Mixing the phonogram from and to i. Sound processing and mixing of phonograms from start to finish. Mixing the phonogram "from and to" I

Do you want to learn how to process sound and mix phonograms inside and out? You will learn: What is an audio signal, power and pitch, sound pressure, phase and volume, how much money to spend on studio equipment, how to set up an ASIO sound card driver, delay, as well as virtual inputs and outputs, what analyzers are, what they are there are, why they are needed and how to use them, get acquainted in detail with the principles and features of equalizing bass drums of different timbres, how gating, compression and equalization of a bass drum occurs in practice, how a snare drum is processed with an equalizer and compressor, features of processing a percussion instrument " A-go-go" using a parametric equalizer and a lot more. All this knowledge is provided to you in a form that will allow you to assimilate and apply it in practice as easily, quickly and effectively as possible.

Course 1. Digital Audio Theory

This theoretical course is a mini video encyclopedia, and was created to help beginners understand the most important concepts, terms and basics of digital audio.

Course 2. Home studio equipment for mixing phonograms

In this video course you will learn what equipment is needed in order to perform high-quality sound processing and mixing of phonograms and why it is necessary. You will also learn how to choose the right equipment, which is optimal in all respects, given its diversity.

Course 3. Steinberg Nuendo 4. Setup, optimization for mixing and fundamentals of working with audio data

This video course covers all the necessary features and capabilities of Nuendo 4 to work effectively with audio. The course will allow those who are encountering it for the first time to learn how to work in this program.

Course 4. Sound processing devices. Design and practical application

In this course we will talk about the main sound processing devices, their structure and practical application. You will learn where, why and, most importantly, how which device is used. The course covers all the basic effects and tools used in processing and mixing phonograms.

Course 5. Drum set. Treatment

The course is divided into five parts, each of which is devoted to the processing of a specific tool. Using various examples, the principles and methods of processing kick drums, snare drums, tom-toms, hi-hat and overhead microphones are discussed in detail. In this course we will talk only about processing, and not about mixing, and only about an acoustic, not an electronic drum kit.

Course 6. Processing and mixing of a drum kit "from and to" I

Course 7. Processing and mixing a drum kit inside and out II

Course 8. Processing and mixing of a drum kit "from and to" III

Course 9. Percussion. Processing and mixing

In this course we will talk about the features of processing the most common percussion instruments and mixing a percussion group.

Course 10. Electronic drums. Processing and mixing

Throughout this course, the author shows the process of processing and mixing the drum section using one example. In this course we will talk about electronic drums in dance music, the features of their processing and, of course, their mixing.

Course 11. Bass. Processing and mixing

The course is divided into two parts. The first is devoted to processing and mixing of bass guitar, the second is devoted to processing and mixing of electronic synthesized bass in dance music. The course will cover both processing and mixing the bass with the drum section.

Course 12. Guitar processing and mixing

The first part of the course is devoted to processing and mixing of acoustic guitar, the second - processing and mixing of electric guitar. A number of examples are used to examine the principles and methods of processing various types of acoustic and electric guitars.

Course 13. Processing and mixing keyboard instruments

The course consists of several parts, each of which is devoted to a specific keyboard instrument. Despite the fact that instruments such as marimba and vibraphone are keyboard percussion instruments, their processing and mixing will also be discussed in this course.

Course 14. Processing of wind and string instruments

This video course is devoted to the processing of wind and string instruments. Each lesson covers the processing of a specific musical instrument.

Course 15. Mixing the phonogram "from and to" I

During this practical course, the author mixes a mix in a pop style (chanson style) from scratch to finish. This course was created so that you can see the process of mixing a soundtrack from start to finish. Throughout the course, the author's actions are accompanied by comments, but without focusing on the theory, definitions, and basics of working with sound.

Course 16. Mixing the phonogram "from and to" II

During this practical course, the author mixes a mix in a dance style from start to finish. This course is designed to show you the process of mixing a soundtrack from start to finish. Throughout the course, the author's actions are accompanied by comments, but without focusing on the theory, definitions, and basics of working with sound.

Bonuses:

Author support
Free phonogram mastering

Typical mistakes of sound engineers when recording and mixing phonograms

Determining the quality of a recorded phonogram is a rather difficult task. For professionals, the criterion “like it or not” is not enough. To determine your next steps, you need to know the detailed advantages and disadvantages of the created sound image. the resulting sound must be divided and separated into its constituent components.

This is, for example, what artists do when evaluating a painting’s design, color, perspective, brushstroke texture, elaboration of details, etc. The tool for such analysis is known - this is the "OIRT Test Protocol". It helps the sound engineer quickly and orderly assess the shortcomings of his work during the formation of the sound picture and make appropriate corrections.

Therefore, it is convenient to systematize the typical mistakes of novice sound engineers, relying on this document.

First, it should be noted that all parameters included in the protocol are closely dependent on each other, and by changing one of them, it is impossible not to change the others. Thus, transparency is influenced by the combination of spatiality and timbre: it improves with bright and clear timbres and deteriorates with increasing spatial characteristics. Plans depend on the combination of spatiality of sound components and their musical balance, and their presence, in turn, affects transparency. Many years of practice suggest that a poorly performed piece will never sound impressive or beautiful in a recording. For discordant playing of performers inevitably leads to insufficient transparency, and if the performer does not fully master the instrument, a beautiful timbre will not be obtained.

The first evaluation parameter is spatial impression, or spatiality. This is an impression of the room where the recording took place. Spatiality characterizes the sound picture in width (stereo impression) and depth (the presence of one or more plans).

Spatiality creates a sense of distance to an instrument or group of instruments. It’s good if the distance to the performers in the recording seems natural and easy to determine. The spatiality of a recording is influenced by early signal reflections and reverberation, its timing and level.

The optimal, most comfortable feeling of spatiality for the listener depends on the genre of music. In this regard, we can point out the following features of the musical material: the scale (i.e., intimacy or, conversely, grandeur, mass character) of the musical dramaturgy laid down by the composer; the belonging of music to any time layer, for example, medieval Gregorian chant, Baroque music or modern musical designs.

The use of the main spatial “instrument” - reverberation - gives the sound volume, flight, increases the volume of the phonogram and, as it were, increases the number of performers. However, this spectacular sound color, if used ineptly, leads to a loss of transparency: the attack of subsequent notes is “smeared”. In addition, timbre is lost, because only the mid frequencies are reverberated. If the timbre of the far and near signals is too different, the sound may split into planes. Mixing artificial reverberation into the signal of a nearby microphone looks especially unnatural. At the same time, all fast-flowing sound processes (consonants in a vocalist, the knocking of valves on a button accordion or clarinet) remain very close, and the sound itself (vowels, long notes) moves away, “flying.”

The next parameter by which a sound recording is evaluated is transparency. Transparency means the clarity of the transmission of musical texture, the distinctness of the lines of the score. The concept of “transparency” also includes the legibility of the text if it is a vocal work with words.

Transparency is one of the most distinguishable sound parameters by the listener. However, clarity and transparency of the recording may not always be required due to certain genre characteristics. For example, when recording a choir, it is necessary to avoid distinguishing the voices of individual choristers in parts. This is usually achieved by sacrificing some transparency, moving the choir away and making the recording more airy and spatial. About one of the recordings of D. Shostakovich's 15th symphony, where all the components of the orchestra were shown excessively, some sound engineers said that this was not a recording of the symphony, but a textbook on the composer's instrumentation.

Transparency is the litmus test for a sound designer's skill. Actively working with space while maintaining complete sound clarity is the most difficult thing in sound engineering. As already mentioned, deterioration in transparency occurs as a result of loss of timbre and as a result of spatial errors. For example, a high level of diffuse field (“lots of reverberation”). This means that too many signals from "neighboring" instruments are getting into the microphones, or the sound engineer has "caught up" a lot of artificial reverb, which has masked the weaker components of the direct signals. And the loss of timbre occurs mainly due to inaccurately placed microphones (more on this later).

Dynamic signal processing is also fraught with loss of transparency. Let's start with the fact that one of the most important parameters of timbre is the process of sound emergence, its attack. If we choose the compressor response time less than the attack time of the instrument, we will get its timbre sluggish, pressed and inexpressive. And if at the same time all the signals of the phonogram are compressed, then we will generally get a “mess” - after all, the secret of good ensemble playing is precisely to give in to each other.
A very important parameter is musical balance, that is, the relationship between the parts of an ensemble or orchestra. In some cases, when recording a large instrument, such as a piano or organ, we can talk about the balance between its registers. The musical balance must come from the score, correspond to the composer's or conductor's intentions, and be maintained across all nuances from pp to ff.

Good balance in a recording is not that difficult to achieve, especially when dealing with acoustically unrelated signals (i.e. mixing a multi-channel recording). But failures happen here too. In addition to simple inattention, there are a number of objective reasons for poor balance.

Firstly, insufficient musical culture and development of the taste of the sound engineer. He often does not understand the degree of importance of a particular party. It seems to him that everything played by musicians should sound equally loud. The recording becomes “flat” and rumbling. We call this type of balance “engineering.”

Secondly, excessive (more than 92 dB) listening volume during mixing can play a cruel joke on the sound engineer. When listening to such a recording at home, especially through a cheap point-and-shoot camera, all mid-frequency components of the signal will become louder. This applies primarily to solo parts - singers, wind instruments, electric guitars. Cymbals, various kinds of shakers, bells will disappear into the shadows and, most importantly, the bass and bass drum will disappear. But in general, the entire accompaniment will hide behind the vocals and the dramatic “support” of the solo part, supporting voices and counterpoints laid down by the arranger, will disappear.

Thirdly, there are obvious flaws that can be caused by the imperfection of the sound engineering “mirror” - the control units and the listening room. It can be especially difficult to balance narrow-band signals, such as a hi-hat, a harpsichord (especially one with only one “hardware” recorded, without body resonance), or a longitudinal flute. Such signals also include bass, “recorded” without overtones, and bass drum, recorded without a characteristic percussive attack. With different acoustics and in different rooms, with inevitable outliers in frequency characteristics, the balance of such instruments will be different. Often in a recording you don’t know which pair of control units to believe, especially since the headphones show the third result. In addition, using only headphones gives a dramatic improvement in transparency, and it is very difficult to predict how the soundtrack will sound during normal listening.

Some sounds, after some time, give the sound engineer a “ticking clock effect.” Then he stops noticing the repeated sounds of the hi-hat, "automatic" percussion, etc. This also constantly leads to imbalances, since the sound engineer simply ceases to control such signals during the mixing process.

The next most important parameter of sound recording is the timbre of instruments and voices. The transmission of timbre should be natural, the instrument should be easily recognized by the listener.

However, in many cases, the natural sound of an instrument is purposefully transformed by a sound engineer, for example, to compensate for distortions that are introduced when recording a signal with a microphone, or for shortcomings in the sound of the instrument itself. For example, it is often necessary to “correct” the timbre of flutes, domras, and balalaikas. To do this, you can raise the area of fundamental tones in the region of the first octave. In a twelve-string guitar, the “silverness” is usually highlighted with a corrector, and the sound of a harpsichord can be given an effective “nasality” using a parametric filter. Very often, deliberate transformation of timbre is used to create new colors - for example, when recording fairy tales, film scores, etc.

The timbre is affected by all devices included in the path. If you analyze it, you can find “pitfalls” that threaten the emergence of a defect. for example, a microphone. It is known that when it approaches the sound source, a brighter timbre is obtained due to the perception of its full frequency spectrum. However, almost all acoustic sound sources have redundancy of timbral components. After all, on the way to the listener in an ordinary, unamplified hall, some of them are inevitably lost. Therefore, by placing a microphone at a close point, from where the listener never listens to the instrument, you can get a sound that is not quite similar to the usual one. A violin recorded with a microphone located near the instrument and directed perpendicular to the top soundboard will sound sharp, harsh, rough, as musicians say, with a “rosin” sound. In the sound of a voice recorded with a close microphone aimed directly at the mouth of the singer or reader, hissing consonants are amplified, and when recording academic vocals, a high singing formant with a frequency of about 3 kHz is very impressive when perceived from two meters and further and unbearably sharp at 40 centimeters.

The equalizer should enrich and decorate the sound. But its excessive use often leads to the opposite result: the sound becomes “narrow”, with a “gramophone” sound, especially if an inexpensive remote control with one parametric filter frequency is used on all lines. At one time, we called such recordings “pre-presented” (from presence filter, “presence filter”). In addition, inappropriate correction can lead to increased media or studio noise.

The next parameter is execution. Perhaps it is of primary importance for the quality of the recording. It is the performance that is the deciding factor for the listener. Equally important here are both technical features (quality of sound production, ensemble structure, purity of intonation, etc.) and artistic and musical ones (interpretation of the work, its correspondence to the style of the era, composer).

The role of the sound engineer here is also very important, since he influences both the technical and artistic side of the performance. He must find a common language with musicians of any rank and create a fruitful creative atmosphere during the recording process. Only this allows the artist to fully reveal his talent. A trusting atmosphere is necessary between the sound engineer and the artists: musicians should open up their weaknesses to him without fear, knowing that they will definitely be helped and will do everything to ensure that the recording session is complete, with a good artistic result. At the same time, one should never forgive a performer for obvious unpreparedness for recording. Not a single recording should come out of the hands of a sound engineer for which the performer would eventually have to blush, and no short-term benefits should reduce this exactingness.
I especially want to warn novice sound engineers against the often-held position: “What can they do without me, these artists! They always play out of tune, not together, it’s me who saves them, if it weren’t for me...” This is nothing more than a manifestation of one’s own complex inferiority. In fact, the relationship with the performer should be built on the principles: respect for the artist, self-respect and mutual goodwill. As they say now, “the client will go to such a specialist”; people of all different personalities will be happy to work with him.

How to evaluate the “performance” parameter in computer music, which is very fashionable now? I've heard quite a lot of discs recorded on synthesizers that are rhythmic, impressive in timbre and... boring after the first ten minutes of listening. The impression is of a very beautifully playing musical snuffbox with its dead metronomic quality. These sounds lack one of the main features of live performance - the “human factor”, the physical labor of playing musical instruments. Composer Eduard Artemyev, while overdubbing a trumpet part onto the soundtrack, drew our attention to the fact that not a single synthesizer, even one that very accurately reproduces the timbre of an instrument, is able to “represent” the muscle tension of the embouchure apparatus of a musician playing high notes. This tension is always present in the sound; it affects the listener, forcing him to empathize.

And regarding metronomicity - when rhythmbox synthesizers had just appeared, I told the now deceased V.B. Babushkin: “Now death will come to the musicians!” To which he wisely replied: “This is death for the labukhs...”.

The “technical quality” parameter is perhaps the most variable of all. Recordings made ten years ago are today technically imperfect and require restoration. In addition to traditional interference (noise, background, electrical clicks), sound distortion, frequency response disturbances, resonances at certain frequencies, there are added: the presence of quantization noise, jitter, the effects of various computer noise suppressors, and much more.

In phonograms prepared for release of compact discs, radio broadcasts, etc., electrical interference is unacceptable. Acoustic noise, in turn, is divided into studio noise: the hum of operating ventilation, external penetrations, and performance noise (musicians breathing, creaking furniture, knocking of the piano pedal or valves of woodwind instruments, etc.). The degree of permissibility of performing noise in the technical specifications for magnetic phonograms is determined as follows: “Performing noise is allowed if it does not interfere with the perception of music.” And this is absolutely correct, since it is the aesthetic standards that should be applied to performance noise, which are within the competence of the sound engineer conducting the recording.

The opposite is also true - one should mercilessly fight against noise that interferes with artistic perception. There is a known recording of one very respected guitarist, on which, in addition to the soulful performance, you can clearly hear... snoring. The sound engineer, as well as the editor, producer, etc., who released such a recording for mass sale, committed, frankly, a malfeasance!

Perhaps the most common technical quality defect is the result of overloads. A mixer is a rather insidious “pitfall” on the way to good sound. Naturally, the sound engineer wants to hear his recording as loudly, brightly and effectively as possible. But this effectiveness is achieved by a combination of several parameters. The main ones are timbre and transparency. During loud listening, the disadvantages of these parameters are compensated to some extent by a natural mechanism of auditory perception known as the “Fletcher-Manson effect” (or “equal loudness curves”). Of course, it is better to listen loudly than to write at the maximum level. Then distortion of the analogue or a completely unacceptable “over” on the digital begins. But the fact that it makes no sense to turn up the volume to improve the recording is obvious even to beginners, but “pulling up” the faders little by little always seems more reasonable. As a result, a struggle begins with overloads of the type “the individual fader moves up, and the master moves down.”

In fact, in sound engineering the law of “reverse action” often applies: if you want to make it louder, remove what’s disturbing, if you want to raise the bass, highlight the middle...

If the recording is stereophonic, then one more parameter is determined in it - the quality of the stereo image. Here we consider the width and fullness of the stereo base, the absence of a “hole in the middle,” uniform information content of the left and right sides, and the absence of distortions.

The basic rule of stereo image formation - “air is wider than sound” - means that a mono signal will sound “stereophonic” only if there is a wide-sounding diffuse field present with it. All artificial reverberators are built on this principle, which, as a rule, have one input and two outputs.

A common mistake when creating a stereo image is excessively narrowing the base with panoramic controls. We must remember that the “ping-pong” effect looks unnatural only in the classics, and even then not always. In a variety recording, the “roll call of sides” only works for the benefit, and there is no need to be afraid of it.

A few words about the concept of “information content”. The musical fabric is divided into essential, defining, well-localized components, and into auxiliary ones that fill out the texture. The first include, for example, the melody, the accents that fill the pauses - “riffs”, etc., everything that the listener pays attention to first of all. Auxiliary components of the musical fabric are various types of pedals (long notes or chords), duplication of the main voice (with another instrument or delay - it doesn’t matter), continuous textural and harmonic figuration. It is the same information content of the left and right sides of the stereo base that creates a comfortable feeling for the listener of the correct stereo balance, and not the same level of signals from the right and left channels, which is usually shown by indicators. This means that if the melody is played by one instrument, then it should be located in the center. If the melody appears alternately in two voices, then they should be located on the sides of the base. An example of an unsuccessful arrangement of instruments is the so-called “American” concert seating of a symphony orchestra, where all melodic and well-localized parts - violins, flutes, trumpets, percussion, harps - are located to the left of the conductor. On the right, the only frequently played instruments are oboes and cellos.

Perhaps we can stop here. The question is often asked: - what is the most difficult thing in recording? The answer is simple: you need to develop the ability to overcome stress, always control the situation and constantly control the resulting sound. This usually takes about ten years of independent work, when a self-taught specialist learns the secrets of mastery through trial and error. I really want our readers to shorten this period a little...

Sound processing and mixing of phonograms “from start to finish”

Clear, step-by-step explanations of the material, starting from the very basics.
Whole 16 video courses containing a total of 187 video lessons lasting more than 42 hours.
3 DVDs with information totaling almost 9 Gigabytes.
Lots of illustrative examples, practical advice, useful recommendations, proprietary techniques, know-how and other valuable information.
SpoilerTarget"> Spoiler: details
What's included in this course?
The comprehensive course consists of 16 video courses
Contains 187 video lessons
Lasts a total of 42 hours
At the moment, this is the most voluminous video course ever created by the author.
After reading the full content of the course below, you will be convinced of this and understand why it took so long to create it.
Course 1. Digital Audio Theory
11 lessons. Duration: 1 hour 21 minutes
This theoretical course is a mini video encyclopedia, and was created to help beginners understand the most important concepts, terms and basics of digital audio.
Lesson 1 – What is sound
Lesson 2 – Analog to Digital Conversion
Lesson 3 – Sampling frequency and bit depth
Lesson 4 – Jitter and Quantization Noise
Lesson 5 – Noise
Lesson 6 – Dithering
Lesson 7 – Digital to Analogue Conversion
Lesson 8 – Volume in Digital Audio
Lesson 9 – Stereophony and Panorama
Lesson 10 – Basic Audio File Formats
Lesson 11 – Digital Audio Processing Methods
From this course you will learn:
What is a sound signal, power and pitch, sound pressure, phase and volume.
What is digital audio and analog-to-digital conversion.
What is bit depth, sampling, quantization and digitization of a signal.
What is jitter?
What is noise and what types does it come in?
What is dithering?
What is digital-to-analog conversion and how does it happen.
What is RMS and what level is optimal for human perception.
What is the precedence effect?
What is panorama, pseudostereo, and what is panning and what types does it come in?
What is lossless and lossy audio compression?
What types of sound processing exist, and how does destructive processing differ from non-destructive one?

Course 2. Home studio equipment for mixing phonograms

7 lessons. Duration: 1 hour 13 minutes
In this video course you will learn what equipment is needed in order to efficiently process sound and mix phonograms and why it is necessary. You will also learn how to choose the right equipment, which is optimal in all respects, given its diversity.
Lesson 1 – General Thoughts on Mixing Equipment
Lesson 2 – Software
Lesson 3 – Audio Interface
Lesson 4 – Studio Monitors
Lesson 5 – Studio Headphones
Lesson 6 – Sound engineer's workplace
Lesson 7 – Summing up
From this course you will learn:
How much money to spend on studio equipment.
By what principle should you choose studio equipment and how not to make a bunch of mistakes at this stage.
What program to start learning with, how many programs are needed and whether the sound quality depends on the program.
What is an audio interface and what groups are they divided into?
Which to prefer: USB, Fire-Wire or PCI interface.
How many channels should a sound card have for mixing, and what should the sampling frequency and bit depth of its ADC/DAC be?
Is it necessary for a sound card to have built-in microphone preamplifiers and headphone amplifiers?
What kind of signal-to-noise ratio, frequency and dynamic range should a professional sound card have?
What are studio monitors, why are they needed, what categories are they divided into and what type of monitors to prefer.
What power and frequency range should monitors for a home studio have, and what type of bass reflex for monitors is preferable.
Rules for listening to monitors when purchasing.
Models of monitors of different price categories, many of which the author has dealt with and which he advises you to pay attention to.
What types of studio headphones are divided into, what frequency range, sensitivity, impedance and level of distortion they should have.
Headphone models of different price categories, which the author recommends paying attention to.
You will also learn how to install monitors in your listening room.
Course 3. Steinberg Nuendo 4. Setup, optimization for mixing and fundamentals of working with audio data

15 lessons. Duration: 2 hours 34 minutes
This video course covers all the necessary features and capabilities of Nuendo 4 to work effectively with audio. The course will allow those who are encountering it for the first time to learn how to work in this program.
Lesson 1 – Configuring ASIO and Latency
Lesson 2 – Setting up virtual switching
Lesson 3 – Creating and setting up a project
Lesson 4 – Basic tracks of the program. Part 1
Lesson 5 – Basic tracks of the program. Part 2
Lesson 6 – Basic tracks of the program. Part 3
Lesson 7 – Basic tracks of the program. Part 4
Lesson 8 – Nuendo Interface and Optimization. Part 1
Lesson 9 – Nuendo Interface and Optimization. Part 2
Lesson 10 – Nuendo Interface and Optimization. Part 3
Lesson 11 – Nuendo Interface and Optimization. Part 4
Lesson 12 – Navigation, Playback and Editing
Lesson 13 – Effects in Nuendo
Lesson 14 – Automation
Lesson 15 – Converting to Stereo File
From this course you will learn:
How to configure the ASIO sound card driver, latency, and virtual inputs and outputs.
How to create a project, set its bit depth and sampling frequency.
How to create and manage virtual program tracks: audio tracks, effect channels, subgroups, automation tracks and folder tracks.
How to optimize the interface of the Track List section, as well as color marking of tracks and objects for ease of use.
How to optimize the menu, Toolbar, transport panel and work windows.
How to customize the program for yourself.
How to navigate, play and edit audio files.
How to use effects and how to connect them using the “insert” and “send” methods.
How to export a multi-channel project to a stereo file.
What is automation, how to register and edit it.

Course 4. Sound processing devices. Design and practical application

38 lessons. Duration: 6 hours 21 minutes
In this course we will talk about the main sound processing devices, their structure and practical application. You will learn where, why and, most importantly, how which device is used. The course covers all the basic effects and tools used in processing and mixing phonograms.
Lesson 1 – Analyzers
Lesson 2 – Equalizer. Theory
Lesson 3 – Equalizer in action. Solving frequency conflicts
Lesson 4 – Equalizer in action. Tone correction
Lesson 5 – Equalizer in action. Artistic equalization
Lesson 6 – Equalizer. Equalization rules
Lesson 7 – Compressor. Theory
Lesson 8 – Compressor. Compressor parameters
Lesson 9 – Compressor in action
Lesson 10 – Multiband Compressor. Theory
Lesson 11 – Multiband Compressor in Action
Lesson 12 – Limiter. Theory
Lesson 13 – Limiter in Action
Lesson 14 – Parallel compression. Theory
Lesson 15 – Parallel Compression in Action
Lesson 16 – Side chain compression. Theory
Lesson 17 – Side-Chain Compression in Action
Lesson 18 – Serial compression. Theory and practice
Lesson 19 – Reverse Compression. Theory and practice
Lesson 20 – Noise Gate. Theory
Lesson 21 – Noise Gate in Action
Lesson 22 – DeEsser. Theory
Lesson 23 – DeEsser in action
Lesson 24 – Adaptive Noise Canceler. Theory and practice
Lesson 25 – Exciter. Theory
Lesson 26 – Exciter in Action
Lesson 27 – Chorus. Theory
Lesson 28 – Chorus in Action
Lesson 29 – Phaser. Theory
Lesson 30 – Phaser in Action
Lesson 31 – Flanger. Theory
Lesson 32 – Flanger in Action
Lesson 33 – Delay. Theory
Lesson 34 – Delay in Action
Lesson 35 – Reverb. Theory
Lesson 36 – Reverb. Reverb Types
Lesson 37 – Reverb. Reverb Options
Lesson 38 – Reverb in Action
From this course you will learn:
What are analyzers, what are they, why are they needed and how to use them.
What is an equalizer and what is it for?
What is a parametric and what is a graphic equalizer, what is the difference between them.
The most commonly used types of filters in equalizers.
What is frequency conflict and how does an equalizer help solve it?
Seven rules of equalization.
You will see how frequency conflicts between kick and bass, between drums and percussion, and between bass and guitar are resolved in practice through equalization.
You will see how the timbre of various instruments is corrected in practice using an equalizer.
You will learn what artistic equalization is, how it is used in practice, and how to control the equalizer using automation to create unusual effects.
What is a compressor, how does it work and what is it intended for.
What parameters does the compressor have and what is each of them responsible for?
You will see with a practical example how a compressor is used to process various musical instruments and how it should be used.
What is a multiband compressor, how does it work and in what cases is it used.
You will learn how to use a three-band compressor using a practical example with a drum kit.
What is a limiter, how does it differ from a compressor and what is a “brick wall”.
Using a practical example with a drum kit, you will learn how a limiter is used and how the use of different limiters affects the result of the processing.
What is parallel compression, and what are the three types of it? Various types of parallel compression are discussed in a separate lesson using a practical example.
What is sidechain compression, how to use it to create a kind of “shaking” effect, and how the so-called ducking, which is widespread on radio and TV, is implemented.
What is serial and reverse compression. How both compression methods are implemented in practice.
What is Noise Gate, what is it used for, what parameters does this device have and what each of them is responsible for. You will learn how to use this device in practice using an example with an electric guitar and vocals.
What is DeEsser, what is it used for, what types are there and how to use it.
What is adaptive noise reduction, what is it used for and how to use it.
What is an exciter, what is it used for and how does it differ from an equalizer. You'll see how to use an exciter in practice with two examples.
What are chorus, flanger and phaser, how do they work, how do they differ, what are they used for, what parameters do they have and what each of their parameters is responsible for.
Over the course of several lessons, you'll learn how to use chorus, flanger, and phaser in practice using acoustic guitar processing as an example.
What is delay, what is it used for, how does it work, what parameters does it have, and how is it used in practice.
What is reverberation, its properties, and the properties that influence the spatial impression of it.
You will learn what types of reverb there are, what each of the many parameters of reverbs is responsible for, and learn how reverb is used when processing various musical instruments.
Course 5. Drum set. Treatment

17 lessons. Duration: 4 hours 50 minutes
The course is divided into five parts, each of which is devoted to the processing of a specific tool. Using various examples, the principles and methods of processing kick drums, snare drums, tom-toms, hi-hat and overhead microphones are discussed in detail. This course will cover processing only, not mixing, and only acoustic, not electronic, drum kits.
Lesson 1 – Bass drum. Part 1
Lesson 2 – Bass drum. Part 2
Lesson 3 – Bass Drum. Part 3
Lesson 4 – Bass Drum. Part 4
Lesson 5 – Bass Drum. Part 5
Lesson 6 – Snare drum. Part 1
Lesson 7 – Snare Drum. Part 2
Lesson 8 – Snare drum. Part 3
Lesson 9 – Snare drum. Part 4
Lesson 10 – Tom-toms. Part 1
Lesson 11 – Tom-toms. Part 2
Lesson 12 – Tom-toms. Part 3
Lesson 13 – Tom-toms. Part 4
Lesson 14 – Tom-toms. Part 5
Lesson 15 – Hi-hat. Part 1
Lesson 16 – Hi-hat. Part 2
Lesson 17 – Overhead microphones
From this course you will learn:
You will study the structure of the frequency range of the bass drum literally “from and to” using various examples of its sound and in all details.
Learn in detail the principles and features of equalizing bass drums of different timbres.
This course examines in detail the various methods of bass drum compression.
You will learn exactly how and for what purposes a gate is used to process a bass drum and how to clear the bass drum of extraneous noise using a stereo expander.
You'll see how to specifically treat the kick drum with reverb.
Learn in detail the structure of the frequency spectrum of the snare drum, as well as the key principles and features of its equalization using various sound examples.
You will learn in detail all the features of snare drum compression using examples with different playing techniques.
Learn how to use a gate when processing a snare drum.
You'll learn how to use snare reverb, including pairing it with a gate to create a gated reverb.
In separate lessons, you will become familiar with the structure of the frequency spectrum of tom-toms and consider all the main principles and features of their equalization using various sound examples.
You will also learn in detail the methods of tom-tom compression, including the use of a multi-band compressor to process them.
You'll learn how to work with a gate and how to apply reverb to tom-toms, including gated reverb.
In two separate video lessons you will look at all the features of working with a hi-hat, including analysis of its frequency range, equalization and exciting processing.
The final lesson of the course will cover overhead microphone processing, including spectrum analysis, equalization, psychoacoustic processing, phase normalization, and compression.

Course 6. Processing and mixing of a drum kit “from and to” I

7 lessons. Duration: 2 hours 55 minutes
Lesson 1 – Project Analysis
Lesson 2 – Bass Drum
Lesson 3 – Snare Drum
Lesson 4 – Tom-toms
Lesson 7 – Reverb
From this course you will learn:
How gating, compression and equalization of a kick drum works in practice.
How the snare drum is processed, including equalization and compression.
You'll learn how to properly pan tom-toms, and again see how they can be processed with a gate, compressor, and EQ.
You will once again learn how to equalize the hi-hat, channels with overhead microphones and general microphones.
Learn how to apply normal and brick-wall limiting to overhead and back-end microphones, and learn how to normalize phase using a stereo expander.
The course will also look at the use of general compression to "thicken" a drum kit, and in the final lesson, the use of reverb to process its various components.
Course 7. Processing and mixing of a drum kit “from and to” II

7 lessons. Duration: 1 hour 55 minutes
Lesson 1 – Project Analysis
Lesson 2 – Bass Drum
Lesson 3 – Snare Drum
Lesson 4 – Tom-toms
Lesson 5 – Hi-Hat, Overhead and Back-up Mics
Lesson 6 – General Dynamics Processing
Lesson 7 – Reverb
From this course you will learn:
How a bass drum is processed with a gate, compressor and equalizer in practice.
How a snare drum is processed with an equalizer and compressor.
You'll see once again how to pan toms and process them with a gate, compressor, and EQ.
You will once again learn how to equalize the hi-hat, channels with overhead microphones and general microphones.
The course also discusses the use of regular and deep limiting when processing channels with general microphones and overhead microphones.
This course also covers the use of general drum kit dynamics, with a final lesson covering the use of reverb.

Course 8. Processing and mixing of a drum kit “from and to” III

7 lessons. Duration: 1 hour 38 minutes
Lesson 1 – Project Analysis
Lesson 2 – Bass Drum
Lesson 3 – Snare Drum
Lesson 4 – Tom-toms
Lesson 5 – Hi-Hat, Overhead and Back-up Mics
Lesson 6 – Parallel Compression
Lesson 7 – General Dynamic and Spatial Processing
From this course you will learn:
How in practice a bass drum is processed with a gate and its equalization to create a timbre characteristic of a given style of music.
How a snare drum is processed with an equalizer, gate and compressor.
You'll once again see how to pan toms and process them individually with gate, compressor and EQ.
See how frequency processing is performed on the hi-hat, channels with overhead microphones and general microphones.
This course also, of course, covers the use of dynamics processing devices for polishing channels with general microphones and overhead microphones.
In a separate lesson, you will see in practice how parallel compression of certain components of a drum kit is performed.
And in the final lesson of the course, look again at the application of general drum kit dynamics and the use of reverb.
Course 9. Percussion. Processing and mixing

9 lessons. Duration: 1 hour 39 minutes
In this course we will talk about the features of processing the most common percussion instruments and mixing a percussion group.
Lesson 1 – A Go Go Bells
Lesson 2 – Kongs
Lesson 3 – Shaker
Lesson 4 – Woodblock
Lesson 5 – Cowbell
Lesson 6 – Big Drum
Lesson 7 – Tambourine
Lesson 8 – Triangle
Lesson 9 – Mixing a Percussion Group
From this course you will learn:
Features of processing the percussion instrument “A-go-go” using a parametric equalizer.
How to process congas with equalizer and compressor.
Features of shaker equalization.
A technique for processing woodblock using an equalizer and a gate.
You will learn how and with what tools you should process cowbell.
Features of processing large, low-sounding ethnic drums using a compressor and parametric equalizer.
How and with what to process a tambourine (tambourine) and a triangle.
In the final lesson of the course, you will see the entire process of processing and mixing 8 different percussion instruments with a drum kit.

Course 10. Electronic drums. Processing and mixing

9 lessons. Duration: 1 hour 11 minutes
Throughout this course, the author shows the process of processing and mixing the drum section using one example. In this course we will talk about electronic drums in dance music, the features of their processing and, of course, their mixing.
Lesson 1 – Project Analysis
Lesson 2 – Bass Drum
Lesson 3 – Snare
Lesson 4 – Claps
Lesson 5 – Percussion
Lesson 6 – Hi-hat and ride
Lesson 7 – Magnifiers
Lesson 8 – Crash and Fill
Lesson 9 – General Compression and Sanding of the Project
From this course you will learn:
How to gate, compress and EQ an electronic sampled kick drum.
How and with what to process snares, claps and various percussion instruments in electronic dance music.
You will learn how to equalize an electronic hi-hat and ride cymbal.
Get acquainted with the features of processing and mixing loops, learn how equalization is applied to them.
The course also covers mixing crash cymbals, breaks, and applying general compression to the entire drum section in the final lesson.
Course 11. Bass. Processing and mixing

6 lessons. Duration: 1 hour 50 minutes
The course is divided into two parts. The first is devoted to processing and mixing of bass guitar, the second is devoted to processing and mixing of electronic synthesized bass in dance music. The course will cover both processing and mixing the bass with the drum section.
Lesson 1 – Bass Guitar - I
Lesson 2 – Bass Guitar - II
Lesson 3 – Bass Guitar - III
Lesson 4 – Electronic Bass - I
Lesson 5 – Electronic Bass - II
Lesson 6 – Electronic Bass – III
From this course you will learn:
How to process and how to mix a bass guitar recorded “in line” with a drum kit so that its sound becomes dense, rich and deep.
You will learn how to process a multi-band compressor and equalizer and how to mix a bass guitar recorded from a combo amp with a drum kit to ultimately get a clearer and clearer sound.
You will learn how to process a poorly recorded line-recorded bass guitar with two equalizers at the same time, as well as an exciter and a compressor, to make it sound much more powerful and massive.
Using two different examples, you will see how two basses of different timbres in electronic dance music are processed and mixed with a drum section and how to use an equalizer, compressor, stereo expander and reverb in this case.
In the final lesson you will see how to process and combine a bass with a simple timbre with a drum section, with which, however, beginners often have many problems.

Course 12. Guitar processing and mixing

12 lessons. Duration: 3 hours 33 minutes
The first part of the course is devoted to processing and mixing of acoustic guitar, the second - processing and mixing of electric guitar. A number of examples are used to examine the principles and methods of processing various types of acoustic and electric guitars.
Lesson 1 – Acoustic Guitar Processing - I
Lesson 2 – Acoustic Guitar Processing - II
Lesson 3 – Acoustic Guitar Processing - III
Lesson 4 – Acoustic Guitar Processing - IV
Lesson 5 – Acoustic Guitar Processing and Mixing - I
Lesson 6 – Acoustic Guitar Processing and Mixing - II
Lesson 7 – Electric Guitar Processing - I
Lesson 8 – Electric Guitar Processing - II
Lesson 9 – Electric Guitar Processing - III
Lesson 10 – Electric Guitar Processing - IV
Lesson 11 – Electric Guitar Processing - V
Lesson 12 – Processing and mixing of an electric guitar
From this course you will learn:
How to process an acoustic guitar playing the accompanying part “strumming” using an equalizer, compressor and reverb.
You'll learn how to EQ, compress, and reverb an acoustic guitar playing a country backing line.
See how an open-strummed acoustic guitar is treated using compressor, EQ and modulation processing to increase the volume of the sound.
One of the lessons examines in detail the complex treatment of a “problematic” acoustic guitar with nylon strings, as a result of which the dry and barrel-sounding guitar gains transparency and volume.
You will see the process of processing and mixing an accompanying acoustic guitar, recorded as a double track, with drums and bass.
A separate lesson in the course is devoted to processing an ensemble of three acoustic guitars, which covers everything from equalization and compression to balancing and spatial processing.
In one of the course lessons you will see the features of processing an accompanying electric guitar in funk style.
Learn how to process a clean electric guitar playing a jammed part using an equalizer, a compressor, and a tube and tape emulator.
A separate lesson in the video course examines in detail the complex processing of a “problematic” clean electric guitar played by fingerpicking, as a result of which the callous-sounding instrument acquires excellent transparency, depth and volume.
You will certainly see what instruments and how exactly to process an electric guitar with distortion, both solo, playing with a slide, and accompanying.
The last lesson of the course is devoted to processing and mixing an electric rhythm guitar with overdrive, recorded as a double double track with drums and bass in the rock style.
Course 13. Processing and mixing keyboard instruments

7 lessons. Duration: 3 hours 17 minutes
The course consists of several parts, each of which is devoted to a specific keyboard instrument. Despite the fact that instruments such as marimba and vibraphone are keyboard percussion instruments, their processing and mixing will also be discussed in this course.
Lesson 1 – Acoustic Piano Processing - I
Lesson 2 – Acoustic Piano Processing - II
Lesson 3 – Processing and mixing an acoustic piano
Lesson 4 – Processing and mixing Hammond organ
Lesson 5 – Processing Rhodes Piano
Lesson 6 – Piano, Rhodes, Mallets
Lesson 7 – Synthesizers in dance music. Processing and mixing
From this course you will learn:
The first lesson is devoted to processing a “soft” acoustic piano in a ballad style. You'll learn how to achieve the sound you want through subtle EQ, multi-band compression, and proper application of reverb.
You will learn how a classical piano is processed.
In a separate lesson, you will see from start to finish how to process and how to mix an acoustic piano in the blues-rock style with a mix of drums and bass.
One of the course lessons is devoted to processing and mixing with a mix of drums and bass from a Hammond organ. You will learn how to process this instrument with an equalizer, compressor, guitar combo emulator and reverb so that it fits seamlessly into the mix.
You will see the process of transforming a “dead” sounding Rhodes piano into a beautiful, transparent and soft-timbre instrument due to thoughtful complex processing.
A separate 45-minute course lesson is designed to allow you to learn the processing and mixing of accompanying acoustic piano and solo parts of Hammond organ, rhodes, marimba and vibraphone with bass and drums.
The final lesson is devoted to the complete mixing of 4 different timbre synthesizers with a drum section and bass in electronic dance music.

Course 14. Processing of wind and string instruments

7 lessons. Duration: 1 hour 49 minutes
This video course is devoted to the processing of wind and string instruments. Each lesson covers the processing of a specific musical instrument.
Lesson 1 – Alto Saxophone
Lesson 2 – Tenor Saxophone
Lesson 3 – Trumpet
Lesson 4 – Trumpet with mute
Lesson 5 – Flute
Lesson 6 – Violin
Lesson 7 – Cello
From this course you will learn:
The first lesson of the course is devoted to alto saxophone processing. You will learn how to achieve a soft and velvety sound from a piercing and bright saxophone with the help of proper equalization, serial compression and the competent use of psychoacoustic and spatial processing.
You will learn how the tenor saxophone is processed with an equalizer, multi-band compressor and reverb.
You will certainly become familiar with the main principles of technical and artistic processing of a pipe, and in a separate lesson you will learn the features of processing a pipe with a mute.
A separate lesson is devoted to flute processing. In it you will see how to treat the flute with equalizer, compressor and reverb to get rid of the dryness of the sound and make it soft and flying.
You will also see how the violin and cello are processed.
Course 15. Mixing the phonogram “from and to” I

12 lessons. Duration: 2 hours 57 minutes
During this practical course, the author mixes a mix in a pop style (chanson style) from scratch to finish. This course was created so that you can see the process of mixing a soundtrack from start to finish. Throughout the course, the author's actions are accompanied by comments, but without focusing on the theory, definitions, and basics of working with sound.
Lesson 2 – Bass Drum
Lesson 3 – Snare Drum
Lesson 4 – Overhead Microphones, General Microphones and Shaker Microphones
Lesson 5 – Bass Guitar
Lesson 6 – Acoustic Guitar
Lesson 7 – Electric Guitar
Lesson 8 – Pad
Lesson 9 – Sequence
Lesson 10 – Strings
Lesson 11 – Lead Guitars
Lesson 12 – Spatial processing and final polishing of the mix
From this course you will learn:
In the first lesson of the course, you will learn how to properly prepare a project so that further work with it will be comfortable and effective.
You will study the structure of the frequency range of the bass drum of the project, see the process of its equalization, compression and gating.
Master the structure of the frequency spectrum of the snare drum of the project, after which it will be equalized and compressed.
A separate lesson covers the processing of overhead microphones, including spectrum analysis, equalization, phase normalization, and dynamics processing.
You'll see how to EQ and compress your bass guitar to better match the drums.
You will definitely see the process of processing and mixing the accompanying acoustic guitar recorded as a double track.
In a separate lesson, you will see the process of complex processing and mixing of a clean accompanying electric guitar recorded as a double track, as a result of which the “plastic” sounding guitars will sound noticeably better and fit easily into the mix.
You will see the process of correctly processing a muddy-sounding pad, which only after thoughtful processing can fit into the mix without creating mud and without covering up half of the other instruments.
A separate lesson of the course is devoted to processing and mixing of an arpeggiated synthesizer.
There is a lesson dedicated to processing strings, in which you will learn not only the features of equalization and dynamic processing of synthesized strings, but also learn how to apply interesting modulation processing to better combine them with the mix.
In one of the lessons you will also see the process of processing and mixing lead electric guitars with distortion using equalization, compression, as well as paw emulation and tape emulation.
And in the final lesson you will see the process of spatial processing of all the tools that need it and the process of final finishing and polishing of the project.

Course 16. Mixing the phonogram “from and to” II

16 lessons. Duration: 3 hours
During this practical course, the author mixes a mix in a dance style “from start to finish.” This course is designed to show you the process of mixing a soundtrack from start to finish. Throughout the course, the author's actions are accompanied by comments, but without focusing on the theory, definitions, and basics of working with sound.
Lesson 1 – Preparing the project for work
Lesson 2 – Bass Drum
Lesson 3 – Snare & Claps
Lesson 4 – Other Drums and Percussion
Lesson 5 – Magnifiers
Lesson 6 – Bass
Lesson 7 – Guitars
Lesson 8 – Synthesizer I
Lesson 9 – Synthesizer II
Lesson 10 – Synthesizer III
Lesson 11 – Synthesizer IV
Lesson 12 – Synthesizer V
Lesson 13 – Synthesizer VI
Lesson 14 – Synthesizer VII
Lesson 15 – Effects
Lesson 16 – Spatial processing and final polishing of the mix
From this course you will learn:
In the first lesson of the course, you will learn how to properly prepare a project so that subsequent work with it will be more comfortable and effective.
You will study the structure of the frequency range of the bass drum of the project, and, of course, you will see the process of its equalization and compression in order to obtain the desired timbre.
You will master the structure of snare and claps frequency spectra, after which dynamic and frequency correction will be done to better suit them with the bass drum.
A separate lesson covers processing and mixing as many as six percussion components in the drum section, including spectral analysis, EQ, panning, balancing, and modulation and dynamics processing.
You will become familiar with the features of processing and mixing loops, and see how equalization is applied to them.
You will see how three parallel and different timbre basses are processed and mixed with the drum section.
In a separate lesson, you will see the process of processing and mixing clean accompanying electric guitars, as a result of which spineless-sounding guitars will sound much more interesting and fit better into the mix.
As many as 7 lessons of this course with a total duration of 50 minutes are devoted to processing and mixing of all synthesizers in the project.
A separate lesson of the course is devoted to the correct processing and mixing of various special effects, accent cymbals and drum breaks.
And in the final almost half-hour video tutorial you will see the process of spatial processing of all the mix components that need it and the process of final tuning and polishing the project.
What are the advantages and benefits?
Of course, if you have read the full content of the course above, you will not argue that its main advantage is the huge amount of information. But this is far from the only advantage.
Effective! Lessons in the course are built in screencast format. The effect of viewing them is the same as if you were next to the author and he showed his actions on a real computer and at the same time gave comments.
Structured! This course is a well-thought-out learning system, and not just a set of lessons. The course is divided into chapters, chapters into separate lessons, and each lesson is devoted to a specific topic.
Informative! The video course really covers the topic in detail. After studying it, you are unlikely to have an urgent need to search for additional materials.
Unique! The course contains many proprietary techniques, know-how and other useful information that you are unlikely to find anywhere.
Clearly! When explaining the theory, complex things are explained using clearer examples, and key points are shown on the screen in the form of visual illustrations.
Reliably! This video course provides only reliable and relevant information that will not lose its relevance for several years.
Comfortable! You can watch any lesson of the course whenever you wish and as many times as necessary. You won't need to go anywhere or travel to study it.

Do you think you have alternatives?
Yes, you may think that learning from books, attending face-to-face courses, and looking for free information online is much better than learning from this video course.
Of course, we have nothing against all this, but think about it, is it really better for you personally?
Books
Books are good, but...
Most of them are written in rather boring language and are oversaturated with theory. You rarely find practical examples in them, and, as we know, theory without practice is meaningless.
Text is assimilated by many people worse than video. It’s one thing to read, another thing to watch and listen.
Most worthwhile books on this topic are in English. And in general, how many books have you seen on mixing and sound processing? In fact, you can count them on your fingers.
Full-time courses
Their undoubted advantage is good digestibility of information, but at the same time:
In-person courses are expensive and do not always provide comprehensive information.
Most face-to-face courses are held in large cities and, therefore, will simply not be available to residents of small towns.
Once you enroll in courses, you will depend on them. You will have to visit them regularly, spending time and money on travel, which, you see, is very inconvenient.
Free materials from the Internet
Well, as for free information found on the Internet, it has only one plus - a relatively low cost, since you will only pay for the Internet. Otherwise, free materials from the Internet have significant disadvantages:
They are not structured, often uninformative, often outdated, and sometimes completely unreliable.
You will have to spend a lot of time searching and structuring them.
And most importantly, even if you wanted to, you will not be able to find on your own all the information contained in this video course, since a significant part of it is unique and cannot be found anywhere else.
Don't believe me? Fine. Try, for example, to find a free video tutorial in Russian on how to process a trumpet with a mute or a video course on mixing a funk-style drum kit from start to finish.
Who is this course for?
The video course is designed mainly for beginners and more or less advanced sound engineers who want to learn how to process sound and mix phonograms.
The course may also be useful for musicians, arrangers, DJs and composers who want to improve their knowledge and skills in sound processing and mixing phonograms.
If you are a beginning sound engineer and want to learn how to process sound and mix phonograms, this course is most likely exactly what you need.
The main thing is that to take the course, it doesn’t matter whether you have absolute pitch or not, you don’t have to be a genius, and even more so you don’t have to understand all the intricacies of working with sound.
All you need is to carefully watch the lessons, delve into them and constantly apply the knowledge gained from them in practice. It is important to act. If you take action, the result will not take long to arrive.
If you are not going to study, make efforts and are simply looking for a magic wand that will solve all your problems overnight, this course is definitely not for you.

Of course, you are probably already wondering:
What is par for the course?
How much do you think it should cost? How much do you think a training consisting of 16 video courses, containing a total of 187 video lessons with a total duration of more than 42 hours, should cost?
Of course, the price of such a course cannot be low, but at the same time it should not be too high, no matter how valuable the material is. Still, among those who want to study there are people of different ages and with different income levels.

For those who have decided to study the art of arranging, mixing music and working with sound, we suggest paying attention to our video courses.

Each of the video courses exists to solve a specific problem, so they represent complete step-by-step training systems.

18 lessons. Duration : 3 hours 38 minutes.

This course is designed to help those who are going to or have already started learning arranging, mixing, mastering or any other form of art. This course does not teach mixing, mastering or music production, but it does talk about how to learn correctly and what you need to do to make the learning process as fast, enjoyable and effective as possible. The material is suitable for both beginners and more or less advanced ones.

Professional recording of a song in a non-professional studio. Volume I

8 lessons. Duration : 1 hour 11 minutes.

The first volume of the video course in live video format tells and shows how to accurately record a song “from start to finish” in a budget amateur studio with far from perfect acoustics and modest hardware.

Vocal recording, processing and mixing

55 lessons. Duration : 6 hours 30 minutes.

This video course is a collection of knowledge and experience in recording, editing, editing, processing and mixing vocals, accumulated by the author over several years.

The course will cover a variety of vocal processing techniques that will help you achieve top-notch results. All the most important processing devices will also be discussed in detail.

Vocal processing and mixing

10 lessons. Duration : 1 hour 18 minutes.

This course is a practical chapter of the above-described course on recording, processing and mixing vocals. In the course you will learn how to process vocals so that their timbre becomes clear, thick and beautiful, and at the same time, so that the vocals fit easily into the mix and are readable in it.

Album mastering

19 lessons. Duration : 1 hour 52 minutes.

This course will tell you and show you how to quickly make high-quality professional mastering of an album with your own hands in the Nuendo program in just a couple of hours.

During the course, the author will master a real album in almost real time. All actions of the author will be accompanied by comments, so you will not have any questions about what and why is happening at the moment.

Programming drums inside and out

51 lessons. Duration : 5 o'clock.

This course is a source of knowledge that will help you get a high-quality drum sound in your compositions, spending a minimum of money and effort on its formation. The information presented in the course is based on the author's personal experience and knowledge and is presented in an easy-to-learn format. It is unlikely that you will be able to find anywhere the techniques, technologies and practical tips that are found in the lessons of this course.

Recording, processing and mixing guitar in a home studio

93 lessons. Duration : 7 hours 48 minutes.

This comprehensive video training course covers recording, processing and mixing a guitar in a home studio, inside and out.

From this course you will learn what equipment is needed for high-quality recording of a guitar, how to record an acoustic and electric guitar, as well as how to process and mix recorded parts in order to obtain a high-quality and professional sound in the end.

Processing and mixing guitars in Nuendo 4

11 lessons. Duration : 68 minutes.

This is a video course that demonstrates step-by-step the process of processing and mixing acoustic and electric guitars. You'll learn how to process and mix guitars so that you get a clean, tight, and beautiful sound from each guitar and the mix as a whole. And in addition to video lessons, the course also includes a voluminous author’s article, which gives as many as 25 useful tips for recording a guitar.

Sound processing and mixing of phonograms “from start to finish”

187 lessons. Duration : 42 hours.

This course is a collection of 16 independent video courses, a collection of a huge amount of knowledge and experience in the field of sound processing and mixing of phonograms, accumulated by the author over many years.

All this knowledge is provided in a form that will allow you to assimilate and apply it in practice as easily, quickly and effectively as possible.

At the moment, this is the most voluminous video course ever created by the author.

Wall of Sound

12 lessons. Duration: 4 hours.

“Wall of Sound” is the first free video mixing course from Andrey Skidan and the Master-Skills.ru team, which shows the entire process of mixing a phonogram in the rock genre from start to finish. This is a practical video tutorial, the main goal of which is to help you understand the principles and features of mixing phonograms of this genre.

Mastering in Wavelab “from start to finish”

15 lessons. Duration: 2 hours 39 minutes.

This video course will teach you how to do mastering “from start to finish” and will consistently tell you about the basic techniques, subtleties and secrets of such a complex, but at the same time extremely interesting process. The course does not contain boring theory and excessively in-depth study of the program. Most of it is visual practice. The course will be accessible and understandable to beginners.

Mastering in Wavelab “from start to finish” - 2

12 lessons. Duration: 1 hour 44 minutes.

If you are interested in how phonogram mastering is done in styles such as rock and metal, then this course will cover exactly that.

This video course contains virtually no theory or in-depth study of the Wavelab program. It considers only those operations that are necessary to achieve the objectives.

7 questions about mastering in Wavelab

7 lessons. Duration: 30 minutes.

In addition to the main courses on mastering, to answer theoretical questions, this mini-course was created, in which in 30 minutes the author answers the 7 most frequently asked questions regarding mastering, including in the Wavelab program. The course is notable for the fact that all complex theoretical aspects are explained in simple and understandable language.

Digital audio theory

11 lessons. Duration: 1 hour 21 minutes

This theoretical course is a mini video encyclopedia, and was created to help beginners understand the most important concepts, terms and basics of digital audio.

7 lessons. Duration: 1 hour 13 minutes

In this video course you will learn what equipment is needed in order to efficiently process sound and mix phonograms and why it is necessary. You will also learn how to choose the right equipment, which is optimal in all respects, given its diversity.

Steinberg Nuendo 4. Setup, optimization for mixing and audio basics

15 lessons. Duration: 2 hours 34 minutes

Sound processing devices. Design and practical application

38 lessons. Duration: 6 hours 21 minutes

Drum set. Treatment

17 lessons. Duration: 4 hours 50 minutes

The course is divided into five parts, each of which is devoted to the processing of a specific tool. Using various examples, the principles and methods of processing kick drums, snare drums, tom-toms, hi-hat and overhead microphones are discussed in detail. This course will cover processing only, not mixing, and only acoustic, not electronic, drum kits.

Processing and mixing of a drum kit “from and to” I

7 lessons. Duration: 2 hours 55 minutes

Processing and mixing of a drum kit “from and to” II

7 lessons. Duration: 1 hour 55 minutes

Processing and mixing of a drum kit "from and to" III

7 lessons. Duration: 1 hour 38 minutes

Percussion. Processing and mixing

9 lessons. Duration: 1 hour 39 minutes

In this course we will talk about the features of processing the most common percussion instruments and mixing a percussion group.

Electronic drums. Processing and mixing

9 lessons. Duration: 1 hour 11 minutes

Bass. Processing and mixing

6 lessons. Duration: 1 hour 50 minutes

12 lessons. Duration: 3 hours 33 minutes

Processing and mixing of keyboard instruments

7 lessons. Duration: 3 hours 17 minutes

Processing of wind and string instruments

7 lessons. Duration: 1 hour 49 minutes

This video course is devoted to the processing of wind and string instruments. Each lesson covers the processing of a specific musical instrument.

Mixing the phonogram "from and to" I

12 lessons. Duration: 2 hours 57 minutes

Mixing the phonogram "from and to" II

16 lessons. Duration: 3 hours

During this practical course, the author mixes a mix in a dance style “from start to finish.” This course is designed to show you the process of mixing a soundtrack from start to finish. Throughout the course, the author's actions are accompanied by comments, but without focusing on the theory, definitions, and basics of working with sound.