Tribeca Flashpoint College RECORDING ARTS DEPARTMENT 2016-2017 WELCOME TO RECORDING ARTS! 2 YOUR RECORDING ARTS CLASSES 3 MASTER CLASSES 3 WATCH US WORK! 3 STUDIO FACILITIES 4 AUDIO ENGINEERING SOCIETY 4 HEADPHONE PURCHASING GUIDE 6 GET TO KNOW YOUR FACULTY 7 YURI LYSOIVANOV – DEPARTMENT CHAIR 8 JEFF KLIMENT – FACULTY 10 PAUL RODGERS – FACULTY 11 JAMES TEITELBAUM - FACULTY 13 TIM RUSIN – FACULTY 15 DYLAN OAKLEY – RA TECHNICIAN 17 RECOMMENDED LISTENING 19 YURI LYSOIVANOV 20 JEFF KLIMENT 21 PAUL RODGERS 22 JAMES TEITELBAUM 23 TIM RUSIN 24 DYLAN OAKLEY 25 1 Welcome to Recording Arts! Audio Engineering is a dynamic and exciting industry. We are a small, highly trained, and tightly knit group of professionals that dedicate our lives to making beautiful music, running unforgettable live shows, and creating the effects and soundscapes that make us laugh, cry, and jump out of our seats. We have been teaching recording arts at Tribeca Flashpoint for almost a decade. Our graduates work in recording studios, on film sets, at venues large and small and just about anywhere else that needs sound. We take pride in the work that we do and the education that we provide – and we hope the bug that infected us to fall in love with audio and to pursue it as a career also infects you. At Tribeca Flashpoint College you will develop your skills in three major areas of audio: Music Engineering, Live Sound, and Sound Design. As the music, film, advertising, and video game industries continue to evolve, we feel it is important that today’s audio professional has a diverse set of skills and will be ready for many different opportunities that may come his/her way. Furthermore, we also make sure that a strong fundamental knowledge of acoustics is an integral part of your audio education. We chose audio – but it’s equally true to say that audio chose us. We love what we do and expect our students to approach their work with the same enthusiasm and high set of standards. On your first day of class, you’re not just students – you are also our peers and professional colleagues. It is our hope that you make the most of your time at Tribeca Flashpoint College. Listen to everything you can, record as much as you are able to, make good friends and ask lots of questions. Most importantly, be on time and be hungry to learn! We look forward to sharing this journey with you. Sincerely, The Recording Arts Department (from left to right) Paul Rodgers Tim Rusin Yuri Lysoivanov James Teitelbaum Jeff Kliment Dylan Oakley (not pictured) 2 Your Recording Arts Classes RAR103: Digital Audio Workstation RAR116: Live Sound I RAR117: Studio Recording I RAR118: Fundamentals of Sound + Acoustics RAR119: Sound Design for Visual Media FLM127: Production Module I RAR213: Studio Recording II RAR215: Live Sound II RAR229: Flashpoint Studios RAR245: Advanced Topics: Sound Design + Post-Production RAR247: Advanced Topics: Music Engineering + Live Event Production Master Classes In addition to the required course material, the Recording Arts faculty will offer a variety of master classes throughout the school year. Watch us work! On occasion, we will make arrangements with our clients to do professional work with us in our facilities at Tribeca Flashpoint College. These sessions are open for students to observe and/or participate. 3 Studio Facilities Music Studio: The music studio is where we teach Studio Recording I and where Tribeca Flashpoint students record musicians for Advanced Topics classes and outside projects. The studio has three large live rooms and a vocal booth tied to a central control room. Access: 2nd year students, plus 1st year students that have passed Studio Recording I and successfully completed the studio proficiency exam. Post-Production/Foley Suites: Our post-production suites are designed for audio work in visual media and are set up for both stereo and surround mixing. The Foley room is the quietest room in the building and is ideal for recording sound effects and voice. Access: 2nd year students only. Mini-Suites: Our mini-suites are small rooms perfect for the editing and mixing of both music and sound design. Additionally, mini-suite 4 has a small booth attached to it for voice recording. Access: All students, after completing mini-suite training. Synthesis/Sound-Design Suite: A sound design suite focused on synthesized sound and software. Access: 2nd year students only. The following microphones are limited to 2nd year students only: Neumann TLM67 Neumann KM184 Mojave MA-200 Bock 195 Studio Strike Policy*: Failure to comply with studio procedures and rules will result in: First Strike: Warning Second Strike: One-week hold Third Strike: Two-week hold Fourth Strike: Unlimited hold *Certain behaviors will result in an unlimited hold on first offense. See the Equipment Office Handbook for more information. Audio Engineering Society www.aes.org 4 Audio Engineering Society (AES) is the professional organization for the recording industry. They serve as a central resource for students, professionals, educators, and manufacturers in our industry. Every year, AES hosts a convention in one of our coastal cities. This year’s convention will be in Los Angeles from September 28th to October 2nd. Some Tribeca Flashpoint faculty and several students will be in attendance. Tribeca Flashpoint College has an AES Student Chapter. The faculty advisor for this year is Jeff Kliment. Tribeca Flashpoint students run the group and leadership is chosen by a confidential student vote. Our student chapter runs several events a year and often includes companies and professionals from the audio industry. Some previous AES events have featured: Shure Audio-Technica DPA microphones Steve Albini and Greg Norman from Electrical Audio John Hardy (Hardy mic preamplifiers) TC Furlong, Inc. KAM microphones Field trip to Pritzker Pavillion 5 Headphone Purchasing Guide Considerations: • Sound quality! o Bring some music that you are familiar with and do a lot of listening before selecting your headphones. (Note: DJ-style headphones are not acceptable because the bass response is hyped.) • Comfort o You will be wearing these headphones for hours at a time. They should fit your ears and head comfortably. Everyone is different; choose what is right for you. • Isolation o Your headphones must be enclosed, with earpieces that completely cover your ears, to ensure that you don’t hear others and that others won’t hear you. • Connectors o You will need adaptors to plug your phones into BOTH 1/4” and 1/8” jacks. • Cabling: o Cables that are “curly” or wound tend to get tangled. Many professional models feature straight cables. Purchasing headphones: Recommended Makes and Models (prices are estimated): o Sony MDR 7506 $99.00 o Audio Technica ATH-M40x $99.90 o AKG K 240 $70.00 o Fostex T 40RP $160.00 o Sennheiser HD280 Pro $99.95 o Beyer Dynamic DT 770 Pro $150.00 6 Get to Know Your Faculty 7 Yuri Lysoivanov – Department Chair Yuri Lysoivanov is a composer, music producer, recording professional and pianist. He has written original music and sound design for commercials, short films, trade shows and musical theater; and has produced songs for artists in Chicago, New York and Boston. In the audio world, Yuri specializes in recording classical music (his first love) and working with singer/songwriters as a producer and engineer. Additionally, he maintains a dedicated interest in signal processing, sound synthesis, music theory and economics. Yuri has been teaching at Tribeca Flashpoint College since 2009. Education: Bachelor of Music, Music Synthesis, Berklee College of Music Bachelor of Arts, Economics, Loyola University Chicago Five great books on sound, music, and everything else Behind the Glass, Volumes I & II – Howard Massey Zen and the Art of Mixing – Mixerman Miles, the Autobiography – Miles Davis Surely You’re Joking, Mr. Feynman – Richard Feynman Candide – Voltaire Favorite audio gear to use: DPA 4006A Microphones in a stereo pair Schoeps CMC6/MK2 Microphones in a stereo pair Shure SM7B Microphone Audient ASP880 8-channel Preamp Hardy M1 Preamp UREI/Universal Audio 1176 Compressor (black) Universal Audio LA-3A Compressor Nord Keyboards and Synthesizers Applied Acoustics Tassman Synthesis Software Yamaha Pianos 8 Advice for success at Tribeca Flashpoint College: Surround yourself with classmates and peers that will challenge you to get better. Developing audio skills such as EQ and Compression takes time and training. This is true of any skill and there are no shortcuts to doing it well. People love to talk about Mozart’s musical genius, but less so about how he practiced harpsichord and violin for 8 hours a day. Don’t be arrogant. There is always somebody better than you. Advice for success in the audio industry: Listen to everything you can and train your ears. Listen to all styles of music, but especially classical music and jazz music; they are the foundations of just about all the other music you listen to. Listen to bird song. Listen to car horns, trains, machines, animals and people. Pay attention to any and every sound you hear until all those things are a part of you. Pay attention to how the human voice changes and moves so you can pick up on emotional cues and become a better listener and communicator. If you don’t know how to play a musical instrument, pick one up. It’ll pay dividends over a lifetime. The audio industry is competitive. Be honest, be modest and be patient. Take the small jobs that come your way and do great work. It will compound into better small jobs and will eventually compound into better big jobs. Don’t mistake confidence for competence. The two are not related. Learn something new every day.