SAE Magazine

ou decide to go into audio gone to school for some- . I had graduated college ferent job as a bond trader , and decided I didn’t want my life. I decided I wanted ant to have any regrets. I 0 years later and say ‘why o start working at SAE? tor, Bridget Gardiner, and be interested in teaching . I have to say: after doing e to teach than I thought I your experience into the perspective because I’m ry to educate the students d what will be expected of he need to be professional c production class I bring hat the students aren’t just they get a taste of what it’s like to have working musicians in the studio. For the mixing class, I usually bring in tracks that I worked on so the students can hear the raw tracks and discuss how it was mixed and why it was mixed that way. You’ve recently decided to work on a new proposed short programme for the school. Can you talk a little about the AMP class, and what the goal behind it is? It’s still in negotiations, but the idea of the class is to take students soup-to-nuts through the recording process with an artist; meaning, a song, pre-pro- duction, all the recording, overdubbing and mixing. I’m working on including mastering in the process as well. We’ll talk about budgets and deadlines – all real world experience. It came about when I started to bring musicians into the production class. I saw how the students really lit up at that point and I saw the dots start- ing to connect for them. Part of learning is ➤ Photo:JoeMcGrath Joe McGrath’s gear collection d to try this and have any regrets. INDEX

SAE Magazine

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