Frequently Asked Questions

OIART’s exclusive 11‑month program is $35,950 for tuition. Unlike other programs we don’t require the students to purchase computers, hardware or software. All student projects and labs are done on site in our creative spaces. All students require is a basic computer with internet access.

Many students use financial aid, for eligible Ontario residents, and our Financial Aid Office can walk you through options, timelines, and budgeting for living costs and housing in London. If you’re comparing programs, factor in OIART’s extensive hands‑on studio time and career support when assessing value. We’re happy to help you plan a clear path from application to funding to enrollment. Chat with us live, call us at 519.686.5010 x22, or reach out to  Admissions or the Financial Aid Office.

There is only 1 music production course that runs every year starting every September and finishing in July. It is an 11 month (46 weeks) diploma program with over 1300 hours, 650 of which are hands-on experience in studios. There is a maximum enrollment of 68 students per year, creating true small class sizes with unprecedented access to faculty and facilities.

Don't miss out on your chance to enroll next year. Spots fill up fast so apply now!

OIART is the only program of its kind which prepares students to enter any field in the audio industry. We pride ourselves with our hands‑on training and real‑world focus. You’ll work in eight student‑dedicated studios for 650+ hours, in small groups, starting week one. The curriculum spans Music Production, Live Sound & Event Production, and Audio for Visual Media—so you graduate with all the versatile skills required to land a job in any discipline.

Instruction blends full‑time mentors with active guest pros (producers, mixers, FOH/monitor engineers, sound editors). Career Management is built into the program, and OIART reports strong outcomes (40+ years since 1983; 1100+ grads; 100% placement reported). Plus, the facilities and gear mirror the industry—so your portfolio and skills translate on day one.

OIART is a unique and engaging enviroment consisting of eight fully equipped professional studio spaces. All studios are located within our campus and designed to replicate a professional working environment. Students can expect to be using our student-dedicated studios within the 1st week of the program and after 11 months you will have over 650 hands-on hours in our 8 studios.

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. 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.

Find our more about our student life and creative spaces here! 

Not all recording studios are created equal. In the real world, you’ll find everything from classic retro studios with analog tape machines to state-of-the art digital playgrounds, and from large-format world class studios to intimate production spaces.

OIART offers it's students industry representative equipment giving them experience with the new and the old. Whether your asked to record drums through an analog console into Pro Tools or write a melodic hook in Ableton Live, each of the above studio design philosophies are represented by our creative spaces and prepare our students for the real world. 

Some of the software you'll use at OIART includes:

• Pro Tools
• Ableton Live
• VCV Rack
• SMAART (Rational Acoustics)
• Izotpe
• Reaper
• Logic Pro X
• PreSonus Studio 1
• Auto Align Post 2
• Ease Focus
• Vista
• Q Lab
• OBS

Some of the hardware you'll use at OIART includes:

• Empirical Labs
• Eventide
• Focusrite
• GML
• Lexicon
• Neve
• Solid State Logic
• Audient
• Universal Audio
• Urei
• Pro Tools HDX
• Sound Devices
• Wysicom
• Sennheiser

Our curriculum and project content is designed in close consultation with numerous employers and our alumni network of working industry professionals for maximum employability.

Course Content Includes:

• Music Production
• Audio Engineering
• Audio Recording 
• Music Recording
• Live Sound & Event Production
• Sound Design
• Mixing and Mastering
• Signal Processing
• Music Theory
• Lighting Design
• Video Production
• Rigging
• Audio for Video Games
• Content Creation for YouTube
• All Modern Recording Techniques
• Location Recording
• Audio Post Production
• Synthesis
• Acoustics
• MIDI
• Music Business
• Networking
• Resumes and Job Interviews
• Entrepreneurship & Self Employment

Defientely! We warmly invite prospective students and their families to experience its state-of-the-art campus through both in-person and virtual tours. Visit our tours page to learn more!

To be eligible to apply, you must have your high school diploma or equivalent. We also welcome applicants with previous post-secondary experience. We accept a maximum of only 68 students and spots fill fast, so apply as soon as you can and kickstart your creativity.

We are deeply disappointed to inform you that due to recent changes in Canadian immigration policy, we are currently unable to accept applications from international students. The Canadian/Ontario government has implemented a temporary stop on international student enrollment for private educational institutions.

We understand this news may be frustrating, especially for those who have already begun the application process. We believe this policy unfairly restricts access to qualified educational opportunities for international students and are actively advocating for its revision.

For more information on the government's decision, please see the official announcement here.

We sincerely apologize for any inconvenience this may cause. We remain committed to providing a world-class audio education and hope to welcome international students again soon.

No, as OIART is a fast tracked 11 month course, we do not offer the PGWP (Post Graduate Work Permit).

Whether you are in need of financial assistance or you simply want to explore your options, feel free to contact our financial aid office.

There are many financial aid options available including:

• Government Loan Options
• Bank Loans / Line of Credit
• RESP / Scholarship Trust Plans

In order to be eligible for any scholarships for next year, you must be accepted and enrolled in the program by March 31 of the current year. A completed version of the OIART Scholarship Application Form must either accompany your application to the program, or be sent by email or mail to OIART before the deadline.

Download the OIART Scholarship Application Form to apply.

OIART’s Audio Recording Technology Program gives students a comprehensive foundation across all major branches of professional audio, then allows them to explore specialized career paths through hands-on projects and advanced courses though out the year.

The program covers three main specialty areas:

1. Music Production - Recording, mixing, and mastering for artists and bands; studio workflows; producing sessions; DAW proficiency (Pro Tools, Reaper, Logic); outboard processing; and modern hybrid techniques.
2. Live Sound & Event Production – Front-of-house mixing, monitor engineering, stage setup, signal flow, RF systems, and event coordination for concerts, theatre, festivals, and corporate events.
3. Audio for Visual Media – Sound design, ADR, Foley, post-production mixing, dialogue editing, and immersive formats for film, television, streaming, and games.

Throughout the program, students also build strong technical and creative skills in areas like acoustics, signal processing, music theory, critical listening, and workflow management, preparing them to enter the industry as adaptable, well-rounded professionals

It's very hands-on. You’ll spend extensive time in studios and labs—over 650 hours—working in small groups (max four) on practical projects. Lectures are delivered in studio‑style classrooms with surround setups and headphone jacks to keep theory tightly connected to practice.

Your portfolio is built from the program’s backbone of real audio projects. By graduation, you can expect a demo reel that typically includes studio recordings and mixes, production work, and representative audio‑for‑picture pieces (e.g., dialogue/ADR/Foley edits and sound design cues), depending on your focus. Because projects evolve with class needs and industry practice, the exact lineup varies—your mentors will help you curate a reel that showcases your strongest work for music, live/event, and post roles.

You’ll be surrounded by people who love sound as much as you do—musicians, beatmakers, gamers, YouTubers, concert‑goers, and tech‑minded creatives. The environment is set up for collaboration and community, so you’ll work on real projects, build a network, and likely make lifelong friends. OIART has 40+ years of experience (founded in 1983), 1100+ grads worldwide, and has been rated the Best Audio School in Canada for Audio Engineering and Music Production. The vibe is focused and supportive, with lots of hands‑on time.

Yes, career support starts as soon as you enter the program and continues for life. Career Management is built into the curriculum (resume writing, job search skills, interview prep). OIART reports a 100% job placement rate for graduates, with details available via their published KPIs.

Absolutely. OIART’s teaching team blends experienced full-time mentors with working guest lecturers who remain active in the audio industry.

Our core faculty are on campus with students every day, guiding projects, labs, and studio sessions, while maintaining ongoing professional work in music production, live sound, and audio for visual media. Their dual expertise means students learn workflows that are both tried-and-true and current to today’s industry standards.

Guest lecturers, including acclaimed mastering engineers, live sound techs, producers, and sound editors, visit regularly to teach specialized sessions and share up-to-the-minute techniques from major tours, broadcast TV, studio releases, and game audio.

This combination ensures students benefit from consistent mentorship and real-world insight, not just a parade of part-time instructors.

Yes, and that balance is one of the key things that sets OIART apart.

At some schools, most classes are taught by part-time contractors who come in for a few hours a week. OIART takes a different approach:

• Full-time, on-site mentors : handle your day-to-day classes, labs, and studio time. They’re here consistently to give feedback, track your growth, and support you through every stage of the program.
• Guest lecturers : working professionals with impressive current credits. They add depth through focused masterclasses and real-world case studies.

You’ll learn from both the people who live and breathe audio education every day, and from industry specialists currently shaping the field. It’s the best of both worlds: steady mentorship plus fresh, real-world perspectives.

Career coaching is part of your program from day one—resume building, networking, interview prep, and job‑search strategy. You also keep access to personalized career support after you graduate. Because the curriculum is aligned with current industry demand, you’ll graduate ready for the roles employers are hiring for.

Grads work across Music Production, Live Sound & Event Production, Audio for Visual Media, and broader Audio Services—far beyond just traditional studio work. OIART cites strong outcomes, including a 100% job placement rate for graduates (see their posted KPIs for the latest figures). With 133,000+ audio engineering professionals working in North America and a growing industry, there’s a wide range of opportunities.

Click here to apply. Choose your year, complete the online form, and an Admissions Advisor will reach out to confirm details, request any required documents (transcripts, government ID, etc.), answer questions, and guide you through next steps like an interview (if applicable), tuition/financial aid options, and securing your seat.

Due to recent changes in Canadian immigration policy, we are currently unable to accept applications from international students. The Canadian/Ontario government has implemented a temporary stop on international student enrollment for private educational institutions.

OIART uses rolling admissions, so there isn’t a single hard deadline. Seats are limited for each intake year, and seats fill quickly. An Admissions Advisor can confirm current seat availability and key dates, and help you build a timeline for application, funding, and housing. If you’re unsure about timing, use the live chat on the website, call us at 519.686.5010 x22, or submit a contact form & they tell you exactly what’s still open.

Best practice: apply as soon as you’re ready, ideally several months in advance—especially if you need financial aid or are relocating.

Typically you’ll need a high school diploma (or equivalent). If you don’t have that, ask about mature‑student pathways. 

Plan to provide official transcripts and government‑issued ID; international applicants may also need proof of English proficiency. No specific musical background is required—passion for audio and willingness to work hard go a long way. Admissions can also advise on transferable credits, accommodations, and any program‑specific items. 

If you’re unsure whether you qualify, just reach out; they’ll review your situation and give clear next steps to get you application‑ready.

Digital recording converts sound into numbers (sampling and bit depth), which gives you a low noise floor, precise editing, consistent recalls, and copies that don’t degrade. You can store, back up, and share files easily, and mixes translate well across systems. The trade‑offs are the need for proper gain staging to avoid hard clipping, and good clocking to avoid jitter/latency. Analog recording is continuous and can add pleasing saturation and compression, but it introduces hiss/wow/flutter, and each copy loses quality. Many engineers blend both: analog color on the way in, digital for editing and delivery.

Analog recording captures a continuous electrical representation of sound to physical media—traditionally magnetic tape or a disc lacquer. Microphones feed preamps and a tape machine; the tape’s magnetic particles store the waveform. Sonically, tape can add gentle compression, harmonic distortion, and “glue,” which many describe as warmth. The trade‑offs include tape hiss, limited headroom, mechanical wear, and generational loss when copying. In modern workflows, engineers often track through analog gear into a DAW to combine character with flexibility.

A music technician sets up, operates, and maintains audio and music‑production equipment so artists and engineers can work smoothly. In a studio, that can mean mic’ing, patching, session prep in a DAW, troubleshooting noise, and maintaining gear. Live, it includes stage patching, backline setup, RF coordination, and quick fixes under pressure. Strong signal‑flow knowledge, DAW literacy, basic electronics/soldering, and people skills are key. Roles with similar titles include studio technician, audio technician, backline tech, and broadcast/AV tech—common entry points for OIART grads.

Analog transmission sends a continuous voltage that mirrors the audio waveform over cables (or wirelessly). It’s simple and low‑latency, but more vulnerable to noise, interference, and high‑frequency loss over long runs. Digital transmission sends discrete data (bits) using formats like AES3, S/PDIF, ADAT, or networked audio like Dante/AVB. It’s far more resistant to noise, supports long distances and routing/metadata, and allows easy distribution, but requires proper clocking and introduces system latency. Endpoints need conversion: A/D at the source, D/A at the destination.

A DAW is software for recording, editing, arranging, mixing, and often mastering audio and MIDI. Core features include multitrack recording, non‑destructive editing, automation, plugin processing (EQ, compression, reverb, etc.), virtual instruments, and session recall. Common DAWs include Pro Tools, Logic Pro, Ableton Live, Reaper, FL Studio, and Cubase. DAWs integrate with audio interfaces, control surfaces, and sync/video tools, making them the hub for music production, post‑production, podcasting, and game audio. At OIART, you’ll train in industry‑standard DAW workflows used across music, live, and visual media.

Grads work across music, live events, and media. Common paths: recording engineer, producer, mixer, mastering engineer, assistant/Pro Tools editor, programmer, studio tech/manager; FOH/monitor engineer, system tech, RF tech, backline; audio post (dialogue/ADR/Foley editor, sound designer, re-recording mixer), game audio (implementation, middleware), podcast/radio production, broadcast A1/A2, theater audio, corporate AV, content creation, and music business roles (A&R, sync/licensing, publishing, management). Most roles are portfolio-driven, so hands-on projects and credits are key.

Digital audio represents sound as numbers. An analog waveform is sampled (e.g., 44.1/48/96 kHz) and quantized at a bit depth (16/24-bit) to create PCM data. Higher sample rates capture higher frequencies; higher bit depth lowers noise and increases dynamic range. Benefits: low noise, exact copies, fast editing/recall, easy storage/sharing. You’ll monitor through a DAC, and deliver as WAV/AIFF or compressed formats (AAC/MP3).

With a music production degree, you can pursue roles across studio, live, media, creative, and business. Studio paths include producer, recording/mix/mastering engineer, assistant, editor, programmer, and studio tech/manager. Live sound offers FOH, monitor engineer, system/RF tech, backline, and stage/tour management. In media/post, work as a sound designer, dialogue/ADR/Foley editor, re-recording mixer, podcast/radio producer, broadcast A1/A2, or in game audio. Creative avenues include composer, songwriter, arranger, and music editor/supervisor. Business options span A&R, label operations, marketing/PR, sync/licensing, publishing, and artist management. Your portfolio, hands-on hours, and network drive hiring—OIART’s labs, studios, and career support help you build them from day one.

At OIART, you don’t chase a credential—you build the ears, taste, and track record producers get hired for. Our 11‑month, studio‑first program puts you in the rooms from week one: 650+ hands-on hours across eight pro studios, small crews (max four), and mentorship from full‑time instructors plus active guest pros. You’ll train on industry‑representative gear (think SSL dynamics, Neumann mics, Soundtoys/Waves) and leave with a portfolio that proves you can deliver.

Remember these ranges shift with market prices, availability, and whether you buy used or DIY some treatment. Rough guide:

• Starter home setup: $1k–$3k (interface, one good mic, headphones, monitors, basic acoustic panels, DAW).
• Serious home/project: $5k–$20k (better monitors/mics, multi‑channel I/O, selective outboard, upgraded treatment).
• Treated project studio with isolation: $20k–$75k+ (construction: mass/decoupling, doors, HVAC, wiring; plus accurate monitoring).
• Commercial studio: $100k–$500k+ (and easily $1M+) depending on size, isolation, console, and build standards.

Tip: Prioritize room acoustics and monitoring—every other dollar performs better after that.

If you enroll at OIART, you’ll get immediate access to top‑of‑the‑line, industry‑representative studios and gear from week one—650+ hands‑on hours across eight pro rooms (small groups), with tools like SSL dynamics, Neumann mics, and leading plugins in acoustically designed spaces. It lets you work at a high level without that upfront spend and figure out what’s truly worth buying for your own setup later.

Here’s a simple roadmap to launch your freelance audio career—while building a real portfolio at OIART.

• Pick a lane (recording/mixing, live sound, or post) and master core workflows.
• Use a lean, reliable kit—or know the best local rentals/venues.
• Build a tight portfolio: 5–10 best pieces with brief notes and verified credits.
• Set clear rates/terms, deposits, revisions; use a simple contract.
• Make booking easy: one-page site/Linktree, calendar, contact, file delivery.
• Network weekly; assist pros; follow up consistently.
• Deliver like a pro: backups, organized sessions, clean naming, labeled stems.
• Run the business: invoices, taxes, basic insurance, steady upskilling.

At OIART, you’ll build that portfolio while enrolled—real projects and credits across music production, live sound, and audio for visual media—so you graduate with more than just industry knowledge: hands-on experience, professional habits, and career support.

There’s no single “music capital”—the right city depends on your genre, collaborators, and goals (and many careers span multiple hubs or work remotely). It’s genre-dependent:

• Nashville: songwriting, country/Americana, session culture.
• Los Angeles: pop/hip-hop, film/TV scoring, major labels.
• London (UK): pop/rock, iconic studios, global industry hub.
• New York: jazz, hip-hop, Broadway, media.
• Toronto: diverse pop/hip-hop/R&B/indie scene; world-class studios; strong film/TV post and sync; festivals like CMW and NXNE.
• Berlin: electronic/techno; producer/DJ scene.
• Seoul: K-pop; world-class production pipeline.
• Tokyo: J-pop/anime/game audio; tech-forward studios.
• Austin: “Live Music Capital of the World.”
• New Orleans: jazz, brass, roots.
• Vienna: classical; historic institutions.

Many careers cross cities—go where your genre, collaborators, and opportunities are.

Think about tone, workflow, and budget. Analog (tape/outboard) adds warm saturation and gentle compression, but it’s pricier and slower to edit. Digital is clean, recallable, and fast to edit, but clips hard when pushed and can feel “sterile” without a good front‑end. Also consider revisions, delivery format, and your timeline. At OIART, you’ll A/B both paths in small vocal production labs—mic choice (Neumann, etc.), preamp/compressor chains, analog console/tape vs DAW—and learn popular hybrid workflows (analog color into Pro Tools/Ableton) so you can choose confidently for any session.

Advantage: very low noise and exact, lossless copies with fast, non‑destructive editing/recall. Disadvantage: hard clipping if levels aren’t managed, and some miss analog “glue.” At OIART, you’ll master proper gain staging, converters/clocking, and latency management, then learn to add character with analog front‑end (preamps/compressors) and tasteful saturation plugins (Soundtoys, Waves). You’ll practice hybrid sessions so you get digital precision with an analog vibe.

A DAW (Digital Audio Workstation). Common options include Pro Tools, Logic Pro, and Ableton Live. At OIART, you’ll work in Pro Tools and Ableton every week from day one—comping, tuning, timing, mixing, and printing deliverables—plus session organization and backup habits studios expect. You’ll train on identical tools across our eight student‑dedicated studios, so your skills translate cleanly to professional rooms.

Shaping the creative vision; pre‑production (references, arrangement, keys/tempo); budgeting and scheduling; hiring musicians/engineers; running efficient sessions; coaching performances; making calls on editing, mixing, and mastering; and delivering on time. At OIART, you’ll run projects end‑to‑end—pre‑pro through final mix—logging 650+ hands‑on hours in small crews (max four), so you graduate with producer credits, a portfolio, and Career Management support to land that first gig.

“Best” depends on fit, but if you want intensive, hands‑on training, OIART stands out in Canada: an 11‑month program, 650+ studio hours from week one, eight student‑dedicated studios, small groups (max four), industry‑active instructors and guest lecturers, and built‑in Career Management. OIART reports a 90% completion rate and 100% graduate employment, with 40+ years of outcomes and 1,100+ grads. You’ll train across Music Production, Live Sound, and Audio for Visual Media, so your job‑ready and versatile.

Abbey Road (London) is often cited, alongside Capitol Studios (LA), Electric Lady (NYC), Hitsville U.S.A./Motown (Detroit), Sun Studio (Memphis), and Ocean Way/United (LA). While OIART isn’t a commercial studio, our facilities mirror real‑world environments—from analog‑flavored rooms to modern DAW‑centric spaces—so you learn workflows that translate whether you step into a classic large‑format room or an intimate production studio.

Depending on role: musician, artist, producer, composer, songwriter, beatmaker, or arranger. At OIART, you’ll get exposure to all of these hats—writing, producing, engineering, and mixing—so you can specialize or be a versatile creator who can deliver from idea to master.

Digital audio (typically PCM). Sound is sampled (e.g., 48 kHz) and quantized at a bit depth (e.g., 24‑bit), creating numerical data that can be edited and copied precisely. At OIART, you’ll learn sampling theory, bit depth, dither, converters, and practical DAW workflows, so you not only understand the math—you can use it to make better‑sounding records.

Vinyl playback is analog—the stylus traces the groove and produces a continuous signal through a phono preamp to your speakers. Many modern vinyl releases are cut from digital masters, but playback itself remains analog. At OIART, you’ll compare analog and digital chains, understand the mastering/delivery path, and practice hybrid workflows so your mixes translate whether they end up on vinyl, streaming, or both.

A sound tech sets up, runs, and maintains audio for events or productions. Typical tasks include advancing the show, building stage plots/input lists, miking instruments and vocals, patching the console, running line checks, setting gain, ringing out monitors, managing RF (wireless mics/IEMs), troubleshooting buzzes/drops, handling fast changeovers, and striking gear safely. Communication with stage managers, backline, and artists is constant. At OIART, you’ll drill these workflows in small crews—signal flow, stagecraft, cable management, RF basics, changeover timing, and fault‑finding—so you can walk into clubs, festivals, theatres, or corporate gigs with confidence.

Live sound is the art and science of delivering clear, powerful audio to an audience in real time. It spans system design and deployment (PA placement, coverage, SPL goals), console setup, FOH mixing, monitor mixing (wedges/IEMs), RF management, cueing/playback, and quick problem solving under pressure. It also includes show paperwork (stage plots, input lists) and coordination with production. At OIART, you’ll practice end‑to‑end: from advance and load‑in to tuning basics, FOH/monitor mixes, show operation, and load‑out—guided by mentors and guest pros with current credits.

Core skills blend technical, musical, and people skills:

• Technical: signal flow, gain staging, EQ/dynamics, mic techniques, digital consoles/DAWs, RF fundamentals, basic acoustics.
• Musical: critical listening, ear training, music/style awareness.
• Professional: communication, teamwork, time management, documentation (stage plots/input lists), safety.
• Business: scheduling, invoicing, client etiquette.

At OIART, you’ll build these through 650+ hours of hands-on labs, small‑group sessions, and real‑world exercises. You’ll train on industry‑representative gear and develop the soft skills and show paperwork habits that keep gigs running smoothly.

Start with prep: advance the show, confirm the input list, and plan groups/VCA layout. On site, deploy PA and stage, patch, and line‑check. Build solid gain structure, set high‑pass filters, and use subtractive EQ to clean up mud/harshness. Apply tasteful compression for control, keep vocal intelligibility on top, and use FX for depth without masking. For monitors, ring out problem frequencies and prioritize what performers need. Create snapshots if the show requires them. During the set, ride faders, watch headroom, and anticipate cues. At OIART, you’ll practice these steps repeatedly, mixing under time pressure and getting targeted feedback to speed up your workflow.

“Sound operator” often refers to the person actively running audio during a show—common in theatre, broadcast, houses of worship, and corporate AV. Duties include console operation, cue stacks, playback (video/track rolls), wireless mic checks and mic swaps, intercom, and executing cues on script. The goal is consistent intelligibility and seamless transitions. At OIART, you’ll learn show calling, cueing, playback systems, and console operation for scripted events, so you can plug into theatre/corporate workflows as confidently as you would a concert.

Build skills, credits, and relationships. Get hands on training, then work local venues as an A‑2/patch tech, assist regional sound companies, and volunteer at festivals to learn fast changeovers, RF, and system basics. Keep a clean, current resume and a short portfolio (photos of rigs, patch sheets, references). Be reliable, calm under pressure, and safety‑minded. Keep learning new consoles and workflows. OIART helps you accelerate this path: an 11‑month, hands-on program; small‑crew live sound labs; mentorship from working engineers; and career support that starts day one and continues after graduation. Want details? Chat live at oiart.org or call 519.686.5010 x22

Solid advance work and safe, scalable execution. Key pieces:

• Clear site plan, power distro, and weather/noise compliance.
• Robust PA design/coverage, delay towers, and SPL management.
• Tight changeovers: standardized festival patch, stage plots/input lists, color‑coded cabling.
• RF coordination (mics/IEMs), clean comms (com, cue lights), and redundancy.
• Artist experience (hospitality, tech packs), audience flow, and emergency plans.
• A strong stage/FOH/monitor/system tech team with defined roles and a debrief process.

At OIART, you will practice festival‑style line checks, RF management, changeovers, and FOH/monitor teamwork in live labs with mentoring from working pros.

Start focused and build repeatable quality.

• Define services (engineer‑only, small PA, full production) and target gigs.
• Register the business, get insurance, and standard contracts/terms.
• Build a lean, reliable kit (PA, console, mics/DI, RF, cabling, power) and a maintenance plan.
• Create pricing, quotes, and a simple booking workflow (calendar, deposits, revisions).
• Partner with trusted rentals/crews; prioritize safety training and show advancing.
• Market with a clean site/reel, venue/promoter relationships, and consistent follow‑up.

At OIART, you’ll get career coaching, industry mentors, and hands-on live sound labs to help you build workflows, a portfolio, and the confidence to take paid work.

Use your ears and meters, systematically.

• Gain structure first; PFL/solo to locate the noisy stage zone/channel.
• Mute/VCA groups to halve the problem space quickly.
• Check cabling and power (shared circuits, bad DI, phantom conflicts).
• Use high‑pass filters and proper shielding/balanced lines to reduce rumble/RF.
• For RF: scan the spectrum, coordinate frequencies to avoid intermod, place/divide antennas correctly, and watch RF/AF meters.
• Watch SPL/RTA to spot feedback modes or lighting hash.

At OIART, you’ll drill fault‑finding, RF scans/coordination, and console troubleshooting in small crews so you can stay calm and fix issues fast.

Ground loops happen when gear is tied to ground at multiple points with small voltage differences; loop currents ride your audio as 50/60 Hz hum (and harmonics).

Prevention:

• Use a single power distro (star grounding) for all audio gear.
• Run balanced lines; avoid long unbalanced runs.
• Deploy isolation transformers/ISO DIs and use ground‑lift switches on audio (never lift safety earth on AC).
• Separate lighting and audio power where possible.
• Tame laptops/USB gear with quality DI/USB isolators; check phantom power and instrument amp grounding.

At OIART, you’ll learn safety‑first training and practical labs teach you clean power practices and hum‑hunting under show pressure.

Avid VENUE (S6L): Deep Pro Tools/Virtual Soundcheck, AAX plug‑ins, powerful snapshots/Events. Popular on tours/festivals; strong show‑file portability.

• Yamaha CL/QL/Rivage: Rock‑solid, Dante‑native, “Selected Channel” workflow, Scenes with recall scope/safe, User‑Defined Keys. Ubiquitous in corporate/theatre.
• DiGiCo SD/Quantum: Extremely flexible routing/bus architecture, dynamic EQ/multiband on channels, Macros, Snapshots. Highly customizable, steeper learning curve.
• Midas PRO/M32: Musical preamps/processing, clear POP/VCA groups (PRO) and Snippets/Scenes (M32). Friendly layout; widely available from clubs to regionals.
• Common threads: layers/banks, snapshots/scenes, custom faders, and file import/export—details differ.

At OIART, you’ll get hands‑on time with modern digital consoles, build show files, practice scenes/snapshots, and learn to translate your workflow between brands.

• Often solo: advance the show, patch, ring out PA/monitors (sometimes from FOH), quick soundchecks, and volume management for the room.
• Manage changeovers, troubleshoot backline/lines, and keep consistent mixes at lower SPLs with limited outboard/time.

Festival FOH:

• Fast line checks, minimal (or no) soundcheck; build scenes offline/virtual soundcheck.
• Work within a standard festival patch; coordinate with stage/monitor/system techs.
• Adapt to unfamiliar consoles/PA, SPL limits, and tight schedules; snapshot management is critical.

At OIART, you’’ learn live labs to simulate both environments—club nights and festival changeovers—so you practice advancing, scene building, RF coordination, and mixing under time pressure with guidance from seasoned engineers.

Start with the brief: target platform, style, and memory/CPU limits. Build an asset list, gather references, and prototype quickly. Record/perform foley and VO, synthesize and layer FX, and keep sessions organized with clear naming/versions. Design with interactivity in mind—variations, parameters, and real-time control for states (health, distance, materials). Implement in‑engine via industry middleware, set attenuation, mix in context, and optimize (loop points, file size, voice limits). Playtest, iterate, and fix integration bugs. At OIART, you’ll practice end‑to‑end game audio: capture, design, implementation, and in‑engine mixing, so your reel shows both sound and systems thinking.

Many roles hire on portfolio, but some employers prefer or require formal training/credentials: broadcast audio (A1/A2), corporate AV and events, post‑production facilities, larger live‑sound companies, some government/education roles, and certain unionized or safety‑sensitive positions. Formal training can also speed hiring for entry‑level assistant/editor/tech roles where standards, documentation, and reliability matter. OIART’s 11‑month program gives you recognized, career‑focused training plus 650+ hands‑on studio hours, which employers value alongside your reel.

That’s the Foley artist (often with a Foley mixer/recordist and Foley editor). Foley artists perform footsteps, cloth, and props on a dedicated stage to match pictures; the mixer captures clean, perspective‑accurate recordings; the editor syncs and polishes for the final mix. At OIART, you’ll learn Foley performance, mic’ing, recording, and editorial basics so you understand the full pipeline from stage to re‑recording mix.

 In audio, a game audio engineer (or technical sound designer) bridges creative sound with implementation. They integrate assets, script triggers and states, build interactive systems (layers, randomization, parameters), mix in‑engine, optimize performance/memory, and squash bugs. They collaborate with designers, programmers, and composers to ensure the game feels responsive and cohesive. OIART trains both sides—sound design and technical implementation—so your portfolio demonstrates you can design great audio and make it work in game.

Build a focused, playable portfolio: 2–3 small games or level mods showing implemented SFX, UI, and music, with short breakdowns of your decisions. Join game jams, collaborate with indie teams, and contribute to community projects. Network consistently (Discords, meetups, conferences), apply for internships/junior roles, and show your process (before/after, implementation videos). Keep learning, ship frequently, and be reliable. At OIART, you’ll create real projects, get portfolio coaching, and tap into career support to target your first role.

Teams blend multiple disciplines:

• Design: gameplay, systems, UX
• Programming/technical: engine/scripting, tools, performance
• Art: 2D/3D, animation, VFX
• Audio: sound design, VO, music, implementation, in‑engine mixing
• Production: scheduling, QA, documentation

Strong collaboration, version control, and problem‑solving tie it together. OIART focuses on the audio track—design, capture, editing, and in‑engine implementation—while teaching you to collaborate smoothly with non‑audio teammates.

For audio roles, you’ll want production sound basics (location mic’ing, wireless/RF, set etiquette), post workflows (dialogue editing, ADR, Foley, sound design), re‑recording mix, and deliverables/loudness standards. Pro Tools fluency, session organization, naming, and backups are essential. A strong reel, references, and the ability to work fast to picture will open doors. OIART’s Audio for Visual Media training covers the pipeline—from capture to edit to final mix—so you graduate with practical skills and portfolio pieces aligned to industry expectations.

OIART’s Audio for Visual Media track trains you across the full post pipeline: dialogue editing and cleanup, ADR recording/editing, Foley performance and editing, SFX editing/design, creative sound design, assistant re-recording mixing and mix prep, music editing and conforming, and game audio implementation (asset creation and middleware/in‑engine setup). You’ll practice real deliverables, spec sheets, and session organization so your reel shows both creative and technical readiness.

ADR (Automated Dialogue Replacement) is re‑recording lines to replace or enhance production dialogue. Workflow: prep cues to picture, use beeps/visual streamers, match mic and perspective, record multiple takes, then comp, edit, and sync precisely in Pro Tools. You’ll learn to match tone/space with EQ/NR/verb, manage slating and reports, and deliver clean tracks that integrate seamlessly. OIART runs guided ADR sessions so you can run the room confidently.

Stems are mixable submixes: DX (dialogue/ADR/VO), FX (Foley/SFX/backgrounds), and MX (score/songs). Delivery usually means separate stereo or surround bounces with a shared start (2‑pop/leader), proper head/tail, correct sample rate/bit depth, loudness/spec compliance, and clear naming. At OIART you’ll practice building stem buses, printing to spec, and packaging final deliveries for broadcast/film/game handoff.

You’ll learn boom technique (shotgun/supercardioid patterns, perspective, handling), lav placement and concealment (wired and wireless, RF coordination, gain staging), and plant mics for coverage in cars/sets. Training covers phase checks, redundancy (boom+lav), room tone capture, and matching production aesthetics so the post has clean, usable tracks.

You’ll work across eight student‑dedicated studios and surround‑capable classrooms/mix rooms designed for accurate monitoring and critical listening. Spaces can be configured for ADR/Foley workflows and post sessions, with industry‑representative microphones, preamps, dynamics, and leading plugins in acoustically treated rooms. Bookable lab time is in small groups (max four) so you get real seat time. For specifics or a tour: live chat at oiart.org, call 519.686.5010 x22, or contact admissions.

Yes, projects are designed to simulate real‑world briefs, and students often collaborate on cross‑discipline work and community/client projects when available. You’re encouraged to bring in material and build your reel across music, post, and game audio; instructors help you source and scope portfolio pieces that reflect industry standards. Ask Admissions about current collaboration pipelines and opportunities.

Common roles include dialogue/ADR editor, Foley artist/editor, SFX editor, sound designer, assistant re‑recording mixer, music editor, post‑production assistant, podcast/broadcast post, and game audio implementer/integrator. OIART’s Career Management support starts day one and continues for life (resume, interview prep, job search strategy). OIART reports a 100% job placement rate for graduates; connect with us to see current outcomes and roles. Live chat with us today, call 519.686.5010 x22, or reach admissions.