The Sound Kitchen - part 6: MIXING
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The Sound Kitchen - part 6: MIXING

A Mix is built like a house. Learn how to build a mix that will always suite your song.
4.5 (3 ratings)
Instead of using a simple lifetime average, Udemy calculates a course's star rating by considering a number of different factors such as the number of ratings, the age of ratings, and the likelihood of fraudulent ratings.
332 students enrolled
Created by Timoteo Alicino
Last updated 5/2017
English
Price: Free
Includes:
  • 4 hours on-demand video
  • 2 mins on-demand audio
  • 3 Articles
  • Full lifetime access
  • Access on mobile and TV
  • Certificate of Completion
What Will I Learn?
  • Be inspired like never before to pursuit great sound
  • Understand sound better in a musical, scientific and philosophical sense
  • Form the mindset of the greats behind sound production (for both live and recording)
  • Build a mix
  • Bring balance and beauty to a song
View Curriculum
Requirements
  • Great passion for music and sound (that is the first and main requirement)
  • A DAW program is required, however a demo software is provided
  • Preferably a decent pair of headphones
  • Some basic understanding of math
  • Optional (a small mixer for the mixer session)
Description

The Sound Kitchen is a sound engineering course aimed at anyone who is passionate about sound and wants to learn the how-to's of great sound. The course uses lots of music and it is both inspirational and technical; but make no mistake, you will have more than your money’s worth of technical insight and input.

The instruction is music based. Therefore there are always audio examples (there is also a lesson that will help you develop your hearing skills with audio clips you can download). We use a Digital Audio Workstation so that you can immediately put into practice the concepts expressed in some of the lessons, ending up making music (better) rather than just hearing someone talk about it. Furthermore, if you wanted to, you will be able to use the DAW (within the licensed time period) to exercise some sound engineering routines by yourself independently from the course.

The course is very practical and the terminology is not overly technical (again do not assume that this is a shortfall, as often seasoned engineers have learned a great deal from the course approach and teachings).

At the end of the course you will be able mix a production / song (live or in your home studio).

"Ears before gear": is a sentence I coined to embody the idea that the most important piece of equipment to achieve great sound is the engineer. Ultimately great gear will sound poorly if the engineer cannot use it well. The opposite is also true that average gear in the right hands will sound great. This mindset is thematic across the entire course.

The numbers

  • At total of almost 4 hours of video tuition
  • 2 quizzes (to help you review each section)
  • 89 audio clips (to download) used for hearing training
  • 2 DAW program available (PC and MAC) each with a tailor-made session
  • Multi-track songs performed by top South African musicians, recorded in a high end studio in Cape Town, South Africa
  • Plenty of brain-stretching and ear developing DAW exercises

I am confident that you will learn a great deal and will enjoy doing so. I look forward to seeing you among my new students. Ciao. Tim

Who is the target audience?
  • The course is suitable for people with different knowledge and skill levels, ranging from people with no knowledge to people that work in this field.
  • Musicians who want to understand sound engineering better
  • Sound engineers
  • Sound volunteers in churches/school
  • People with some background knowledge that want to expand their understanding of sound engineering
Compare to Other Production Courses
Curriculum For This Course
23 Lectures
03:48:57
+
Introduction
2 Lectures 01:20
Course overview
01:05

Before you start
00:15
+
Mixing
10 Lectures 01:46:04
Mix: Section overview
01:04

Preface VERY IMPROTANT
01:25

OUTCOME OF LESSON
ORIENTATION ON SAMPLITUDE, THE PC DAW USED IN THIS COURSE

PC DAW overview
05:49

OUTCOME OF LESSON
ORIENTATION ON REAPER, THE MAC DAW USED IN THIS COURSE

MAC DAW overview
07:15

OUTCOME OF LESSON
THE MIX: THE APEX OF SOUND PRODUCTION

BASIC MIXING PRINCIPLES

1. The harvest: mixing is the harvest of a sound production. If the sound production was well planned and implemented, the mix will be on a solid foundation

2. A mix is built, like “a house”

3. The cardinal principle in mixing: listening

4. The role of “processing” in a mix

5. The role of music in the success of a mix

Basic mixing principles
17:21

OUTCOME OF LESSON
HOW TO ATTAIN MUSICAL BALANCE

MUSICAL COMPONENTS

1. Pulse

2. Rhythm

3. Harmony

4. Melody

Musical components part A
15:39

OUTCOME OF LESSON
BUILDING A MIX IS LIKE BUILDING A HOUSE

THE MUSICAL BUILDING

1. Pulse – the foundation

2. Rhythm – the walls

3. Harmony (more than one note at the same time) – the roof

4. Melody – the dweller

Musical components part B
07:21

OUTCOME OF LESSON
HANDLING DIFFERENT SOUNDS IN A MIX

A. SOUNDS: FUNDAMENTAL AND FILLERS

  • Fundamental: essential to the song (the instrument/s without which the 4 main musical components would not be established) – building the “structure” of the house
  • Fillers: Extra instruments that colour the song but are not foundational (the decorating of the house)

B. GAIN STRUCTURE (the mix before the mix)

Fundamental and filler sounds
12:16

OUTCOME OF LESSON
WHAT A MIX IS REALLY ALL ABOUT

A. THE MASKING PRINCIPLE

B. UNMASKING WITH EQ

C. MIXING IN CONTEXT

The masking principle
18:02

OUTCOME OF LESSON
HOW DO I KNOW THAT SOMETHING IS AT THE RIGHT LEVEL?


A. THE DOMINO EFFECT

B. WHAT CAN I DROP?

  • The use of the mute button
What can I drop?
19:52

MIXING: QUIZ
10 questions
+
3 Distinctive Characters of Sound
11 Lectures 02:01:42
3 Distinctive Characters of Sound: Section overview
00:46

OUTCOME OF LESSON:
UNDERSTANDING MUSICAL "HEIGHT" & PITCH MEASURING UNIT

3 Distinctive characteristics of sound

A. VIBRATIONS: sinusoid description (concepts of periodicity, amplitude, terminology description)

B. PITCH, INTENSITY, TIMBRE

C. PITCH

The attribute of sound perception that gives the impression of (musical) “height”, enabling us to arrange sounds from low to high

The frequency of the vibration (how many cycles in a second), measured in Hz.

  • Frequency range of human hearing
  • Musical notes expressed in Hz (picture)
  • Different frequency ranges for different instruments
Pitch
19:51

OUTCOME OF LESSON:
CONCEPTUAL UNDERSTANDING OF INTENSITY & ITS UNIT OF MEASUREMENT

INTENSITY

The attribute of sound perception that gives the impression of loudness, enabling us to arrange sounds from soft to loud

The amplitude of the vibration (in absolute terms), measured in dB

  • db scale (logic behind it and formulas)
  • Different db scales
  • Example of perception of loudness
  • Ear protection awareness
Intensity part A
13:25

OUTCOME OF LESSON:
CONCEPTUAL UNDERSTANDING OF INTENSITY &
ITS UNIT OF MEASUREMENT

INTENSITY

The attribute of sound perception that gives the impression of loudness, enabling us to arrange sounds from soft to loud

The amplitude of the vibration (in absolute terms), measured in dB

  • db scale (logic behind it and formulas)
  • Different db scales
  • Example of perception of loudness
  • Ear protection awareness
Intensity part B
12:00

OUTCOME OF LESSON:
CONCEPTUAL UNDERSTANDING OF INTENSITY & ITS UNIT OF MEASUREMENT

Intensity: clarification
15:41

OUTCOME OF LESSON:
CONCEPTUAL UNDERSTANDING OF HARMONICS

TIMBRE

The attribute of sound perception that enables us to distinguish between different sounds even if they share the same loudness.

Timbre 1 part A
10:42

OUTCOME OF LESSON:
FURTHER UNDERSTANDING OF TIMBRE

The harmonic content (quantity) and balance (their individual intensities and interaction)of a sound.

Also dependent on pitch and intensity (in a lesser way)

  • Concept of harmonics
  • Example of same musical note by 2 different sources
  • Frequency response: the timbre comparison between the input and output of a devise
  • By changing the harmonic balance of a sound we change its timbre
Timbre 1 part B
11:47

OUTCOME OF LESSON:
APPLICATION OF A FREQUENCY RESPONSE GRAPH


  • Frequency response: the timbre comparison between the input and output of a devise
  • Tone perception (picture)
  • By changing the harmonic balance of a sound we change its timbre
  • EQ note: understanding harmonics and frequency response is crucial in understanding an equalizer
  • Mixing note: mixing is mainly about balancing tone rather than loudness
Timbre 2 part A
17:06

OUTCOME OF LESSON:
THE ROLE OF TIMBRE IN MIXING & DESCRIPTION OF DURATION AND PHASE

  • EQ note: understanding harmonics and frequency response is crucial in understanding an equalizer
  • Mixing note: mixing is mainly about balancing tone rather than loudness

Duration is obviously the length of a sound. However the duration of a sound influences the integrity of our perception. A minimum length is required for our ears to establish the pitch, intensity and timbre of a sound. These minimum times vary at different frequencies.

Phase is the relationship in time between same or different frequencies produced by the same or different sources. When it comes to colour and perception of sound, phase is one of the most influential sound characteristics. Note: phase can also be described in relation to other sound laws in a different way.


Timbre 2 part B
09:24

Hearing training preface
00:09

OUTCOME OF LESSON
CONNECTING THE TWO LANGUAGES OF SOUND IN A PRACTICAL WAY

Hearing Training
10:51

3 CHARACTERS OF SOUND: QUIZ
13 questions
About the Instructor
Timoteo Alicino
4.5 Average rating
57 Reviews
598 Students
2 Courses
Chief Engineer at MMH studio - Consultant - Live Mixer

With 28 years of experience in event management on 3 continents, Timoteo Alicino is an invaluable source of knowledge, reliability and insight. He has made it his goal to ensure that the productions (albums and live events) that saw his involvement not only happened, but were a great success. He not only understands the complexity of sound engineering but he also fully grasps other important concepts: from budget constrains to working with volunteers. Even though he is used to working with world-class musicians and equipment, he functions exceptionally well within other contexts.

Born and raised in Italy, Timoteo started off an illustrious career as producer and musical director with the production ‘Breath of Heaven’, which toured through his home country in 1994. Prior to that, he worked as a vocalist on national and international concerts, including the ‘March for Jesus’ event in Italy and the International Christian Arts Seminar in De Bron, Netherlands. His work also included sound engineering on major rallies for international evangelists and ministers from as early as 1988.

In 1995, he joined All Good Gifts International, a South African worship ministry. He was soon appointed as Director of Operations, and worked as tour manager and technical director for all their appointments and tours, and engineered all live music events up until July 2004. 
He devised a course on Sound Engineering called ‘The Sound Kitchen’, and has presented this at various seminars and conferences since 1995. Ten years later, it was recorded as an instructional DVD. Since 2005 he has been engineering for live broadcasts on TBN Africa, mixing for an audience of millions of people across the continent of Africa and beyond.

His work as tour manager, sound engineer & teacher took him to a wealth of countries, including Singapore, Malaysia, Hong Kong, the United Kingdom, Italy, the United States of America, Israel, Ukraine and many European nations. He engineered, produced, mixed & mastered albums for various local- & international artists and speakers such as David Kramer, Albino Montisci (Italy), Rick Cua (USA), Patty Franklin (USA), Peter Helms (Canada), Wendy Oldfield, The Redial (Switzerland), Sara (Italy), Rediscovery (Italy/Holland), The Racabite Band (Holland), Piotr Pleka (Poland), Evan Schoombie (South Africa), The Billy Graham Assoc. (Italy), The Stele (Switzerland), Collage (USA), March for Jesus (Italy), Past Chris Olakan. (Nigeria), Kobus v. Rensburg, Anaconda (Argentina), Tom Hess (Jerusalem), Tommy Tenney (USA), Alvin Slaughter (USA), Mark Chironna (USA), Joseph Garlinton (USA), Nico Battaglia (Italy), Planetshakers (Australia), Parachute Band (New Zealand), Israel Oughton (USA), Rocco de Villiers, Anton Goosen, Dirty Skirts, amongst many others.

It is easy to see why Timoteo is a renowned speaker on sound, both on a technical and spiritual level. He regularly lectures on the topic in seminars around the country and abroad.

With more than 28 years of experience in the field of sound engineering, he is an established consultant, educator and engineer. His work covers the various aspects of sound engineering, recording, live performances (from intimate venues to sport stadiums) and system design. He also took it upon himself to completely research and plan the creating of the MMH studio, and handpicked the team to build this dream with.

His attention to detail and accuracy is balanced by his passion for music and sound. His goal is to apply knowledge and technology to serve the musical vision of his clients by living out his motto ‘ears before gear’.

Married since 2002, he and his wife Manda are also proud parents of two children.

In 2013 he started Accord, a school of Music in George, South Africa.

In a nutshell, Tim’s greatest skills are

  • Musical and music production understanding and experience (more than 28 years)
  • Musicological understanding of the mechanics of music
  • Capacity to make complex concepts simple
  • System designer, able to put a system together that will work homogeneously in the entire venue
  • Great capacity to extract everything out of a system, therefore finding great value-for-money solutions