Electronic Sound Art Class | New York
Getting Started with Arturia
- →Installing and authorising your free year of Arturia software
- →Where the Arturia instruments sit inside your own DAW
- →The interface and the presets - and how to stop browsing and start building
Sound Design Foundations
- →Oscillators, filters, envelopes and LFOs across the Arturia collection
- →Turning a preset into something that is yours
- →Layering and texture - depth without mud
Beats and Rhythm
- →Drum design and percussion programming
- →Groove, swing and movement
- →Building a rhythm bed that suits the genre
Bass
- →Deep, resonant basslines, and how they are built
- →Sub against mid-bass, and keeping the low end mono
- →Making a bass sit under the rest of the mix
Genre Workshops
- →House and Tech-House grooves
- →Techno - pulse, repetition and tension
- →EDM - builds, drops and energy
- →Bass music textures
Finishing
- →Arranging your sounds into a finished track
- →Workflow between Arturia and your DAW
- →Where to take it next
In our students' words.
“This course is for anyone that wants to learn any style of production. The teachers are extremely versatile and can help you with all styles of electronic music.”
Zach Sternberg
Before you enrol.
Both. Every session runs in person in New York and live online at the same time.
Yes - a full year of Arturia software, free.
36 hours. Tuition is $1,799 when you book 14 or more days ahead, or $2,099 after that, plus a $200 registration fee.
Arturia's sound design tools, used inside your own DAW rather than a studio machine.
Yes - the 360° Garnish Music Academy. Ask admissions about the next cohort.
No - the course works whether you have just found your way around a DAW or have been producing for years; what changes is how far you push the sound design.
36 hours - $1,799 (14+ days out) / $2,099 otherwise, + $200 registration
Ready when you are.
InquireWavetable Synthesis
Wavetables and wave position, scanning through a table with envelopes and LFOs, warp modes, building your own tables from audio, and why wavetable synths dominate modern bass and lead design.
Read →Audio Effects: Delay, Reverb, Filter, Compressor and Preamp
The core effects as sound design tools, with Arturia's recreations of classic hardware - tape delay, plate reverb, filters, FET compression and console preamps - what each classic unit did, and how to use them creatively.
Read →Wavetables in Serum
Xfer Serum's wavetable workflow - oscillators and wavetable position, warp modes, unison, the sub and noise oscillators, filters, drag-and-drop modulation, importing and drawing wavetables, and designing modern basses and leads.
Read →Granular and Additive Synthesis
Two advanced methods of sound sculpting - granular synthesis, which builds sound from tiny grains of audio, and additive synthesis, which builds sound from individual harmonics - with the controls, the tools, and techniques for each.
Read →Review of Synthesis: Subtractive in Pigments
A synthesis refresher built in Arturia Pigments - oscillators, filters, amplifiers, envelopes and LFOs - using Pigments' virtual analogue engine, its filters and routing, and its modulation system.
Read →Drums: Shaping and Synthesising
Shaping drum sounds - envelopes, transient shaping, pitch, tuning to the key, EQ and saturation - and synthesising kicks, snares, hats and percussion from scratch, including FM drums.
Read →