Section 1:

This section focuses on acoustic drum programming. This module will help you understand the layout of Kontakt, enable you to read and program from rum Notation as well as program Advanced Rudiments and a Variety of Fills and Breaks. Get the skills to program Stylistic Drum Patterns in a variety styles and select a Drum Sound appropriate to the Tempo and Style of a track.

Section 2:

This chapter focuses on electronic drum programming inside of a DAW. By now the world of drum programming should be clearer, but there is still a lot more to learn. It might be a certain technique, the use of polyrhythms, programming complex hi-hat patterns, trying to make your drums sound more human, and so on. The modern producer is certainly spoilt for choice when it comes to software and techniques for programming patterns. Practical examples in this chapter are used to reinforce the demonstrated examples. Learning how to program drums, like anything else in the field of music production, is a lifelong process.

Section 3:

This section continues with bass programming techniques learnt from the DMPI courseware. Greater focus is given to more advanced programming techniques as well as sound sculpting possibilities, as the bass sound has become so important to modern production. When thinking of bass one does not have to think of just a traditional acoustic or electric instrument, but can use various means of sound production to create low end foundation to a track. After this chapter you will be able to work with Extended Bass Programming Techniques, create variety within a Single Part, work with Different Scales commonly used for Basslines. Furthermore, you will have the skills to sculpt a Bass Tone as well as be able to Sidechain a Bass Part to a Kick.

Section 4:

This section focuses on programming percussion that is used in modern music production. You will be able to know the difference between determinate and indeterminate pitched percussion, be able to program in compound time signatures as well as program different rhythmical patterns from various world regions. You will get the skills to craft electronic percussion sounds from scratch as well as be able to craft new percussion parts for a song.

Section 5:

Get the skills to create and use custom samples. It is important that each producer understands these tools and techniques. You will understand the different sampling techniques, be able to layer acoustic and electronic drum sounds, as well as build custom drum kits and add texture to samples. Lastly, you will be able to program beats with custom sampled kits and create unique effects.

Section 6:

This section will help you understand more about synthesis. Through practical examples you will be able to understand the basics of synthesis. Two possibilities open up for a producer or programmer. Firstly, you can create sounds from scratch that are unique and tailored towards the project that is being produced. Secondly, if you finds a preset that is close to the desired sound, then you can tweak the synth with both greater speed and precision.

Section 7:

This section focuses on building a solid foundation for vocal production, which includes how the voice works, how to work with a singer, as well as setting up a recording session. As vocals are intimate in nature, the producer must do everything possible to create the right balance in terms of mood and space. This is paramount to the success of a project, as the vocalist is typically the most essential element in a song.

Section 8:

This chapter focuses on melody and chord writing, both of which are essential production skills. In addition to this relevant patterns are also dealt with, which demonstrates how to apply chord progressions with pattern thinking. This section does not deal with sound selection, which is through an important aspect of the production process.

Section 9:

This section will introduce you to the fundamentals of music business. It is very important for any aspiring creative professional to understand how the business aspect of any given industry works, as these are essentially the governing rules, which can make or break one’s career. If you have a clear understanding of how the industry works the easier it will be for you to make a well-informed decision about your own business practice.

Section 10:

This section is an introduction to the mixing process. This chapter provides a theoretical background, although since mixing is a practical subject it requires practice in order to improve. Therefore, it is recommended that the student take every opportunity to practice all the covered concepts. Mixing is often described as a blend between the creative and technical, therefore, engineers are required to master many tools in order to complete a mix. However, it should always be noted that most listeners will only relate to the emotion that the artist is conveying and our job as mixers is to successfully communicate that emotion to the audience.

Section 11:

We will look at two of the most used processors that a mixer has in his toolbox: Equalizers and Compressors. It is essential for any aspiring mixer to master these two tools if he intends to have a lasting career in the music industry. Equalization and compression address the next two dimensions in mixing, frequency and dynamics. With equalizers, an engineer has probably the most valuable tool in his belt which allows him to shape the frequencies of all the instruments to make it into one cohesive unit, whereas with compression he can not only control the dynamic range of instruments but also shape the transients of other instruments.