize: Yaroslav
Third Prize: Ben Muller

6 Reverb Mistakes You Might Be Making

Thu, 12 Apr 2018 20:38:00 GMT

Reverb is by far one of the most valuable techniques in the audio engineers arsenal. Applying reverb can do so much for a song: it adds a sense of depth, can change what type of “room” the sound sounds like it was recorded in and beefs up an otherwise flat sounding song.

But just because it’s an easy tool to add to make a song sound great doesn’t mean it comes with its own set of pitfalls. Here are five mistakes you might be making with reverb:

Find The Right Room First

A lot of times engineers will choose the most generic reverb effect to apply to the track, and then EQ the hell out of it. This is a mistake because it’s not only an inefficient use of time, it also goes against the point of adding it in the first place.

Instead, use your time going through the various room tones and plates to get the one that sounds closest to the sound you are going for. Only then once you’ve found the best possible option should you open up the reverb’s EQ and start tweaking.

Use it sparingly

Most of the time when beginner engineers find a tool that they really like, they add it to everything. Reverb, like compression is not hot sauce, so don’t put it on everything.

Reverb works best when it is added to something to make that particular track stand out. If everything has reverb, not only will it become a washy mess, but goes against the whole point of adding it in the first place.

Don’t Fry Your Computer

One of the big mistakes that newby engineers also frequently make is by forgetting about bus sends. We’ve already determined that you shouldn’t add reverb to every track, but if you are adding the same verb to a group of instruments, instead of applying it directly to each track , send them all to a bus and apply the effect to that.

For one, it’s easier to make changes to all of them if you are modifying a bus, but on the other hand it won’t overload your computer the way a bunch of individual effect will.

Now that being said, you shouldn’t apply the same verb to too many tracks. If you have a bunch of tracks with the same reverb, you will lose a lot of its desired effect.

Remember to Add Time Decay

Time decay is how you tell the plugin how long the reverb should last. A common mistake mixers make is leaving the decay too long, muddying up the mix with sounds that carry on for too long, clashing with other sounds.

There is a real art when it comes to determining how long or short your reverb should last. To answer this, consider how much space is between sounds in your track. For a slower, more ambient song, longer reverb is more acceptable. If you have an upbeat pop or dance song, it’s might be best to cut it short so it doesn’t clash with other sounds.

Reverb Vs. Delay

There’s a lot of debate between reverb and delay and which one is better. But more often than not, people mix up one for the other. Understanding the difference is hugely important, because both are good for different reasons.

But what are the differences? Delay is taking a noise and literally delaying it by a chosen amount of time. With it you can also choose to repeat it the part, which is why it so often gets confused with reverb.

Reverb on the other hand is taking a noise and adding depth to it. Reverb emulates live spaces, and the way soundwaves react in a larger or smaller environment, as well as the material that room is made of.

Delay might be better for adding depth to a slow song, when reverb could be more useful when trying to make your drums sound like they are being hit across a large hallway. Both have their uses, and determining what sound you are going for will determine which you should use.

It’s Not A BandAid

One of the most common uses of reverb is to mask a poorly performed instrument or vocal take. If you are using reverb to make a crappy track sound good, you aren’t doing it right.

When reverb is added to make a bad performance sound good, you aren’t adding verb to sound good in context of the song, rather how to make that individual track sound less bad. This tactic is sloppy — in this case you should consider re-recording the tracks or finding a way to move forward without using the bad take.

5 Recording & Mixing Hacks for Creating Radio-Worthy Songs from Your Bedroom

Sun, 08 Apr 2018 20:32:00 GMT

Even as the music world becomes more and more digital-focused, the key to success for a lot of artists still relies on radio play.

The advent of streaming services like Spotify and Apple Music shook the music world in the past couple of years, because for the first time people had new and more accessible ways to find interesting artists. But while there is a case to be made for going for digital only releases, in most big city markets radio still reigns supreme.

Whether you’re an engineer by trade, or a self-recording artist, there are some key dos and don’ts when it comes to producing your music for radio. If you’re sending your demo to a program director of a station, having the right “sound” for radio will likely be a key factor on whether or not they give your music a spin. Luckily for you, you don’t have to be a master engineer to get the right sound for radio, just understanding some basics will help you go a long way.

Basic Understanding

First things first, before you even start recording and mixing, make sure you take some time and listen to the radio. Find a station that plays the closest to your genre, and spend an hour or two actively listening.

Ask yourself questions with regards to the mix:

What do you hear?
What do you not hear?
What is the song ‘built’ around?
What’s most prominent?

Determining those basic questions will help you get a good start before you crack the mic. If you’re working on a pop song, you’ll most likely be mixing the song with a heavy emphasis on vocals, with bass and drums. Rock songs may have a stronger presence of guitars. It’s also really important to note how effects like delay, chorus and compression sound. We will touch on that in a bit.

Determine a Baseline

Now that we have a better understanding of the radio “sound”, next thing you’re going to want to do is determine a baseline. No, not like an actual line played on the bass guitar, we’re looking for a control sound.

Unless you’re reading this from a multi-million dollar studio (which is okay too) chances are you aren’t working off the most top of the line equipment. Even if you have great monitors, if your DAW is setup in the basement of your apartment, you aren’t going be getting that perfect tonal balance. That’s why, as much as it may pain you, what you should do is work off of a reference track.

Find a song you think matches the overall tone of the song you are mixing and work off that. Listen to how that song translates in your setup, and as you move along in the recording process keep coming back to that track to tweak your levels and mix to match.

Listen for key elements like vocals levels, how loud the bass is and where your drums sit in the mix. If you can “copy” how that song sounds, it will translate well to a professional sound.

Easy up on the effects

One of the huge differences between mixing for digital and mixing for radio is how the songs are outputted. If you are hosting your songs on a streaming platform, there’s considerably less downsampling done to your music. This is mainly to do with the fact that there are way less variables when it comes to your music and someone’s ears over the internet. In a radio setup, your music is compressed through a computer, sent to the radio tower, broadcast through radio signals and picked up by a car or radio players antennae. That’s a much shorter system than computer to computer to headphones.

If you were to compare the same song on a computer to how it sounds on the radio, you might think you’re listening to two completely different mixes. That’s because when a song is put into a radio system, it goes through equalization, signal processing and a considerable amount of compression.

It’s critical to factor these kinds of effects to your mix, so not to overdo it. Even if you think the vocals need more compression, always put on less. The radio is going to add more in the process. In general, you never want to add too much compression in the mix if you are sending your song to get mastered. That’s one of the many ways they will tweak your song to get that “sweet spot”.

Keep It Simple

Radio broadcasting will also boost specific effects that have low presence in your mix. Delay and reverb often get turned up, whereas core elements like bass drums and guitars will sound more quiet.

Focus on the key elements of your song. This is another sort of general mixing rule, but is especially important when you are recording and mixing for radio. Make your core elements like vocals, drums, and main melody the stars of the show. Everything else is a bonus.

I like to think of a good mix the same way I think of a great movie. A great film should be easy enough to watch and understand the first time, but gets better the more and more you watch it. You want people to be hooked immediately in your song, but pick up on new things every time they listen. That’s why you focus on the main ingredients first and the special parts second.

Playback

Listening back to your song can be a bit of a painful process. Whether you are using studio monitors or professional headphone, you may think that you have the perfect, most well-balanced song in the world. However, most people don’t listen to their music that way. The average music consumer is using cheap headphones or car stereo systems. Add on top of that the effects from radio compression, and your song will sound nothing like it did in your studio.

Once you think you have perfected your mix, the first thing you should do is step away. Take a full day or at the very least a couple hours and don’t listen to your mix. You want to get it out of your head. When you’re in ‘edit’ mode, you want to be listening to the song as close as you can to fresh ears.

The next part of the process requires a bit of effort on your behalf. Try listening to your song on 3-5 different sets of speakers. Put it on an old iPod and listen through crappy headphones. Play it over your laptop, cell phone or tablet speakers, then computer speakers. Plug it in to your car’s speakers. Try as many different setups as humanly possible and see how it sounds. Take notes and come back to your edit suite and fine tune.

Even if you follow these guidelines, you still may not have the ultimate radio-ready song. These things take lots of practise, but the more you listen and learn the better you will get at it. Lastly, as the mixer, a lot of how well the song performs is out of your hands. How the song is written and recorded will have a huge impact on how people will react to the song. A great radio song hooks people within the first couple seconds, and tends to stay away from droning bridges, instrumental breaks, and lengthy songs.

Congratulations to our amazing grads!

Fri, 06 Apr 2018 15:06:00 GMT

Congratulations to OIART grads John Diemer, Michelle Hwu, Ryan Yusep, Dane Kelly, Mark Vogelsang and Alastair Sims for their work on the new Freaks and Geek documentary premiering at Tribeca Film Festival in New York.

5 Compression Mistakes You Don’t Know You’re Making

Thu, 05 Apr 2018 20:17:00 GMT

With so many digital plugins at our disposal, these days it can be tempting to overdo it. But just because it only takes a couple clicks to add effects on tracks, it doesn’t mean we should.

When it comes to mixing tactics for something as vital as compression, it takes years of trial and error to learn how to use it properly. Compression is an extremely useful tool for any mixer to have in their belt, but if used incorrectly it can do more harm than good.

Here are five common compression mistakes you are making and how to avoid them.

Mixing In Solo

Just like mixing with any other effect or plugin, there’s an urge to do most of your mixing in solo. While working in solo has its advantages, it can also be particularly harmful to your mix. By spending all your time listening to a track on it’s own, you lose sight of how it fits into the greater context of the song.

Think of effects and plugins as adding extra spices in a recipe. Sure certain spices might taste good with one ingredient of your recipe, but terrible when mixed with everything else. By relying on solo to mix your individual tracks, you end up mixing them so they sound good on their own rather with everything else.

This particular issue is pretty easy to avoid. Add your compression to your desired track in with the rest of the song, rather than soloed. It’s okay to go in here and there and tweak it in solo, but never big changes. Work in with the rest of the track, mixing with levels turned down very low

You’re Overdoing It

Sorry, but you are. Yes compression is a vital tool, and one that you will probably use on most songs you mix in your life, but that certainly doesn’t mean it needs to go on everything; it’s not Franks Hot Sauce®.

Compression works great on vocals, bass and clean guitars, but doesn’t need to be applied to everything. Synth and effected guitars rarely ever need compression, among other instruments.

By over-compressing your track, you will lose its presence. It will all sound like a jumbled, basement-garage rock band (and not the good kind). Make conscious decisions, and have a reason why you are applying compression to this particular track. Without a reason, you are just guessing, and that’s not a great tactic for efficient workflow.

Compressing Out Transients

When it comes to attack times on your compressor, slow the heck down. This may seem like an odd move, considering higher attack times means the desired compression will be applied sooner, but there’s a good reason to do so.

We don’t want the compression to kick in right off the bat because it kills the transients of your instruments.

If you’re unclear with what a transient is, it’s a short-wave, high burst of energy: the initial strike of an instrument. Look for the largest part of the waveform in your DAW and that’s the transient, as pictured below.

For guitar, it’s the sound the strumming of strings make, for drums it’s the thwacking sound the stick makes upon initial contact with the drum skin. That initial hit is the loudest, yet shortest lived part of a performing instrument, but it’s also what gives it a lot of character.

By having too fast of an attack time, you subsequently cut out the transients of the instruments, leaving your song sounding dull and lifeless. Transients carry the “punch” of your tracks, and without them it’s going to sound a whole lot worse.

Make-Up Gain

How many times have you added compression and it ended louder than it was before? That’s probably because you are using a plugin that auto-generates makeup gain.

These can be tricky, as they more often than not add too much gain to compensate for the lost levels from the compressor, and sound way louder than the original.

The best way to monitor your levels it to switch between in and out on the compressors bypass, and raising the make-up gain until there’s no level different between the two. Otherwise, the compressor is just going to make your track sound worse than it was before.

Always be Automating

Once you’ve found a good level for you compression at a certain part of a song, it can be tempting to hit process and move on — but please don’t.

Just because one section of the track you are mixing sounds good with the compressor you added, by no means will the rest of the song sound that good. This is why you have to get your hands and little dirty and automate.

The best method is to find a compressor level that sounds good across 75-90% of the track, and from there automate the various peaks and valleys that sound a bit off. Sure it takes more work, but hey–that’s why you’re the expert.

Congrats to OIART grad Brennan Mercer for another Canadian Screen Award for Best Sound

Thu, 29 Mar 2018 15:17:00 GMT

Congrats to OIART grad Brennan Mercer for another Canadian Screen Award for Best Sound – Vikings. This is the 12th award for Brennan, along with 11 nominations in his career that started in 2011. A big congrats to OIART grad Jesse Fellows who also works on the show as an Assistant Re-Recording Mixer. Super proud!

Congrats to OIART grad Paul Gosse for his sound recording work on The Shape of Water!

Thu, 08 Mar 2018 16:27:00 GMT

Congrats to OIART grad Paul Gosse for his sound recording work on The Shape of Water!

What a great little write up from our friends at Audient

Wed, 21 Feb 2018 16:31:00 GMT

What a great little write up from our friends at Audient ! Not only have our new consoles been great for our students to learn signal flow on, they sound amazing! Sign up for our mix contest http://www.oiart.org/mix-contest and get the multitrack of ‘Dread Machine’ for a chance to win some cool prizes!!

https://audient.com/2018/02/12/oiart-2he/

Must See! Dread Machine behind the scene

Mon, 19 Feb 2018 16:33:00 GMT

If you enjoyed the video for “Dread Machine” you’ll love the behind the scenes video

OIART Makes History!

Fri, 16 Feb 2018 16:38:00 GMT

Finally! This is what we’ve been waiting for! Our Youtube collaboration song and making of documentary videos are now up. Be sure to check out all the amazing talent we brought together at the OIART studios.
Thanks again to everyone involved:

Jared Dines Steven Terreberry Music is Win Gear Gods Glenn Fricker Sarah Longfield and Adam Neely.

Special shoutout to our Juno-nominated grad Siegfried Meier for helping bring it all together!

Matty Green - Alumni Spotlight

Thu, 25 Jan 2018 20:04:00 GMT

Matty Green (’03) is a Los Angeles based recording engineer and mixer. Matty’s engineering work can be heard on Beatle Paul McCartney’s “New,” “Food” by Kelis, and “X” by Ed Sheeran – for which he was nominated for a Grammy for Record of the Year. He has become the go-to mix engineer for highly respected writer/producer Dave Sitek, his ever growing list of mixing credits including Lady Gaga’s 2015 cover of Chic’s “I Want Your Love,” TV On The Radio, No Doubt and the upcoming release from Yeasayer.

After OIART, Matty began his career as an assistant engineer in studios around Los Angeles, working on albums by Kanye West and Beyonce amongst others. Eventually he landed the coveted position of assistant to noted mixer Mark “Spike” Stent, one of the world’s top mixers. His mix assistant credits include Taylor Swift, Frank Ocean, Fallout Boy, The Weeknd, Bruce Springsteen, P!ink, Florence and the Machine, and the new release from Selena Gomez.

Of his OIART education, Matty said, “I feel like OIART helped me to be ready for anything and everything. OIART really trains the students well to understand how ALL gear works instead of how a few pieces of gear work. You can walk in anywhere and understand why something is doing something and what it’s going to do. OIART is giving students the knowledge to figure things out instead of training button pushing monkeys. The teachers are incredibly supportive and the extra help is there if you need it. OIART Rocks, I really love that place.”

Dane Liska - Alumni Spotlight

Tue, 23 Jan 2018 20:02:00 GMT

Dane Liska (’08) is Label Manager for The Independent Label Services Group and is a great example of how graduates can adapt to a fast changing industry. After graduating OIART’s music production school, Dane quickly became a Junior Engineer at Cherry Beach Sound in Toronto working with artists such as Jordan Knight, K’naan, Rihanna and Drake. He eventually went freelance to try tour managing as well, finding success with Stereos, Blake McGrath and Craig Smart. He also worked shows across Canada, the US and Germany with artists like DVBBS, Flo Rida, LMFAO, Down With Webster, Jully Black, Future the Prince, Hedley and more. Dane ran everything from front of house sound to monitors and was even sub-in DJ on stage “…while being an all around babysitter/taxi!”

Dane soon began talking to a couple record labels owned by the same people he worked for (Culvert Music and FrostByte) and “they felt I could lend a hand. This opened the doors to work on some really cool projects – Matthew Good, Headstones, Saukrates, OB O’Brien and more.” From there Dane was promoted to work for industry heavyweight Dominique Zgarka, Co-Founder and President of Koch Entertainment, now known as eOne Entertainment. Two years ago Zgarka, with a new found passion in the distribution industry, left eOne and started The Independent Label Services Group. Dane followed. “Working alongside him I help run the company as Label Manager.”

Dane explains; “The ILS Group is a world wide distribution partner with Universal Music and Caroline. We offer independent artists and labels major label services, allowing them to remain an independent entity. Some labels will want help with any or all of the following – marketing, PR, manufacturing, publishing, distribution, recording, etc – and may not have the network to do so on their own. Since most majors won’t give any direct attention to these projects or people, I have a dedicated team at Universal that will help accommodate their releases and goals and give them the attention they need.

“Currently we have contracts with 20 independent record labels worldwide (Culvert and FrostByte included), working with artists like Randy Bachman, BTO, Dada Life, Daniel O’Donnell, David Clayton-Thomas and Gino Vanelli to name a few. These agreements allow us to release all the music they wish worldwide and as they see fit. We are growing really fast and seem to be getting more and more albums and clients. We should be doubled in size by the year’s end….fingers crossed!

“OIART is a place where only a select few get to spend every minute together living and breathing a common passion known as the music industry. If I’m on the road touring, in the studio, or at the office uploading music to distribution partners, every day I use fundamentals I was taught by my instructors and peers at the school. What I studied there, along with the confidence and courage to stand out and network towards a career was the base foundation that allowed me to have the experiences I have today.”

Rob Bakker - Alumni Spotlight

Mon, 08 Jan 2018 20:00:00 GMT

Rob ‘Muneshine’ Bakker graduated from OIART’s music production course in 2004. Working with rapper D-Sisive, he is a four time Juno nominee. He is also a two time Polaris Prize Long-lister, SOCAN Echo Songwriting Award winner and East Coast Music Award nominee. As a performer/producer, Rob has toured around the world and collaborated with many world-class artists such as: Pete Rock, Sean Price, DJ Spinna, Buckwild (D.I.T.C.), Guilty Simpson, Rob Swift (of the Executioners), Tom Waits, Ron Sexsmith, Portugal, The Man and many more. Muneshine has had success with #1s on Hype Machine, premieres with major taste-maker blog Majestic Casual, and over 1.5 million plays on Soundcloud. Recently, Rob has moved away from his roots in hip hop, producing and DJing more electronic music (house, future bass and trap). He is currently working on a new Muneshine EP, which will doubtlessly be met with great excitement in Japan where he has sold over 30,000 records.

Rob says, “I really value my O.l.A.R.T. experience, not only for the technical knowledge I obtained, but for the relationships I built while studying there, and have since grown with many of my classmates. In a business where relationships are just as important as talent and ability, my time there put me on the right track.”

Kelly Burrow - Alumni Spotlight

Wed, 03 Jan 2018 19:58:00 GMT

For over 5 years, Kelly has collaborated with producers to help select pieces of music that perfectly meet all of the requirements for various projects. Specializing in music licensing and label negotiations for Much Music and the MMVA’s, Marilyn Denis Show, Your Morning, Etalk, Space, Discovery and in-house produced promotional spots, Kelly ensures that the appropriate rights have been obtained so that the music selected can be included in the production.

Kelly’s start in Music Licensing was inspired, in thanks to OIART, after a meeting with a guest speaker brought in to discuss the topic of Music Licensing for Film & Television. The opportunity provided to Kelly helped her to later land her first job at CMT Canada. There her time was spent working on programs such as The Dakota Sessions, Karaoke Star, Live at Revival, The Show and other in-house produced CMT shows.

From there, Kelly went on to work in the Music Supervision Department for Seasons 3 & 4 of the Gemini Award-winning competition series So You Think You Can Dance Canada, becoming proficient in tracking and placing Top 40 and independent music into each episode. This experience helped develop an understanding of how different genres of music are curated for various dance and choreography styles.

Hayley Henrikson - Alumni Spotlight

Fri, 22 Dec 2017 19:57:00 GMT

Hayley Henrikson graduated in 2016 and immediately packed up and moved to Toronto from Moosejaw Saskatchewan. She started working for Event Media Design as a freelance technician in October 2016 at Casa Loma. Fast forward a year later, and Hayley was promoted to Production Coordinator of special events. After a very successful Legends of Horror Halloween production, that saw over 70,000 guests, Hayley’s next task was the Christmas Programming events that run December 1st to Jan 7th. An aerialist performance, magic show and indoor ice skating are just some of the wonderful attractions this year. Great work Hayley and the rest of the OIART grads working there!

YouTube stars visit OIART

Fri, 08 Dec 2017 16:42:00 GMT

Last week OIART hosted a panel on content creation and music careers in YouTube.

We brought in some of the most well known and influential members of YouTube’s music community: Jared Dines, Steve Terreberry, Glenn Fricker of Spectre Media Group, Tyler Larson of Music is Win, Adam Neely, Trey Xavier of Gear Gods and Sarah Longfield. Also in attendance was Jared Dines’ manager, Tony Cappocchi who was able to provide some insight into the business world of content creation for YouTube.

The students had a chance to meet with the YouTube artists and spend some time asking them about all aspects of content creation and YouTube, from lighting and video to monetization, sponsors and advertising. The YouTubers also had two days in one of our studios to work on a collaborative video together and the results were awesome! Stay tuned to see what they created!

Cam Banika - Alumni Spotlight

Thu, 09 Nov 2017 19:54:00 GMT

Cam Banika graduated from OIART in 2015, but he began freelancing in 2013, ranging from high school graduations, bands in small venue gigs to full-production plays and musicals. While continuing to take on gigs during his time at OIART, he also started building a client list of both local and touring artists passing through London. Shortly after graduation, Cam returned to the client base he started building. Now, along with live gigs, recording and mixing for clients, Cam also steps into the role of producer, working with artists to bring their vision together and helping it come to life. Visit Cam’s booking link to learn more, book a session, or contact him. https://bookcam.setmore.com

We are proud to announce an exciting change to Career Management and Job Development at OIART!

Tue, 29 Aug 2017 15:44:00 GMT

Asha Hall will now be head of OIART’s Career Management and Job Development team. Asha has been with OIART for three years now and as all our grads and students know, has become a valuable resource and integral member of our staff. This new role for Asha is a natural extension of her role as the guidance counsellor. This will allow Asha to combine her business, human resources and counselling background with her natural inclination to help and mentor the students.

Asha will be supported in her role by Music Production instructor Dean Nelson, Audio for Visual Media Instructor Mark Vogelsang and Live Sound and Event Production instructor Mark Taleski. Dean, Mark and Mark will continue to provide their guidance, experience and industry contacts to the students and assist with their transition into successful working audio professionals.

As a result of this restructuring, CJ Allen is no longer employed at OIART. Please direct all your questions and inquiries regarding careers and job development to Asha Hall asha@oiart.org

Congratulations to Victoria May, the winner of the Couvillon Memorial Award

Fri, 28 Jul 2017 15:46:00 GMT

“Success is no accident. It is hard work, perseverance, learning, studying, sacrifice and most of all, love of what you are doing and learning to do.” – Pele

Congratulations to Victoria May, the winner of the 2017 Couvillon Memorial Award.

Vicky May is a freelance audio professional based in Toronto, Ontario. She currently is the Head Technician at the Liberty Grand, where she is responsible for overseeing the setup and operation of all of the building’s audio-visual needs, and managing the installation of any related hardware and technologies.

Throughout the past year, Vicky has demonstrated incredible resolve and drive to succeed. She has worked as an audio technician at Event Media Design, has recorded a full-length album with “Articles of War,” has worked as a Junior Music Supervisor at Supergroup Sonic Branding, and has interned part-time at Supersonics Post Production. Her keen and open personality has allowed her develop a diverse skillset and create opportunities for herself.

It is incredible that Vicky achieved many of these things while living in her hometown of Orillia, Ontario. Undaunted by the four-hour commute, Vicky would drive to and from Toronto to network and work. After three months, she had found enough work and saved enough money to move to Toronto.

Is it this sort of grit and dedication that makes us proud to call Vicky a 2016 OIART graduate and present her with the 2017 Couvillion Memorial Award. We wish her the best in all her future endeavours.

The Couvillon Memorial Award was created in memory of Kevin Couvillion. It was generously donated by the Couvillon family, who felt very strongly that Kevin’s experience here was life changing for him. Kevin graduated OIART in 2005, and passed away in the fall of 2010 after a lengthy and courageous battle with leukemia. He was only 26.

Kevin believed in staying local & being creative to find his way. He was open to many possibilities, networking & making a name for himself by giving his best and going beyond expectations in the quality of his work.

Kevin left behind not only a body of work, but a long trail of people who he had quietly helped, inspired, and motivated to greater heights. His legacy is truly how he went out into the world after graduating OIART and touched the lives of others. He became everything that we hope all our grads become.

The Kevin Couvillon Memorial Award is awarded to a graduate that discovered a new passion at OIART, went out into the world, applied the lessons they learned, and began to make a serious mark in the business.

Student Organized Private Concert at the Aeolian Hall

Tue, 27 Jun 2017 15:48:00 GMT

OIART organized a private concert run by students with lots of help from the instructors and Rogers TV at the Aeolian Hall. The concert crew was made up of three major crews; the film and documentary crew, the Rogers TV and recording crew and the live and stage crew. Each position in each crew was staffed by a student, positions that we all had to apply for based on what interested each of us the most. Personally, my top choice was to be the front of house mixer for the opening act, a position I couldn’t have been happier to get.

Our talent for the show consisted of a fantastic DJ from the program who played many student projects and two extremely talented local acts; Fraser Teeple opening for Van Ber, which the production class has been working closely with recently as a part of their final semester. Every crew had a major focus while every position had its own focus within that. Although we all had to work together and do lots of pre-production, the live crew was focused mainly on putting on the show within the venue, ensuring there were audio, video and lighting provided appropriately for each act. The film and documentary crew was in charge of documenting the event as well as conducting interviews with many of the instructors and students, myself included. The Rogers TV and recording crew was in charge of recording and mixing the show to television and Pro Tools. With every crew working together, we were able to pull off set-up and tear-down on time and hit every cue with only minor issues that we were all able to troubleshoot.

My job for the show was front of house mixing for Fraser Teeple, so I worked closely with Fraser himself, the lighting department and Fraser’s monitor mixer. We were able to set up a time the week previous to run a rehearsal where we got everything set up, learned new equipment, which for myself was the Midas M32 and M32R consoles, before having our talent play a few songs so we could dial in our pre-sets and save our sets before arriving at the Aeolian so that we could be fully prepared for the show. The students in charge of the main act went through a similar process, though their set up consisted of many more players and microphones. When we arrived at the show, these rehearsals made it so that we only had to change small parts of our previous set ups. When it got to the show, I believe we were all a bit nervous as much of the organization had gone to us to organize show files for lighting and audio, ensure we were trained in all of the necessary equipment for our position and hit all the cues, however, everything went over smoothly and we were all able to watch and enjoy the shows from our resident DJ Conor, Fraser Teeple, and Van Ber.

Every position held an important place in the show and was a great experience for every student as well as a fantastic show from the local talents. It was interesting, educational and fun to be able to be trained in new departments and learn new equipment and be able to see what other departments were doing during slower times for each position. We all enjoyed the show and with this being many of our first experiences putting on a concert, was an excellent chance to learn what putting on a live event would be like and all of the planning involved .

Alex Robillard - Alumni Spotlight

Thu, 08 Jun 2017 18:52:00 GMT

Alex Robillard (’15) graduated from OIART and hit the ground running. Hired by The Foundry in Thunder Bay’s Waterfront Entertainment District as a house sound engineer where he has continued working even as, in 2016, Alex gained full-time employment as an AV technician at Lakehead University. Recognizing the abundance of opportunities for talent sound designers, Alex has also worked on multiple short film projects and has occasionally worked as a recording engineer and touring front-of-house mix for bands; most notably, The Honest Heart Collective.

Devin Hoare - Alumni Spotlight

Thu, 01 Jun 2017 18:51:00 GMT

Shortly after graduating OIART in 2015, Devin Hoare secured a position at IMAX Corporate Headquarters in their Soundtracks Mastering Department. As part of the soundtrack mastering team, Devin is responsible for qualifying all audio content that will play back in IMAX theatres around the world. This includes Hollywood features and trailers as well as first and third party IMAX documentaries, along with all the international versions of each of these films. Because the IMAX audio format is specially designed compared to a typical theatre the soundtrack is remixed specifically for IMAX before being delivered to the soundtracks mastering facility. Devin ensures that the audio translation to IMAX is free of any technical anomalies and fully utilizes the advantages of the IMAX sound system. Once the soundtrack is qualified and formatted at IMAX soundtracks, files are sent to IMAX’s LA Office where the picture and audio are reviewed and approved by the filmmakers to ensure that the IMAX audio/visual presentation of the film is the highest quality available to moviegoers around the world.

In addition to soundtrack qualification, Devin and the soundtracks team also transfer soundtracks to a variety of audio formats based on the requirements of the various theatres throughout IMAX’s 1000+ theatre network. Though most theatres have switched to a hard drive based digital playback system, there are still a number of IMAX theatres (primarily institutional such as museums and science centers) with 35mm mag, 1/2’’ tape, D-88, CD and DVD-based audio playback systems representing IMAX’s nearly 50-year history in the cinema business. All of which are still created, shipped and supported by Devin and the soundtracks team at IMAX.

Devin is also responsible for completing audio censorship cuts and mutes for international territories as required and works with the Creative Services department to mix promotional video content, which plays at special events or business meetings within IMAX.

“After completing an undergraduate degree in music performance, I was looking to find a focused audio technology program where I could learn skills that I could apply to a career in audio. I couldn’t have found a better fit for what I was looking for than OIART’s Audio Recording Technology program. It covered every aspect of the audio industry from music production and recording, to audio for pictures, live audio, computers, analog and digital technology, acoustics and career management in only one year, in addition to providing an extensive lab schedule where I could apply everything I learned about in class in a real-life situation. I’m very grateful to the staff and my classmates at OIART for giving me the opportunity to quickly develop the skills I needed to get a job in the audio industry. I was working as a dishwasher before attending OIART and now after a year and a half at IMAX I’ve had the pleasure of working on over 70 feature films (including Star Wars VII, La La Land, Wonder Woman, and many others)… it really is amazing!”

Dmitri Belichenko - Alumni Spotlight

Thu, 25 May 2017 18:47:00 GMT

Dmitri has been freelancing since graduation in 2008 and loves the freedom of self-employment “It’s exciting not knowing what you’re going to work on next”. He enjoys being involved a wide variety of projects and getting to be creative in so many different styles of music. He is continually adding to an already impressive library of royalty free music on shockwave-sound. He’s worked with many international brands, and recently did a national campaign for Giant Tiger where he created sound branding, as well as music and sound effects for a series of TV ads. Dmitri was the composer and post production mixer for Edgefactor show that aired on Cox cable. He’s currently collaborating with an indie game developer on a rhythm based space shooter where the game soundtrack is generated by in-game action. Dmitri is also known as KloneZ – an electronic music producer and DJ. His tracks were featured on BBC Radio 1 and appeared on compilations from artist like Showtek. He travelled as far as Australia, DJing at one of the biggest festivals in the world, Defqon1. He released a hardstyle compilation “Hybrid Warfare” where he oversaw the production and collaborated with artists to bring his vision to life. KloneZ is releasing tracks on Detox, Hard with Style and Gearbox record labels. He continues to work out of his home project studio in London, Ontario.

Liam Thompson - Alumni Spotlight

Thu, 18 May 2017 18:45:00 GMT

Liam Thompson is a DJ/Producer based in London, Ontario. After graduating from OIART in the summer of 2015, he briefly worked as a freelance audio engineer for a number of corporate clients, mixing and restoring dialogue recordings, as well as creating original music for their promotional videos. As his schedule flexible, Liam decided to return to Western University part time to finish his Bachelors Degree.

Just prior to returning to Western in the fall of 2015 Liam became involved in London’s club scene as a promoter, and over the past few years has altered his focus toward the nightclub industry. He shifted from event promoter to DJ, and has created two different musical personas (Siconic and James Béres) to serve different fan-bases.

Under these personas, Liam has played in a variety of venues in London’s downtown core, and has had the opportunity to open for artists such as D-Unity, Return of the Jaded, City Kid Soul, Joee Cons, Eddie Santini, Apashe, Bare Noize, and Rezz, as well as playing at London Block Party in 2016. Liam also recently had a track signed under his James Béres persona in collaboration with another grad from his year at OIART, has won a music production contest for his original track “Cut The Midrange”, and has much more music on the way.

Liam has built acoustically treated production studio in the basement of his home, along with an isolation booth for recording vocals, instruments, and foley to use in his production. Occasionally he records and produces other artists, but his primary focus in on his own musical projects.

“I can’t begin to explain how valuable my time at OIART was. Obviously, I learned a huge amount from the amazing instructors — recording techniques, acoustic treatments, sound design, mixing, speaker calibration, and much more — but the opportunity to network with, and learn from, the other talented students was perhaps just as valuable. The healthy competition between the students forced me to find out how hard I could actually work, and the guidance of the faculty made sure I had the skills to compete both before and after graduation. Audio can be a lonely career path, and having talent is only half the battle, but OIART provides much more than just information; the experience of working as a team, and the close friendships and professional connections made during that process, helps set you up for success. Many of us stay in touch, and aside from having friends that can understand audio jargon, we still use each other as assets to get mix advice, help with larger projects, or find work in this competitive field.”

Check him out at facebook.com/JamesBeresMusic or facebook.com/siconic.

Ryan Yusep - Alumni Spotlight

Thu, 11 May 2017 18:29:00 GMT

Since graduating from OIART in 2015, Ryan has been working in Toronto as a Production Sound Mixer, Boom Operator, and Sound Assistant. Some of the first jobs that he had were through The Farmhouse Creative Labs, owned and operated by fellow OIART alumni, John Diemer. He began with working on ongoing web content for The Creator Class which led to many other projects with The Farmhouse such as Lost and Found Music Studios’ Jam Sessions (Family Channel), A Users Guide to Cheating Death (Sky Vision), and Say It, Make It, Eat It (AOL).

Aside from work at The Farmhouse Creative Labs, Ryan has had the opportunity to work on a variety of web series, sketch comedies, short films, commerci als, reality television, and feature films. Some of the projects he has worked on include Timber Creek Lodge (Bravo) and Sugar Showdown (The Food Network), and clients such as Nike, Canon, Scotiabank, Danone Activia, CBC, and Juno TV.

“The skills I learned at OIART are invaluable with the work I am doing now. The curriculum laid a stable foundation for me to build my career and troubleshoot any problem that comes my way. I love that OIART has led me into a career where travelling across Canada, The United States, and beyond can be a regular thing!”

Carlo Scrignaro - Alumni Spotlight

Thu, 04 May 2017 17:23:00 GMT

Carlo Scrignaro is a Sound Designer/Editor/Mixer and an all-around Audio Engineer based in Toronto, Ontario, who started his career as a musician recording his own drum cover videos that he posted on YouTube. From there, he wanted to learn more about the art of sound recording, so in September of 2015, he enrolled at the Ontario Institute of Audio Recording Technology.

Right after graduating, Carlo moved to Toronto, Ontario to begin working and building his career as an audio professional. He has held jobs such as a: AV Technician, Location Sound Recordist, Sound Mixer, Live Sound Engineer, Sound Designer, Sound Editor, Dialogue Editor, Foley Artist, Boom Operator, Re-recording mixer, and Front of House Engineer.

When he first attended the school he had everything intention of going into the music business, but after experiencing Mark Vogelsang’s Audio for Visual Media course he quickly changed his mind. He was blown away by the vast amount of work and skill that goes into feature films and was drawn to it immediately. He was blown away by the vast amount of work and skill that goes into creating sound for picture and was drawn to it immediately. He is currently working as a freelancer and has completed projects under Leons, Cadillac, Hyundai, Kia, Majestic, Kraft, Palm Bay, and World Vision Canada. In addition to working in post-production, he is also a Permittee Sound Assistant with NABET and occasionally works as a Location Sound Recordist. Carlo has also taken interest in audio for Virtual Reality and is currently working on a couple immersion projects of his own.

“I loved OIART, it was one of the best years of my life and it is where I made friends for life. It gave me the strongest foundation possible to launch my career in audio. One of the most important things I learned in school was how to work as a team. You’ll almost never be working alone on a project/production and so communication is vital. Most people will think that once you’ve graduated, the school won’t care about you anymore, but that is completely false with OIART. I still regularly keep in contact with my past teachers asking for advice and opinions. They care about all their students whether they are currently enrolled or alumni. All in all, OIART is an amazing school and I would highly recommend anyone with a passion for audio to attend. Without OIART, I would probably be working in a factory somewhere and so I am thankful to OIART and its faculty for opening the doors of the audio world to me because I am now earning a living doing what I love.”

You can learn more about Carlo by visiting his website .

John Hunter - Alumni Spotlight

Thu, 20 Apr 2017 17:21:00 GMT

After graduating from OIART in 1999, John started his career as an audio-visual technician in Toronto’s SkyDome Hotel. He went on to freelance at various venues such as the Royal York Hotel, the King Edward Hotel and the Metro Toronto Convention Centre. In the summer of 2003, John took part in the grand opening of the Distillery District as a front-of-house mixer for many of Toronto’s top jazz, Latin and R&B performers.

Three years later, John began to work as an audio technician at Air Canada Centre for the Toronto Raptors in-game presentation. He went on to mix his first pre-game show for the Toronto Maple Leafs, where he experienced the thrill of mixing a live television broadcast. In 2010, John became a full-time broadcast audio engineer for Maple Leaf Sports & Entertainment. His first NHL broadcast in a Dome Productions mobile in 2011 was a challenging opportunity, but he has since honed his craft to mix countless Leafs, Raptors and TFC broadcasts across North America.

Today, John mixes every Raptors home game on TSN and Sportsnet. He even travels with the team during playoffs to ensure cohesion between broadcasts.

“OIART’s fundamental approach to audio is engrained into every mix that I do. Whether it’s music, sports or speech, high-quality audio comes from critical listening and precise manipulation of technology—these are the skills that give OIART grads an edge.”

Tyler Chute - Alumni Spotlight

Tue, 11 Apr 2017 17:20:00 GMT

Tyler Chute is a freelance mix engineer/producer, as well as a sales rep for Trew Audio in Toronto, ON. Before graduating OIART in 2014, Tyler came straight from high school with the intention of learning more about recording and creating music.

After graduating, Tyler became an audio engineer at a local studio called Low Key Studios, recording local artists and bands, being nominated for a London Music Award for the best mixing engineer for Sam Kruger’s Moving So Slow EP. He then moved to Toronto to intern at Find A Way and MCS Recording studios, eventually finding a job at Trew Audio selling audio equipment for film shoots, dealing with some of the best location recordists in the industry, including many OIART grads.

Turning 22 this year, Tyler still has a lot to look forward to in the future. “I was one of the youngest in my class, which can be a big challenge, but I found it the most beneficial for this kind of industry. Not many people realize that the younger you are, the more moldable and adaptable you can be. OIART taught me everything I needed to know coming into the industry, and I eventually came to love everything about sound, whether it be music, location, live, etc. It really felt like a small family, and I recommend anyone interested in sound to attend at some point, no matter what age if they can.”

Congratulations to grads Jason Dufour, Calvin Hartwick and Greg Giesbrecht) on their 2017 Juno win for July Talk’s Touch in the Alternative Album of the Year category.

Tue, 04 Apr 2017 16:03:00 GMT

OIART would like to recognize and congratulate our graduates Jason Dufour (’07), Calvin Hartwick (’13) and Greg Giesbrecht (’10) on their recent win at the 2017 Junos for July Talk’s Touch in the Alternative Album of the Year category.

Alternative Album of the Year – July Talk, Touch

Engineer [Overdubs] – Calvin Hartwick, Greg Giesbrecht

Mixed By – Jason Dufour

Grad Jason Dufour wins the Recording Engineer of the Year award at this year’s Junos!

Tue, 04 Apr 2017 15:52:00 GMT

Jason’s recent mixing credits span a multitude of genres and includes: July Talk’s highly anticipated sophomore album Touch, along with the bands first number one single ‘Push + Pull’ ; Repartee’s critically acclaimed debut album All Lit Up, featuring their top 40 single ‘Dukes’ and buzzing alternative/pop acts such as Bravestation, Ralph, Blajk, Young Wolf Hatchlings, The Treble, and Saya – who recently signed with Polydor U.K. Dufour is also a well versed recording engineer and his recording credits include work with Coleman Hell, The Tea Party, Tokyo Police Club, Lights, and Protest The Hero’s JUNO Award winning album Volition, among many others.

Chris Masson - Alumni Spotlight

Thu, 23 Mar 2017 17:18:00 GMT

Chris Masson is the Head of Media Management & a Junior Engineer at Grayson Matthews Inc, a creative production agency specializing in music and sound across diverse media platforms, from film, television & advertising, to virtual and augmented reality experiences. Upon graduating from OIART, Chris worked at Infinite Skills, a computer software IT training company, as the in house audio & video editor. He then dove into the professional post production audio industry in the Media Department at RMW Music (now Vapour RMW), followed by his current position at Grayson Matthews Inc.

Robin Parmar - Alumni Spotlight

Thu, 16 Mar 2017 17:15:00 GMT

When Robin Parmar graduated, way back in 1987, digital technology was in its infancy. The state of the art was a 12-bit Sony encoder that recorded to VHS tape! He first applied the skills he learned at OIART in community radio, working on reel-to-reel tape, cart machine, and a number of other intriguing formats. But a fascination with cutting-edge tech was never far away. In fact, Robin helped found Canada’s first community-based internet broadcaster (Radio Ethos in Strathroy, Ontario).

Today, Robin lives in Ireland, working as an electroacoustic composer, researcher, and lecturer, with strong interests in field recording, improvisation, algorithmic programming, and psychoacoustics. His tools of choice include Max/MSP and Reaktor for sound design, Samplitude for mixing, and a Zoom F8 for recording on the go. He has been awarded residencies in Ireland, Spain, and the UK… and will soon fly out to The Azores.

He has collaborated with musicians and dancers, producing work for theatre and film. Most of this is of a decidedly experimental nature. Robin says: “The amazing thing about the skills I learned at OIART is that they are still applicable today, and will still be useful in another ten or twenty years. The fundamentals never go out of style, and that’s exactly what I learned from my instructors and fellow students. It so happened that I chose an artistic path rather than a career in industry. Anything is possible with the right training. And, yes, a love for sound and an appreciation for how it can change people.”

Sohan Jagtap - Alumni Spotlight

Tue, 07 Mar 2017 17:06:00 GMT

Sohan flew in from Mumbai, India to attend OIART in 2013. After graduating from OIART in 2014, Sohan moved to Toronto to work at a music recording studio (Find A Way). Here, he was an assistant engineer. He helped set up, assist and tear down recording sessions and also carried out live band recordings. Few months on, he moved back to India, where he almost immediately got hired by Ubisoft as a Junior Sound Designer. He has been at Ubisoft for the past two years and has worked on two AAA titles (Just Dance).

Sohan says, “OIART has the most comprehensive audio course. It gave me a solid understanding of the fundamentals and gave a strong foundation to build on. OIART was very helpful and insightful on how to approach the initial years of my audio career. In addition, it has a strong alumni network, which is a great resource.”

Joel North - Alumni Spotlight

Wed, 01 Mar 2017 20:05:00 GMT

Joel North (’10) is the owner/operator at East Coast Radio Creative, as full-service audio production and voice over house specializing in podcast editing, audio cleanup and voice over work for a multitude of different projects. After graduating from OIART, Joel worked in AV, live sound, and then began a 5-year stint in radio broadcasting as a producer and on-air personality.

The appeal of being in control of his own success and the reward for hard work led Joel to self-employment and freelancing.

Regular jobs include editing and restoring audio, creating radio commercials, producing podcasts and audiobooks, and recording voiceover. Joel loves the variety of projects and the flexibility of working from home.

OIART Grads nominated for JUNO Awards

Wed, 01 Mar 2017 17:05:00 GMT

The Ontario Institute for Audio Recording Technology (OIART) proudly congratulates alumnus Matty Green (’03) and Jason Dufour (’07) following their 2017 JUNO nominations in the Recording Engineer of the Year category. Green’s nomination is for his work on “Shine A Light” BANNERS EP and Michelle Treacy’s “Armageddon” and Dufour has been nominated for July Talk’s “Push + Pull” and “Beck + Call.”

Green was previously nominated for a Grammy in 2015 in the Album of the Year category for his work as an engineer/mixer on Ed Sheeran’s “X” album. Currently based in Los Angeles, Green has been credited on albums by a wide spectrum of artists from across multiple genres including Lady GaGa, TV On The Radio, Gwen Stefani, Paul McCartney, The Weeknd and Taylor Swift.

Dufour has assisted on projects by The Barenaked Ladies, The Trews, Blackie and the Rodeo Kings, Three Days Grace and legendary Canadian group Rush. Now independent and working as a freelance recording and mix engineer in Toronto, Dufour recently worked with iconic Canadian metal band Protest The Hero on their latest release “Volition” which won the award for best metal/hard music album of the year at the 2014 JUNO Awards. The album also hit #1 on the Billboard independent charts, and #3 on the Billboard hard rock album charts.

“I feel like OIART helped me to be ready for anything and everything. OIART really trains the students well to understand how ALL gear works instead of how a few pieces of gear work,” Green says of his time at OIART, “You can walk in anywhere and understand why something is doing something and what it’s going to do. OIART is giving students the knowledge to figure things out instead of training button pushing monkeys. The teachers are incredibly supportive and the extra help is there if you need it. OIART rocks, I really love that place.”

The JUNO Awards will be presented on April 2, 2017.

Gregory Rushton - Alumni Spotlight

Thu, 23 Feb 2017 20:07:00 GMT

Gregory Rushton, CTS-D (’05 Grad) oversees the dedicated Audio Visual Design Division at Mulvey & Banani International Inc. (MBII), working on a wide range of projects across all sectors. After working on the contracting/ installation side of the industry, Gregory joined MBII in 2007 to launch the AV Division, successfully leveraging his ‘hands-on” industry experience over to the consulting side. He has built a team of AV specialists that deliver system design solutions that consider the requirements of the Owner and project: equipment and systems are specified in the Owner’s best interest, without bias or preference to any particular supplier, manufacturer or systems integrator, thus providing a comprehensive and custom solution.

Always pushing the boundaries of AV system design, Gregory is now an industry leader in “Building Intelligence” (BI) and its pivotal role in achieving sustainability in buildings. AV Design has evolved to play a significant role in BI Design, calling for AV Designers to acquire expertise with converged networks and integration for electrical and all related electronic systems. Gregory applies his expertise to a wide spectrum of project sectors, ranging from cultural and sport venues, education and healthcare facilities and private commercial developments and tenant fit-ups.

Stemming from his entertainment background, Gregory is still active in theatre, studio and live sound with credits including both “Boots and Hearts” and “WayHome” music festivals. He is currently working on an exciting multi-sensory project with an international band that will likely reside on both Broadway and Las Vegas stages and tour as well.

Gregory graduated from OIART in 2005. The school provided a solid foundation for Gregory’s career, albeit not toward the traditional career path typically associated with recording technology schools. The consulting and installation world is often overlooked by schools and graduates alike and these fields can benefit greatly from new talent coming out of schools like OIART. Gregory welcomes discussion with educators and graduates alike regarding career paths and the application of a recording technology education.

Notable Projects

Airports: L. F. Wade International Airport, Bermuda, Bangalore International Airport- New Terminal, India, Adam Airport, Sultanate of Oman Corporate: Deloitte Tower (Montreal), RBC Place (Toronto), Various TD and RBC projects, Goodman’s LLP (Toronto), Heenan Blaikie LLP (Toronto), Miller Thomson LLP (Toronto), Onex (Toronto, NYC, London) Cultural, Sports & Entertainment: Canadian Museum of Human Rights (Winnipeg), American Dream Theme Park (New Jersey), Investors Field CFL Stadium (Winnipeg), Cineplex Rec Room (Edmonton, Toronto, Calgary), Art Gallery of Ontario (Toronto), Remai Modern Art Gallery of Saskatchewan (Saskatoon) Health Care: Oakville Trafalgar Memorial Hospital (Oakville), Waypoint Centre for Mental Health (Penetanguishene), Providence Care Hospital (Kingston), Women’s College Hospital (Toronto).

Sinan Sbahi - Alumni Spotlight

Tue, 14 Feb 2017 20:09:00 GMT

Sinan’s career path was more unconventional than most grads. At the moment, Sinan is an associate radio producer at CBC Windsor. In addition to mixing a live radio show, Sinan calls and connects phone guests, plays audio clips and music, and make judgment calls when necessary. Sinan also delivers on-air traffic reports.

The show consists of four people: host, producer, associate producer, and newsreader. The producer envisions how the show will go every day. Sinan’s job as an associate producer is to sit behind the console and run the show accordingly.

Sinan attended OIART after finishing a Bachelor of Music at the University of Windsor in 2012. After graduating, Sinan applied for various AV jobs at hotels and installation companies. Facing a struggle to secure employment, Sinan decided to go freelance. Freelancing had Sinan working briefly with production companies in Windsor – sometimes mixing monitors and sometimes setting up a stage.

From Sinan’s perspective, the problem with having a freelance career is that there is no defined line between being successful and not. After a year, Sinan came to terms with his financial reality and decided to take a typical day job in a call centre.

For about 2 months, it seemed like Sinan was going to make a career in call centres, until he saw something in his Facebook inbox…

Sinan had received a message from one of the producers at CBC Windsor. The producer had seen video blogs that Sinan had been producing in his spare time and was interested in having him become part of a biweekly discussion panel on the morning radio show. These panels have been going on since September of 2015, here’s one of our recent discussions: http://www.cbc.ca/player/play/854118979720

The panel was everything and more than Sinan could have hoped for and he thought, “Why stop there?”

This is where career management came in handy. Every time Sinan went in to do a panel, Sinan would chat up the associate producer and show curiosity about his job. Sinan once spent a day hanging out for the whole show. There was a charity show at a local college where the panel was invited to speak. Instead of going home right after, Sinan decided to hang out and help them pack up their rig and wrap cables.

Sinan’s eager attitude eventually paid off and he was asked if he’d be interested in being a backup associate producer for times when the regular associate producer would be away.

That’s where Sinan is now. It’s not too different from being a supply teacher waiting/looking for a full time opportunity. It’s never a boring job, no such thing as a typical day.

Stephen Mullett - Alumni Spotlight

Thu, 02 Feb 2017 20:11:00 GMT

After graduating from OIART in 2012, Stephen Mullett knew he wanted to be a dialogue and sound editor/designer. To further refine the skills and knowledge he gained at OIART, he freelanced as a dialogue and sound editor back in his home province of Newfoundland. Very soon he relocated to Toronto to pursue his passion for audio post production.

Stephen eventually landed with SuperSonics Post Production as a dialogue and sound editor. Mainly working with animation and voice over records, he is part of the editing team on shows such as Camp Lakebottom, Rusty Rivets, as well as specials like Lego Marvel Avengers Reassembled and live action reality TV like Billy Goes North. Currently he is the Senior Sound Editor with Supersonics Post Production.

Stephen say “Everybody says it, but it is true; OIART was paramount for my career in pro audio. It gives you everything you need to build on for a future in this industry, the fundamentals of recording, production, editing and mixing and so much more. As well as providing a genuine look at what to expect from your peers and clients when starting out, it really helped prepare me for what’s out there and what is expected from you.”

Wayne Warren - Alumni Spotlight

Thu, 26 Jan 2017 20:13:00 GMT

Wayne Warren (’96) is the Post Production Supervisor, Music Editor and Music Supervisor for Netflix/Discovery’s drama series “Frontier” starring Jason Momoa. (Justice League, Aquaman, Game of Thrones).

Born in St. John’s, NL, Wayne graduated the Memorial University School of Music with a Bachelor of Music Degree in 1995. He then moved to London, Ontario to attend OIART.

This prepared him for the role of producer, where he made an impact on Southwestern Ontario’s music scene producing, writing, arranging and programming on many prominent artist’s albums. As a professional keyboardist, he has played with many well-known artists and has toured extensively throughout the casino circuit of the eastern seaboard.

Wayne is the President of WGW Productions Inc. which he began in 2009. He has worked on countless television and radio commercials composing music, sound design, sound effects, working with multiple voice over actors and of course, music supervision, music editing and music clearance.

Wayne has also been the Music Supervisor and Music Editor for CBC’s Republic of Doyle for five seasons and Music Producer for the sixth and final season. He has licensed many artists from Billy Idol, Bob Marley, Johnny Cash to Bruce Springsteen and AC/DC. He has licensed countless original songs to television and film projects. This has given him opportunities to serve as a judge multiple times for the Canadian Juno awards in the Songwriter of the Year category and is a member of the Guild of Music Supervisors.

Over the past 6 years he has also taken on the role of Post Production Supervisor managing all aspects of Post Production.

Click here for his IMDB link.

Marc Leardi - Alumni Spotlight

Tue, 24 Jan 2017 20:15:00 GMT

After graduating OIART (class of 1996), Marc took the focus off of the career hunt, and spent about 6 months working odd jobs, and travelling.

With that out of his system, Marc spent a year interning at various audio/video production companies: Rogers TV, Cherry Beach Sound, and Metalworks to name a few. That year taught Marc that his heart just wasn’t in it when it came to the hands-on side of audio/video production. After going back to Industrial Design at Humber College, and a few more odd jobs, Marc came back to the knowledge base he had acquired as a result of his studies at OIART, in particular the video editing summer course that was offered at the time.

In 1999, Marc began working for a company called Mijo/Comprehensive Distributors. Mijo (now known as Extreme Reach Canada) was and continues to be the leading supplier of broadcast distribution services to the advertising industry in Canada. As a junior member of their ClientServices team, Marc became responsible for the daily coordination of post-production and distribution of television and radio commercials for most of the top ad agencies and movie distributors in Canada.

Marc’s career at Mijo spanned 15 years, and by the time he resigned in early 2014, Marc had risen to Senior Director of his department. Marc took a month off to do a bit more travelling, and in March of 2014 began working for Deluxe Toronto Ltd. Marc was recruited by Deluxe to help them build an Advertising Services division of their own.

Since then, Marc been plugging away at Deluxe, growing the Ad Services business for them for the past two plus years. One of Marc’s busiest clients at Deluxe is the cosmetics company, Revlon. Marc’s work on the Revlon account involves managing the process of adapting their U.S. television commercials for the Canadian market (in English & French languages). This requires Marc to oversee every step of the process, including script translation, broadcast/legal approvals, VO talent selection, VO record supervision, final mix, packaging and deliverables.

Marc’s experiences with this client in particular have helped pave the way for some new opportunities for him at Deluxe, in the realm of foreign adaptation for series and theatrical content – a new division Deluxe hopes to see get off the ground in 2017.

Dean Guilbault - Alumni Spotlight

Thu, 19 Jan 2017 20:16:00 GMT

Dean graduated from OIART in 2015. Prior to graduating, Dean wrote a single with a Toronto based R&B singer that went on to receive millions of plays online and to gather international attention. The success of this single set the tone for Dean’s career in production, songwriting and for becoming a performing artist. Dean joined forces with the R&B singer to become an artist duo called Always Never.

Dean is predominantly focused on producing, mixing, and songwriting for Always Never while also currently working as a producer and songwriter for other artists.

Always Never has charted internationally and has garnered over 14 million streams across all major online platforms and international radio play as of the end of 2016. They have been invited to perform at Canadian Music Week 2017 in Toronto.

This upcoming year is looking exciting for Dean as he works with well-regarded songwriters and focuses on the success of Always Never. The duo has garnered attention from some major industry players and will be releasing their debut album early this year with a tour planned in the United States after the release of the album.

Brent Blazieko - Alumni Spotlight

Thu, 05 Jan 2017 20:18:00 GMT

Brent Blazieko 92', aka tBone, is at his happiest and most creative when recording, mixing and producing at the Sound Lounge. Having graduated from OIART with an Honours Diploma in Audio Engineering, tBone wanders the world listening, learning and applying the many facets of audio engineering to the project at hand which has included 19 years as Senior Producer at Rawlco Radio.

Audio for advertising and voiceover have been the main streams of work since the beginning of Sound Lounge in 1995 (with many radio ads and jingles). Over the last 5 years agency work, location audio, audio post, and mixing for theatre/TV/web ads have opened new doors. Sound design for live theatre has been a new fun adventure too, and so the Sound Lounge evolves as new sonic needs arise.

Glen Ferguson - Alumni Spotlight

Thu, 29 Dec 2016 20:19:00 GMT

Since graduating from OIART in 1988, Glen’s career has taken him globe trotting with music as a professional musician, as an audio engineer/sound mixer, a television host and a camera operator. Having produced hundreds of documentaries, television and corporate videos internationally, Glen’s credits include contracts with Discovery Channel, CTV, TSN, Sportsnet, CBC, National Film Board of Canada and many other large and small corporate clients as a professional camera operator.

Glen started his audio career at U2’s Windmill Lane Studios in Dublin and the UK’s world famous Abbey Road Studios (The Beatles). Beyond audio, Glen has also been a television producer, host, music creator and sound designer; his show, “The Fishing Musicians” has been shot in 13 countries, 45 episodes to date, and has aired throughout South and North America. His most recent series, filmed in conjunction with Province of New Brunswick-Tourism and Parks, “New Brunswick Adventures,” aired on Discovery Channel, CTV and Travel and Escape channel.

Currently managing his own audio firm, Ferguson Audio, Glen is also the executive director and creator of Bathurst Radio Inc. which operates 103.3 Phantom FM, CJUJ in Bathurst, New Brunswick.

Michelle Hwu - Alumni Spotlight

Thu, 22 Dec 2016 20:21:00 GMT

Since graduating from OIART in 2015, Michelle Hwu has been actively working in audio post-production. She began interning at Tattersall Sound & Picture, where she had the opportunity to work and train as a Sound Assistant on various projects such as Larry Weinstein’s The Devil’s Horn and Below Her Mouth, a film which premiered at the 2016 Toronto International Film Festival. Michelle currently works at The Farmhouse Creative Labs alongside owner and fellow OIART alumni, John Diemer (’10) as a Sound Editor and Re-recording Mixer.

At The Farmhouse Creative Labs, Michelle works with a variety of clients such as CBC, NBC, W Network, VICE, UBER, Canon, Lululemon, Telus and AOL. She works with Canon’s The Creator Class, a team that showcases projects by current and prominent artists throughout communities in North America. With VICE, she has worked on different projects under VICE Sports and VICE News including their notable cover on the proxy war in Ukraine. One of the biggest highlights of Michelle’s audio career so far was editing and mixing The Pistol Shrimps, a documentary about an all-female recreational basketball team which premiered at the 2016 Tribeca Film Festival in New York.

With a background in percussion performance, Michelle has a fascination for rhythm and sync which extends to her passion for Foley. In her spare time, she has shadowed under Foley artists at Technicolor Toronto and worked as a Foley artist at Post City Sound on projects. Michelle is excited to continue working in the world of audio post-production and explore the many facets it has to offer. She says, “One of my favourite memories so far has been the after-party of the Pistol Shrimps premiere where there were basketball arcade machines, a dance floor full of the basketball team members, the film crew, and Morgan Spurlock was there!”

John Hurlbut - Alumni Spotlight

Tue, 06 Dec 2016 20:22:00 GMT

Recording Engineer/Mixer/Music Producer and Videographer John “Wheels” Hurlbut has been a recording engineer and mixer for music, film and TV for almost 30 years since graduating from OIART’s audio production school in 1987. John started his career at Toronto’s legendary Manta Sound and he also did a stint at Oceanway Studios in LA. He is currently an active freelance recording engineer in Toronto. In 2007 John was asked to do music playback on the set of “The Rocker” starring Rainn Wilson and became an IATSE 873 member in 2009. He “moonlights” on film sets a few weeks a year working as an on set Pro Tools Playback operator which sounds easy but is a highly demanding job. His credits include Mike Myers’ The Love Guru, Scott Pilgrim vs. The World, My Big Fat Greek Wedding 2, Crimson Peak, Pixels, Suicide Squad and Guillermo del Toro’s Shape of Water. John has expanded into video production in the last few years and has several clients including being the Videographer for the professional Ultimate sports team The Toronto Rush.

Mary Lee - Alumni Spotlight

Tue, 29 Nov 2016 20:24:00 GMT

Mary Lee (’10) began her career in audio for visual media immediately after graduating from OIART’s audio and music production program. Spending five years at Wanted! Sound and Picture, she ascended to the roles of recording engineer and sound editor before moving to to SuperSonics Post Production a year and a half ago. Her engineering credits there include the Gwen Stefani created Kuu Kuu Harajuku, Rusty Rivets, Camp Lake Bottom and numerous spots for Maple Leaf Sports and Entertainment.

She was mixing engineer on Billy Goes North on CMT (Country Music Television). You can also hear her work on popular children’s shows like Super Why! and Mike the Knight, She has worked on video games as well, recording and dialogue editing for Ubisoft’s Assassin’s Creed Syndicate.

Mary said, “OIART gave me a great foundation to start in the industry. It gave me a realistic look at what to expect and how to behave when you’re getting started. OIART’s expansive curriculum gave me the fundamentals required to be flexible at a studio, not just recording and mixing, but in how to troubleshoot and solve problems.”

Graham Lessard - Alumni Spotlight

Tue, 22 Nov 2016 20:25:00 GMT

Graham Lessard (’02) is the Senior Recording Engineer at the world famous Banff Centre nestled in Alberta’s Rocky Mountains. After graduating OIART’s music production course, Graham worked for the CBC Radio in Edmonton, where he made numerous recordings of folk, jazz, and classical musicians for CBC and The Banff Centre. He then moved to Montreal, where he continued with the CBC and worked as a freelance engineer and producer. Graham then returned to Banff in 2012 to accept their top engineering position. His credits include Kevin Drew, Stars, Young Galaxy, Reuben and the Dark, and 2015 Juno nominated albums by Timber Timbre and The Barr Brothers. He is also a past recipient of a CARAS award for Music Recording. Graham has also returned to OIART to speak to the next generation of audio engineers.

From the Banff Centre; “Each year, hundreds of musicians travel to Banff from around the world to rehearse, compose, perform and record. Graham is part of a team ensuring the success of their recordings, whether a live concert performance or a studio production. Along with the Director of Audio and an international group of Audio Engineer Practicum participants, Graham works with artists spanning the spectrum of musical genre to translate their vision into a compelling sound recording. In addition to music recording, Graham also works closely with the Video team to deliver high quality sound to the Banff Centre’s online video productions.”

Brian Gallant - Alumni Spotlight

Wed, 16 Nov 2016 20:27:00 GMT

Engineer and Mixer Brian Gallant graduated from OIART’s audio and music production school in 2010, and since then he has compiled an impressive list of film, TV, Video Game and advertising credits. From commercials for Nike to OLG, Home Depot and Uber, he has also recorded dialogue for TV shows such as Cloudy With A Chance of Meatballs, Mr. Peabody and Sherman, How To Train Your Dragon, Canada’s Worst Driver, and the Canadian Screen Award winning Grojband.

His video game work is equally impressive, and includes Assassins Creed Unity, Star Wars: The Old Republic and Splinter Cell Blacklisted. He has also contributed his talents to features including Angry Birds and Pirate’s Passage. Brian records and mixes the Wanted! Live web series from Wanted! Sound and Picture, where he began working in the industry almost immediately after graduating OIART.

Brian very much prefers to work behind the scenes, in fact he had to take a photo especially for us as he didn’t have any. He’s clearly doing what he loves. Brian said, “OIART gave me the fundamentals and theories that were very helpful in understanding why to do certain things as opposed to memorizing what needed to be done. That understanding helped immensely with troubleshooting and anticipating needs or problems at the studio. OIART thoroughly prepared me for what to realistically expect from an entry level position in the audio industry.” Awesome Brian!

Trevor Anderson - Alumni Spotlight

Thu, 10 Nov 2016 20:28:00 GMT

Trevor Anderson, who graduated OIART’s music production school in 2012, is an engineer, producer, beat maker and song writer. He has engineered projects for artists like Will Smith, Deep Purple, The Arkells and Serena Ryder. Employed at Noble Street Studios in Toronto, he has worked under top level producers and engineers like Gavin Brown, Joe Chicarelli, Bob Ezrin, Joe Henry, Eddie Kramer, Ryan Freeland, Gus Van Go, Doc McKinney, Lenny De Rose, George Seara and Denis Tougas. He has earned credits on various Juno Nominated and Gold and Platinum selling records, and has seen his name in mix magazine. He states, “Prior to OIART, I was working out of my own home studio. OIART brought me up to speed technically and taught me proper studio etiquette. I see a lot of grads from other schools that don’t have the level of professionalism as OIART graduates. I wouldn’t be where I am now without that education.”

Pablo Villegas - Alumni Spotlight

Tue, 08 Nov 2016 20:30:00 GMT

8Location recordist Pablo Villegas graduated from OIART’s audio production school in 2005, pictured here a couple years back shooting a documentary about an Ayahuasca retreat in Colombia. He said, “It’s hard to believe that it’s been over 11 years since I finished the course!” Pablo has travelled the world recording sound for film and television, achieving a Canadian Screen Award nomination “as a fluke,” he says modestly. Pablo says, “The more I work, the more I confirm that my favorite types of gigs are those where I’m surrounded by people who understand the importance of teamwork. Making a TV show, a fiction film, a documentary or even a corporate video requires the collaboration of multiple people with a wide variety of skill sets. Understanding this and learning to navigate such environment is crucial to being successful and enjoying going to work every day.”

Pablo has had the opportunity to work on a large variety of productions over the past few years and feels very lucky that they have allowed him to have experiences, meet people and see places that most other people have “never even heard of.” Pablo told us some of the highlights for him have included, “having a microphone hit four times by a very angry Michael Ironside while boom operating on the film Turbo Kid then getting a huge bear hug from the same man at wrap, camping with the Baka people in the middle of the Congolese jungle and returning home with a parasite infested foot after spending 6 weeks on the banks of a remote river in the Amazon, and listening to a man talk for hours about how he has invented a special hat that keeps aliens from being able to control us telepathically.”

He added, “I have to say that OIART was the right move for me at that moment in my life. The school never gave me false hopes about the industry (or industries) and its possibilities. Although I did learn a tonne and acquired a solid understanding of the basic principles of sound recording, the most valuable thing I got out of school was understanding the importance of having the right attitude and mindset. If you open your mind to be part of the solution in any situation, you have already done a huge amount of work to achieve your goals.”

Jay Perry - Alumni Spotlight

Tue, 01 Nov 2016 19:34:00 GMT

Jay Perry (‘91) is the owner of Points East Audio Visual in Prince Edward Island. After graduation from OIART’s audio and music production school, Jay headed west to Victoria, BC where he became the installations manager for Pacific Audio Works, worked in live sound, and for a time was Special FX Technician in the exhibits department for the Royal BC Museum.

In 2006, he moved back home to the east coast and started his own Audio Visual company which has grown to include not only design, consulting, installations and sales, but also a full rental and production division. Jay says, “OIART gave me a solid background for what has become a lifelong career in the AV industry.”

Kyle Porter - Alumni Spotlight

Thu, 20 Oct 2016 19:36:00 GMT

After graduating from OIART’s audio and music production course in 2010, Kyle travelled all over the globe as a shipboard audio technician for Celebrity Cruise Lines. Back on land, he now works for fellow grad Mark Corlett (’85) at Absolute Video Theatre as Senior Audio Programmer and Installer. Kyle explained, “Coming up with new and innovative ways of programing and deploying large AV systems is sometimes a daunting but welcomed challenge. I work closely with the rest of the team to provide clients with solutions that fit current and future needs.”

He keeps his live sound chops up as an Audio Technician for the Rose Theatre Brampton and on various outdoor events and festivals. Kyle’s duties will include setting up audio systems, mixing front of house and monitors, stage managing, equipment maintenance, fly system operations and scenery and staging assembly. Additionally, he said, “I’ll be joining Brampton Musical Theatre later this month in rehearsals to begin designing their run of West Side Story. I’ll be responsible for Pre-Programming and Coordinating 20+ channels of wireless, Mic and set monitor for the 22 musician orchestra in the pit and programming the console for all 96 inputs and 100+ Snapshots and Cues. Lastly, my job is to Mix the show to provide a transparent and captivating experience for every member of the audience.” This year, Kyle was Nominated for Best Sound Design for the Brampton Music Theatre Musical “Jesus Christ Superstar,” by the Association of Community Theatres of Central Ontario.

Kyle told us, “Over the last few years I’ve had the pleasure of working with Audio Professionals from all over the world and I have yet to find one who speaks as highly about their education as an OIART grad.” Thanks Kyle!

Sean Giacomini - Alumni Spotlight

Tue, 11 Oct 2016 19:37:00 GMT

Cambridge, ON based Sean Giacomini graduated from OIART’s audio and music production course in 2007. He is a full time Mobile Technical Producer with Rogers TV, working in one of their red broadcast trucks you often see throughout Ontario. Though he primarily works locally, for larger Rogers broadcasts they travel all over Southern Ontario. Sean said, “It’s been quite a learning experience as I am also in charge of video systems, but it’s all concepts that are relative to audio. I couldn’t have done it without you guys at OIART.” Sean also plays guitar in Disgust, a well regarded metal band which has been together over a decade.

Tim Spence - Alumni Spotlight

Wed, 05 Oct 2016 19:39:00 GMT

Tim Spence graduated from OIART’s audio and music production course in 2011. He is now a Technical Producer for Corus Radio in Calgary. He runs the board for afternoon shows on Newstalk 770, but his favourite gigs are working on Calgary Stampeder broadcasts and working with Country 105 on their annual Radiothon for the Alberta’s children’s hospital, which has raised over 19 million dollars in the past 12 years.

Tim says, “OIART’s process in teaching and approaching technology and signal flow has given me the confidence to tackle any piece of gear I’ve run into since graduating. I feel like I could step into a plethora of industries and be a step ahead. OIART just makes things make sense; in the technical and professional areas of life.”

Ben Spiller - Alumni Spotlight

Thu, 29 Sep 2016 19:40:00 GMT

Ben Spiller (’12) in an audio editor, recordist and sound designer for television, film and video games at Wanted! Sound and Picture in Toronto. His work includes recording and mixing the Wanted! Live series of music videos, and he was recently a Dialogue Editor on Ubisoft’s Assassin’s Creed: Syndicate video game. Since graduating OIART’s audio and music production school, the film and television projects Ben has worked on have been nominated for multiple Canadian Screen Awards. His credits include; Sidekick vs. Superhero, George of the Jungle, Book Of Negroes, Pirate’s Passage and Teen Titans. Ben is a talented musician as well and plays bass in his band The Commoners along with producer Ross Hayes Citrullo.

Ben says, “The staff at OIART taught me a lot of important fundamentals, but on top of everything they taught me how to learn. The ability to read a room and adapt to suit the needs of a specific job is integral. These are the kind of work ethics you pick up at OIART.” Congratulations on your success Ben!

Caitlynn Legris - Alumni Spotlight

Thu, 22 Sep 2016 19:43:00 GMT

Caitlynn Legris (’12) works at the Arden Theatre in St. Albert AB as a Theatre Technician. After graduating OIART’s audio and music production school, she worked in nearby Edmonton as a freelance live sound tech. Even then, her favourite gigs were at the Arden, where she was able to land her current full time position. Upcoming shows at the Arden include Royal Wood, Monkeyjunk, Fred Eaglesmith, David Myles, Measha Brueggerosman and Delhi 2 Dublin. This season’s events even include a lecture with one of Canada’s most compelling historical figures, Margaret Trudeau, mother of current Prime Minister Justin and wife of former PM Pierre Trudeau.

Theatre Tech “sort of means I do anything and everything; lights, Front Of House audio, monitors, rigging, and even carpentry,” explained Caitlynn. “We’ve started getting into live webcasting for our professional series shows, which means doing a whole separate audio mix for the web.” Caitlynn adds, “I feel comfortable going into any situation and knowing that I can troubleshoot just about any problem I’m having. The ability to know where my signal is coming from and how it’s getting to where it needs to go is immensely valuable, and OIART gave me that.”

Jeff Pelletier - Alumni Spotlight

Tue, 13 Sep 2016 14:30:00 GMT

Jeff Pelletier, a 2004 graduate of OIART’s music production course, is the Chief Engineer at Phase One Recording, one of Toronto’s oldest and most respected recording facilities. Phase One said: “Jeff continuously impresses clients and is quickly solidifying his reputation as one of the great up and coming engineers in Toronto.”

Jeff’s most recent studio credits include Reuben and the Dark, Victoria Duffield, Tokyo Police Club, Young Empires, Big Sugar, Les Respectables, Shawn Mendes, Francesco Yates, Eleven Past One, Reuben And The Dark, Victoria Duffield, and Carvin Winans. Jeff also mixes live concerts and his recent work is equally impressive, including shows with Monster Truck, Matthew Good, The Trews, IME, F11, and openers Big Sugar on the massive, horned AC/DC stage.

Jeff said: “OIART’s approach to teaching audio is the best in the business. They didn’t just teach me how to use the gear they thought I’d encounter, they taught me the basics that allow me to work on a HUGE variety of gear in almost any environment. That’s how audio should be taught!”

Bryan Gallant - Alumni Spotlight

Tue, 06 Sep 2016 14:31:00 GMT

Bryan Gallant, a 2000 graduate of OIART’s music production school, is the Operations Manager of The Warehouse Studios in Vancouver. Owned by superstar Bryan Adams, the facility is one of the premier recording facilities in the world, featuring one of the three Neve consoles specially built by Rupert Neve for George Martin’s AIR studios. Bryan isn’t big on credits but admitted, “Bryan Adams, Billy Talent, REM and Shakira represent a few hours, days, and months of my life.” Bryan says, “I graduated from OIART in 2000, and moved to the west coast in spring of ’01. I was hired as a runner at The Warehouse Studio a week after arriving in Vancouver. I worked as a runner, assistant engineer, engineer and archivist for the next 6 or so years, enjoyed some great experiences and accumulated some nice credits during that time, but decided the engineering lifestyle wasn’t for me. Thankfully I was offered a position as the studio manager and the rest is history. We have an amazing studio and staff here. I feel really fortunate to have been a part of it all for so long.” He added, “I’m happy to say that I’ve hired quite a few OIART grads over the years.” Indeed, Bryan currently works alongside Studio Assistants Ryan Enockson (’08) and Nick Civiero (’11), Hayden Watson (’14) and Studio Technician David Taylor (’14).

Simon Larochette - Alumni Spotlight

Thu, 28 Jul 2016 14:37:00 GMT

Grad Simon Larochette is a recording engineer, multi-instrumentalist and owner of The Sugar Shack in London ON, working in genres ranging from country all the way to punk and metal. Graduating from our audio and music production course in 2008, Simon landed his first Juno nomination last year for the critically acclaimed debut album of the band Single Mothers, “Negative Qualities,” which he recorded entirely at the Sugar Shack. Simon was nominated for the 2016 “Producer/Engineer of The Year” at London Ontario’s Jack Richardson Music Awards, an award which he took home in 2013, and The Sugar Shack won “Best Recording Studio” at the 2014 London Music Awards. Over past few years Simon and his studio have remained extremely busy, hosting celebrated Canadian musicians including Spencer Burton, Jennifer Castle, Michael Feuerstack, Paper Beat Scissors and Olenka and The Autumn Lovers. He spoke to OIART students this summer about starting and growing your own recording studio business.

David Ciccarelli - Alumni Spotlight

Tue, 26 Jul 2016 14:38:00 GMT

David Ciccarelli (’00, left) co-founded Voices.com in 2004 and is truly one of OIART’s great business success stories. Starting with a small recording studio in downtown London, he and wife Stephanie (pictured) were quick to recognize the potential of the internet for creative collaboration. Together they founded Voices.com as a way to virtually connect voice talent with clients outside the boundaries of a studio facility. They have since become the leading online marketplace for voice over talent worldwide, a crown jewel of London’s tech sector and one of North America’s fastest growing Internet brands and digital media companies.

Expecting to grow from 120 to 300 employees by 2019, they recently announced an upcoming move to take over an entire floor of the 360,000 square foot Bell building on Dundas Street in London. David told the London Free Press, “It’s the single, biggest floor space in the city. Our staff want to be in the core. Most of them live here and they can walk to work.”

A finalist for the 2016 Business Achievement Awards in the Excellence in Human Resources category and one of the 500 fastest-growing companies in Canada for 2015, Voices.com has been named one of Canada’s fastest growing companies by Profit 50 four out of the past five years. David has been named one of London’s Top 20 Under 40 by Business London magazine, and Stephanie has appeared for a second time on the W100 list of Canada’s Top Female Entrepreneurs in 2015, ranked #41 of 100 entrepreneurs. David and Stephanie both lecture at OIART annually, with David sharing his business and entrepreneurial wisdom and Stephanie talking about the Voice Over industry.

Adrian Gonzalez - Alumni Spotlight

Tue, 05 Jul 2016 14:42:00 GMT

Adrian Gonzalez (’05, center) is a touring live mix engineer, currently on the road with Juno winner Alessia Cara opening for Coldplay. They recently played a packed Wembley Stadium in the UK to a crowd of roughly 100,000. Adrian has had an incredibly exciting year touring with Cara, who has also taken him along to record in the Beatles’ legendary Studio 2 at Abbey Road in London, England and mix on shows such as the Tonight Show with Jimmy Fallon (left with Adrian in photo) and Later with Jools Holland.

Adrian has toured with and mixed a wide range of artists including Walk Off The Earth, Everlast, Alex Cuba, Kat Dahlia and Serena Ryder. He has also worked on shows with astronaut Chris Hadfield, Our Lady Peace, The Dixie Chicks, The Beach Boys, Emmylou Harris, Dallas Green, City and Colour, BB King and many more. Adrian says, “Thank you OIART for giving me a solid start to a great career!”

Stacey Dodds - Alumni Spotlight

Thu, 30 Jun 2016 14:43:00 GMT

Stacey Dodds (’96, right) is Chief Engineer, Broadcast Sound Services for Technicolor’s Audio Post division in Burbank CA. They work on numerous popular TV series such as Family Guy, Castle, The Vampire Diaries, American Horror Story, The Cleveland Show and Hawaii Five-O, plus major hits of the past decade including Glee, Desperate Housewives, and Dexter. This year, Stacey won a special Emmy citation for “Contributions to the Emmy Award Winning Achievement of Outstanding Sound Editing for a Limited Series, Movie or Special,” for the mini-series Houdini. He is pictured here on right with colleague Ben Wilkins, who is holding the 2015 Oscar for “Best Sound Mixing” for the film “Whiplash,” which he mixed at Technicolor along with Craig Mann. After graduating OIART, back in 1997, Stacey moved to LA to work for Ocean Studios Burbank where he was hired to rebuild a vintage 1974 Neve 8048. In 2001 he became the Chief Technical Engineer for Chalice Recording in Hollywood where he worked with Christina Aguilera, Britney Spears, Gwen Stefani, Pharell Williams, Justin Timberlake, Mariah Carey, Jay-Z, Kayne West, Sean “Puffy” Combs, Trent Reznor, Dave Grohl, Blink 182 and many more. He built Christina Aguilera’s home studio in Beverly Hills and worked as a consultant/technician for Conway Studios, OddsOn Recording Studios, Mad Labs, Inc, Crystal Studios, Universal Mastering, Sonoma Mountain Estates & Studios and a host of others. Starting at Technicolor in 2007, he consulted on and built a state of the art 55,000 sq ft post production audio facility on the Paramount Studios lot consisting of 8 Euphonix System 5 consoles with two mix stages being fully Dolby Atmos and Barco Auro 3D surround sound capable. In addition to being chief engineer for broadcast sound services, Stacey is also in charge of digital content security and works in conjunction with Technicolor’s Global Security team, MPAA and Marvel to ensure the safety of their clients’ content as well as employees’ sensitive personal information. Stacey says; “Through all my years doing technical support, consulting, music engineering/mastering, etc., the vast amount of knowledge I learned at OIART has been invaluable. I am constantly referring back to the skill sets I gained from the school and I am amazed at how much it still helps me to this day. Not a day goes by that I don’t value the friendships and connections I made while a student and teaching assistant at OIART.”

Jason Dufour - Alumni Spotlight

Tue, 28 Jun 2016 14:44:00 GMT

Looking forward to the new release Push + Pull by Juno winners July Talk? One of the engineers on the album is Jason Dufour, a 2007 alumni from OIART’s music production course. After graduation Jay assisted at two of Canada’s top recording facilities, Phase One and then Revolution Recording, assisting on projects by The Barenaked Ladies, The Trews, Blackie and the Rodeo Kings, Three Days Grace and legendary Canadian supergroup Rush amongst many others.

Working his way up to Engineer, Jay’s credits include “Forcefield” by Tokyo Police Club, “Siberia Acoustic” by Lights, “Eliminate Ya!” by Big Sugar, “The Ocean at the End” by The Tea Party and Juno winner “Volition” by Protest the Hero. He has recently moved into a new studio space in Toronto where he engineers and mixes with Producer and Songwriter Michael ‘Sonner’ Sonier.

Jason says, “As I look back, I realize how invaluable my time spent at OIART was and still is — It gave me the foundational tools that I needed to build upon my skills and develop into my career as a recording engineer/mixer. I would highly recommend OIART to anyone seriously thinking about pursuing professional audio as a career.”

Matt Andersen - Alumni Spotlight

Thu, 23 Jun 2016 14:45:00 GMT

Matt Andersen (’99) is a Juno nominated guitarist and singer-songwriter originally hailing from New Brunswick. A remarkable talent who can easily command any room with his performance, Andersen has become one of the top acoustic performers in Canada. While he was a student at OIART’s music production school, he frequently stole the show at open mic nights at Scots Corner in London. He went on to sign with True North Records, headlining at festivals, clubs and theatres throughout North America and around the world. He has played on bills with Bo Diddley, Buddy Guy, Greg Allman, the Tedeschi Trucks Band, Randy Bachman, Little Feat, April Wine, America, Loverboy, Jonny Lang and Serena Ryder, and has performed several times on Stuart McLean’s Vinyl Cafe on CBC.

Andersen has won multiple Canadian Maple Blues Awards including Entertainer of the Year and multiple East Coast Music Awards. Back in 2010, he became the first Canadian to win the top prize for a duo/individual at the International Blues Challenge held in Memphis TN. There, he competed against artists from 11 other countries and five continents. His album Weightless, released in 2014, gained him a Juno Award nomination for Roots & Traditional Album of the Year, a CIMA Road Gold award, and a Maple Blues Award for Male Vocalist of the Year. That album saw him co-writing for the first time with Canadian top recording artists including Joel Plaskett, Ryan Hupman, Dave Gunning, Tom Wilson and David Myles. His latest album, Honest Man, was recorded in New York and saw him writing with Donovan Woods. Look for him on his summer 2016 tour across Canada.

Ian Trace - Alumni Spotlight

Tue, 21 Jun 2016 18:04:00 GMT

Ian Trace graduated from OIART’s audio and music production school in 2012, and is currently the Electronic Systems Specialist at the Legislative Assembly of Alberta. After OIART, he returned to Edmonton AB where he became the Assistant Head of Audio at the Citadel Theatre for two years. Looking to overhaul their audio and video systems, the Alberta government discovered Ian and his diverse skill set on Linkedin and quickly reached out. His responsibilities now include the installation, configuration, maintenance and operational support of all audio, video and broadcast equipment to support the operation of the Legislative chamber; 4 committee rooms, a media room and various hospitality & meeting spaces around the campus. He still manages to find time to work as a Stage Hand with IATSE local 210, production manager for the Edmonton International Jazz Festival and as a Freelance AV operator and technician for various local AV companies.

Ian said, “I came to OIART already having previous audio education and audio industry work experience. My goal was to really solidify my understanding of the fundamentals of audio systems and theory – OIART did that for me and more! The combination of an immersive environment, great faculty and fellow students helped to re-ignite my passion for all things audio. In addition to giving students a solid understand of theory and practical experience, the program shows how the different areas of audio (recording, live, sound design, acoustics) relate to one another and work together. I use skills from each of these areas every day in all the work I do. I am thankful for the relationships I built with the staff and my fellow students while I was at OIART. I will carry those and skills I learned with me throughout my career. I am proud to be an OIART graduate.”

Ryan S. - Alumni Spotlight

Tue, 14 Jun 2016 18:04:00 GMT

Ryan S, 2011 graduate of OIART’s music and audio production school, has been working for CBC Radio since the spring of 2013 as a Broadcast Technician / Associate Producer. He explained, “It’s somewhat of a varied role. Day in, day out I do live audio for an audience of thousands…. none of which I ever get to see. First and foremost, it’s up to me to make sure our show gets on air, and that all content sounds as good as possible when it leaves my Studer OnAir 2000 board.

“Not only do I get to tech live radio, but I also get opportunities to mix live bands from time to time, do location recording and even produce my own content for the show. I’ve had a lot of opportunity to refine my ‘radio voice.’ Every so often friends come up to me and say ‘Hey Ryan, I think I heard you doing the weather forecast on Radio 2 this morning.’ Yup, that was me. I even get to pick what music we play on our show. As such, I stay tight with bands and publicists from all over Canada in order to keep my finger on the pulse of good Canadian indie music. I guess you could add the word ‘DJ’ in to my title as well.

“Working in broadcast is an extremely precise and fast-paced environment. Our radio shows are literally timed to the second. Being that it’s live radio, things can go south really quick. A broadcast audio tech needs to roll with the punches when things don’t work out, or if there is some sort of catastrophic technical meltdown. Being cool under pressure, as well as quick and efficient troubleshooter is vital in this role.

“So how did I get here? Well this is where OIART really shines. The amount of post-graduate support offered by the school is, in my opinion, unrivaled by any other school. I snagged this job as a direct result of the close-knit network between former graduates and OIART faculty. The school really cares about keeping former students connected to audio opportunities from all over the country and beyond. Without that valuable support, I would not have this amazing job that I have now.”

Jon Bartel - Alumni Spotlight

Fri, 10 Jun 2016 18:04:00 GMT

The Stanley Cup will be in the arena to hand to Sidney Crosby in the event of a Pittsburgh Penguins victory tonight, so we thought we’d profile the grad who mixed the Rogers Hockey Night in Canada theme today. Jon Bartel ’05 is a mixer, sound designer, recordist and editor based in Toronto. He started his career at CTV/Bellmedia and has worked on numerous shows airing on Discovery, TSN, Muchmusic, Food Network and Sportsnet. Jon’s work includes mixing and and sound design for all NHL-related material on Rogers Sportsnet and Hockey Night in Canada, and mixing for Toronto Raptors “Open Gym” for MLSE and Buy It, Fix It, Sell It on Shaw.

Jon said, “OIART is the reason I get to wake up every day and do what I love. I still, almost daily, have a moment where I stop and realize how fortunate I am to be able to do this work for a living. To be creative, and continually pursue new ways of using audio to help tell the story. Unreal!!I really believe that the true value at OIART lives in its people. To learn from a group of teachers who share the same passion and energy for all things audio as I did… that was a revelation to me. I had never been in an environment like that before. It was fantastic.

I run into a lot of grads from any and all audio schools throughout my day to day, especially on the bigger live events where the crews are huge (MMVAs, WeDay, sporting events, etc.). I can’t speak to the quality of other schools, but I can certainly say that, as a rule, you can usually pick out an OIART grad from the pack in relatively short order. I can’t think of a better testament to the quality of what you guys do than that.”

Wayne Lemmer - Alumni Spotlight

Fri, 03 Jun 2016 18:04:00 GMT

Wayne Lemmer graduated from OIART’s audio production school in 2003 and soon afterwards the Ilderton native moved to Hollywood. There, he landed a job with 20 th Century Fox, one of the top film studios in the world. Wayne’s Sound Design credits have included Kung Fu Panda, Transformers, Fantastic Four, X-Men and Black Swan. Now a six-time Motion Picture Sound Editors Golden Reel Award nominee, Wayne has ascended to the role of Supervising Sound Editor. Working closely with the Director, the Supervising Sound Editor is the person ultimately responsible for all sounds in a film. This past summer you could hear his work in the hit adult animated movie Deadpool. In 2014 he was Supervising Sound Editor on the nine-time Oscar nominated Wes Anderson film The Grand Budapest Hotel, for which he flew to England to also act as Sound Re-Recording Mixer.

Though Wayne’s original interest was in music production, a digital music class in university introduced him to the world of sound design and he never looked back. He attended the Ontario Institute of Audio Recording Technology to pursue his new passion for sound for film. “It just grabbed me,” Wayne said. “It engulfed my life. It was an exciting new venue for me to create and perform art.”

Siegfried Meier - Alumni Spotlight

Tue, 31 May 2016 18:04:00 GMT

Siegfried Meier (’99) is a JUNO Award winning Record Producer, Recording Engineer, Mixer and Songwriter. He owns and operates Beach Road Studios, a beautiful resort-style recording compound featuring a large tracking room with a separate artist residence and high end mastering room, overlooking the sunsets and beaches of Lake Huron in Ontario, Canada. Since graduating from OIART’s music production school in 1999, Siegfried has worked with heavyweight Producers and Engineers such as Howie Weinberg (Green Day, Aerosmith, U2), Andy Wallace (Nirvana, Linkin Park, Jeff Buckley), Gggarth (Rage Against The Machine, Red Hot Chili Peppers, Biffy Clyro), Joe Gastwirt (The Used, Face To Face), Troy Glessner (Copeland, Anberlin, Underoath), Tom Araya of Slayer and Mark Sparks (Will Smith, Salt-N-Pepa) to name a few. At Beach Road, Siegfried has produced, engineered, mixed or mastered records for bands such as Kittie, The Salads, Thine Eyes Bleed, The Reason, Craig Cardiff, Dayna Manning, Breaching Vista and hundreds more. His work has been featured in films such as Saw VI, Eurotrip and Limitless, and his work with pop artist Scotty James garnered them a Billboard Canada Top 16 hit. In 2013, Woods of Ypres’ “Grey Skies and Electric Light,” Produced and Engineered by Siegfried at Beach Road, won the JUNO Award for Best Metal/Hard Music Record of the Year.

In 2016, Siegfried moved to Los Angeles part-time, where he is producing and writing with various artists as well as working in legendary studios and currently creating a drum sample pack. He is also endorsed by Peluso Microphone Lab, SJC Drums, Radial Engineering, Universal Audio, Presonus, Plugin Alliance, Noble and Cooley, Heil Sound, Warm Audio, Roland, Fractal Audio among others. “OIART was the one school that stood out among all the others as being a great school with intelligent people teaching the courses,” Siegfried says, “and taking the tour only hammered down that fact more. They absolutely do know their stuff. The teachers are all professionals with years of experience in the recording industry. They have knowledge you just can’t get anywhere else.” Meier learned how to handle analog and digital gear at OIART and also got some music theory, a valuable addition to his education. “You learn a lot about the physiology of the ear,” he says. “They explain what we feel when we listen to sounds. Those were things that I had always pondered about, and a lot of things that nobody on the internet or any book could really explain to you. It helped me tremendously, especially working with bands in the studio. "

Derrick Aubie - Alumni Spotlight

Fri, 27 May 2016 18:04:00 GMT

Derrick Aubie (’02) owns Sonic Image Audio and Visual Productions in Moncton NB. Derrick originally attended OIART’s audio and music production program wanting to pursue a career in the recording industry. After several years working with a national Audio Visual company he realized his passion was in live event production. Feeling he could bring something unique and creative to the marketplace, Derrick decided to take the leap and give running his own business a shot. Sonic Image opened their doors in 2012. Starting from humble beginnings out of his home with a small inventory consisting of a PA and a pair of projectors, Derrick explained, “Through a ton of hard work, dedication and knocking on endless doors we began to grow at a rapid pace. We now have a large inventory of Audio, Video, simultaneous interpretation and Lighting equipment. We’ve had the pleasure of working on over 370 events in 2015 alone and are forecasting upwards of 600 in 2016 with a growing team of full time experienced technicians who are among the best in the business.”

Derrick’s efforts won him the 2015 Greater Moncton Chamber of Commerce Excellence Award for Young Entrepreneur of the Year. Sonic Image currently has offices in Moncton NB and contracts in place with several hotels in the area. He plans to expand their services to include Nova Scotia and PEI in the near future. Derrick said, “My time at OIART has been a key ingredient to my business. Not only was it a launch pad for my career, but I continue to use the knowledge I obtained on a daily basis. Once you understand Audio concepts like signal flow and gain structure you can translate that to almost any technical situation. Video and lighting all come naturally once you understand that. OIART really set me up for success in this regard.”

Brian Eimer - Alumni Spotlight

Thu, 19 May 2016 18:04:00 GMT

A Sound Editor and Mixer for pictures, Brian Eimer won his fourth Motion Picture Sound Editors’ guild Golden Reel Award in 2016 for “Best Sound Editing: Special Venue” for the IMAX film, “Journey to Space,” narrated by Star Trek; The Next Generation’s Patrick Stewart. A graduate of OIART’s recording production program in 1989, his first job after OIART was assistant recording engineer at one of Toronto’s first post production houses, The Master’s Workshop. After that studio went out of business, Brian saw the opportunity to open his own facility, which became ImagesInSound, a 3,300-square-foot post audio facility in downtown Toronto. There, he oversees a staff of three engineers who sound edit and mix audio for shows like Survivor Man, True Stories, Mayday, Psychic Investigators, Property Virgins, and World’s Greenest Homes.

One of Brian’s specialties is sound editing and mixing for large format IMAX films such as Journey to Space and Titans of the Ice Age. “The screen is just so big,” he says. “The sound needs to keep up with that and placement is a strong issue. In 3D, the viewers are in the film. The sound needs be to spot on or the illusion will be broken.” Eimer’s advice to anyone looking to get into audio post production? “You need to soak up as much of the experience as you can, because there’s a lot of knowledge out there in the industry. That’s where being around the guys at OIART really pays off. They can teach you skills you can’t get anywhere else.”

Anton DeLost - Alumni Spotlight

Tue, 17 May 2016 18:04:00 GMT

Anton DeLost graduated from OIART’s music production school in 2012. He is a producer, recording engineer, mixer and musician. He now co-owns and operates a professional studio in downtown Toronto ON and has toured Canada and the US playing guitar and singing, and toured the UK and Europe playing drums. In 2007 at age 15 he decided to start a small basement studio for local bands to get decent recordings for an affordable price. Now, his newly renovated studio boasts a beautiful sounding live room and is stocked with top of the line preamps, outboard compression & EQ, instruments and amps. He has also travelled to the US and UK to work on records for a long list of clients including labels like Pure Noise, InVogue, New Damage, Father/Daughter, Mutant League Records and artists including Into It. Over It., Seaway, Liferuiner, and Curses. He excels at fostering unique, creative songwriting and arrangements with his clients while helping them capture their desired sound and overall vibe.

Anton said, “When I attended OIART, I already had a basement studio set up and had been recording local bands for years, more or less self-taught. As I started the program, I almost wished I had never learned most of what I knew as I realized I was then learning everything the right way. I always try to be the first to jump in when anyone on the internet or in person asks about the best audio school. I can’t vouch for OIART or its grads enough. My studio partner and I interviewed about a dozen people for an intern/assistant position at our space last year and I can honestly say the people that had attended OIART were the ones that stood out by a huge margin – it wasn’t even a competition. I know this happens often with other studios, audio companies and freelancers.”

“The things you learn at OIART are so… real. Not just theory, but what to do once you leave the school. They get you so ready and pumped for the industry. I know so many people who have gone to other audio schools who aren’t doing anything to do with audio because they didn’t know where to go from there. You learn how to be a professional and not just why you’re turning that knob, but you know the hell out of that knob. One of the things that impressed me the most about OIART was the variety of audio related classes; in-depth acoustics, physics, digital technology, computers, production, midi, live sound, music, electronics/soldering, recording technology, production, live sound, audio post and more. You’re going to learn everything that could have anything to do with audio. There are little to no unanswered questions when entering the industry. They want you to try stuff, to experiment and to think outside the box where the most you can lose is some grades, not a job. The other thing that impressed me was their continued support with their grads. They’re your audio industry parents – always continuing to give support, checking in from time to time, trying to give you opportunities, making your lunch, etc. I wouldn’t trade my experience with OIART for the world.”

Anthony Jestin - Alumni Spotlight

Thu, 12 May 2016 18:04:00 GMT

Anthony Jestin (06) is a perfect example of the wide variety of careers in audio where OIART graduates find success. While many work in music production, live sound and audio for picture, the world of audio and video system design and installation is lucrative, challenging and extremely enjoyable. Anthony is currently the A/V Design Specialist at Genesis Integration ( www.genint.com ) in Edmonton, and has worked there since just shy of a month of graduation. He said, My decision to go to OIART was simple I just wanted to very best education in how audio worked and this was the place to get it. The field I am in was the career I wanted. Even before I went to OIART, I had decided Genesis was where I wanted to hang my hat. The knowledge I gained in the physics, mathematics, and principles of audio was one of the main factors that led to my hiring ten years ago.”

In his time with Genesis, Anthony has held positions in installation, programming, systems drafting, systems sales, technical account management, and most recently A/V Design Specialist. He has had the privilege of working on some of the company’s largest and most complex projects, with his designs being implemented in several provinces and territories across the country. In the last two years alone he has worked on projects for both the National Energy Board of Canada and Interpipeline, both based in Calgary. With one of these projects eclipsing 90+ boardroom and meeting room systems, all interconnected and monitored, the design work on this project was immense. Anthony said, “It was a rewarding project to see come to completion. Thanks OIART for all you do and have done for your students and graduates!

Van Rooyen - Alumni Spotlight

Wed, 11 May 2016 18:04:00 GMT

A 2008 graduate from OIART’s audio and music production school, Bryan Van Rooyen is the Head of Audio at the PA Shop in London. They have worked as production supplier for many acts such as Keith Urban, Billy Talent, Rise Against, Dean Brody, The Steve Miller Band, Toto, Journey, Boston, Slash, Huey Lewis & The News, Lee Brice and Tim Hicks among countless others. At the PA Shop, Bryan’s skills have grown from solely audio to include lighting, video and rigging. He added, “I’m normally the Monitor Tech on these shows,” performing the sound mix for the band to hear so they can play their best. Bryan often works alongside fellow graduate Humberto Lourenco (’12) who works the Front of House mix position.As well as being at the PA Shop, Bryan freelances for other production companies and events around Ontario and tours with a few different artists. “As I write this, I am in Davenport Iowa with (Canadian comic Steve Smith aka) Red Green. I’m the sole tech on this tour, doing audio, video, directing the local lighting tech every day and stage managing. I’ve been working with him for 3 years now and have travelled across almost the entire US and Canada. I’ve had a very similar position working for Frank Mills for the last couple years, and I am Monitor Tech/Stage manager for Charlie Pride when he is in Canada. OIART gave me a thorough understanding of the fundamentals of working in audio. With this knowledge I can jump onto any new piece of gear or into an entirely new gig and feel confident that I’m ready for it. It also made me a quick and efficient troubleshooter, which is of utmost importance when ‘the show must go on.’ On top of the technical knowledge, OIART also provided an invaluable network that stretches to all reaches of this industry.”

Steve Scott - Alumni Spotlight

Thu, 05 May 2016 18:04:00 GMT

Steve Scott graduated from OIART’s audio recording technology program in 1993 and is now a Location Sound engineer and studio owner/engineer for post-audio and film. Starting his career at Mix Audio studios as owner/engineer, he began to go out on location around the USA/Canada filming feature films, shorts, documentaries, corporate, web series, sports, and reality TV for PBS and CBC. He then left the studio and began to freelance as a location sound engineer boom operator working with the likes of Danny Glover, Dominic Purcell, Vinnie Jones, Michael Beihn, Steven Lang, Trish Stratus, Anderson Silva, Lyoto Machida, and even legendary country music superstar Charlie Pride. He has won Multiple International Telly Awards for location sound. Steve recently completed the design and construction of Sarnia based Sound & Music studios where he does voice over, foley, editing, score, sound design for feature films as well as recording bands.

Steve enthused, “It was thanks to my OIART training that I am where I am today. The construction of the two studios I built were taken from my acoustics training with (OIART founder) Paul Steenhuis. Every time I’m repairing a audio cable on location, I think Of Christoph Babin’s live sound and electronics class – down to wrapping up the cables properly, trouble shooting audio problems on set, signal flow, microphone techniques and placement. The productions are impressed with my level of professionalism on set and this is the key to getting call backs for future work. This is all thanks to my audio training. I enjoy being out on location and the challenging environments and set ups. There is never a dull moment on a production, with many crazy stories to tell. It’s also nice to take the tracks back in the studio and polish and perfect them. It’s like having the best of both worlds. I feel my time at OIART has prepared me for this. I also enjoy talking to the students and grads, from time to time taking them out on set with me. Those who come out end up enjoying Location Audio as much as I do! The students always show me a trick or two they have learned at school!”

Mark Taleski - Alumni Spotlight

Tue, 03 May 2016 18:04:00 GMT

After graduating from OIART’s audio and music production program in 2000, Mark Taleski moved to Toronto to work as a live sound engineer and system technician. He worked with many bands across Canada and the U.S.A. including the Concert for Toronto benefit, often remembered as SARStock, featuring AC/DC and The Rolling Stones. In 2004 Mark joined Princess Cruises as a Audio Production Manager and spent the next 5 years traveling the world mixing a wide variety of acts; from cabarets and comedians to large scale production shows.

In 2010 Mark moved back to London and accepted a position with Freeman Audio Visual where he added the disciplines of Rigging, Lighting Design and Video Production to his resume. He has worked with many large corporate clients including The Memorial Cup, 3M Canada and Western University. Mark is also a member of IATSE local 105 and has worked countless touring shows coming through London. He says, “It never fails to amaze me how often I fall back on the skills I learned at OIART. Whether it’s learning a new console or designing a new system, having a strong background in theory is extremely important. The principles of signal flow and troubleshooting have been invaluable – whether I’m working in an arena or in the middle of the Atlantic Ocean. "

Travis Didluck and Jeff Hartling - Alumni Spotlight

Thu, 28 Apr 2016 18:04:00 GMT

Travis Didluck (’09) and Jeff Hartling (’09) are sound designers for the London Ontario based video game developer Digital Extremes (DE). Digital Extremes has again been named one of Canada’s Top 100 Employers for 2016, and was ranked 29/50 on Deloitte’s Fast 50 Technology companies for Canada. Travis and Jeff have designed sounds for games such as Star Trek, Darkness 2, Retro Pinball and Halo 4 multiplayer and are currently working on DE’s most successful project, the online multiplayer game Warframe. They record and create ambiences, character sounds, weapon sounds and more to integrate into the game play and must update them constantly. This has entailed everything from recording high powered weapons on location at a firing range, to capturing water sounds in a pool or generating new sounds using synthesis techniques.

Travis (left) and Jeff (right), pictured here attending the Game Developer’s Conference, speak enthusiastically about the role OIART’s audio and music production program played in their careers. Travis said, “My time at OIART was, in every way, a truly unforgettable experience. Not only for the skills acquired throughout the curriculum, but also for the network that lasts a lifetime. The creative and technical take away became the cornerstone of my career.” Jeff adds, “OIART gave me the foundation required to build a successful career doing what I love.”

Jakob Thiesen - Alumni Spotlight

Tue, 26 Apr 2016 18:04:00 GMT

Sound Designer, Foley Artist, Composer and Sound Editor Jakob Thiesen graduated from OIART’s audio and music production program in ’98. He was nominated for a Daytime Emmy in 2016 for Outstanding Sound Editing for the show Annedroids, which was also nominated for multiple Canadian Screen Awards this year. You can hear his work as a location recordist on Ubisoft’s Assassin’s Creed: Syndicate and its follow up Assassin’s Creed: Unity. Throughout his lengthy career he has worked on numerous television shows, documentaries and video games.

Jakob says, “I loved my time at OIART! It balanced the technical nitty-gritty alongside momentous enthusiasm – both of which are non-negotiables to survive in any creative endeavor. One day would be patch bay signal flow drills, the next would be rolling ping pong balls inside a grand piano for Sound Design. I graduated OIART and soon after spent some years at a post audio facility, then went freelance. I am driven to stay as versatile as possible, by doing sound design for independent feature film and documentary, foley for children’s television, acting as a recordist for video games, as well I am recording a bespoke sound effects library. The relationships I have made by doing all of these things is it’s own reward.” Continued success Jakob!

You can read more about Jakob’s credits here.

Paul Williamson - Alumni Spotlight

Thu, 21 Apr 2016 18:04:00 GMT

Paul Williamson (86) is a lead sound re-recording mixer, handling the dialogue and music on television and film projects. He has been mixing at Technicolor Toronto (formerly PFA Film and Video) for over 22 years. Recent projects include An American Dream: The Education of William Bowman a feature film by Ken Finkleman, television series Colony for USA Network, Remedy for Global, Haven for NBC SyFy and Private Eyes, a new series coming to Global in summer 2016. Paul has been nominated 4 times for Gemini Awards (now called Canadian Screen Awards), winning twice in the Best Sound for a Dramatic Program category.

Paul’s audio career began at OIART, working as a teaching assistant the following year after graduating from the program. From there he moved to Toronto where he landed a job at PFA Film and Video as an audio transfer engineer. He quickly became the machine room operator for the mix theatre. After moving on to SFX (sound effects) and dialogue editing, he earned the opportunity to mix SFX and foley on television and film projects. Eventually he moved into the Lead Mixer position and is now responsible for the overall sound of each project, as well as handling schedules and dealing with sound editors, foley artists, producers, directors and broadcasters.

The audio education I received from OIART was instrumental to my career in the film and television industry. The knowledge and experience I gained provided the foundation for me to succeed.”

Aaron Cieslikowski - Alumni Spotlight

Tue, 19 Apr 2016 18:04:00 GMT

After graduating from the audio and music production course at OIART in 2000, Aaron Cieslikowski first moved to Vancouver to work in post-production, then to Los Angeles to work in music studios as a tech and assistant engineer. Aaron then moved to Nashville where he worked for many years assisting, engineering and managing at various studios. Along the way he had the pleasure of working with a ton of talented producers, engineers and artists including Brooks ‘n Dunn, Tommy Emmanuel, BeBe Winans, Natalie Cole, Ozomatli and many more. He also played bass in a touring rock band based out Nashville for 8 years. He has been working for music equipment retailer Sweetwater since 2013 and continues to actively work on albums in his spare time.

Aaron said, “The lessons I learned at OIART have served me very well over my career thus far. From studio design to problem solving in the middle of a hectic tracking session, it’s amazing how many solutions can be found by simply reading a circuit flow diagram and trusting your ears. At the school you will be given the basic building blocks you’ll need to construct a foundation that will support your endeavors for years to come. The only other things you will need are a desire and strong work ethic!”

Matt Kaitila - Alumni Spotlight

Thu, 14 Apr 2016 18:04:00 GMT

Matt Kaitila has had a remarkably varied career since graduating from OIART’s music and audio production program in 2006. Starting out in television, he worked on the series Regenesis as sound utility and boom op for a season, but then took the opportunity to travel the world for two years as an AV Tech, Front of House Mixer, System Tech and Stage Manager with Norwegian Cruise Lines. There, he met his future wife and they settled together in New York City. Matt worked on indie films and documentaries as a location recordist at first. “It was a great experience, I gained a few good friends and some crazy stories.” Gradually he moved into working with various NYC production companies and started to learn about non audio systems such as video and lighting. The connections led him to the Red Bull Arena where he mixed for the New York Red Bulls of Major League Soccer, then Metlife Stadium where he worked for the NY Giants Super Bowl Championship season.

This led to a job as Lead AV Technical Engineer of Brooklyn’s newly built Barclay’s Center when the facility opened. Now home to the Brooklyn Nets and New York Islanders, Matt helped commission all the sound, broadcast and AV systems, then went on to manage the engineering team, production crews and part time staff for three years. They worked on the MTV Music Video Awards, the NBA Draft and All Star games, HBO Boxing, WWE and a “ton of concerts.” He continued to design systems and perform installs around the building including the Billboard Lounge ( http://www.billboardlounge.com ), while training technical staff. Matt said, “I recently hired grad Mike LaTona (’12), bought a house in New Jersey, then quit… on good terms of course!” Matt has since started a new position at media integration giant Diversified ( http://diversifiedus.com/ ) as a project manager. “It’s been a ride and I really owe it all to my time in London at OIART. Will always love you guys for it. The adventure definitely continues.”

Alex Krotz - Alumni Spotlight

Wed, 30 Mar 2016 18:04:00 GMT

Alex Krotz (’11) is a Toronto based Audio Engineer who works full time at Noble Street Studios as their Lead Assistant Engineer. This year Alex worked with in incredible 10 Juno Nominees on a total of 15 Nominations. After graduating OIART’s audio and music production program, Alex moved to Toronto to start an internship at Noble Street, one of the top studios in Canada. He quickly worked his way up to full time Assistant Engineer, and counts himself “lucky enough to be trained under some of the best engineers and producers around.” Some more recent work includes Three Days Grace, Shawn Mendes, Johnny Reid, Matthew Good, Walk Off The Earth and Barenaked Ladies.

Even though he works full time at the studio, Alex still manages to go back to his musician roots to work on engineering and production projects and is forever growing his knowledge. He says, OIART gave me a great foundation for technical knowledge and showed me how to continually learn. It prepared me for the work environment and how to be what people want from a co-worker. It also gave me connections to help set my career in motion and, most importantly, an everlasting friendship and support group to fall back on.

Gabriel Hauser - Alumni Spotlight

Tue, 22 Mar 2016 18:04:00 GMT

After graduating from OIART in 2011, Gabriel Hauser landed a job at Digital Extremes, one of the longest running video game companies in the business. There he worked on a few seminal titles including Star Trek: The Video Game (PC/PS3/XBOX 360) and Warframe (PC/PS4/XBOX ONE). Gabriel now works at Uken Games, a Toronto based game developer specializing in cross-platform, social-mobile games for iOS and Android. His work can be heard on Bingo Pop, Kings of Pool, Cloud Breakers and Titans, which was nominated in 2014 at the Canadian Videogame Awards for “Best iOS Game.” Gabriel has been asked to present at talks on game audio, most recently at the Game Audio Special put on by Sound Hackers Toronto.

Gabriel says, “I get to work in a fast-paced, exciting and still growing industry. The folks at Uken are some of the most talented and cool people you’ll meet.” When asked what a typical day looks like, Gabriel emphasizes the variety of work. “One moment I’m dealing directly with gamers, corresponding back and forth, then I’m designing sounds for some in-game animations, then I’m designing the next weekend tournament, then I’m producing music written by our in-house composer. It can be a whirlwind of things, but I actually love that. Keeps things interesting, you know?” Gabriel says that his education at OIART’s audio and music production program helped him prepare for this multi-skilled, multifaceted, fast-paced, ever-evolving environment. “People skills are paramount, though. Work on yourself as much as you do on your work.”

Dennis Nicholson - Alumni Spotlight

Thu, 17 Mar 2016 18:04:00 GMT

Dennis Nicholson (’11) is a freelance boom operator and filmmaker based in Toronto. Born and raised in Sydney NS, Dennis attended OIART’s audio and music production program in 2011 right out of high school. After graduating the program he choose to pursue location sound and went all in, spending his savings on a small location sound kit and moving to Toronto. Dennis started out working pro-bono on short films, web series, and anything else he could find. Working his way up, he quickly found himself union work as a sound assistant. In 2012 he joined the Blue Flame Collective, a Toronto-based filmmakers group committed to producing narrative short films. After sound mixing and editing 13 films for the group’s inaugural production, Dennis was inspired and took the director’s chair to make one more, completing The Critic and showing it at the group’s summer event. The experience ignited Dennis’ passion for filmmaking. While staying busy with union work he continued to produce and direct his own films, completing iBrain in 2013 as part of BFC’s second year. In 2014, Dennis earned his keep with the union and joined NABET 700 UNIFOR as a boom operator with full membership.

Dennis’ recent sound works includes the feature film “Born To Be Blue,” starring Ethan Hawke, TV Movie series “Flowershop Mysteries,” starring Brooke Shields and 2016 Canadian Screen Award nominee, YTV’s “Max and Shred.” His recent films include Double Crossed, a Cold War comedy about a Canadian scientist hell-bent on building a flying motorcycle, and Canadian Sniper, a kids comedy that follows a lonely young girl and her dreams of becoming a war hero. Canadian Sniper was recently chosen to premiere at Festival De Cannes Short Film Corner in France. For both films Dennis partnered up with best friend and fellow OIART grad Jeffrey Murias (’11) to handle sound mixing and editing. Dennis said, “OIART prepares you for the real world. Some of the greatest people I’ve met and worked with have been my fellow OIART grads. There is a focus on the development of creative and technical skills, but more importantly you learn how to collaborate and how to take the lead. It’s important to think big, but you always have to approach things with a sense of practicality. My education at OIART was essential to both my success in sound work and the production of my own films.” Congratulations Dennis!

Andrew Tyne - Alumni Spotlight

Tue, 15 Mar 2016 18:04:00 GMT

Grad Andrew Tyne (’08) is currently an Event Manager with the Halifax Convention Centre. After graduation, Andrew started as an Assistant Production Manager with Princess Cruise Lines. Mixing a full orchestra and cast in a floating 700-seat theatre was a daunting first gig. Andrew told us he owes his amazing career ride to his time spent at OIART. “I remember getting on the ship and very quickly realizing that I was a department of one, in the middle of the ocean. It was really kind of nerve wracking. I remember actually calling Bob Breen under the guise of checking in but really kind of needing a bit of a pep talk. I spent 4 years and a huge amount of cash at University (which don’t get me wrong, was a great experience) but I can’t think of anyone at my old University taking a phone call from a scared kid on his first job. After a few minutes on that call I absolutely felt better, Bob reminded me that I had the all of the knowledge and skills that I needed and that I was going to be fine. It turns out that he was 100% correct and that job was one of the most rewarding experiences I’ve ever had.”

Andrew says that his decision to attend OIART was heavily based on conversations with alumni. “I was asking different folks in the recording industry where I’m from and everyone had nothing but amazing things to say. It got to the point that I started looking for the downside that I was sure I was missing and happily never found. As I moved further into the AV section of the Meetings and Events Industry I had to expand my skill set to include lighting and video and networking but the curriculum at OIART is set up in such a way that it allows you to see that signal flow is signal flow no matter if you’re talking about a mixing desk or a video switcher.”

“Whenever people ask me, I immediately say that attending OIART will be an experience that will not only jump start your career, but really assist you regardless of what path your career takes.” Thanks Andrew!

Mike Tompa - Alumni Spotlight

Thu, 10 Mar 2016 19:04:00 GMT

Mike Tompa (’10) is a Toronto based recording engineer and mixer. After graduating OIART’s audio and music production program, Mike assisted occasionally at Phase One Recording and freelanced for a year, with the goal of saving to move to England. His goal was to land an internship at Outhouse Studios in Reading, which he came to realize had produced most of his favourite records. There was only one problem… nowhere was he able to find where the studio was actually located or how to get in touch with them even after a year of looking. Ever the optimist, Mike eventually flew to England and took roughly two weeks walking around the neighborhood to find the place! He knocked on studio door and asked.

Although they had other interns lined up, they let Mike stay and after about three months of interning, he was hired on as full time engineer/producer. Mike worked at Outhouse for two years, and in that time worked with all of the bands that made him want to find Outhouse in the first place. He learned how those records were made and did a lot of great work himself along the way. Eventually it was time to move back to Canada, where he quickly got a job running Merriam Studios in Oakville. Now head engineer/producer at Merriam Studios, Mike works with everything from jazz ensembles to rock bands and classical soloists, song writing for various artists as well.

Mike told us, “OIART has a truly amazing way of preparing its graduates for success in the audio industry. The course is extremely hands on and gets you familiar with not only the technical side of audio with its world class facilities, but also with professional studio/work place etiquette. The lessons that I have learned at OIART are invaluable, and have made it possible to make a living doing what I love. The confidence that I have jumping into any new project across any musical genre, whether it be recording a metal band, mixing jazz, or writing for a pop artist, I owe to the OIART faculty.” Thank you Mike!

Graham Van Pelt - Alumni Spotlight

Tue, 08 Mar 2016 19:04:00 GMT

Graham Van Pelt aka Miracle Fortress graduated from OIART’s audio and music production course in 2003. Moving to Montreal, he quickly became part of the city’s thriving music scene, mixing live sound and eventually opening a performance space and studio. Over time, he has become a critically acclaimed composer, musician, engineer, mixer and producer, taking on the name Miracle Fortress for his projects. His 2007 album Five Roses was short listed for Canada’s Polaris Prize, awarded to the best album of the year regardless of sales or genre. He followed it up with “Was I The Wave” on Secret City Records.

He is currently working on the follow up album and released the single, “Here’s To Feeling Good All The Time” last summer in anticipation. Aside from Miracle Fortress, Graham has stayed busy working on other projects as well, touring and recording with Diamond Rings, collaborating with the band Snow Patrol, and forming the electronic dance project Inside Touch. Looking forward to Graham’s next release. Photo by Pierre Obendrauf, The Montreal Gazett

Jordan Palmer - Alumni Spotlight

Thu, 03 Mar 2016 19:04:00 GMT

Jordan Palmer (’13) is a Halifax based live audio engineer, working with many live sound companies and theatres including FMAV, Sound Systems Plus, SSi, Neptune theatre and Highland Arts Theatre. Jordan became the Front Of House mix engineer and system tech for the Halifax Jazz Festival in the summer of 2015. He mixes and system techs many other festivals such as the Cavendish Beach Music Festival, Big Red Music Festival, Celtic Colours, Harvest Jazz & Blues (PEI), The Festival of Small Halls, Deep Roots Music Cooperative and the Luneburg Folk Festival as monitor engineer or A2 for bands like Blue Rodeo, The Tragically Hip, Sharon Jones & The Dap Kings, Hey Rosetta!, Burton Cummings, Simple Plan, July Talk, Stars and Purity Ring, among others. Previously Jordan spent 3 years as head of audio at the Harbour Theatre in Summerside PEI.

Shortly after graduating OIART’s audio and music production course Jordan did a stint as a Cruise Ship Audio Technician, working his way up to Head of Audio with Royal Caribbean Cruise Lines. This gave him the opportunity to travel the world. With RCL, his work took him to Australia, New Zealand, Indonesia, the French Polynesian Islands, Hawaii and Alaska. Jordan said, “My time at OIART has given me a substantial head start in the industry – not only from a technical standpoint, but also when interacting with clients on a professional level. The confidence I feel operating as well as my troubleshooting skills I attribute to my time with the OIART instructors.”

Thank you Jordan!

Kevin O’Leary - Alumni Spotlight

Tue, 01 Mar 2016 19:04:00 GMT

Kevin O’Leary (’09) is a Toronto based engineer. After graduating from OIART’s audio and music production program, Kevin became the first lead assistant engineer at Noble Street Studios which produces numerous hits year after year. Striking out on his own as a freelance engineer last year, Kevin has worked on numerous Juno nominated projects with nine nominations this year alone. Kevin was an engineer on Pop Album of the Year nominee “Sing It All Away” by Walk Off The Earth and “Avalanche” by Kalle Mattson, nominated for Video of the Year. He also assisted on nominated projects by Shawn Mendez and The Tenors. In the past, Kevin has worked with Three Days Grace, Jill Barber, Barenaked Ladies, Billy Talent, The Tragically Hip, Danko Jones and Rush.

He can also say that he has recorded his namesake, Kevin O’Leary, from the show Dragon’s Den. Kevin returns to speak with our students every year about life in the world of the big recording facility.

Kevin said, “The program at OIART is designed in every way to prepare it’s grads for success in the professional audio world. In one year I learned more than I thought was possible in not only the technical aspects of recording, but also in important life skills and professional behaviour. I am constantly involved in new projects that span a diverse range of musical styles, so my job feels new and exciting every day. I would not be making a living doing what I love if it wasn’t for OIART and its amazing faculty.”

David Drage - Alumni Spotlight

Tue, 23 Feb 2016 19:04:00 GMT

David Drage (’00) is the Senior ReRecording Engineer at Supersonics post production in Toronto. David has been a sound mixer, editor and recordist since graduating from OIART’s audio and music production program in 2000. He won a Canadian Screen Award for FILM: ACHIEVEMENT IN OVERALL SOUND for the film “The Mortal Instruments: City of Bones” along with fellow graduate Matt McKenzie (grad ’94) in 2014 (it’s sitting on the console in the photo). His varied career has seen him work with Crunch, Optix, Deluxe and his own Renegade Post Production. David’s current work at Supersonics includes shows such as The Cat in the Hat Knows A Lot About That, Atomic Betty, Caillou, Super Why, Busytown Mysteries, How To Be Indie, Marvel Lego Adventures and Artzooka, where he performs the final mix for television. David has recorded such notable actors as Martin Short, Laurence Fishburne, Adam Sandler, Ryan Reynolds, Christopher Plummer, “…oh, and Drake.”

David said, “Without a doubt, OIART gave me a solid foundation in all aspects of audio recording and mixing for both Audio Post Production and Music. The amount of knowledge that the instructors provide to students at OIART covers every aspect of audio one can imagine and the equipment found at the institute is second to none.”

John Diemer - Alumni Spotlight

Thu, 18 Feb 2016 19:04:00 GMT

John Diemer ’10, founder and owner of The Farmhouse Creative Labs in Toronto is a Sound Recordist, Editor and Mixer. The Farmhouse services a variety of clients such as UBER, one of the fastest growing companies in the world, as well as Hudson’s Bay and Indigo. John recently received a 2016 Canadian Screen Award nomination for Best Sound in a Variety or Animated Program or Series for his audio work on John Mann Here and Now (CBC). Winners will be announced March 13. John also worked as a recordist on five time nominee The Amazing Race Canada and as Sound Supervisor on two time nominee Million Dollar Critic (W Network).

John’s audio career has seen him travel across Canada around the world on location with reality shows such as Canada Sings, Master Chef Canada, Top Chef Canada and Battle of the Blades, documentaries such as What Happens Next? The Dan Mangan Documentary and the Leo Award for Best Overall Sound in a Documentary Program or Series nominee A Brony Tale, a critically acclaimed film about adult men who love My Little Pony. He has also worked on the Emmy Nominated series Vikings and the international, award winning film festival hit Violent, which features soundtrack music from the band We Are The City. John was a highly successful student at OIART’s audio and music production program. He commented, “Everyday at OIART I was expected to troubleshoot and solve problems logically and efficiently.”

Mike Shepherd - Alumni Spotlight

Tue, 16 Feb 2016 19:04:00 GMT

As head engineer at Lakewind Sound in Cape Breton NS, Michael “Sheppy” Shepherd ’98 is one of the busiest audio engineers on the East Coast. Lakewind was built by two mainstays in the Cape Breton music scene, 2009 ECMA Industry Professional of the Year producer Fred Lavery and Songwriter/Musician Gordie Sampson. Sampson achieved worldwide fame as the winner of the Grammy Award for Country Song of the Year for Carrie Underwood’s hit “Jesus, Take the Wheel” which he co wrote. Mike joined Lakewind shortly after graduating from OIART’s audio and music production program; “I started doing assistant work and demos at Lakewind at first. About 6 months after graduating, I came back to assist in ADR for the CBC television series “Pit Pony”. Shortly after that I moved into a position doing all of the ADR recording and some album projects. By spring 1999 I was kind of settled in to the position of head engineer…extremely lucky I think!”

At Lakewind, Mike has worked with artists such as Damhnait Doyle, The Rankins, Chrissy Crowley, Men of the Deeps, Tim Chaisson and a veritable “who’s who” of Maritime artists and industry legends. Recently Mike assisted on a pair of projects at Lakewind with legendary “Pink Floyd The Wall” producer Bob Ezrin – for Johnny Reid and Natalie MacMaster. Mike has won the ECMA (East Coast Music Awards) Engineer/Technician of the Year four times and is nominated again this year for the fifteenth time. With Sheppy at the board, Lakewind has won eight ECMA Studio of the Year Awards. Mike is also a three time winner of the Music Nova Scotia Engineer of the Year Award. “No Stanley Cups,” adds the lifelong Montreal Canadiens fan.

Mike says, “OIART readied me because of the course depth and it helped me to get working at this level. I felt extremely prepared for any questions or situations that approached me…even in the presence of ‘The Masters’ like George Massenburg and Bob Ezrin.”

Damian Hall - Alumni Spotlight

Thu, 11 Feb 2016 19:04:00 GMT

Since graduating from OIART’s audio and music production course in 2002, Damian Hall has been busy working in the Jamaican music industry as a record producer, recording and mixing engineer. Damian started out as the in-house Engineer for superstar Shaggy’s Big Yard Recording Studio in Jamaica. From there he started his own production and record label (Ballaz Productions) while also freelancing as a mix engineer. Added to his many caps is also the role of artist manager as he manages Road Elf, a Jamaican Dancehall artist.

Damian and his partner Nigel Whitfield produced the French Dancehall hit “Hey Sexy Wow” (performed by Lord Kossity and Chico for Universal Records) which peaked at #3 on the Airplay World Official Top 100 chart in September 2005. His cedits include: Universal Records (France), Shaggy, Beres Hammond, Buju Banton, Beenie Man, Bounty Killer, Vybz Kartel, Elephant Man, Lady Saw, Luciano, Gyptian, Busy Signal, Barrington Levy, Tanto Metro and Devonte, Mr. Vegas, and Sly and Robbie to name a few.

“I got everything I needed to build a strong foundation from OIART. I learnt all the principles of recording and mixing and that is what is important. Gain staging and signal flow are some of the fundamentals. Once you understand the principles, they can be applied to any audio environment. Practical classes gave us real world hands on experience and we did a lot of those. I remember there was a practical to go with every theory class… Hats off to OIART!!”

Hats off to Damian!

Danielle McBride - Alumni Spotlight

Tue, 09 Feb 2016 19:04:00 GMT

Danielle McBride (’96) is the Supervising Sound Editor and Dialogue Editor for the long-running TV Series Degrassi and the new YTV show, Open Heart, which was recently nominated for its first Canadian Screen Award. Perennial favourite Degrassi is nominated for four Canadian Screen Awards this year, and has garnered Emmy nominations in the past. Shown in 140 countries worldwide, Degrassi is one of Canada’s most successful television exports. As Danielle noted, any hour of any day somewhere in the world an episode is being shown. She has personally won 6 Directors’ Guild awards and her work has been nominated 27 times for Directors’ Guild, Motion Picture Sound Editors and Gemini Awards (now Canadian Screen Awards). She has held similar positions on shows including Instant Star and The LA Complex .

One of the most successful graduates working in television and film from the 30 plus year history of OIART’s Audio Production program, Danielle says; “My year at OIART was amazing… the absolute best school to help you build a foundation that will grow into a solid career. Without OIART I’d never be where I am today; working as the Supervising Sound Editor for one of Canada’s longest running and best loved television series, Degrassi. Still to this day I regularly use things I learned here twenty years ago. I’m a ’96 grad and I still consider OIART my home.”

Thank you Danielle, and congratulations on your success!

Phil Banks - Alumni Spotlight

Thu, 04 Feb 2016 19:04:00 GMT

Phil Banks (’06) has called Calgary AB home since graduating from OIART’s audio production program. He now is employed by Arts Commons as a Production Systems Technician. Every year, Arts Commons is home to over 180 groups and organizations. They host over 1800 performances to audiences of over 600,000 guests at six performance venues book-ended by the World-Class venues – the Jack Singer Concert Hall and Max Bell Theatre. With so many users and visitors it is critical that every performance goes off without a hitch. Phil works closely with all of the resident production teams to make sure that all of the sound, lighting, video and stage rigging systems remain in peak operating performance.

In the time between graduating and starting at Arts Commons, Phil worked as an AV technician for Sharp’s Audio Visual and Centre Street Church, in addition to freelancing as a technician for several local Lighting, Video and Audio Production Companies. During his freelancing time, Phil worked as A2 and Monitor Tech or Video Systems Tech for several festivals with acts such as Creedence Clearwater Revisited, Pat Benatar, Def Leppard, Bachman and Turner, along with many other Canadian and internationally acclaimed artists. Phil has also toured as Video Systems Tech and Cameraman with Billy Talent, Pitbull and Flo-Rida, and The Tragically Hip.

Phil enjoys being faced with new challenges and learning opportunities every day. “I get lots of satisfaction from walking into a repair job with no previous knowledge of a system or how it was supposed to work and figuring out how it needs to work and what needs to be done to fix it or replace it with a newer, better system. I know that my experience at OIART has given me the skill set to apply to any troubleshooting situation. I am thankful for the journey that has gotten me to where I am today, all because of my willingness to adapt to the situation in front of me.”

Congratulations Phil!!

Reilly Forbes - Alumni Spotlight

Tue, 02 Feb 2016 19:04:00 GMT

Reilly Forbes (’11) is a freelance audio engineer and the Technical Director of the non-profit media production studio PAVED Arts in Saskatoon SK. His work at PAVED primarily sees him working with filmmakers, photographers, sound artists and musicians as a collaborator and technical troubleshooter. Reilly explains, “It’s a unique experience working in media arts and more specifically the non-profit sector. You have the opportunity to work with artists that are at the absolute forefront of creative ideas. It really challenges you to be open minded to experimentation, and I truly cherish that part of the job.”

A career highlight for Reilly is being part of the technical team at PAVED that hosts “Sounds Like,” an annual audio art festival that sees artists from across Canada and the world visit Saskatoon for a weekend of performance, installation and workshops. Away from PAVED Arts, Reilly works with filmmakers, media artists, and musicians in a variety of capacities from sound designer to producer. “I am fortunate that PAVED Arts allows me to stay active in the audio field.”

Reilly says of OIART’s music and audio production program, “Before I came to OIART I studied fine arts at a regular University. Having completed both types of post secondary education I can tell you point blank that OIART did a far superior job of preparing me for the job market. In my mind, that’s the secret sauce that makes OIART special; top notch audio education with a career development program to match.”

Nick Civiero - Alumni Spotlight

Thu, 28 Jan 2016 19:04:00 GMT

Nick Civiero (’11) is an assistant engineer at The Warehouse Studio in Vancouver. Owned by Canadian Music legend Bryan Adams, the studio has recorded albums by AC/DC, Elton John, Elvis Costello, Hedley, Metallica, Michael Buble, Nickelback, Nine Inch Nails, Nirvana, R.E.M., Rush, Sarah McLachlan, Simple Plan and Slayer amongst hundreds of others. After graduating from OIART’s audio and music production course, Nick was never afraid to get his hands dirty on the job. His first job out of school was a custodian at a cathedral, but “due to my educational background they contracted me to mix front of house for their yearly play on my first day on the job!”

Along the way, Nick helped build Vancouver’s Monarch Studios, worked in arena setup at BC Place, was a classroom Audio Technician at the Vancouver Film School, and an Assistant Engineer at Garth Richardson’s The Farm Studios. In addition to his current work at The Warehouse, he still records orchestras on location in his spare time. Nick clearly loves his work.

He says, “I think I learned as much as one possibly can in a year while I was at OIART. I knew next to nothing about audio going in and I came out knowing enough to set things in motion towards my dream job. Any audio school can teach you the fundamentals of recording, but OIART does something really special. It teaches you how to be the kind of person that people will want to have around their studio long enough to master the craft.”

Bryan Rennie - Alumni Spotlight

Tue, 26 Jan 2016 19:04:00 GMT

Bryan Rennie (’00) is the Audio Lead for the Company of Heroes franchise at Relic Entertainment. After graduating OIART’s music and audio production school, Bryan worked at Electronic Arts (EA Games) where he served in a number of roles in titles such as Need For Speed, Bond, NHL and Skate. Whether it’s recording and implementing voice over and sound effects or overseeing the efforts of his audio team, he’s had the opportunity to turn a passion into a career. The games he’s worked on have sold millions of copies and entertained millions of people.

Bryan says, “Attending OIART really provided me with a solid foundation from which I could start my career. The instructors there encouraged a culture of exploration and development which I still pursue today.”

Mark Corlett - Alumni Spotlight

Thu, 21 Jan 2016 19:04:00 GMT

Mark Corlett (’85) is the CEO of Absolute Video Theatre ( avt.ca ), a company he started in 1991. Specializing in Audio Visual for boardrooms, training centers, video theatres, auditoriums and live web streaming, the company engineers custom solutions for each project and has a number of innovations and inventions to their credit. They have been awarded government grants as a reward for developing new technology in Canada. In business for 29 years, AVT now employs 22 people.

A strong believer in work/life balance, Mark says, “I strive to be a little healthier and happier with each passing day. I love my intense morning squash games and the feel of a sailboat as she rides the wind,” and adds, “there is nothing better than the feeling of the warm Caribbean sun and the gentle ocean breeze, whilst sitting in a peaceful place eating mangoes and papaya…”

Of OIART’s music and audio production school, he says, “OIART was instrumental in giving me an edge up over similar competing students. I found the knowledge supplied to be a key factor in the success of my firm AVT.ca . I recognize OIART as a leading training ground and currently have two former students on staff in addition to myself (Kyle Porter ’03 and Mike Sennema ’04). Thank you OIART. A job well done!”

Continued success Mark!

Andrew MacRae - Alumni Spotlight

Tue, 19 Jan 2016 19:04:00 GMT

Andrew MacRae (’02) has had a varied career in audio. It started out with live production and freelancing at various studios around New Brunswick, then finally settling down in Fredericton at Outreach Productions (OP), a full service media facility specializing in video production and audio post. Starting out as an audio mixer, he was quickly thrown behind a camera and started learning all the aspects of video production, where he spends most of his time now. Working mostly on corporate and government projects, there are also opportunities to work on some great creative projects like documentaries for CBC or doing ADR for the Trailer Park Boys.

Andrew says “OIART was really a launching pad for my career. I had some musical background and a keen interest in the technical workings of audio but going to OIART was what really put things into overdrive. The amount that I learned in one short year would have taken many times longer to learn on my own and really allowed me to start working immediately out of school and have employers’ confidence that I could be trusted in high pressure situations with tight deadlines.”

“One thing that I love about the audio field and also video since I’ve started at OP is how interesting almost everyday is. There’s always something new and exciting going on whether it’s doing location audio with a large crew or fine tuning a mix for hours by myself back at the studio.”

Marian Greksa - Alumni Spotlight

Thu, 14 Jan 2016 19:04:00 GMT

Marian Greksa (’05) has consistently found a niche for herself in the audio industry since graduation. She has worked as an assistant engineer at The Farm Recording Studios and Hipposonic/Mushroom in Vancouver. She has circled the globe as an audio technician with Princess Cruises. She currently works for several different audio visual, production and lighting companies in Vancouver as a freelance sound, lighting and ground rigging technician.

Marian says, “OIART prepared me for the recording and live sound industry, but it also gave me the tools to adapt to situations in other areas of technical entertainment; be it lighting, video, stage management or rigging without the need for further schooling.”

Marian works for several companies including Riggit, where she works as crew chief, lead hand, concert stage hand, ground rigger, lighting and audio 2. She’s an audio engineer and lighting tech for Frischkorn/MEDIACO AV, 365 Productions, Freeman AV, Proshow AV, SWAV and Kian Show/Sound. She’s a lighting tech and operator for Christie Lites and works in the theatre, concert rigging and audio team with IATSE 118 local. She can also be seen working festivals and theatre installs. Whew!

Shawn French - Alumni Spotlight

Tue, 12 Jan 2016 19:04:00 GMT

Shawn French (’06) made a bold career move when he returned to school as a 27 year old, leaving home in New Brunswick to attend OIART’s sound production course in London Ontario. Fortunately, the choice paid off. Since graduation, Shawn has worked on “a little bit of everything” related to TV and Film audio post-production: Foley, ADR, Sound Design, and Mixing. His credits include reality TV shows such as Master Chef Canada, Canada’s Worst Driver and Canada’s Worst Handyman,. He has had perhaps his greatest success to date with animated shows such as Almost Naked Animals and the 2015 Canadian Screen Award nominee for Best Animated Program or Series, “Grojband” on Teletoon, for which Shawn was Sound Effects Editor and Sound Re-Recording Mixer. He was also Dialogue Editor on the 2013 Gemini Award winner for Best Pre-School Program or Series, “Stella and Sam Holiday Specials” on Disney Jr. One of his favourite career memories to date is spending a month in Italy doing location sound on a film.

Shawn says he appreciates that “OIART doesn’t forget about you once you graduate. (Employment Counselor) Bob Breen still checks in from time to time, and he sends out job postings to alums on a regular basis. OIART is a great place to start your career!”

Thanks Shawn!

Ryan Castle - Alumni Spotlight

Thu, 07 Jan 2016 19:04:00 GMT

Ryan Castle ’98 is an engineer, mixer and editor based in Los Angeles California. After graduating from OIART’s music and audio production course, Ryan found great success in the music industry. He has won two Grammy Awards for his work on the “Best Hard Rock Recording” by Wolfmother in 2007 and the 2002 “Best Female Rock Performance” by Sheryl Crow. Ryan’s music client list reads like a who’s who of rock royalty – The Rolling Stones, ZZ Top, Black Sabbath, OASIS, Noel Gallagher’s High Flying Birds, Death From Above 1979, Jet, Band of Horses and Elliott Smith to name a few. He has recently successfully transitioned into the motion picture industry, and worked as the music editor on the just-released Mark Wahlberg / Will Farrell feature movie, “Daddy’s Home.”

Ryan is humble about his work and is reluctant to call attention to himself, yet he says, there were “still occasional opportunities to be a little star-struck… one situation comes to mind. Sitting next to Paul McCartney in Capitol’s Studio B, or watching Zak Starkey lay down a drum track on an Oasis record was a little spooky as one could imagine. Zak looks eerily like his dad (Ringo) playing drums out there in the big room. While working some Saturdays at Capitol, when the building was vacant except for our crew, I’d walk around the darkened studio floors during a break and think…where are all my witnesses to this? Nobody would believe what I get to do for a day job! I mean, I’m just kicking around unsupervised inside Capitol with no one else around but the ghosts of Frank (Sinatra). Those days are the coolest…a reminder of what the rest of the work is for.”

Congratulations from OIART on all your success!

Jon LeBrun - Alumni Spotlight

Tue, 05 Jan 2016 19:04:00 GMT

Jon Lebrun (`03) is a composer, sound designer, mixer and location recordist based in Ottawa ON. Jon`s Brown Sound Audio has extensive experience in television, film, documentaries, video games and other forms of multimedia. Jon`s clients include the NHL, CTV, TSN, Discovery Channel, and many more. For the last 6 years, Jon has composed music and performed the sound design and mix on Don Cherry`s popular Rock ‘Em Sock ‘Em Hockey DVDs. He also handled the audio for the Montreal Canadiens’ 100th Anniversary DVD. Jon has most recently been recording on location for Season 5 of TFO’s “Motel Monstre.”

Speaking about his education at OIART Jon said, “Not to belittle other audio schools, but I have worked with people from (other programs), and lets just say I was extremely happy with my decision to go to OIART. Something I loved about OIART is that it was intense and only 1 year. After seeing what this career is all about, you sort of come to terms with the fact that you’ll need to put in a few years of “grunt” work, and to get it done when you’re younger is a great idea.”

Mike Tompkins - Alumni Spotlight

Tue, 29 Dec 2015 19:03:00 GMT

Grad Mike Tompkins (’08) needs no introduction to many. His YouTube videos have passed 230 million views, making him one of the top viral artists of all time. Mike became an unintentional YouTube sensation – and a performer himself – when he started making a cappella cover videos of popular hits to show off his considerable production skills. He still self-produces, engineers and mixes, but has also collaborated with many others. He produced and is featured on the latest T.A.T.U. single, which went #1 in Russia. Mike co-wrote/produced with Timbaland for Jennifer Hudson’s single ‘Walk it Out’, where he is featured in the hook. He produced a song and video with The Muppets (The Muppets!). He has done advertisements for Target, Pepsi, Major League Baseball, Microsoft and Disney amongst others. What a career!

On his choice to come to OIART Mike said, “I learned I could only get so far teaching myself how to do this and that’s really what pushed me to go to OIART. My big dilemma was whether to invest my money in better gear for my studio or go to OIART and get the proper training. Luckily I made the right choice to go to OIART.” Mike credits OIART with teaching him how to get the ‘sounds that are in his head’ out of the speakers. He once told us that his goal as a student was to come back one day as a guest lecturer. Mission accomplished and then some, Mike. He is pictured here speaking to our students. Best wishes to you for the New Year!

You can read more about Mike in our web feature from 2011: http://www.oiart.org/alumni/mike-tompkins

Check out his website too at: http://www.tompkins.fm/

Justin McDonough - Alumni Spotlight

Tue, 22 Dec 2015 19:03:00 GMT

Grad Justin McDonough ’06 is an Edmonton based entrepreneur, musician, producer, songwriter, engineer and mixer. “Dunna” received the Kurosman Award for highest academic standing in his year. After a stint studying music at Grant McEwan University, while continuing to work as a musician, he founded Edmonton’s Resonate Music School & Studio in 2012. In 2014 and 2015, Resonate won the Top Choice award for Edmonton music school as well as achieving many accolades for his production work with local musicians. His talents in the studio with REND helped them win the Edmonton Music Award for Rock Recording of the Year (co-produced with fellow grad Kevin Hoskin ’05). In addition, Dunna produced and recorded three top-ten HOT 107 Hot Factor finalists including two winners; Mitchell Lawler and BLAZE. Lawler also won the Bell Media Emerging artist prize and the Edmonton Music Award for “Peoples’ Choice.”

Regarding OIART, Dunna says, “I’m still such an advocate for that place, whenever people ask me where they should go to learn to do what I do I harp on them to head your way.” Thanks Dunna!

Humberto Lourenco - Alumni Spotlight

Thu, 17 Dec 2015 19:03:00 GMT

Humberto Lourenco (’12) came to our music and audio production course with extensive touring experience as a drum tech. With his new audio production skills gained at OIART, Humberto quickly found work as a live sound Mix engineer and System Technician at The PA Shop in London. He works with top acts constantly, and has mixed front of house or monitors for Buffy Sainte Marie, Classified, David Wilcox, Jerry Seinfeld, London Orchestra, Steven Page (BNL) and Tim Hicks amongst others. He has also acted as system tech for the Barenaked Ladies, Big Wreck, Billy Talent, Headstones, Keith Urban, Sammy Hagar, Serena Ryder, Rise Against, Rival Sons, Toto, The Trews plus “many other bands and their great engineers.”

Humberto says, “The best part of being a System Tech and Front of House engineer of a production company is that there is no dull moment. You are challenged every day with different projects – from mixing an 80+ input Orchestra or designing and deploying a system for an arena tour or mixing a world music festival on the fly with a couple of unique instruments you have never seen before. You also have the opportunity to bump into other OIART grads on the road. The support that OIART gives you is more then just caring.”

Thanks Humberto!

Michael Walsh - Alumni Spotlight

Tue, 15 Dec 2015 19:03:00 GMT

Michael Walsh ’92 is currently going into his 15th year working at the Stratford Shakespeare Festival where he has been Head of Audio for many shows, including The Tempest with Christopher Plummer, and mixed Front of House for the critically acclaimed West Side Story and many more. He also works as a sound designer for theatre, is currently on the Board of Associated Designers of Canada, and is an IATSE member in London and Stratford. He has designed sounds for plays at Stratford and around the country, most recently in Ottawa at the National Arts Centre. During the school year, Michael teaches sound for the Fanshawe College Technical Theatre Program since it re-opened a few years ago, and previously worked in a similar capacity at Ryerson University.

Before joining the Stratford Festival team, Michael worked for many different sound companies around SW Ontario – Pierce Sound, Palmer Audio etc. – doing everything from installations and events to live mixing to course communications for CART racing. As a musician, after graduating OIART’s audio and music production course, he could be seen around London mixing and playing at Call the Office, The Embassy Hotel and The Brunswick. Michael has started to enjoy playing drums again in his free time with “a great bunch” of festival actors and musicians. Mike reports that he recently acquired a 56 channel CADAC J series from the Festival that he’s working on building a studio around.

Mike told us, “My time at OIART has been the foundation of everything I have done in my varied career in audio. The more I work, and now teach, the more I realize that concentrating on the fundamentals is timeless and priceless. I’ve been able to apply that principle to many other disciplines as well, and stayed very busy and fulfilled since I left OIART.” Thanks Michael!

Roger Leavens - Alumni Spotlight

Thu, 10 Dec 2015 19:03:00 GMT

Roger Leavens (’98) founded and owns Boombox Sound in downtown Toronto. Roger has been an entrepreneur, engineer, musician, studio builder, voice director and record producer since his time in the music and sound production course at OIART. At Boombox, where the centerpiece is a hybrid digital/analog SSL Duality console, he and his team create music and sound design for advertisements and television. Recently, they have worked with Coca Cola, Cadbury, CIL, Ford, Muchmusic and Greenpeace to name a few of their broad array of clients. Roger is an avid collector of vintage synthesizers and also has an impressive music discography as a producer. He has made critically acclaimed albums with DIANA, Born Ruffians, Rural Alberta Advantage, Owen Pallett, DD/MM/YYYY, Woodhands and produced new releases from artists Taste and TIO. Roger said, “My education at OIART allowed me to turn my passion for music and sound into a rewarding career in music and sound.”

Chris Teixeira - Alumni Spotlight

Tue, 08 Dec 2015 19:03:00 GMT

Chris Teixeira (’11) is a Sound Designer and Music Composer for Big Viking Games in London. Chris grew up listening to a lot of music. “I always loved the music and sound effects in video games. I never could have imagined I could take what I was passionate about and turn that into a career. It’s the best job in the world.” Big Viking makes free-to-play social & mobile games which are accessible on the web, Facebook, and mobile devices. He has been with the company for over 3 years and worked on games that reach roughly 100 000 players daily. You can hear Chris’ work in titles such as YoWorld, Monsters and Dungeons, Tiny Kingdoms, Dark Heroes and Fish World.

Chris says, “OIART gave me the foundation and the knowledge to be ready for any situation. Even though I primarily do sound design, I’m always using other skills I learned at OIART.” We wish you continued success Chris!

Rob Nokes - Alumni Spotlight

Tue, 01 Dec 2015 19:03:00 GMT

Sound Recordist Rob Nokes (’90) has performed many roles in a long and varied career. He is currently the Supervising Sound Editor for the popular Fox TV series “Bones,” a position he also held on the series “Backstrom,” and hit movies such as Disney’s “Planes” and “Miracle.” Sounds he has captured have been heard in films such as Wolverine, Real Steel, Snow White and the Huntsman and X-Men, as well as in the Oscar Winners Million Dollar Baby, As Good As It Gets and Seabiscuit. As owner of the sound library Sounddogs.com , he travels the world constantly to record new sounds. Rob also owns 3rd Street ADR in Santa Monica CA where stars such as Tom Hanks, Jake Gyllenhaal, Renee Zellweger, Norm McDonald, Eva Longoria, Naomi Watts, Ellen Page, Elijah Wood, Rainn Wilson, Rene Zellweger, Ray Liotta, Angelica Huston and Christian Slater have recorded.

In his official bio, Rob says, “As a Supervising Sound Editor and Sound Effects Recordist / Designer I strive to provide sound effects that enhance the filmmakers’ story and enable the filmgoer to believe that they are immersed in the story with the characters. Recording and experiencing sounds from all over the world increases my knowledge and capability to select and create the best sound effects for the film. Over the past few years, I have recorded Fireworks in the Punta Del Este harbor in Uruguay, tropical fish in Saipan, spelunking the caves of Tinian, World War II planes, a Stuart Tank, spelunking the Christmas Caves in the Chezk Republic, numerous Monasteries in Prague, a WWII concentration camp, the steppes of Kazakhstan for indigenous voices and music, Chilean racetracks, the LA morgue, go-karts, modified cars, numerous dogs, football games, college basketball, junk yards, F-18 Jets, and a lot more.”

Rob says the most important thing he learned at OIART was “there are a lot more opportunities in the world than I first realized.” His career certainly exemplifies this!

Kristian Montano - Alumni Spotlight

Thu, 26 Nov 2015 19:03:00 GMT

Kristian Montano (’11) is a mastering engineer working out of Toronto’s Lacquer Channel Mastering. Home of Canada’s only vinyl lacquer cutting lathe, Lacquer Channel is a world class facility with credits including artists such as Rush, Broken Social Scene, Peter Gabriel and Matt Mays. Here he has worked on a diversity of music ranging from folk to EDM to Serbian pop. Artists that Kristian has worked with include Operation MD, Steve Jocz (Sum 41) and Ninja Sex Party. Kristian also fronts the Toronto roots band Sun K who recently released their debut album “Northern Lies,” produced by Cone McCaslin (Sum 41, The Strumbellas), on MapleMusic Recordings. After touring it across Canada twice the record was short listed in the top 10 for the inaugural Allan Slate JUNO Masterclass.

Kristian says, “I meet OIART Grads in the industry everywhere I go. Whether it’s house engineers at big venues, producer/engineers at various studios or even Sun K’s FOH engineer Curtis Klein (’12). It’s no surprise why, like any good education, OIART gives you back exactly what you put in.”

Bruce Richardson - Alumni Spotlight

Tue, 24 Nov 2015 19:03:00 GMT

Bruce Richardson (’85) is the founder and CEO of Videolink Inc, who supply Video Streaming technology, Systems Integration, Live Mobile Video Production, IPTV, Studio Design and Technical Consultation to Broadcasters, Education, Government, Sports, Churches, Corporations and Live Event Broadcasts. His clients include the NHL, NBA, CBC, CTV, Rogers, Cogeco, Shaw, LCBO, McDonalds, Ford, Corus, CSA, UofT, York University, Sheridan, Ryerson, the Governments of Canada and Ontario and Deadmau5. Videolink now has locations in Toronto, Montreal, Edmonton and Winnipeg. He also runs Ontario Bee Rescue at his farm just outside of London.

After graduating from OIART in 1985, Bruce was a Production Manager with radio station CHOK in Sarnia where he Technically Produced Commercials, Promotions and all “Live” and Mobile recording operations for the Radio station. He founded VideoLink in London in 1987 where he shot and produced video support programming for local corporations. By 1989 he had moved to Toronto to provide video editing and computer graphics for Music Industry powerhouses like Warner, EMI and Sony-BMG. While building Videolink, he continued work in Radio as well, doing contract work for “The Fan”, technically producing live sports remotes and interviews and was hired in 1990 to become one of Q107’s Remote Engineers for 9 years. Bruce technically produced regular radio remotes and interviews at Skydome, The Phoenix and Maple Leaf Gardens.

Bruce says, “We are doing well – thanks to our start at OIART. It might be motivational to some others to know that some of your graduates are running million dollar companies!” Thank you and congratulations on a long and successful career in audio and video Bruce!

Phil Hotz - Alumni Spotlight

Thu, 19 Nov 2015 19:03:00 GMT

Phil Hotz (’13) is a a recording engineer and producer based in Toronto. He was recently hired as an assistant engineer at Revolution Recording. After OIART, Phil began as an runner at Revolution and later assisted for Timothy Abraham at The Hive. In his first stint at Revolution, Phil worked on sessions with groups like Metric, ALVVAYS, Arkells, Hey Rosetta! and The Sheepdogs. Phil also works of his own studio space where he has engineered projects for artists like Dinamo Azari (Azari&III), Igor Cavalera (Sepultura), Grand Analog and Gavin Slate.

“Looking back a few years after graduating, I’m glad I went to OIART. I don’t think any other school in Canada has a curriculum and staff worthy of comparison, In less than a year they’ll teach you the fundamentals and attitude to help you down the path to a career in the industry. I wouldn’t be where I am today without them.”

Thanks Phil! We wouldn’t be where we are without people like you.

Matt Duncan - Alumni Spotlight

Tue, 17 Nov 2015 19:03:00 GMT

Matt Duncan (’99) has worked at the Rose Theatre in Brampton ON for 8 years, and as a full-time theatre technician there for 3 years. His job includes the daily operations of a performance theatre, mainly with the audio aspects. He also deals with Lighting, Stage Management, Rigging, Carpentry and System Maintenance. At the Rose, Matt has worked with many different styles of performance arts such as Ballet, Opera, Concerts, Orchestras, Musical Theatre and Corporate Events. Because the Theatre is owned and run by the city of Brampton, they also cater to a wide variety of city events such as New Years Day, Canada Day and other city events and festivals.

Artist that Matt has worked with include The Arkells, Sam Roberts, Big Wreck, Our Lady Peace, Arlo Guthire, Taj Mahal, Kim Mitchell, Jann Arden, Brent Butt, David Usher, Tom Cochrane, Burton Cummings, Gino Vannelli, Colin Mochrie, Michael Burgess, The Spoons, Saga, Spirit of the West, Charlie Musselwhite, John Lee Hooker, Dr John, Andrea Martin, 54-40, Jon Lovitz, and many many more. Matt says, “OIART gave me the ability to open up my ears and really start to listen.”

He is pictured here with: (depending on the pic)

Gordie Johnson of Big Sugar

Andrea Martin and Eugene Levy, Second City comedy legends and stars of numerous Hollywood films.

Kyle Porter (OIART grad ’03, who recently joined the Rose Theatre technical staff)

Ross Hudgins - Alumni Spotlight

Tue, 10 Nov 2015 19:03:00 GMT

Ross Hudgins (’98) is an engineer at Twisted Pair Productions in Regina, Saskatchewan. At this full service media production facility, Ross gets involved in projects from the very beginning; casting voiceover talent, recording and editing voiceovers, music and sound effects, then final mixes for broadcast and online media. His provides the conduit between the client and the creative tools to build a soundtrack that suits the project.

This position has provided him with plenty of variety over nearly 15 years. Ross says, “It’s really fun to show up everyday and have something different to do. One day it’s a corporate video, other days it’s commercials, recording documentary narration, or sound design for mobile apps.” He enjoys balancing the artistic and technical aspects, describing the work as a real left-brain versus right-brain thing…engineering solutions for creative opportunities.

Ross recalls his year at OIART fondly; “I was always a good listener. My year at OIART enabled me to turn that into a career. Finding a place where I could learn about sound recording and the industry, and it was exactly what I wanted to do. My instructors were excellent. They started us at the beginning and you can go anywhere from there.”

Mike Cashin - Alumni Spotlight

Tue, 03 Nov 2015 19:03:00 GMT

After graduating from OIART, Mike Cashin (’00) landed the enviable position of 2 nd Engineer at Vancouver’s Warehouse Studio, owned by Bryan Adams and one of the top studios in Canada. While working there he had the opportunity to learn his trade from the engineering and production giants of the industry on sessions with artists in every corner of the industry, from Motley Crue to Michael Buble and Swollen Members to Devin Townsend’s Strapping Young Lad.

After almost 10 years there, Mike went on to open and manage CREW Studios in North Vancouver. It was a build from the ground up and he contributed to every detail including studio layout and design, equipment selection, acoustics, engineering and daily operations. There he had the chance to work with Elvis Costello and The Roots.

For the past 3 years, Mike has been with Applied Electronics as their Technical Lead, doing audio, video and control integrations. As their audio specialist in the Western Region, he works with various audio DSP’s, programming and installing in control rooms, council chambers, boardrooms and theatres. He continues to make records based out of various Vancouver recording studios and sits on juries for FACTOR, The West Coast Music Awards and The Junos.

Mike says, “I’ve lectured at other audio schools, and it makes me grateful for my OIART education. Choosing to go to OIART prepared me for real world situations. From knowing how to handle the long days that the industry demands, to being able to interact with all different types of people.

I still use the fundamentals and physics of audio that I learned in school every day in my work. Whether I’m recording a large band in a studio, mixing in or out of the box or tuning a theatre for the best sound for presentations or lectures, OIART gave me the knowledge I need to make it sound as good as it can.”

Joel Waddell - Alumni Spotlight

Tue, 03 Nov 2015 19:03:00 GMT

Joel Waddell (’04) is a Halifax based producer, engineer and musician. He has been working with artist Rich Aucoin for the past 10 years both live and in the studio. Joel Co-Produced Aucoin’s album “Ephemeral,” which was nominated for several 2015 East Coast Music Awards. They most recently collaborated on shows with the Nova Scotia Symphony. Joel runs a setup at home using Pro Tools and Ableton Live, while also creating his own music and drumming in a rock band called Beauts.

Joel says, “While at OIART there were sections of the curriculum that I took for granted. But since 2004 I’ve pulled notes from every course for each opportunity in front of me. Gaining a broad understanding is what has progressed my career. During my first gig as a boom operator for director Andrew Hines, he asked me to record the score for his short film with Rich Aucoin. Rich then asked for help finishing the recording and mixing for his first EP. From that I began performing drums in North America and Europe and made new friends to collaborate with. Once the ball started rolling I possessed all the skills to keep it moving.

Recently I’ve toured with alumni, Eric Chorostecki (’07, you can see his profile on this page). There is an inherent comfort when working with OIART grads as you can trust that they care about what they do. I think that is because the schools’ instructors make certain that you are present and focused while they challenge you. Achieving great results in high stress, budget focused environments is not easy. The toolbox I left OIART with is essential for the constant challenges I get to face.”

Marla Kishimoto - Alumni Spotlight

Fri, 30 Oct 2015 18:03:00 GMT

Marla Kishimoto (’09) has been working in Toronto as a sound editor and mixer for Studio 18 with Mark Krupka (’86) and Ben Doner (’09) for the last two years. She’s worked on numerous reality and lifestyle television shows, the highlight being The Amazing Race Canada, which she considers both the most fun and the most challenging thing she’s ever worked on.

Outside of work, Marla sings in the a cappella group Countermeasure, whose debut album “14 Characters” was named runner up for Best Jazz Album at the international Contemporary A Cappella Recording Awards. Marla has toured the US and UK with Countermeasure and is looking forward to performing with them next August at the Edinburgh Fringe and vocal festival Vocalmente in Italy.

On her experience at OIART, Marla says, “I’ve been able to use my education from OIART in both my job and my hobbies. It has been invaluable in giving me the training I needed to succeed in the world of audio post production. Also, the live sound background helped me both to build Countermeasure’s wireless sound system from the ground up and taught me to listen critically to the sound, which makes me a better performer".

John Horwath - Alumni Spotlight

Tue, 27 Oct 2015 18:03:00 GMT

John Horwath (’08) is a Technical Sales Representative for Product Solutions Group, designing and executing high end audio and video installations. Recently he finished design and initial support for a fully automated 16,000 sq ft private residence that features: a 9.2 surround sound home theatre with a 170” custom built screen, surround sound in all 5 bedrooms, a dance hall and indoor pool that incorporates 12 in ceiling speakers, 2 subwoofers, a drop down movie screen and 2 60” tv’s – in case swimming isn’t entertaining enough. Prior to Product Solutions Group he worked at both Fairview HiFi and London Audio as an installation technician and programmer.

John says, “OIART taught me three of the most valuable lessons in my career: signal flow, normalization and what kills electronics (heat, dust, power). Understanding signal flow allows me to design complex audio and video systems. It also allows me to read blue prints and electrical wiring diagrams, which helps when putting together automation ideas for large properties. Normalization means everything to me. Put things back the way they need to be when you are done with them and your productivity will sky rocket. You can imagine how important this is with a van full of tools, connectors, wire etc. Understanding what kills electronics helps me troubleshooting problems daily. Houses are not always ideal storage spaces for expensive electronics. Knowing that they need proper venting, routine cleaning and stable power helps me move on to the next step in troubleshooting a defective system if those 3 things are maintained and under control.”

Kelvin Tang - Alumni Spotlight

Tue, 27 Oct 2015 18:03:00 GMT

Kelvin Tang (’14) is a freelance audio engineer in Toronto who has worked with Stagevision, the IATSE stage union and Rogers TV, for whom he currently mixes games at Ricoh Coliseum (pictured) for the Leafs’ affiliate AHL Toronto Marlies as well as other sporting events. Some of his most memorable gigs since graduation include the Conn Smythe charity dinner, the NHL media summit, Nuit Blanche, and the Pan Am games where he got to meet Steve Nash and saw the Canadian ladies win basketball gold.

Kevlin says, “I felt that along with a solid background knowledge in audio, OIART also prepared me with a great foundation to tackle any challenges both audio and non audio related. One key concept that I’ve kept with me throughout my short career so far is to keep an open mind and don’t be afraid to try anything (even if it’s not audio related).Every time I go out and try something new, I have a greater appreciation for everything that I learned from OIART. A good quote passed down to me that always keeps me going is, ‘the future has not happened yet.'” Thanks Kelvin!

Josh Cuthbert - Alumni Spotlight

Tue, 27 Oct 2015 18:00:00 GMT

Joshua Cuthbert (’13) has been working with Celebrity Cruise Lines for the last 2 years. Over that time he has done two 6 month contracts as an apprentice sound tech, and has just completed his first 6 month contract as a full sound tech in his own theatre. In that time Joshua has visited 30 unique countries on ships alone and is about to add around 10 more including Antarctica which will cover every continent in the world. Josh also worked as a freelance music composer for S2 Games.

Joshua says, “As an apprentice I was happy to be working with microphones every day, and now as a sound tech I’ve been working 2 to 3 shows a night in a theater that seats 1,000. That’s over 360 shows in 6 months. The talent includes singers from West End and Broadway as well as contestants and winners of the Voice (most often the UK version), X Factor, and other TV shows, all backed by a live band. I have developed my skill set with wireless systems, programming automation with digital boards, and learned a lot about how theatre shows run. I don’t feel as though I’ve put my career on hold to take this job and see the world.”

“I attended OIART because I’m passionate about music production and recording. Live sound was always more of a challenge for me, but my time at OIART has given me the skills and confidence to progress in any field of audio. Because of that, I get to travel the world.”

Bryan Moreau - Alumni Spotlight

Tue, 27 Oct 2015 18:00:00 GMT

Bryan Moreau (’05) is currently a switcher/director for CBC Radio-Canada ACADIE (TV), running an automated broadcast studio. Starting his career at Radio-Canada/CBC as an Audio Mixer for broadcast news, Bryan also spent time working as a cameraman/jib operator. Some of his most memorable gigs so far have included travelling to SOCHI to work the 2014 Winter Olympic Games. the show Makusham on APTN and Le Revue Acadienne (sketch comedy) on Radio-Canada.

Bryan says, “Coming from OIART and its quick pace hands-on learning program made me a very flexible tech. Allowing me to transition from Audio work to Camera work and now to Directing. I’ve been able to keep things interesting for myself and do what I wanted. I love my work and the daily challenges.

The biggest skill I learned from OIART is not technical or theoretical, but the skill of learning itself. To be aware of what you know and own it, but also to know what you don’t know and how/where to learn it. At OIART, I learned how to adapt to an ever changing technological environment. Being flexible and multi disciplined lead to amazing opportunities.”

Brennan Mercer - Alumni Spotlight

Tue, 27 Oct 2015 18:00:00 GMT

Congratulations to sound editor Brennan Mercer Directors’ Guild of Canada sound awards this past Saturday: BEST SOUND EDITING – TELEVISION MOVIE/MINI (grad ’11) who, along with the team at Tattersall Sound and Picture, picked up two -SERIES The Book of Negroes, Episode 1 BEST SOUND EDITING – TELEVISION SERIES Vikings, The Choice He is pictured center here with OIART’s Audio for Pictures Course Director Mark Vogelsang and Director of Operations Ken Trevenna.

Douglas Beck - Alumni Spotlight

Tue, 27 Oct 2015 18:00:00 GMT

Douglas Beck (’06) is a Junior Mastering Engineer with Disc Makers in Pennsauken, NJ. Doug got started with Disc Makers immediately after graduating from OIART in the glass mastering department, where he was responsible for making glass masters and stamper molds for CD replication. In 2009, Doug was promoted to an engineering position in Disc Makers in-house mastering facility, The SoundLAB. He has been working in audio mastering ever since.

Doug explains, “My job is to take the clients’ finished songs and turn them into a finished album. In addition to mastering duties, I am also responsible for preparing vinyl projects for lacquer mastering and Quality Checking the test pressings. I’m the resident analog tape guru. If it comes in on tape, it goes through my hands and onto the eloquent Ampex ATR-102! Additionally, I regularly freelance as a recording/mix engineer out of my home based studio.”

Of his OIART experience, Doug says, “OIART was the springboard that launched me into my career in audio mastering. OIART taught me how to navigate the world of audio. All the Pro Tools knowledge in the world won’t keep you in a job if you aren’t professional and know how to handle yourself around clients and other professionals. I learned to be open minded and always think outside the box. I also learned a ton of technical information that I use every day – but the single most important lesson I learned at OIART was to simply listen. Your ears are your most valuable tools!”

Tim Wallace - Alumni Spotlight

Mon, 12 Oct 2015 18:03:00 GMT

Tim Wallace (’07) AKA Timbuktu is a Toronto based performer, beat maker, engineer and mixer. Tim has gained national and international recognition as a veteran of the Canadian Hip Hop scene, and his accomplishments are impressive. Tim’s aptly-named home studio, FUN, is a hub of activity where he engineers and mixes for notable Canadian recording artists including D-Sisive, Ghettosocks, Wordburglar, More or Les and many more.

Tim has contributed as a writer, producer and engineer on two Juno-nominated albums – Ghettosocks’ “Treat of the Day” and D-Sisive’s “Jonestown 2.” His collaboration with Juno nominated Ghettosocks and Halifax legend DJ Jorun Bombay landed them an East Coast Music Award for Hip Hop Recording of the Year. His work with Halifax’s Ambition & Uncle Fester on “My Giants” was nominated for Music Nova Scotia award for best rap album. As a solo artist, Tim’s release “Stranger Danger” stayed at #1 for 2 months on the Earshot Canadian College Radio Hip Hop charts, and he has toured extensively.

Tim says: “When I enrolled at OIART I’d already been recording and mixing my own music for 8 years or so. Everything I knew was from trial and error, figuring it out on my own, fumbling around in the dark. OIART filled in all the gaps. I found out what I had (accidentally) gotten right, what I was doing wrong and how to communicate exactly what I was trying to say. Having that foundation and confidence going forward has been invaluable to everything I have done subsequently. Plus it was a lot of fun!”

Ana Popa - Alumni Spotlight

Tue, 29 Sep 2015 18:00:00 GMT

Ana Teodora Popa (’10) runs the sound and video department and manages a crew of three at the Teatrul National “Vasile Alecsandri” in Iasi, Romania.

Of her career, Ana says, “I believe this job suits me perfectly: every day is different. I have freedom of choice. I get to use high-end gear and above all, I enjoy the strong personalities I meet along the way (directors, designers, choreographers, etc) who make this career a continuous learning experience. Passionate people is what I admire the most.”

“Besides work ethic, gaining trust is also important, so when meeting with a director for the first time I keep in mind what (OIART Sound Design Instructor) Mark Vogelsang said: “You are taking someone’s dream into your hands and you are supporting it with sound.”

Art Mullin - Alumni Spotlight

Thu, 24 Sep 2015 17:58:00 GMT

Grad Art Mullin (’01) is a Producer, Sound Designer and Mixer at RMW Music in Toronto, We asked Art a few simple questions about his career in Audio since OIART. He sent us some great stuff so this is a little more in depth than usual!

OI meets ART if you will.

OI: So why OIART?

ART: People often ask me how I got into audio and if I went to school somewhere. I always tell them about OIART. I put in a lot of time researching schools and I truly believe OIART was the best fit for me. The program is broad, but still manages to let students delve deeper into things that interest them. I spent nearly all my free time that year hanging around the school trying to learn more stuff, and it paid off.

Starting out in audio, I believe one of the best things you can do is to make yourself indispensable. You don’t necessarily have to be the best at one thing, but being really good at several things means people can rely on you. I think my year at OIART not only helped solidify that idea in my head, but helped me prepare to be that guy.

OI: Tell us about some memorable recording gigs?

ART: The Molson Canadian National Canthem, of course. 3 weeks of inventing beer instruments, arranging music, figuring out what worked and shooting the spot ourselves. The spot was broadcast during the Olympics, shown on huge screens around the world and had over a million organic views on YouTube. And I remember most of the session somehow!

(Here’s a link)
https://www.youtube.com/watch?v=hQVWWemisJI

OI: You work on Film and Advertising as well…

ART: I’ve been mixing scores for doc filmmaker Ron Mann for a few years, including his last film “Altman” (which I also did some composing for).

I’ve had the pleasure of recording Margaret Atwood a few times. Last time she was here we were on a break and we started talking astrology, which she’s into. Next thing I knew, she was sitting at the desk doing my star chart!”

OI: You’ve had a lot of success…

ART: When working in advertising, one always has to mention awards. I’ve been honoured to produce work that has been recognized at the Cannes Lions, ADCC Awards, The One Show, The London International Awards, Telly Awards and others.

OI: One of the fascinating things about your audio career to me is that you’re able to do a lot of creative work as talent in addition to your technical work.

ART: I do a lot of voiceover work, and lately have been working around in a lot of different studios. I find it interesting to get out and see how different people at different companies are getting the same job done. Sometimes the methods are quite different.

OI: I’ve known you a long time and maybe the last thing I found out was that – on top of everything else – you are also in a successful a capella group!

ART: Well, the recently-completed, about-to-be-launched Retrocity CD would be a great one to mention! Feel free to include links (I did – see below) I’ve been in the a cappella scene since before it was cool, and have had the pleasure of working with some of the giants of vocal music – The Swingle Singers, Take 6, Cadence and others.

The last link below is my current producer reel from RMW.

OI: Thank you so much! Any final thoughts?

ART: Thanks so much for this – it’s an honour to be featured by such a great school.

OI: It’s an honour to have such awesome grads.

Adam Tsui - Alumni Spotlight

Wed, 23 Sep 2015 18:00:00 GMT

Adam Tsui (’08, right), pictured here with OIART Industry Liaison Robert Breen, was recently hired as a sound designer at Goodgame Studios in Germany. Before leaving Canada this week, Adam came to the school to talk about the world of Video Game Sound Design. After graduation, Adam moved to Los Angeles to work for Activision on their “Guitar Hero” series, then later to Montreal to work at Gameloft. After a brief stint in Japan, he returned to Canada to Sulon Technologies where he created sounds for virtual reality. From Adam, the students learned about the ins and outs of game development and finding careers in the gaming industry. We congratulate Adam on his accomplishments and wish him the very best on his latest adventure in a career that has taken him around the globe!

Eric Chorostecki - Alumni Spotlight

Thu, 17 Sep 2015 18:00:00 GMT

Eric Chorostecki (’07) is a live sound mixer at The Mod Club Theater in Toronto ON. He has previously worked at the Drake Underground and many venues in Toronto and beyond. That’s not actually his hair;)

Of his career thus far, Eric says, “Really I’ve enjoyed it all, to different extents, from pushing boxes and schlepping cables to mixing front of house and touring. OIART was like the entry point to the world behind the curtain, and the whole variety of experiences since has been rewarding. Some of my favourite moments would include mixing a band in front of 15,000 people in South Padre Island, to Rich Aucoin with a wireless mic crowdsurfing inside a hamster wheel, to By Divine Right’s reunion show at Harborfront with 19 players and three drum kits.

OIART was the port into the audio world, but it’s also where I yoked together my mathematical and artistic sides. The dichotomy of having rules (ultimately it’s all electricity travelling down copper) and breaking them (so many ways to bend or redirect that electricity) … and the opportunity to be wrong and learn something new at any turn of every day. I guess that’s what attracted me into doing live sound.

I went to the school to learn how to make better basement demos of my own music. I left having acquired the ability to troubleshoot creatively.” Thanks Eric! Continued success!

Calvin Hartwick - Alumni Spotlight

Tue, 15 Sep 2015 18:00:00 GMT

Calvin Hartwick (’13) is a recording engineer/producer at Dream House Studios in Toronto. Opening in 2010, the studio has been an integral part of the Canadian music scene, working with acclaimed emerging local talent as well as internationally established acts. So far, Calvin has worked with artists such as k-os, Kiesza, July Talk, The Dying Arts, METZ, and many more.

Calvin also assists on the administrative side of Dream Machine, a production company which represents and develops producers, songwriters and artists, providing opportunities for cuts with major artists as well as secure placements in Films, TV, Video Games, Trailers, Commercials and Soundtracks. The Dream Machine operates out of Toronto and Los Angeles and the team includes grad Alex Bonenfant (’04) and multiple Grammy winning songwriter and producer Henry “Cirkut” Walter.

Chris Colvin - Alumni Spotlight

Thu, 02 Jul 2015 18:00:00 GMT

Chris Colvin (’03) is the owner and head engineer at Studio A Audio Recording & Production, located in Kitchener, Ontario. The studio works with independent musicians, on projects for film and TV (Haven, Babar, The Stratford Festival, The Sacred Land Film Project), on corporate projects (Toyota, Home Hardware, Petro Canada), and has found a niche in analog audio transfers and restoration.

Described as a “musician’s engineer,” and as a drummer himself, Chris has played in numerous bands and done session work over the past 15 years. He prides himself on his digital editing abilities and his attention to detail. Chris also works to provide education and mentoring in audio engineering, particularly to youth.

“OIART gave me a solid foundation of skills that has allowed me to do what I love, every day.”

Damian Kearns - Alumni Spotlight

Thu, 02 Jul 2015 18:00:00 GMT

Last week, Freelance Post Audio Specialist Damian Kearns (’94) visited to speak with the students about entering the freelance post production market; how to get the job, what to do when you’re in the job, how to market yourself in the modern world of social media and developing yourself as a brand.

Damian’s film and TV credits include Battle of the Blades, PBS Frontline, CBC Olympic coverage, FIFA World Cup Soccer, Pan-Am and Commonwealth Games, Kids CBC, Dragon’s Den, The Nature of Things and Undercurrents. Damian’s work also appears in most of the fifth estate episodes from the past decade and a half, resulting in three of his five Gemini Award nominations.

Mark Krupka - Alumni Spotlight

Fri, 19 Jun 2015 18:00:00 GMT

Mark Krupka (’86) is one of the top location audio engineers in the business, routinely tackling the most challenging recording environments that exist. His specialty is the fast and unpredictable world of reality television. A veteran of the CBS hit show Survivor, Mark has just returned from the latest installment in Cambodia. He keeps up with the pace of the Amazing Race Canada, follows the kitchen chaos on Top Chef Canada, and has captured the skates of Battle of the Blades in past seasons.

Says Krupka, “Going to a place like OIART gives you the technical background and introduces you to people in the industry,” he says. “You learn a tremendous amount about working with sound, but you also learn how to interact with the people you could work with. It’s indispensable experience.”\

Mark has employed numerous graduates in many capacities over the years, such as mixer Ben Doner (’09), editor Marla Kishimoto (’09) and boom op Jonathan Diemer (’10) to name a few.

Arthur Bastos - Alumni Spotlight

Wed, 17 Jun 2015 18:00:00 GMT

Arthur Bastos (’11) is a Composer/Engineer at BoomBox Sound. A jack of all trades, Arthur takes part in the full audio production of projects from start to finish – from Location Sound to Sound Design, Foley, Music Composition, Audio Restoration and Mixing.

A very proud graduate from OIART, Arthur worked as an Assistant Engineer/Assistant Technician at the prestigious Revolution Recording in Toronto. There, alongside House Technician Anthony Kuzub, Chief Engineer Joe Dunphy and fellow Assistant Engineer Jack Clow, Arthur helped finalize the construction of Studio C. This task included the building and modification of a custom Ward Beck L3262 console. At Revolution, Arthur had the opportunity to work with a wide roster of artists that included Ron Sexsmith, Buck 65, and Lights.

“OIART taught me the tools I needed to start my career and to keep on learning.” – Arthur Bastos

Paula Dineen - Alumni Spotlight

Wed, 10 Jun 2015 18:00:00 GMT

Paula Dineen (’06) is the Audio Technical Supervisor at Accessible Media Inc, a not-for-profit multimedia organization serving more than five million Canadians who are blind, partially sighted, deaf, hard of hearing, mobility or print restricted. Paula is another fine example of one of the variety of careers where OIART grads find success. We’ll let Paula take it from here:

“I started with Accessible Media Inc. (AMI) in 2008 as an Audio Producer and have since held many roles with the company from Bureau Coordinator, to Video Producer, to my current role as Audio Technical Supervisor for AMI-audio. In this role, I oversee the Audio Technicians who are responsible for the recording, technical editing, and delivery of our original audio programs. Part of this is ensuring that our programs get to their intended distribution platforms, including the broadcast channel, website, and podcast. When there are issues with our studios, content delivery, or original programs, I’m there to help troubleshoot.

The education I received not only gave me an understanding of the audio industry, but also how to succeed in it. The broad technical base taught at OIART has allowed me to comfortably move into different roles and tackle new challenges. A new project is even allowing me to dust off my studio building/ maintenance skills. It’s great to be able to confidently discuss studio issues and solutions directly with our Broadcast Engineers.

Two months ago, I was able to hire another OIART grad, Matt Agnew (’13), who is excelling as an Audio Technician.” Thanks Paula!

Jennifer Lewis - Alumni Spotlight

Tue, 02 Jun 2015 18:00:00 GMT

Jennifer Lewis (’85) recently visited the school to speak to our students on the art of Video Game Audio. She currently holds the position of Creative Director at Maple Syrup Sound in Vancouver, B.C. She previously worked as Director of Sound for Relic Games – on games such as Warhammer and Company of Heroes – and Audio Lead at EA Games where she miked up exotic sports cars for the Need for Speed series amongst many other projects. Working as a Recording Engineer, Sound Designer and Lecturer, Jennifer has become an outstanding member of the Canadian audio community, and is considered one of OIART’s most accomplished grads. She has been honoured here with the Jennifer Lewis Scholarship, open to all female applicants.

Craig Kadoke - Alumni Spotlight

Thu, 21 May 2015 18:00:00 GMT

Craig Kadoke (’91) is an audio tech at the Four Seasons Centre for the Performing Arts, home of the Canadian Opera Company. Opened in 2006, the hall features impeccable acoustics and has been acclaimed as one of the world’s best theatre spaces. In addition to his work with the COC, Craig has worked for many years in Toronto as a technician and audio mixer in musical theatre on major shows such as Rock of Ages, The Lion King, Phantom of the Opera, Dirty Dancing, Mamma Mia and dozens more.

Keeron Tom - Alumni Spotlight

Fri, 15 May 2015 18:00:00 GMT

Keeron Tom (’01, left) is the Head Audio Engineer for Stingray Music. We visited Keeron at Canadian Music Week where he was recording interviews and Live Sessions at the Stingray PausePlay Lounge. Here, he is preparing to record Francesco Yates. He has also recently recorded interviews and live performances with artists such as Lights, Hey! Rosetta and the Arkells. In the past, Keeron worked as a sound designer with Cirque Du Soleil.

Stingray delivers music and video content on a number of platforms including Digital TV, IPTV, the Internet, mobile devices, and game consoles. In addition to their business-to-business in-store music solutions, Stingray operates globally, reaching roughly 110 million Pay-TV subscribers in 111 countries. You can also find their services on Air Canada’s En Route in-flight entertainment.

Luke Schindler - Alumni Spotlight

Wed, 13 May 2015 20:19:00 GMT

Luke Schindler (’13) is an assistant engineer at Revolution Recording in Toronto, one of the top facilities of its kind in North America. In the short time since he graduated OIART, Luke has worked his way from Intern and Runner to one of the studio’s most trusted assistants. Luke has assisted on sessions with artists including Monster Truck, Flash Lightnin’, the Toronto Symphony Orchestra, Jann Arden, The Tea Party, Whitehorse, and Matthew Barber.

Luke says: “My education from OIART was invaluable. They gave me the knowledge needed to work in this environment, and taught me the skills to take on the situations that arise day to day in the studio. OIART laid the foundation for me to continue learning as I progress in the audio world, and the attention they give to attitude and work ethic are the extra edge when trying to stand out in the industry. I feel extremely fortunate to be in the position I’m in – 2 years out of school – and I’m excited to see where this career takes me. I wouldn’t be where I am without OIART!”

Jesse Ash - Alumni Spotlight

Thu, 23 Apr 2015 20:22:00 GMT

Jesse Ash (’02) is a freelance Sound Designer and Composer working primarily in Theatre and Installations across Canada and internationally. With close to 75 designs under his belt since moving headlong into the role in 2006, he spent 7 seasons with the Stratford Festival of Canada and has been teaching Sound Design at the National Theatre School of Canada since 2009. Elsewhere he has collaborated with the likes of artists from Robert Wilson to Hawksley Workman and is currently completing a project with Josh (Socalled) Dolgin in Montreal. More recently Jesse has been venturing into creating music and designs for Films and Series and is working with Possiblemedia.org to help spruce up the audio component of some of their very worthwhile content. He has also been nominated and received awards for his Sound Design work in several cities.

Jesse says, “OIART introduced me to the underlying concepts of Sound and Audio and I’ve since realized that once you are comfortable with those concepts, you can do it all…with a bit of practice.”

David Lopez Lopez - Alumni Spotlight

Tue, 14 Apr 2015 18:55:00 GMT

David Lopez Lopez (’01, left) is a Colombian Sound Engineer songwriter and producer based in Miami FL known as Lopez Lopez. After graduating OIART, David began his internship at “DigiNote,” a Miami Beach recording studio where he worked for a year until he met Rudy Perez, one of the top music producers in the world. David became part of his team and started crafting his own skills as a producer/songwriter while working on multiple Latin Grammy nominated projects.

At age 22, Univision Music Publishing signed David to a nonexclusive publishing deal which merged his song catalog with Univision Music, then not long after he launched his own production company called LOPEZ LOPEZ MUSIC INC. Versatile in every aspect of studio production, David has written, recorded, engineered, remixed and produced for a wide variety of artists from all over the world including Wyclef Jean, Jennifer Pena, Natalie Cole and Julio Iglesias.

David says: “Amazing time and learned crucial things that helped me build the knowledge to be in the music business!! Recommended! Thanks OIART!”