Pro Tools Classes in New York City

Here is a list of pro tools classes in every major city in the United States of America, or where most relevant.. Please contact me if you would like this page to get updated with any classes that you offer.

And of course we start with

New York City

Pro Tools Training offers pro tools certification and also classes in new york city. Here is the page with the dates for those classes in NYC.

The Institute of Audio Research in NYC has a 900 hour program in audio recording and once you complete it, you are given a Pro Tools Certification. You can find more details by visiting This Link

Future Media Concepts is an Avid Authorized Education Center with learning centers in many different cities including New York. Here is their page. At the time of this article, they have 10 different courses in Pro Tools.

The Cutting Room Studios – Their Pro Tools class “covers the basics of Protools operation. Perfect for home recording enthusiasts looking to get up to speed with this industry standard software.”

The Digital Film Academy is a school in New York that offers small class sizes, financial aid, and a compelling course.

White White Water Productions has 3 courses in Pro Tools and 3 courses in general audio engineering. They are located in Brooklyn on Dobbin Street.

Looking for great Certificate Programs in Audio Engineering and Production? Try Pratt Center for Continuing and Professional Studies. They claim that there is “currently no other program like this in New York City” and the entire part-time program can be taken for under $6K.

The Manhattan Edit Workshop seems to have one Avid Course for $1,395 that covers the key concepts and skills needed to operate a Pro Tools system in a home studio environment.

Pyramind Training offers 7 different courses in Pro Tools 10. Watch their video and learn more about their instructors here.

Pro Tools Tutorial Reaches Record High in Traffic

Hello, Philip Rudy here, owner and founder of Pro Tools Tutorial. This last month we have received over 3,100 visitors and that is an all time high in the two years that this site has been running. I want to thank all of our users that keep visiting and those that have liked us on Facebook.

I pretty much make $15 a month from this website and have spent a few thousand dollars on it, so anyone that wants to contribute any articles or videos (like this last guest post from Nick Vivid) feel free to do so. You will get a link back to your website and that is good for search engine optimization and traffic to your site.

Here is a glimpse of our traffic growth since we started!

Thanks once again!

Pro Tools Buying Guide

Are you considering buying Pro Tools? There are many different options you have and many different routes you can go when it comes to buying pro tools. One of the biggest hassles, and something that can become a huge headache, is making sure all of your tools – software and hardware – are all cross compatible. This resource will help you discover the proper way to buy pro tools as well as the best option for you – whether that be buying it the cheapest way possible, or buying it the most legitimate way possible.

Remember: Pro Tools requires a three part system to work and for you to be able to work with it – much like our government there are three different branches which are:

  • Pro Tools Software
  • The Computer: Mac or a PC
  • Additional hardware that handles audio and MIDI input and output

The Software

  • Pro Tools seems to update at least once a year or so – sometimes a little earlier than that and sometimes a little later than that.
  • There is usually a lag time between the time that a MAC computer is released (or any computer for that matter) and for the time.

Pro Tools will only open with supported hardware, so make sure that your computer meets the standards. Don’t skimp out on the computer money wise if you don’t have to, you won’t regret the purchase in the long run because you will eliminate a lot of compatibility issues by “going big or going home.”

The Computer

For both MAC and Windows systems it is highly recommended that you go with Avid-qualified computers.

Before You Buy Pro Tools

Don’t just let budget determine how you are going to continue moving forward with your Pro Tools purchase. Of course, this is one of the main concerns, but it shouldn’t be your main point of focus simply because there are so many different combinations of hardware/software setups that you can use that it is very easy to get overwhelmed. The best advice for buying pro tools is to take your time, and ask all of the right questions.

The fastest way to buy Pro Tools, albeit usually the most expensive way to buy it, is to go to your nearest music dealer, like Guitar Center, WestWood Audio, or Sam Ash. It isn’t a generic music-making program. It is the industry standard for audio engineering.

Buying Pro Tools online

There are many places to buy pro tools when looking online.

http://www.sweetwater.com/shop/pro-tools/ is a great place to start

Getting Started in the Audio Engineering Business

Audio Engineering Studio Board

Getting started in audio engineering is a process that isn’t always linear, but always moves forward. In my years I’ve encountered so many different scenarios where different aspects of my knowledge and experience in engineering and related fields have really paid dividends. It all adds up, and if you want to get started here’s some things that will give you an edge over your peers.

SHOW UP ON TIME AND BE AS PREPARED AS YOU CAN BE

It goes without saying but those who are professional, courteous, and show up on time get the better gigs. Your talents play a role, but you can get very far and learn as you go by being above and beyond present. I’ve had a few recording gigs where I found myself slighty in over my head, and I’ve always made it through those “trial by fire” experiences by being alert, patient, and willing to do the best job I could.

PLAY AN INSTRUMENT OR TWO

I got my first 4 track portastudio cassette recorder when I was 16. By then I was playing drums, guitar, and bass. I was also a vocalist in training. I taught myself microphone placement and experimented countless hours recording my own songs on what became hundreds of tapes on that little machine. That has taught me to understand the needs of vocalists, the needs of drummers, the needs of guitarists, etc. They all have a certain way they perceive their instrument, and being able to talk their language and help them achieve the sounds they’re looking for is probably more important than knowing how to operate a recording console. Why? Garbage in = Garbage Out. Start at the source. A great guitar amp sound is only going to make everything after easier to achieve. Start at the source always.

LEARN THE SKILLS OF A REPAIR TECH

This might be the biggest asset I’ve had in my corner. A basic knowledge of electronics, troubleshooting, and electronics repair will get you farther in this business than someone who doesn’t have those skills. Learn how to solder. Learn basic operation of tape machines (yes they’re still in use in most major studios). Calibrating a Studio A80 is a must-know at all major recording studios. I still use tape machines at my recording studio. Cleaning the tape path and calibrating for various types of tape is a daily procedure. Some studios hire technicians whose sole job is to get the tape machines ready for the next client’s recording session. Learning how to fix dead channels on a console in the midst of a session or being creative enough to problem solve issues as they arise is key. If you can keep a session going, not wasting the studio or artist’s time and money, you’ll be your boss’ favorite employee and job security will be that much more attainable. Believe it or not, your biggest job in any major studio, as the engineer, will be to keep things rolling, which in turn keeps the client happy with how they’re spending the time they are paying for.

MAKING THE CLIENT HAPPY IS YOUR ONLY GOAL

The entire goal is to make the client happy. So put yourself in the client’s shoes. Find out what they want and figure out how to achieve that. That’s the only rule. Everything else is subject to taste. A major label works with engineers and producers that have a specific “sound” they are known for. Many artists seek these types of producers and engineers because they have a track record of making great sounding albums or having multiple gold records on their walls. If you want to record hip-hop or dance music that’s radio and major label friendly, then there’s very little creativity you’ll want to throw into the process at times. You’ll want to follow a stricter set of guidelines in a case like this, as opposed to recording a 3 piece punk rock band that just wants the final mix to be “really loud”.

I will often start sessions by asking clients what records they want theirs to sound like. This will give me an idea of what types of amplifiers, guitars, drums, Eqs, and compressors we will want to try during the session. Mimicing things that have already worked in the past is a smart way to learn for those just starting out, but I still learn new things in every session I do by utilizing this method.

KNOW THE TOOLS OF THE TRADE

Pro Tools is the de facto standard digital audio workstation used in all major recording studios, but knowledge of other software is just as important in my opinion. If you get hired for a gig, you’ll want to know what the most common features of all DAWs are, so no matter what studio you walk into, you’ll know the basics of everything and the learning curve will be minimal. All DAWs use similar interfaces, so there’s not much difference between them. However, you need to know pro tools well. A well rounded understanding of pro tools will be a basic key to any resume you present to a studio or artist seeking to hire you. Learn DAWs. Learn old analog recording consoles. Learn as many different types of Eqs, compressors, reverbs, delays, and microphones as you can. Learn what makes each unique and learn which each one does that sonically provides it’s own signature – what makes it special. You don’t see many of these today but, for my money, the greatest console ever made was the Helios Type 69. Georgio Moroder has the Helios console at his studio, and he just received a Grammy award for his work with Daft Punk. It takes some time, but listen to records made with a Helios, then listen to records made with a Neve. Listen to records made with an API, and then records made with an SSL. There is a difference between them all, and again, the sonic signature of each piece of gear you use will be a tremendous asset as time goes on. Knowing what a piece of gear can do just by looking at it will be a tremendous advantage, but that takes time and even highly paid engineers don’t know what every piece of gear can do. When you feel you know enough to get going, have the confidence to jump in! You don’t need to know everything, but knowing as much as you can helps!

LIVE VS STUDIO ENGINEERING

I’ve been both a live and studio engineer for many years. Both are similar in many ways. Helping the band/artist to achieve their desired sounds, microphone placement, and balancing a mix are the most obvious similarities. However, live situations are far more forgiving as far as audio engineering mistakes are concerned, so I often suggest to start with live sound engineering if working in a studio environment seems too stressful. This might be the easiest gig to get without a lot of experience on your resume as well.

Find a local club that has live music and talk to the head of production or house sound engineer and offer to sit in with them for free and ghost them for a couple gigs. Many will be often open to the idea of training you for free and showing you how everything works – even letting you run the board for a few songs. Working in a live sound environment will also expose you to different styles of music – sometimes all within the same night. To be a well rounded audio engineer, I’ve found my experience as a live sound engineer to be invaluable.

And It’s where I got my start. And now I own my own studio in Manhattan.

by / CEO MegaPlatinum Records
www.NickVivid.com

How to Find the Money You Need to Start Your Studio

by / CEO MegaPlatinum Records
www.NickVivid.com

UNDERSTANDING YOUR RECORDING STUDIO’S PURPOSE

The first thing I considered when building my recording studio is what was the purpose of the studio. Was I going to record records for major labels? Was I going to be a pop top 40 or hip hop studio? Was I going to record rock bands? When I figured out what my studio was going to stand for, it became that much easier to figure out what gear I was going to need to make it a reality and what kind of space I would need for my recording room(s). When I knew what I was going to need in terms of gear and space, then I could develop a budget.

A perfect example: Nirvana’s Bleach was recorded on an Otari 8 Track 1/2” machine at Jack Endino’s budget studio in Seattle, and that sold how many copies now? That machine nowadays costs $500. You can start on a shoestring by utilizing as many efficient practices as you can, while still achieving great results. Saving money is as much as spending money, and the more you can save, the less you’ll need to raise in order to start your studio.

HOW MUCH ROOM DO I NEED?

If you’re on a budget like I am, you don’t need much. You need 2 rooms essentially. One for you and your console or digital audio workstation, and one for the band to perform in. A live room that is roughly 12x12x12 will give you enough space to record a drummer and a few instruments. If you’re doing electronic music, you might need a room half that size to fit a vocalist and any non-electronic instruments and amplifiers.

Treating rooms will be a definite must, but again, there’s ways to treat a room to where it’s good enough to make the types of records you want to make. Kraftwerk, who were pioneers in electronic music, used an old factory space that was never acoustically treated. In other cases, you may be in a concrete basement where echoes and reflections will be a detriment to your ability to make a coherent mix later on. I find having a room that’s a nice balance of “dead” (i.e. heavy soundproofing) and “live” (less soundproofing) ideal for most situations. Anything that’s too dead sounding can be altered later on with reverbs and delays. But taking reverb out of recordings that have unwanted reflections in there is very hard to do. I always err on the side of “dead” soundproofing.

Soundproofing can be bought for cheap. I sometimes will ask local businesses that might be closing if they have any soundproofing on their walls or ceilings. Art gallieries and offices with cubicles will often have some form of acoustic treatment. See who is going out of business or getting rid of cublicles and other materials you might be able to use. A lot of that material makes excellent soundproofing, as does old rugs and other types of fabrics.

WHAT ABOUT THE NEIGHBORS?

That’s a major consideration. Basic soundproofing will not help noise from escaping your studio! It will only help acoustically treat the sound inside of your studio. Making sure your neighbors are happy with you goes a long way. In NYC for example, most budget studios are in basement spaces where there are no neighbors below or to the sides. Most have a business above that’s closed after 6PM, and the studios make the most of their noise at night. Having to build interior walls (room in room construction) is a costly endeavor, HAS to be done right (or it’s a waste of money), and can be subject to fire and building codes in your area. Finding an area where the noise can escape and not be an issue is a huge advantage. Check the local noise ordinance laws in your area to find out which are acceptable levels for sound leakage.

MICROPHONES

Legendary producer/engineer Eddie Kramer has said and entire album could be made solely using the Shure SM57 and he’s right. The SM57 might be the most versatile microphone ever made. It can practically be used on any source – acoustic or electric, and sound good. Having a good vocal mic, a good kick drum mic, and good overhead condenser mics are great as well. You’ll find that, even though your budget might be limited to handle 5 or 6 microphones, if you choose wisely, you’ll be able to handle a large array of situations utilizing all of them often.

OTHER GEAR AND AVOIDING ONE TRICK PONIES

One trick ponies are great for studios that have everything else, but having a small amount of quality gear that’s versatile and can do a number of things well will be the key to starting out. A good set of microphone preamps is the most important thing you will need, especially if you’re working ITB (In the Box – in a computer workstation only without the use of any physical console.). I highly suggest getting a 500 series lunchbox, and building preamp 500 series kits. They’re much less expensive than buying vintage pieces or already made 500 series boxes. For example, you could build an exact replica of a classic API channel for less than $300 per channel. If you are only going to record up to 6 sources at one time (perhaps for a drum set), you would only need to budget less than $2000 for a full supply of API microphone preamps for your studio, which is a big deal. Sometimes I also find deals on gear that sounds much better once it’s been modded. Learning how to solder and build your own gear, or being able to modify cheap gear into something that far exceeds it’s pricetag is a tremendous asset. In many cases, you’ll almost be able to cut your entire budget in half.

FREE VST PLUGINS

One of the great advantages of working ITB is the use of plugins for compression and EQ. And since it’s a buyer’s market, there’s a plethora of new companies emerging hoping to make their mark in the VST plugin world. Often many will give you free VST plugins that produce amazing results. Search the internet for “best free vst compressor” or “best free vst plugins”. You’re bound to find some killer plugins this way.

MONITORING

Having a great pair of speakers and a pair of reference headphones is the last important piece of the puzzle. Having accuracy in your studio will let you trust the sounds that come from your speakers during tracking and mixing. You’ll know when it’s good. Yamaha NS-10s are the standard in every studio – major or otherwise, and a pair of reference headphones like the Sennheiser HD600 can be bought for as little as $400. Between those two items you can’t go wrong in my opinion.

GETTING THE MONEY

Once you budget it all together, and find out what you’ll be able to do on a shoestring, you might be very surpsied with how little it will actually cost to get up and running. If you have a budget need of less than $20,000 and have good credit, you could go the obvious route like a bank or credit union and inquire about a small business loan. Family and friends can be good resources, and crowdfunding services like indiegogo and kickstarter have helped many musicians build their sonic empires.

As you make money with your studio, you’ll be able to get more gear and expand your offerings, but in the beginning I highly suggest figuring out how to do as much as possible with as little as possible for the best chance at longterm success.

Best of luck!

8 New Free Pro Tools Tutorial Videos

Hello yall, it’s nice to be stopping in today. I would just like to say that we have added 8 wonderful free videos to our website. These videos were contributed by one of our featured producers – Marie Sorenson.

If you would like to be a featured producer or contribute some videos please feel free to contact us. Remember that this site is absolutely free and I myself do not have the capabilities of making any videos as of the moment – so any contributions would be amazing. You will get a link to your site (great for search engine optimization) and a page or about yourself. If you would like we could even trade services and I will make you a website in trade for some tutorial videos. Just let me know! Anyways, without further ado, here are the 8 new free videos.

Should You Go To School for Audio Engineering?

Everyone’s Situation is unique

I know.. I know… Everyone and anyone would say that “everyone’s situation is unique,” and that this applies to all aspects of life. But it really is true in this case, and I really think that what I am about to say not only applies to audio engineering (using software like pro tools), but many different fields in life. My father always told me to get a technical degree (I originally went with chemical engineering), and then you will be able to do whatever you want to do in life. “A technical degree will tell everyone in the world that you are smart, and for the most part, a valuable asset to any team (as long as you don’t have abysmal people skills),” he would say.

For the most part I found this to be true in theory but nevertheless after about 4 years in school and thousands of dollars of debt in school loans, with only an associate’s degree that I never even applied for (didn’t see the use), I decided to take a role in Internet Marketing (something that you could not even get a degree for at the time) and website design. I bounced out of what was soon to be a computer engineering major (I switched majors by this time) and moved across state from the Metro Detroit area to a nice little city called Grand Rapids on the west side of Michigan.

Now why am I telling you this? I am telling you this because although audio engineering and skills that pertain to the Internet world are not exactly the same, they have a lot of similarities like:

  • Having to stay on your computer for a long time
  • Having to work with highly advanced software
  • Having the option of learning on your own
  • Specialized skills

In fact this website was one of the first things I coded back in 2009 and now its gets almost two thousand visitors a month with absolutely no structural changes.

School is Expensive, and Debt is Heavy

I believe that this blog post from The Recording Revolution couldn’t have said it any better and I agree with the sentiment that you should not go to school if you cannot pay for it. The audio engineering space is probably a competitive space – I do not know for sure, as I have never tried to start a production studio or anything like that but I if I had to guess I would say it is competitive, and if you come out of school with 20-40K in student loans in with an audio engineering degree and you cannot find a job right out of the gate then you are in for some hard times financially. You won’t be able to buy the clothes you want to buy, eat the food you want to eat, or live in the home that you want to live in all because you are paying school loans down at the rate of $400 a month.

It is a lot easier to pay for school when you come from a fortunate family and people are able to pay for you. If this is the case, and music production is your passion, then getting into school can help you gain the right type of connections, and promoting any work you may have done will be as easy as passing a few CDs around the classroom. It is also a great place to meet people that you may potentially collaborate, or build up a solid social base that will pan out one way or the other in the future (think: “The Social Network).

So like many others that have an opinion on this subject, I am not a complete school hater and not totally against people getting their degree. I just have to caution you to make sure you know what you are doing if you are going to be spending thousands of dollars up front on your career with no professional experience, because the honest truth is that you really don’t need a degree to make it in this business. In fact, most of the people at the top of this business probably did not even graduate or attend school for that matter!

Did I mention the Internet?

With online tutorials available by the truck load, and music producer forums by the masses, you can learn everything you would ever need to know from going to school for about 1/100th of the cost. It’s just about the drive. It’s about putting in the extra work on a Friday or Saturday night, and it’s about getting your name out there. You could start opening up your own music studio right now if you wanted to. Nothing is stopping you – the world is your oyster.

15 Common Problems With Pro Tools And Windows 7

According to countless reviews by individuals who use both Pro Tools and Windows 7, the operating system frequently causes the software program to display error messages, and many unwarranted pop-ups have appeared when the two systems were being used together. Although Windows 7 and Pro Tools are still highly compatible – here are some of the common problems you can run into. Sometimes the researching of trouble shooting these problems can be extremely painful, so if you have encountered a problem and found the solution – please contact us and let us know so that we may help other users out.

Here they are.

Error Code 9500

When a user views this code, Pro Tools will be able to play the developer’s audio clips, but while the software indicates that the media clip is playing, the user won’t hear any sound.

Customers who are using Pro Tools HD can log out of the software program and restart it, and as a result, the error code disappears approximately 50 percent of the time. In contrast, individuals who are using Pro Tools LE or Pro Tools 9 will not be able to remove the error code by restarting the program.

Error Code 9060

This message usually appears after the customer has been recording audio for 20 seconds to 30 seconds. Furthermore, new soundtracks that have been saved by the user frequently get replaced by sound clips that have been recently deleted when this error code appears.

This error usually occurs when an external hard drive has been recently added to the computer.

Using Power

Many users have reported that their computers will suddenly present a message that warns them that Pro Tools is using more than 90 percent of the computer’s total energy; however, they will discover that the software program is only using 20 percent to 25 percent when they conduct a test of its usage by utilizing any software program.

Uninstalling Pro Tools

According to several reviewers, Pro Tools 7 and Pro Tools 9 are both incredibly difficult to uninstall from the Windows 7 operating system. When the patron attempts to remove the program, the software will provide a message indicating that it has been uninstalled, but when the user reboots the computer, Pro Tools will still be present in the device’s hard drive.

Distorted Sound

Users of Pro Tools 11 have discovered that their sound randomly becomes distorted when they are using Windows 7. There is no message that pops up to indicate that the system recognizes its error, and usually, the problem lasts for five minutes to 10 minutes before subsiding.

The User’s Privileges

Countless customers have reported that an error message indicating that the user doesn’t have sufficient privileges to start to use Pro Tools appears when they first attempt to install the program.

The computer’s administrator is the only user who can install or modify Pro Tools; however, any user can access the program once it has been added to the computer.

Causing The Computer To Crash

When using Pro Tools 10 with Windows 7, many people have reported that their device crashed, and others have claimed that the screen froze without any warning. In order to prevent this, the customer can uninstall Windows 7 and add Windows 8 to the computer.

Errors When Starting To Use Pro Tools

Individuals who have installed Pro Tools 8 have repeatedly stated that the software presents an initialization error when they begin to use the program.

In order to solve this problem, a person should completely clean the computer’s registry before re-installing the software program.

Uninstalling Internet Explorer

Pro Tools works quite well with Mozilla Firefox and with Google Chrome; however, Pro Tools 9 and Pro Tools 10 are not compatible with Internet Explorer.

The user must remove Internet Explorer from the computer before Pro Tools has been installed, and after restarting the machine, the customer can add the software to the device’s hard drive.

Selecting A Graphics Card

The graphics cards of a wide variety of computers are not compatible with Pro Tools. When using the software with an outdated card, customers have reported that a portion of the screen will be blank or distorted, but the other features of the software will still be available.

On August 29, 2012, the manufacturer of Pro Tools posted a report that indicated all of the graphics cards that have been released by Apple before 2005 are compatible with Pro Tools 10, and the majority of the cards that are manufactured by Nvidia will allow the software program to function correctly.

Choosing A Type Of Computer

In the year 2011, Avid Technology released a list that featured computers with operating systems that would allow the software program to fully function. Manufactured by Apple, the Macbook Pro and the Macbook Air were both included in the list; however, all computers that were created by Apple before the year 2008 are not compatible with the software program.

Creating A Restore Point

Once Pro Tools is operating correctly, the customer should add a restore point to the computer.

Providing A Report

In a recent article, representatives of Avid Technology requested that customers generate a full report of the state of their computers by using a software program called Sandra, which was manufactured by SiSoftware.

The business was founded in 1995, and it has been working with Avid Technology to improve Pro Tools and the company’s other programs since 1997.

There are five versions of this software available, and a person can download the least powerful type of Sandra software for free by visiting sisoftware.co.uk.

Avid Technology

When a customer contacts the manufacturer, the representatives at Avid Technology would like the user to provide the model of the computer, the device’s processing speed, the amount of random-access memory that the computer has, the model number of the Pro Tools software, a comprehensive description of any additional hard drives and their cables and a complete list of the techniques that the patron has already used to troubleshoot the problem.

Updates To Windows 7

Windows 7 frequently updates itself, and if one of the operating system’s new features causes Pro Tools to malfunction, a message that provides a report for a code seven error will appear. Additionally, the installation of a new anti-virus software can prompt this error message to pop up.