12 Weeks
Level 2
3-Credit Tuition
$1,545Non-Credit Tuition
$1,290This course will introduce the fundamentals of mixing audio for live events and productions, while preparing you to be active, professional live sound mixing engineers. We’ll begin with the basics, discussing the basic elements of a sound system. From there we’ll move on to signal flow and electrical signal flows through a live audio system. We’ll also work with offline console software to build show files. We’ll dive into signal processing including EQ and dynamic and time based effects, discussing how and when to apply these practices. This course also discusses the differences between a front of house (FOH) engineer and a monitor engineer. You’ll learn mixing in both contexts and how each requires a certain set of skills. In addition, a large part of this course includes training your ears to hear certain frequencies. This skill is imperative when mixing so you can understand how to adjust a mix effectively to achieve the best live sound possible. Finally, throughout the course, you will develop an understanding of what it means to be a professional in this field.
By the end of the course, you will be able to:
- Discuss the importance of professionalism within the industry and carry yourself as such in a variety of live audio settings
- Discuss proper concert and production etiquette, protocol, and procedures
- Provide professional setup, operation, and breakdown of front of house and monitor and stage areas
- Select and implement appropriate console, microphones, and direct boxes for live sound needs
- Apply signal processing in order to achieve desired creative and technical outcomes when mixing in varying venues
- Configure input list for varying band configurations
- Create a compelling front of house mix for a live event
- Create a compelling monitor mix for a live event
Syllabus
Lesson 1: Terms, Basics and Concepts Part 1
- Vocabulary and Lingo
- The Basic Setup: Input Sources and Their Connections
- Stage Plots and Input Lists
- Input vs. Output
- The Console
- Assignment 1: Our B.A.S.S System
Lesson 2: Terms, Basics, and Concepts Part 2
- Signal Path
- Gain and Gain Staging
- Routing
- Aux Sends, Mix Buses/Groups and FX Returns: Moving Signal Within the Console
- Stage Boxes, Splitters, and Snakes, Oh My!
- Line check vs. Sound check
- Assignment 2: Mic These Instruments
Lesson 3: Gear Part 1
- Consoles
- The Channel Strip
- Stage Box
- Audio Snakes and Sub-Snakes
- Mics and More
- Assignment 3: Mic the Drum Kit
Lesson 4: Gear Part 2
- Real Time Analyzer
- PA
- Stage Monitors
- Power
- Assignment 4: Troubleshooting
Lesson 5: Gain and Gain Staging
- Mic Sensitivity
- Applying Gain
- Sound Source
- Gain Reduction
- Gain Staging
- Assignment 5: Choose a mic and sound source
Lesson 6: Routing
- Channels
- Pre and Post Fader
- Busses
- Groups
- FX
- Matrices and Outputs
- MONs
- Assignment 6: Routing
Lesson 7: Front of House
- The FOH Engineer and Mix Position
- Building and Routing
- Moving the Signal Around the Console to Onboard FX and Outboard Gear
- DCA, Group and Matrix: Gather and Distribute
- Assignment 7: Build a Show File on Offline Editor
Lesson 8: Monitors
- Types of Monitors: Wedges, Side Fills and Drum Sub
- Avoiding Feedback
- Building monitors Show File
- Wireless vs. Hardwired In-Ears
- Mono Mixes vs. Stereo Mixes
- Groups
- Client/Monitor Engineer Relations: Building Trust
- Assignment 8: Create a Mix for In-Ear Monitors
Lesson 9: Processing Part 1
- Analog vs. Digital World
- FX vs. Tools
- Time Based FX vs. Dynamic FX
- Assignment 9: Processing
Lesson 10: Processing Part 2
- Gate
- Compression and Limiters
- Expander
- Ducker
- Don’t Eye-gineer
- Graphic EQ vs. Parametric EQ
- Additive vs. Subtractive EQ
- Assignment 10: EQ a Vocal
Lesson 11: Balance and Application
- The Differences between Mixing for a Live Show and Live Stream
- Using the Right Gear the Right Way
- Troubleshooting
- Mixing for a Live Church Service or Corporate Event
- Assignment 11: Live Stream Mix
Lesson 12: Beginning A Career in Live Sound
- Production Houses
- Freelancing
- For the Love of Audio: Working in a Team
- Compensation
- Assignment 12: Career Goals
Requirements
Prerequisites and Course-Specific Requirements
Prerequisite Courses, Knowledge, and/or Skills
Students should have:
- Some experience/familiarity using a DAW
- Understanding of mic technique (including basic familiarity with wireless systems)
- Basic understanding of a mixing console (be able to identify the master fader, channel strips, channel faders, pan pots, inserts, auxes)
Textbook(s)
- Great Live Sound: A practical guide for every sound tech by James Wasum (Great Sound Institute, 2019)
- Recommended: Tour:Smart: And Break the Band by Martin Atkins (Chicago Review Press, 2007)
Software
- Full-featured Digital Audio Workstation (DAW), such as Pro Tools (Studio or Ultimate), Logic Pro, Cubase Pro, Ableton Live (Suite or Standard), Reaper, Reason, or FL Studio (Producer or Signature). Note that GarageBand is not acceptable.
- Midas M32 Offline Editor (free Mac download or Windows download)
- Software to record computer screen and audio, such as OBS
- Word processing software, such as Microsoft Word, Google Docs (free), Apple Pages, Apache OpenOffice (free), etc.
Hardware
- Professional closed back, over-ear studio headphones, such as Audio-Technica ATH-M50x, beyerdynamic DT 770 PRO, etc.
- XLR cable, 10' to 25' in length
Student Deals
After enrolling, be sure to check out our Student Deals page for various offers on software, hardware, and more. Please contact support@online.berklee.edu with any questions.
General Course Requirements
Below are the minimum requirements to access the course environment and participate in Live Classes. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course.
Mac Users
PC Users
All Users
- Latest version of Google Chrome
- Zoom meeting software
- Webcam
- Speakers or headphones
- External or internal microphone
- Broadband Internet connection
Instructors
Author & Instructor
Amanda Davis is an audio engineer, educator, production manager, singer and musician based in Memphis, TN. She is a proud graduate of Chicago’s Roosevelt University (2008; Bachelors of Arts in Music in Vocal Performance) and SAE Institute, Atlanta (2010; Music Recording and Production). After graduating from SAE, Davis was hired as the Institute’s first female Lab Supervisor and first female Music Theory instructor. In 2013, Emmy-winning artist Janelle Monáe handpicked Davis to serve as her Front of House Engineer. Canadian indie/pop duo Tegan and Sara recruited Amanda to serve as their FOH engineer in 2016. In the fall of 2017, she was named Production Manager on Tegan and Sara’s The Con X tour. In 2020, Amanda returned to her native Memphis, working out of David Porter’s 4U Recording studio, to record, mix and co-produce Kortland Whalum’s A Love Letter extended play project and TANGELA’s Splendid Mind EP. Tegan and Sara also entrusted Amanda with mixing duties for their Tonight in the Dark We’re Seeing Colors album; a special Record Store Day vinyl release of live recordings from their 2019 Hey I’m Just Like You Tour. As a front of house engineer, Amanda’s touring and live show roster includes: Janelle Monáe, Tegan and Sara, Olivia Newton John, Nipsey Hussle, SWV, Jidenna, Jon Batiste, Chloe and Halle, Olivia Rodrigo, Summer Walker, Lil Durk, Audrey Nuna, Jazmine Sullivan and Ella Mai.
Author & Instructor
Since graduating SAE (School of Audio Engineering) in 2010 and pursuing a career in live music and production David has cemented a solid resumé, working with a variety of clients such as Janelle Monaé, Kali Uchis, Jidenna, Hurray for the Riff Raff, and others. Having mixed a variety of genres and styles is what he believes to be the key to a lasting career in audio engineering. Pop, rock, indie, hip-hop, electronic, jazz, and classical are well within his mixing vernacular and having worked with legends and current pop stars alike has helped craft his understanding of what it takes to achieve the results his clients are looking for.
What's Next?
When taken for credit, Live Event Sound Engineering and Concert Mixing 201 can be applied towards the completion of these related programs:
Related Certificate Programs
Related Degree Majors
Related Music Career Role
Employers look for skills learned in this course, when hiring for the following music career role:
Questions?
Contact our Academic Advisors by phone at 1-866-BERKLEE (U.S.), 1-617-747-2146 (INT'L), or by email at advisors@online.berklee.edu.
