
36 Hours | $1099 + $100 Registration
Use the ‘CONNECT’ button below to request schedule information for our classes. One of our placement experts will follow up within a business day. For one-to-one lessons, see Mixing and Sound Design for Film and TV Private Instruction, and connect with a specialist on that page.
Lisbon's course runs in small groups at our studio, taught by working producers, with live-online attendance for students elsewhere in Portugal, using our specialist music collaboration software, Muse. The city's fast-growing electronic scene makes it a good place to learn this. Discover qualities that distinguish us, here.
“Lots of one on one, great break down, wonderful teacher. Awesome staff..I cant wait to take a production course to advance what I have learned in this class. Very positive, super supportive. I'm so happy I decided to cont. with my education..201 made everything gel in my brain from the first class especially when I started playing out. It all made sense.”
Bee Cregar
Herwig Maurer, also known as Agent H - a Berklee alumnus in sound production and engineering, who collaborated on an Academy Award-nominated film's audio and does sound design on Amazon's Reacher.
The Post Production - Mixing and Sound Design for Film and TV course runs 36 hours. Tuition at Garnish Lisbon: 36 Hours - $1099 + $100 Registration.
Yes. The Post Production - Mixing and Sound Design for Film and TV course can be taught one-to-one, in person in Lisbon or online, built around your own projects - ask admissions about private instruction.
Yes - live online, built for participation: weekly tasks that mirror real-world challenges, and three live playback sessions where you show your work.
Yes. You work to real film score briefs, including complying with broadcast loudness standards, and finish with your own project and feedback on it.
36 Hours | $1099 + $100 Registration
Beyond chorus and phasing: ring modulators, frequency shifters, Leslie cabinet simulation and auto-panners, and where each one belongs.
Read →How filters shape a sound - low-pass, band-pass, comb and notch - plus resonance, envelope control and using filters creatively in a mix.
Read →There are many ways to access the power of filtering, but probably the easiest is to use a plug-in. Logic’s AutoFilter is a good example of Emagic’s…
Read →We have discussed the most common modulation effects such as chorus, flanging and phasing. Now it is time to investigate other modulation effects.
Read →From tape echoes to ping-pong delays: the parameters, how to match delay time to tempo, and using delay as a real mixing tool.
Read →Reverse effects, distortion, miced amps and the practical side of sample clearance - what it costs and how to avoid needing it.
Read →