Program: Recording Connection for Audio Engineering & Music Production
Learn Audio Engineering
Get inside access to the music business, extern under a legendary audio engineer inside their recording studio. Gain insider knowledge and connections during real sessions. Work hard and turn your dreams into reality.
No cubicles for you—your office is way cooler: it’s the recording studio!
The Recording Connection Audio Engineering program prepares aspiring audio professionals for careers in the music industry as audio engineers. In one-on-one, supervised hands-on sessions, an established audio engineer teaches you the basics of acoustics, signal flow, recording techniques, automation, and much more.
As an audio engineer, you are the technical professional in the room who knows everything about the system you are working on and how to make the best possible recordings. Your decisions in microphone selection, microphone placement, EQ and compression drastically shapes a listener’s experience. Your technical choices are backed by your knowledge of music and production- you may even double as the producer!
Our program empowers you to obtain the knowledge, experience, and understanding it takes to be a professional audio engineer. Equipped with these insights, you are enabled to follow your own path toward an intense, rewarding career!
In the Studio
Recording Connection’s audio engineering certificate program puts you inside a real recording studio and side-by-side with the studio’s audio engineer for private, in-person, practical instructional sessions plus remote tutoring from an Academic Facilitator. Students are expected to put in 10 hours per week.
The structured program curriculum includes 20 lessons and covers the following:
With artists, music producers, studio management, record labels, clients.
Recording, tracking, editing, mixing, mastering.
Hardware and Equipment
Analog and digital consoles, outboard compressors, preamps and FX processors, microphones.
With the right experience and connections, you can jumpstart your career in the music industry.
Some certificate programs may not be available in AZ and TN. Please consult our school catalogs for more information.
In this lesson, we will take a look at the physics of sound. We will understand how sound travels through air, how our ears receive sound, and how our brains interpret the sounds we are receiving. Understanding this will help us build a foundation for how we can manipulate audio and create an experience, balance, and blend with the instruments that we are mixing. The most important thing to remember is not to feel overwhelmed. It is not necessary to understand these concepts on a scientific or mathematical level your first time going through them. Allow yourself to evolve with…
Did you ever stop to think about what is happening when you flip on a light switch? We take for granted that it will turn on every time. We don’t stop to think about the evolution that went into making that light switch possible! But what does this have to do with audio? The answer is, a lot! The ability to record anything has been largely dependent on electricity for a very long time. In this chapter, we will take a very basic look at some of the fundamentals of electricity and how these concepts apply to the audio world.…
Even before the introduction of the Compact Disc, digital audio started to shape the sound of popular music, as digital effects processors, samplers/sequencers, and digital synthesizers started to appear on commercial records as early as the mid 1970s. The evolution of computer-based technology was gaining tremendous momentum, and digital processing began to creep into every aspect of music production. By the 1980s, the digital revolution was taking the music industry by storm. Digital instruments, digital recorders and digital consumer audio formats were taking over the audio world. Over the course of roughly the next two decades, digital audio began replacing…
Let’s think for a moment about the long journey that a single sound recorded in a studio must take in order to travel from the musician’s instrument to the control room monitors. Picture yourself in the studio tracking electric guitar overdubs with your favorite guitar player—Slash, or Jimi, or whoever, is in your live room are you’re sitting at the console running the session. Now, let’s follow the path of the electric guitar signal from beginning to end. In this chapter, we will take a look at not only the path, or signal flow, that your audio signal take, but…
A microphone is a device that changes acoustic energy into an electric current that can be altered and manipulated. Any device that converts one form of energy into another form of energy is called a transducer. Microphones are used in many different applications and are typically the first stop in the signal flow of your recording path. In this chapter, we will look at various types of microphones, explain briefly how they work, and help familiarize you with popular mics you will see in the studio. Objectives History of Microphones Microphone Specifications Microphone Circuit Types Chapter Quiz Blog Entry …
Microphone choice and placement plays a huge result in the final recording product. Everything we have discussed up to this point plays a role in how our signal is captured. Hopefully, by now you have started to think of the recording process as a lot more then just pointing a microphone at a sound source and pressing play. The many factors that come into play can affect your final product. In this chapter, we will look at the common practices of the recording process with regard to mic choice and set up. Getting to know your microphones, and the microphones…
Tracking is the term that audio engineers use for recording multiple tracks of audio information at the same time. There are many different strategies used for many different situations. No one understands this process better than your mentor! In this chapter, we will take a look at some hypothetical situations and try to give you a general understanding of how to approach these situations. Objectives: Planning Mic Selection Setting Up Getting Tones Professional Behavior Troubleshooting Chapter Quiz Blog Entry « Previous Choose a Lesson... Lesson One - Sound and Hearing Lesson Two - Basic Electronics Lesson Three - Digital…
Pro Tools™ is an extremely advanced digital audio workstation (DAW). Pro Tools has remained an industry standard for engineers and producers in the professional studio environment, as well as for novice music enthusiasts, for more than 20 years. In this chapter, we will begin to scratch the surface of this very dense DAW and prepare you for the task of installing and using this amazing tool. This chapter will help educate you about Pro Tools and help you troubleshoot potential problems in the future. Objectives History of Pro Tools Pro Tools System Requirements Optimizing your System Pro Tools File Structure…
It's time to start making some music! In this chapter, we will walk you through the installation and the basic functionality of the Pro Tools user interface. Don’t hate on Avid too much for the complexity of the installation. Be forewarned that this is a 48-hour process! Yes…48 hours! We have included step-by-step directions and a tutorial to help. After you get Pro Tools installed, we will look at some of the basic functionality of the user interface and give you your first Pro Tools assignment! Objectives Pro Tools Installation Welcome to Pro Tools Pro Tools Edit Window Pro Tools…
The web defines a software plugin as, “a set of software components that adds specific capabilities to a larger software application.” In the case of digital audio, plugins add functionality to your DAW. From analog compressor emulators to bass wobble synths, plugins can enhance your sound and the way you work. In this chapter, we will look at some of the more popular plugin bundles you will see in the audio world and give you a basic understanding of how plugin formats work. We will also show you the difference between using plugins in real time and rendering audio using…
You’re halfway there! This chapter is dedicated to preparing you for your midterm. We have put a lot information in your hands, and we want to make sure you are retaining it. Testing can send some people into panic attacks! We get it, and we want to make this as low stress as possible. For this section, we have included a ton of review material right at your fingertips, to make your test as painless as possible! Just remember that we use tests to gauge your progress in the program to identify areas where we can help. Objectives Section Reviews…
Mixing is the process by which we audio engineers combine an entire multi-track session into a stereo track. Mixing is the place where technical skill and creativity come together, resulting in the creation of a song. Here we take all the live instrumentation, sequenced MIDI and effects, and seek to create a balance between the elements of the song. There is no one correct way to approach a mix, just as there is no one correct way to finish a mix. This chapter is about educating you on common aspects of mixing process, not about showing you how to mix.…
Equalization is the process that engineers use to alter the frequency response of an audio signal. Frequencies become more pronounced (if boosting) or less pronounced (if cutting), depending on what the engineer is trying to accomplish. Equalization (or EQ) is a crucial tool used in all phases of music production. Whether to enhance or minimize some aspect of the frequency spectrum, EQ is an important part of the workflow for the recording professional. In this chapter, we will take a look at the beginnings of equalization and take a detailed look at the practical applications of EQ in your workflow.…
Dynamic range is the ratio between the largest and smallest possible values of a changeable quantity. In audio engineering, dynamic range generally refers to the distance between the loudest possible sound and the quietest possible sound in an audio recording. In a multi-track recording, each constituent track has a unique dynamic range; there is also a “master” or overall dynamic range, which is the total dynamic range of the tracks mixed together into the master bus. Consequently, dynamic range processing is often applied to tracks at an individual basis as well as on the master channel (the over-all mix). Fundamentally,…
Time-based effects, along with many other tools found in the modern studio, are catalysts for creativity, and they have a wide range of uses in the studio and onstage. When applied to the audio signal, tools such as delay or reverb will alter the space and time of a given sound in the stereo field, depending on certain variables of the device you’re using. The desired effect can take you somewhere far beyond the original sound source, and when used to taste, a subtle shift in the listener’s subconscious occurs, altering the perception of the sound by just the right…
Musical Instrument Digital Interface, or MIDI, is the standard way in which we interact with music in the digital world. Think if it as the DNA of your musical performance. Without it, our ability to compose, produce and perform music in modern times would be remarkably different. In this chapter, we will have a look at what types of messages MIDI contains, that is, how it allows humans to communicate with computers and digital instruments in a universal binary language. Using what we know about MIDI, we will then apply this concept to the Pro Tools environment, and most importantly,…
Automation in Pro Tools is the ability to control a specific parameter automatically by telling Pro Tools what to do, and when to do it in real-time. For example, you might need to adjust the volume of your vocal track at 1 minute and 32 seconds by increasing the volume precisely by 4 decibels. At the same point in time, you might need to shift the pan on your guitar track from the left side to the right. With automation, you can do both of these moves simultaneously, and more importantly…automatically. It’s an incredibly helpful and useful tool! In this…
Acoustics is the study of how sound waves behave in an environment. Since you are nearing the end of this course you should be more than ready to handle some more difficult concepts. The science of acoustics could fill several volumes, so we have included those things which are important to your development as a music industry professional. Understanding these concepts and implementing them into your workflow will help you set yourself apart as a music industry professional. In this chapter, we will take a look at acoustics, and more importantly, how the environment in which you are listening affects…
Mastering is the art of sweetening the mix and preparing the mixdown for duplication. The goal of this chapter is to familiarize you with some of the very basics about the mastering process. Mastering is a very technical process that often involves specific gear that is calibrated to subtly alter a mix in ways that improve the sonic qualities of a specific song, and to alter multiple songs to work together as an album. Mastering often requires ears that possess the sonic precision that takes years to develop. A good mastering engineer is both a good ally to have and…
You’re finally there!!! This chapter is about preparing you for your final. Now is the time to find out how much you’ve learned, and what you want to keep working on as you move forward to your career. To make your final as low-stress as possible, we’ve included plenty of review material here, and your mentor will go over any questions you may have. Objectives: Section Reviews Final Exam Practical Exam
Symphonic Distribution discount code (for music distribution on all major platforms and marketing tools/services)
MXL Aspire Program signup link, providing student discount of up to 50% off on MXL microphones.
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Walking into one of the best recording studios in the area for your first time was a pretty intimidating thing. Although I felt confident in my skills and experience, its a wake up when you walk into a studio like this knowing youre going to learn to master your skills in this very place.
Recording Connection Student
Meet our Mentors
Why learn from teachers when you can learn from industry giants?
Justin Hachat DJ / Producer
Justin Hachat DJ / Producer
Sweetdrop Digital is a record label founded in 2013 by DJ/Producer Justin Hachat aka Justin David and partners. We are a label built by sound engineers, djs and producers for djs and producers. We have a philosophy of creating something that artists want to be a part of. For our clients we offer a broad array of services including, mixing, mastering, editing, arrangement, sfx placement, foley recording, and background music. For our artists we offer an almost unmatched payout on royalties, worldwide digital distribution, promotional efforts and booking management if chosen. For all others we offer you a selection of music and videos to entertain you. If you are new talent looking for an outlet to get your music heard or a industry professional looking for some of our services please feel free to contact us. Don’t forget to check out our other pages on facebook and soundcloud. Thank you for visiting and enjoy.
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Mihai Sebastian Justin David Above & Beyond Mimo & Kalam Helios (software)
Katy Perry Ke$ha One Direction Weezer Selena Gomez Ariana Grande 3OH3 All Time Low Big Time Rush Mike Posner Pixie Lott All Star Weekend David Archuleta David Cook Chord Overstreet Bowling for Soup Breathe Carolina The Pussycat Dolls Lauren Bennett Alejandro Escovedo John Cale The Maine Forever The Sickest Kids A Rocket To The Moon Emily Osment Julian Casablancas Rivers Cuomo Soulfly Cavalera Conspiracy OTEP HIM Dommin The Used Alexndra Burke Best Coast Cady Groves This Providence Monty RI Axis Of Awesome Edgar Winter Sarah Evans Maia Sharp Edwin McCain The Ready Set Buzz Feiten Albert Lee Guitar Shorty
Shane Anderson Producer
Shane Anderson Producer
Shane Anderson is a seasoned music industry veteran. With over 20+ years in the music industry Shane has vast experience in production, recording, mixing and mastering as well as the ins and outs of the music business. Shane began his musical career in his early teens as a demo vocalist for labels and also as a sound engineer for the MUZAK corporation. At age 18 he opened his first studio location in Honolulu, HI called “Unique Studios” and oversaw the daily operations of the recording studio as well as landing several indie label deals and distribution agreements while in Hawaii working with local talent. In 2009 Shane released a solo album titled “Dangerous”. This album took off online primarily on MYSPACE and gained much success with over 2.5 Million plays worldwide landing him on BILLBOARD NEWSWIRE and ultimately landing him several placements on TV shows to include “The Kardashians” “MTV” “E- Networks” and Oxygen to name a few.
Shane moved down to Los Angeles 2010 where he formed with his long-time high school friend a production company called “The Go Gettas” where he continued to build on his credits and catalog working with artist who have been on American Idol, X Factor, Dancing with The Stars and Disney to name a few. After landing multiple placements in Film/TV Shane relocated to the Sacramento area in 2016 to build on Unique Recording Studios and help bridge the gap between artist and the industry.
Shane runs Unique Recording Studios as a production label, distribution company and recording studio for artist to create and focus on their art. Unique Recording Studios has also newly launched an exciting new venture at URS called “The Collective” which will allow producers, engineers, songwriters and artist to collaborate in house at Unique Recording Studios to work together to create music and promote building a large collaborative catalog of music to submit to labels, publishers, music supervisors and overall decision makers in the music industry. This will provide a great opportunity for students who complete their coursework at the recording connection.
MTV Spike TV Oxygen E-Networks BET The Kardashians The Fosters Taking the Stage Washington Heights Bad Girls Club Disney Make a Wish Foundation The Truth Michael Lynche Mark Ballas Stephanie Scott Spun Alex Mauricio Amara Jean AJ Green Slo-L CRBL Missy Crissy Simplu Grasu XXL Maria Cozette
Zack Phillips Learn Audio Engineering Mentor
Zack Phillips Learn Audio Engineering Mentor
Learn from Recording Connection mentor Zack Phillips or one of our mentors in the Bay Area.
Discovering his love of music while growing up in New York City in the ‘80s, Zack Phillips’ approach to music is “part science, part mysticism.” Gaining experience as a DJ and live sound engineer, Phillips received a formal education in audio engineering.
From there, Phillips honed his craft working at several studios before finally establishing his own studio: FreqLab Recording. In addition to recording, editing, mixing, and production, Phillips also works on developing the artists he works with, exploring innovative and inventive ways of engineering audio. Phillips has worked with a wide range of artists, including Talib Kweli, The Kooks, and Blue Hawaii.
You’ll be working in a state-of-the-art facility renovated by Phillips himself. While he made sure to design the studio to get the most out of the space, he also wanted to make it as comfortable as possible for engineers and artists alike.
If you study at the San Francisco Recording Connection, you’ll be working with people as passionate about music as you are. Up and comers, established stars, and other entertainment entities such as Comedy Central or Electronic Arts. But you won’t be watching TV or playing video games – you’ll be coming to work hard every day.
Learn from Recording Connection mentor Donny Baker or one of our mentors in the greater LA area.
Donny Baker, Studio Manager and Lead Tech at ES Studios in Burbank, is able to summarize his job as the Recording Connection Burbank, CA, mentor in a single sentence:
“We help with the weaknesses and push towards the strengths.”
It’s a simple concept, but takes a lot of work to see through to the end. Baker has spent most of his adult life in the music business, touring as an engineer for nearly 13 years before finding a home in the studio.
Baker has been with ES Studios since 2003, and brings a wealth of knowledge to the Recording Connection program. He believes in the proven time-tested approach of learning hands-on within the studio environment. Sure there are books (an eBook, actually), quizzes, exercises, and tests. Oftentimes though, Baker likes to start with the student, see where their curiosity is leading them.
Sometimes Baker just wants to see what the student has to offer.
“It’s a guideline,” Baker said of the Burbank audio engineering Recording Connection course. “It’s used as a way to get from point A to Point Z. We can take a student who knows nothing about recording or doesn’t know much about computers and we can make that person an engineer.”
The one-on-one mentoring, the hanging out and talking, and the personal attention Baker gives to his students are why he has been such a successful mentor for us. He finds out where the student wants to go and he guides the program in that direction.
Learn from Recording Connection mentor Steve Catizone or one of our mentors in the greater Boston area.
Steve Catizone at Infinite Music in Charlestown has worked with some of the biggest names in the industry across several genres. U2 and Justin Bieber, Billy Crystal and Bob Saget, and Disney and M-Audio. And while he knows his way around a studio, knowing your way around a client is just as important.
Every recording professional had their first gig at some point. The adrenaline gets pumping, you could be working with a star, and you might start overcompensating.
“Don’t be too opinionated when you’re talking to the clients,” Catizone said. “Just sort of listen and absorb. See what the climate in the room is, and make sure that if you do say something, it’s tactful.”
And relax. You could be a master of your craft, but if you don’t have a good repertoire with your clients, no one will want to work with you. Learn how to read the room, develop solid relationships, and remember it’s a collaborative effort. The “hang-ability” will follow.
“If people enjoy having you in the room, it’s a big thing,” Catizone said. “A lot of that comes down to personality and basically just being a positive force in the room, and being creative, and knowing when to offer up ideas and how to tactfully do so, and knowing when to not be the guy ‘doing your job’ but just being cool to hang around with.”
This is the advantage of the Charlestown Recording Connection programs. Yes, you’ll learn the technical side of the recording industry, but you’ll also learn how to handle yourself while in the studio. We believe the one-on-one time with a professional mentor gives you a complete picture of the business.
That’s what sets us apart from the traditional method of learning. The sights, smells, and sounds of a real studio can’t be matched in a classroom.
Learn from Recording Connection mentor Bernard Johnson or one of our mentors in the greater San Diego area.
Bernard Johnson didn’t follow the usual path to becoming a Recording Connection mentor in El Cajon, Ca. He discovered a love of mass media as a 14-year-old, entering a certification program to find out how it all came together.
After finishing the program, he began co-producing a top-ten music show in Detroit and received an award for exemplary airwave checks from the Michigan Broadcast Association. Then his career took a turn: Johnson entered the military.
After a 20-year career in the military, often leading departments with 90 people, Johnson returned to what he loved as a teenager, earning a masters in audio production. While the military can be quite regimented, Johnson was attracted to the freeform method of instruction that Recording Connection offered students. As he knows better than most, the standard course isn’t always the best course.
“When I saw (Recording Connection) model, I was like, ‘Wow, this is it. I love it.’” Johnson said. “And it allows students to have the opportunity not to feel cemented to something like, ‘This is what you need to do, this is the direction and the route you need to do it.’”
The Recording Connection Program gives you access to a professional engineer, fully-functioning studio, and hands-on education, it could also earn you a career. The Noize Factory is a perfect example of that: Johnson hired one of his former students (Efrain Matias) as a staff engineer.
But you have to work for it. Recording Connection students must be willing to put in the time, effort, and focus to get the most out of it. Johnson expects nothing less.
“I do want to say commitment, passion, perseverance, and finishing until the end,” Johnson said. “They’re not just doing something for money or just doing it ‘just because.’ They’re literally passionate about it.”
Learn from Recording Connection mentor Joey Heier or one of our mentors in the New Brunswick area.
Audio engineer and studio owner Joey Heier has been in the business of making music for decades. With a client list that includes names like Christina Aguilera, B.o.B., Jill Scott, and Dru Hill, Joey knows what it takes to work in music. Furthermore, he has a zeal for sharing his passion for audio with newcomers.
So much so, that he’s gotten the nickname “Uncle Joey” from our students. He maintains contact with literally dozens of our graduates, many of whom have gone on to build great careers in the music industry.
We recently asked Joey Heier why he loves mentoring for Recording Connection. Here’s what he said:
“It’s a tremendous passion for me. I enjoy doing this so much. I have a style that I believe in. I talk with my students about a textbook answer that they’re probably going to forget immediately, and then give them an ‘Uncle Joe’ definition that’s two or three words that they’re going to remember immediately. Then they’re going to understand what the textbook definition is by hearing it in a simpler fashion.
“I have great kids that come in and really, really want to do this… I have an outstanding job, and there’s no reason why I shouldn’t do it with a smile. And that doesn’t happen with every kid, naturally—it really depends if they want to do it. But if they want to do it, I am so honored to have the opportunity to teach, and I think that’s why it works well for me.”
Learn from Recording Connection mentor Aaron R. Reppert or one of our mentors in the greater St. Louis area.
Originally founded in 2000 by Recording Connection mentor Aaron R. Reppert, TravSonic Sound & Media has grown a lot since its early, humble beginnings. TravSonic Mobile, established in 2009, caters to a number of high profile clients in music, technology, the arts, and the corporate world. The thriving company offers a range of remote recording technologies and services for seminar, concerts, festivals, and events.
Today, TravSonic Sound & Media is an award-winning, full-service media production company serving clients from its Nashville and Overland offices.
Learn from Recording Connection mentor Rick Carson or one of our mentors in the greater Lincoln area.
Recording Connection mentor engineer/producer Rick Carson has a passion for teaching today’s rising talents in the world of audio. Designed by famous recording studio designer, Rod Gervais, his studio features three control rooms, world-class equipment, and has the distinction of having Nebraska’s only large format SSL mixing console.
Parker Ament and Danny Howard Learn Audio Engineering Mentor
Parker Ament and Danny Howard Learn Audio Engineering Mentor
Learn from Recording Connection mentors Parker Ament and Danny Howard or one of our mentors in the greater LA area.
Recording Connection mentors Parker Ament and Danny Howard are up to the minute music producers, audio engineers, and entrepreneurs who know how to navigate the music industry in the 21st Century. Besides working with artists like Omarion, Todrick Hall, and Lauren Chase, they create great sound design tutorials on their popular YouTube channel.
Recording Connection mentor Jason Phelps is an audio engineer, producer, and musician who’s been involved in music all his life. He’s downright passionate about recording, producing, and teaching the next generation of music industry professionals. He expects the externs he trains to bring their A-game, and to listen and learn in a proactive manner.
Learn from Recording Connection mentor Ross Vanderslice or one of our mentors in the St. Louis area.
An engineer since 2001, Ross Vanderslice has worked with some of the biggest names in the recording industry. The experience he’s gained works perfectly with what we do at Recording Connection: pairing externs with seasoned professionals for invaluable one-on-one time with a mentor.
With multiple studios and state-of-the-art equipment, Vanderslice has worked with several Recording Connection externs. Doing it right is about so much more than having the right gear, software, or equipment. Because of his experience working with internationally-known acts, Vanderslice knows how to work with artists, how to make them feel comfortable and safe within the studio environment.
Here are some of the clients with whom Vanderslice and/or the professional audio engineers at his studio have worked:
Nelly Black Eyed Peas Jaden Smith Sade Panic! at the Disco Waka Flocka Tech N9ne Ludacris Travis Barker Son Volt Chuck Berry Rick Ross Lil Wayne Fantasia The Game Jurassic 5 Ja Rule David Banner Jive Records Universal Records Interscope Rocafella Records RCA Records Motown Def Jam Yelawolf Hopsin Rittz Lil Jon Murphy Lee Chingy Capitol Records Bad Boy Entertainment Atlantic Records
DJ Axenzo Live DJ
DJ Axenzo Live DJ
Axenzo had recently graduated San Diego State University with a degree in mechanical engineering when he found that having achieved a major life goal, namely getting a degree to make his parents happy, had quite an interesting effect on him. Now that he’d achieved that, what else was possible? What could he achieve if he pursued something he was downright passionate about—music.
While an engineering student, Axenzo had tried to double in music but the classes weren’t stimulating and were “very theoretical” with nothing practical or new to offer. Brewing at the back of his mind for years been the idea of learning how to produce EDM. While it wasn’t a choice his mother would consider practical, to him it was the natural conclusion. Axenzo was an active EDM explorer who attended shows regularly, a lifelong musician who played guitar and piano, and even wrote melodies on a whim. Music was just the thing going on in his mind.
After completing his college degree with high marks, Axenzo spent a number of months training with a professional EDM music mentor who taught him Pro Tools and Logic with direct, one-on-one lessons. Although he already knew how to play a couple instruments he’d never set his hands on a DAW. Nevertheless he excelled fast, and consistently challenged himself while getting hands-on training and tips from his music mentor, a longtime engineer and EDM producer himself. During his time in the program Axenzo was able to create his own EDM songs, first starting on MIDI, then composing from within a digital environment. Crossing the bridge from having to play and record, to creating digitally “opened a door” for the EDM creator and DJ.
In the two years since graduating the program, Axenzo has built a promising career in EDM as a DJ who has opened for Bob Sinclar, Robin Schulz, Steve Aoki, Marshmello, Borgeous, Nicky Romero, among others. Nevertheless, for him DJing and especially composing new material as a producer is a never ending journey. The great unifier isn’t by genre or culture for the rising talent. Regularly dipping into multiple genres and researching far and wide, Axenzo is in quest of something singularly specific: “I’m trying to create something that every time people listen to my tracks they’ll know it’s me. That’s my focus right now. I’m working on it every day.”
Now, the melodies and musical ideas Axenzo used to write on a whim are being put to use professionally as he divides his workdays between producing new material and performing at venues. He says, he’s even got a surefire way of capturing the music when it hits: “I open the recorder on my phone and just sing the melody to myself. Even if I’m in the shower, I’ll get out and record it.”
Now versed in Ableton as well as Logic and Pro Tools, Axenzo is fluent in the various DAWS and he’s confident in his capacity to continually explore and grow as an artist. And as for future goals, he’s got a few: “I definitely would like to play in big festivals. Hopefully at Ultra Miami, EDC Las Vegas, and I would like to go worldwide. I’m working on it. I know there’s lots of competition, but I think nothing is impossible.”
As for the time he spent as an extern in the program, Axenzo says, “It was an amazing journey. I am extremely thankful.”
Axenzo currently performs weeklies at The Hard Rock Café in Las Vegas, Nevada, and The Pool House and Sunset Vibes in San Diego, California.
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Bob Sinclair,Marshmello,Steve Aoki,Robin Schulz,Borgeous,Nicku Romero,DJ Chuckie,WandW
Kevin Sharpe Producer / Engineer
Kevin Sharpe Producer / Engineer
Kevin Sharpe is an Emmy Award winning producer, engineer, and keyboardist. He has produced, recorded or mixed many fine artists. Click here to see a list of credits.
Kevin began recording at the age of 15 years old with a 4 track Teac reel to real, a Yamaha mixer, Moog synth and a broken drum machine. Soon he was recording local bands and the neighbors dog. After years of making noise and honing his recording skills he opened a small studio in Troy, Michigan. twenty five years and a couple of thousand bands later, he still gets chills while mixing a great song.
As a producer, Kevin is 100 percent committed to doing whats best for the song, while preserving the unique chemistry of the preforming artist or band. By making the recording process work for the music, the artists vision shines through to the finished product. After all it is always about the music!
Kevin attended Oakland University before studying music at Rochester College. After completing his education, he has taken several courses at The Berklee College of Music.
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Gregory Hainer Post Production
Gregory Hainer Post Production
Recording Connection mentor Gregory Hainer is an interesting case. Usually our Recording mentors work primarily in the music industry but Gregory has made a successful career for himself in music as well as film, television, and video game entertainment as a music composer, voice over specialist, Sound FX designer and mixer on numerous projects including: Plants vs. Zombies 2, Batman: Arkham Asylum, Guild Wars 2, Prince of Egypt, Elder Scrolls V: Skyrim, We Were Soldiers, Dishonored, Black Hawk Down, and many more.
Gregory does most of his work from Scorpio Sound, his boutique studio located in the Hollywood Hills. His unique skills-set, talent, and setup enables him to do work larger audio studios can’t. “From a client’s perspective, I own the studio, so there is no middle management overhead to worry about because the owner/operator is also the creative head. This means I have the freedom to choose to spend a little more time with my clients in order to get things perfect versus having to be out of a studio by a specific time.” Specialty might as well be Gregory’s middle name. “I get quite a few calls for the most unusual or difficult to design stuff that many in-house teams can’t quite seem to pull off convincingly, such as creating sounds for creatures, magic spells, sci-fi effects, light sabers and the like. But I will also get the occasional call to do the less-fun direct stuff like cleaning up poorly recorded production audio from a film, or digging out inaudible archival dialogue from excessive background noise.”
On top of working in the film, TV, and video game industries Gregory also takes on Recording Connection externs and teaches them about both the industry and the craft of audio engineering.
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Josh Monroy Producer / Engineer
Josh Monroy Producer / Engineer
Recording Connection mentor Josh “Igloo” Monroy is proof-positive that getting in and showing your commitment to the craft, day-in and day-out, can launch your career to unprecedented heights. With more than a decade in the music industry, Monroy has worked with everyone from Justin Bieber to Quincy Jones, to The Notorious B.I.G.
Monroy is looking for the same kind of commitment from his externs. Whether it’s during the Recording Connection for Audio Engineering & Music Production program or using Ableton to lay down hip hop or electronic music tracks, Monroy is looking for inspiration, originality, and dedication.
“I do two-hour drills with my externs where they have two hours to make a track, and there has to be a full-on song, or music bed for a song anyway,” Monroy said. “That means intro, verse, chorus, the whole nine yards, Not just an 8-bar loop that’s looped over and over again for three minutes. I don’t want to hear that.”
The seasoned engineer/composer/producer is also known for his longtime work with iconic artist Ludacris. The ability to work with a wide range of acts – and create something extraordinary – is what makes someone a sought-after studio engineer.
“They walk in the room and there’s no expectation, and then they leave six to eight hours later, and there’s this whole freaking song made, and it’s special,” Monroy said. “It’s about them and it’s encompassing their influences and what they love. It’s not just this generic track…That’s what I show my externs, is how to get inside someone’s head in a short period of time [and] use your time wisely so that the artist walks away satisfied.”
Jeramy Roberts is an EDM producer, composer, DJ and Ableton educator located in Austin, Texas. As founder of the Electronic Musician’s Guild, his approach combines the creative and the pragmatic—an ethos that’s dedicated to helping his students get their music out into the digital marketplace and distributed on major platforms.
Jeramy has sold his songs and records in dozens of countries around the world. He has broken the Top 100 spot in numerous international sales charts and even his former students have hit #2 in Amazon’s House Top 100 while training under his direction. A loyal lover of EDM and the great local EDM scene in Austin, Jeramy Roberts is serious about helping today’s most driven and committed newcomers create productive, rewarding careers in music.
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Why our alternative to conventional audio engineering school works
There are many career opportunities available to those who are properly trained and connected in audio engineering, such as:
Additionally, many music producers, mixers, and mastering specialists are also audio engineers. In short, for any career in audio, we believe the best place to start is by learning the ins and outs of a recording studio as an audio engineer. Knowing how a real recording studio works where you meet real clients and work as an extern under real audio engineers and music producers is the kind of knowledge you just can’t get in books alone.
While a college recording studio might look nice, it’s not the same as a professional recording studio. The Recording Connection Audio Engineering Program will place you in a real studio from day one. To make it as an audio engineer, you also need to know:
To make it as an audio engineer, you also need to know:
How microphones are designed and used
Correct microphone placement
The ins and outs of signal flow and patch bays
How analog consoles work
In-depth study of analog consoles
Reason, Logic, or Ableton Live
Available audio plugins and how they work
Signal processing and compressors
How to perform a professional mix-down
How various studios are designed and how their monitors work
Electronic music and beat matching
Sync and automation
Recording and mixing ins and outs
How to deal with clients
QUESTION: Which is better, to learn audio in a real recording studio, or on a college campus?
ANSWER: You can learn audio engineering by attending school on a college campus or at another trade school. If you go the college route, it will probably take you much longer to enter into the job market. If you attend a conventional trade school, you may complete your studies sooner than at a college or university but getting trained away from the actual professional recording studio simply takes more time and since there are more overhead costs, generally the cost of tuition is considerably higher too. Traditional colleges and trade schools cannot duplicate what you will learn in a real recording studio. They are just not equipped to do it.
With us, you can learn audio engineering from a professional who has been recording music for years. The Recording Connection audio program provides you with the same topics you would likely learn sitting in a classroom at a traditional recording school, plus the real world knowledge and information your mentor will give you, garnered from years of audio engineering experience.
Take a look at what your “classroom” could look like »