
“As a songwriter/producer I relied heavily on engineers for recording and mixing if I wanted to get my tracks sounding like masters. I always wanted to do more myself but struggled to learn anything watching an engineer zip around Logic or Pro Tools at 1000 mph! Then I found Garnish School of Sound and did their Mixing and Mastering course. It was exactly what I needed, we covered everything I was unsure of in the past from using buses properly, EQ, audio compression and using specialist mastering plugins. Everything was explained and demonstrated in a way I understood. I never thought i'd ever be able get such great sounding tracks doing everything myself.”
Ben Cullum
Yes. You work to real film score briefs, including complying with broadcast loudness standards, and finish with your own project and feedback on it.
The Post Production - Mixing and Sound Design for Film and TV course runs in small groups in London. Ask admissions at Garnish London for the current dates and tuition.
Herwig Maurer, also known as Agent H - a Berklee alumnus in sound production and engineering, who collaborated on an Academy Award-nominated film's audio and does sound design on Amazon's Reacher.
Yes - live online, built for participation: weekly tasks that mirror real-world challenges, and three live playback sessions where you show your work.
Yes. The Post Production - Mixing and Sound Design for Film and TV course can be taught one-to-one, in person in London or online, built around your own projects - ask admissions about private instruction.
We have discussed the most common modulation effects such as chorus, flanging and phasing. Now it is time to investigate other modulation effects.
Read →There are many ways to access the power of filtering, but probably the easiest is to use a plug-in. Logic’s AutoFilter is a good example of Emagic’s…
Read →Beyond chorus and phasing: ring modulators, frequency shifters, Leslie cabinet simulation and auto-panners, and where each one belongs.
Read →How filters shape a sound - low-pass, band-pass, comb and notch - plus resonance, envelope control and using filters creatively in a mix.
Read →Creative gating and side-chaining for electronic music - gated reverbs, rhythmic gating, cleaner effects and upward compression.
Read →How to place instruments across the stereo field, why the low end stays centred, and how to avoid phase cancellation and masking.
Read →