Prerequisite: None 
Very demanding class
No music reading required

Audio Engineering I is the class where it all starts.

Audio Engineering I is the class that explains and demonstrates all of the foundational elements relating to acoustic sound, analog signal flow, and begins the process of refining the aural skills. This is the "base of the pyramid" and covers a very large amount of ground during the semester. Acoustic and analog sound properties, cables and connections, microphone basics, input channels, console routing and bussing, and aural training.

Audio engineering ear training is very important to the SRT program. Knowing what all of the knobs, meters, buttons and faders accomplish is one thing, knowing WHEN and HOW MUCH to use them is something completely different. There is no "Make It Sound Good" button on any device. If a recording or live performance is sounding bad, you'll need the aural skills to parse the sound into its components and figure out which aspects need to be addressed. This training will change the way you hear, forever. 

Audio Engineering I sets the stage for advanced learning and concepts and begins the process of developing a refined, detailed ear.

Required two-hour lab 
Prerequisite: Audio Engineering 1 (MIDI highly recommended as co-requisite)

Audio Engineering II is where the rubber really meets the road in the program.

While some aspects (decibels, ear training) have been introduced in Audio Engineering I, this class takes it up a few notch - big notches. Students are working on mixing projects right out of the gate; learning procedures to gain an aesthetic for balance in amplitude and frequency. The extra lab hours feature demonstrations on various stereo recording arrays, studio recording and procedures, standard patch bay operation and more.

As it is said, "Calm waters don't make good sailors," in AEII, the mixing water gets rough and the student is taught techniques to overcome common problems faced in mixing multi-channel audio. These sessions, some from our very own Studio A, range from 8 to 24 tracks, and feature a variety of music genre. Audio Engineering II is where you learn the techniques to overcome problems that were created during tracking and that are common in a live sound situation. Audio Engineering II teaches and tests standard and un-standard usage of dynamic processing (compressors, limiters, gates and expanders), effective use of reverb and delays, and finally some creative sound-shapers that can help add life to otherwise flat tracks. Perhaps more than anything else however, the aural skills that are required for the class will absolutely test each student's cognitive skills and ability to stay cool under duress.

Required four-hour lab
Prerequisite: Audio Engineering I, Audio Engineering II, Live Sound, MIDI I, Commercial Theory

Audio Engineering III is the capstone class for the SRT program. Students find the talent, book the studio, record and mix the project, and then present it to the class and instructor for evaluation. Advice and comments are given and decisions are made to go on with the project or try again. Students must produce a minimum of 10 recording sessions as well as assist on a host of others. Examples of student projects can be found on the Audio Media page.

Required one-hour lab 
Prerequisites:Piano I, Theory I
(piano skills and music reading required)

During the three Audio Engineering courses, the basic design is to capture the sound of an acoustic source (voice, instrument, etc) for later mixing, manipulation and playback. The MIDI I class is opposite; sounds are created and manipulated solely "inside the box."

The course begins with basic DAW sequencing with Logic and Pro Tools and getting used to the track layout, timeline, main and mix windows, transport functions, audio and midi regions, track and region parameters, plug-ins, etc. 

Subtractive synthesis is taught with a focus on common modulators such as LFOs, Filters and Envelopes. In addition, as the students journey through their own sonic landscapes, the class also learns about the history of electronic music and those individuals that contributed to the body of knowledge we study today.

Digital audio and editing is a core component of the class. Projects include comping of multiple takes (with no common time reference), quick-swipe, cross fading, shuffle modes, slaving the DAW timeline to the tempo of a pre-recorded track, time stretching a recording to match the timeline, and much more. These skills are all required for advanced editing during the student's final semester in Audio Engineering III. To round out the class, music notation software is taught to help produce professional looking manuscripts for Commercial Theory.

As a pre-requisite, students must have a solid understanding of the musical keyboard (piano), note reading, chord progressions, and the ability to play to a click (metronome) to make it in the class. This is because students will be creating their own songs and projects based on reading sheet music.

Required two-hour lab
Prerequisite: Audio Engineering II

Live Sound covers a wide variety of topics relating to the principles of, design of, setup of, and control of a live concert sound system.

There are a lot of different variables that affect audio when working with in live sound. Some of the problems are venue (acoustic) or performance based; others are repeatable night after night. The Live Sound class at DMC stresses the fundamental issues that allow repeatable good sounding audio in a live venue - whether that is a church, club, or festival stage.

A high point in program is running the main stage of the Dia De Los Muertos festival downtown or at the House of Rock.

Required one-hour lab
Prerequisite: Audio Engineering I and MIDI I

In many way, there is a blurring of audio and video; students should know both aspects.

The Audio for Video class at Del Mar College explores how audio (and audio-like procedures) intersect the world of the visual. In particular we look at the four audio elements that occur in most video and film productions, how they take place, and good techniques for making them effective. The class is almost split in two with the second half of the semester reversing the roles with a "Video for Audio" spin. Various video productions during the back half of the class are created including live session captures that require multi-cam editing. By understanding both the aural and visual aspects of a completed production, students will have a better overall knowledge and respect for the features and limitations of professional media.

Prerequisite: Audio Engineering I, II, MIDI I, Piano 2, Theory 2, Sightsinging 1

Commercial Theory is the bridge between 'music' and the recording arts. To make many recording projects a success, additional parts, harmonies, sections of form and more must be added to a singer/songwriter's basic idea. Commercial Theory teaches you to transcribe audio from recordings and to be able to add additional music (notes, harmonies) to existing projects. The focus is on being able to transcribe the chord progression and to have piano skills to play the additional parts.