Audio Engineering & Acoustics (Principles)


The Advanced Diploma in Music Production and Sound Engineering is an intensive one year programme which is taught across a one-year period. The course is then divided into three terms, with each term building on the knowledge and skills you learnt in the previous term.

Using our progressive continuous learning method each module will cover historical and theoretical content alongside practical and technical skills so you develop a rounded knowledge and skill set within each area.

The breadth of the course means that alongside learning what equipment, techniques and microphones to use you also learn why you use them. This will help you develop your own expertise and understanding of how to create different sounds and effects.


Within the diploma we cover all of the following subject areas:

Acoustics, Computing, Copyright and Legal issues, Digital Audio Technology, Electronics and Analogue Equipment, General Music Business (Publishing & Marketing), Management Skills, Mastering, Microphones, Mixing and Critical Listening, Music Theory and Production, Production, Recording, Sound Theory, Studio Equipment and Signal Processing, Studio Etiquette and Musicianship.

Below you can browse through the three terms and see a more detailed breakdown of modules and these subject areas for each term.

Audio Engineering & Acoustics (Principles)

These are the learning outcomes for this subject area.

You will be able to:

• Recall key points in the history of musical synthesis;
• Synthesise instruments using additive, subtractive, FM, wavetable, vector and granular synthesis
• Synthesise instruments using physical modelling tools;
• Recall key points in the history of musical sampling;
• Identify and operate DAW samplers;
• Describe the basic principles of transduction;
• List the analogue devices that are commonly found in music production studios’ signal chains;
• Identify digital audio devices that are commonly used in music production;
• Describe the process of analogue to digital conversion in broad terms;
• Recall the elements that affect digital audio quality;
• Describe the basic principles of digital signal processing;
• Recognise the different types of digital audio files;
• Discuss the basic principles of digital audio data compression;
• Appraise the audio equipment interconnection strategies of small music production environments;
• Evaluate the calibration requirements of small music production setups;
• Describe the concept of standing waves;
• Calculate simple room modes;
• Describe how the volume and the absorption coefficient of the materials covering the surfaces of a
room affect the latter’s reverberation time;
• Calculate the RT60 of different environments;
• Create impulse response files for use in convolution reverb plugins;
• Identify the acoustic devices that are commonly found in recording studios;
• Appraise the acoustic qualities of materials;
• Recall key points in the history of recording studio design;
• Appraise the acoustic qualities of recording studios and other music production environments.

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