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Music technology and music industry degree course

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Course_Title Summary
BA Hons in Audio Technology and Music Industry Studies

The BA Hons in Audio Technology and Music Industry Studies, Validated by City University, London.

BA Application Form (211kb word document)

BA Application Form (60kb pdf)

This is the longest-running, most established, well-respected and comprehensive course of its kind in Europe. The course content is exclusively dedicated to all aspects of Audio Recording, Music Technology and Music Business Studies.

With 25 years of expert teaching experience in this field, Gateway has consistently produced graduates of the highest calibre who have gone on to work in all fields of the Audio and Music Industries worldwide.

The superiority of our teaching methods, tutorial support, course content and quality of graduates, have always been held in the utmost regard in both academic and industry circles. Validated by Kingston University for 18 years, and more recently by City University, the course is also accredited by Industry organisations such as the APRS, the MIA and the MPG.

We provide unequalled student/tutor ratios and hands on experience in well equipped teaching spaces with constant staff support to enable students to achieve their maximum potential. Our commitment to the pastoral care of individual students and the integrity of our teaching ethos offers a warm relaxed atmosphere conducive to study

Extra lectures from external visiting specialists, and trips to various professional commercial facilities give the students the broadest in-depth education available and an insight into the professional world into which they will be entering.

Our ex-students have had an enviable record of achievements over the past 20 years. Many are now highly regarded in the industry as specialists in their fields. Some of the many employers who contact us to offer jobs to new graduates turn out to be Gateway Alumni themselves! We have a tradition of maintaining strong links with our ex-students; even 20 years later!

Some of the main reasons we have consistently been held in the highest esteem are:

  • Excellent teaching methods
  • Highly professional and experienced staff
  • Outstanding and comprehensive course content
  • Diverse range of modules offered in all years
  • First-rate, extensive studio facilities
  • Low student to tutor ratio and plentiful contact time
  • Ample individual studio time, access and technical support
  • Challenging and varied assignments and projects
  • Quality of 3rd year research and dissertations
  • Thorough assessment, monitoring and feedback systems
  • Rigorous tutorial support and good pastoral care 
  • Fantastic student learning experience and friendly atmosphere
  • High calibre of  graduate students working worldwide
  • Large proportion of successful 1st destinations
  • A thriving alumni network

For a comprehensive understanding of what we do and how we do it, please contact us and arrange to come and visit, have a personal tour of the facilities and an in-depth discussion about the course. We will be able to answer all your questions and also find out more about you, your needs, hopes and expectations for the future.

The BA Hons course in detail

The BA Hons in Audio Technology and Music Industry Studies is an intensive 3-year course, Spread over six 15-week semesters, designed to give students the most thorough education in the theory, practical techniques and creative practices employed in the Audio Industry and Music Business worldwide.

Audio Technology and Music Industry Studies is offered primarily as a three-year full-time honours degree programme. However, it is possible for students to follow the field part-time and switch between full-time and part-time attendance. Attention to the different career opportunities that exist at each stage of completion is featured within the course from the outset in the form of course content and careers advice and guidance. Modules offered follow four main themes:

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RECORDING

This component of the course covers the essential aspects of the ‘traditional' recording studio, from automated mixing consoles and multitrack recorders to microphone techniques. Through a series of lectures, practical sessions, and live band recordings, the student will develop a detailed knowledge of the theory, techniques and equipment involved in the production of many different types of music. We also encourage the development of interpersonal skills and good studio etiquette. Employers tell us they consider attitude to be as important as aptitude!

MUSIC TECHNOLOGY

Technology is arguably the central force behind the evolution of contemporary popular music. Through a series of lectures and seminars students will study the various technical developments that have allowed new sounds to emerge and have brought about changes in the style and content of popular music forms. Principal areas of study include MIDI and sequencing, synthesis, digital audio, sampling, and the history and development of electronic music.

MUSIC BUSINESS STUDIES

The increase in much publicised music industry court battles has highlighted the significant role now played by business affairs and law within the industry. It has become essential for everybody involved in the industry to be able to demonstrate the knowledge for relevant contemporary music business practices. This component of the course covers such pertinent issues as contract negotiation, copyright, and the marketing of recorded music.

SPECIALIST MODULES

In years two and three students are offered a range of specialist modules including Post-Production for Film and Television, Sound Structure and Design, Composition and Arrangement, Broadcast Systems, Live and Theatre Sound, Interactive Media, Performance technologies and Advanced Music Business Studies (in addition to the core modules). There is also the opportunity to do major pieces of research in subjects of your own choosing.

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Teaching

Practical modules are taught in small groups of 8 students maximum.

Individual and group tutorials are frequently scheduled for each student.

Research seminars are scheduled in Years 2 and 3. Technical office staff are always on hand to assist students with their individual studio time and to maintain the studios.

As well as in-house lectures we have featured lectures from visiting specialists, and trips to various professional commercial facilities are also provided in many modules.

Assessment

Students are assessed throughout the course in each module by a mixture of coursework, and practical and written examinations. Coursework includes short written or practical exercises, longer essays, practical projects, research projects and dissertations. Some coursework is carried out individually, and some in small groups.

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Feedback

We continuously update students on their progress in the following ways:

  • Daily feedback in lessons from all tutors
  • Feedback in group/individual tutorial sessions from personal tutors
  • Comments and grades on assignment sheets (all 2nd and 3rd year assignments are also double marked by different tutors)
  • General comments from the external examiners

Students will of course be aware of their peers' performance and their achievements on the course. This lends a competitive, motivational edge to the learning experience, and inspires the students to reach higher and do better.

Monitoring

We carefully monitor our students at all times. This includes everything from attendance, participation in practical sessions, booking and use of studio time, handing in of assignments on time and their general professional attitude. In the second and third years we advise and guide students in deciding which career path they want to follow to ensure that they pick the right option modules.

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Tutorials

Students will receive both group and individual tutorials 3 times per semester throughout the course. Group tutorials are held with the teaching subgroups (8 students maximum) and their personal tutor. Each subgroup nominates a representative to report to the Student Staff Consultative Committee. Individual tutorials are one to one sessions where the student and tutor are free to bring up any issues they feel are relevant to the performance and interests of the student.

Student Staff Consultative Committee

Students may voice their concerns (and also heap praise upon us!) via the Student Staff Consultative Committee Meeting held once per semester. Representatives of the Committee report the minutes of the meeting to The Board of Study which will deal with matters arising from the meeting. Many useful suggestions in the past have resulted in changes being implemented.

The City University validation

The City University has a worldwide reputation for academic excellence and The Times Good University Guide ranks Citysecond in London andfourth in the UK for graduate employment. Collaboration with City University's Music department affords students a first rate qualification and the opportunity to record a wide range of classical and contemporary acoustic performance and even join instrumental or vocal ensembles. Our students also enjoy access to the City University library and its extensive collection.

In addition to participating in a full schedule of academic work and play at Gateway's premises, students can also have the opportunity to enjoy the benefits of student social life at City by joining clubs, societies and attending events organised by the Student Union.

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Level One Core Modules

1. Recording Systems & Practices I

This lecture module will familiarize students with the systems and operation of the modern recording studio.

2. Studio Technique & Practice

This module introduces the student to the practical aspects of recording in a modern studio. All the sessions are taught with a hands-on approach in the studio environment to give students the maximum amount of practical experience.

3. Digital Audio & Music Technology Theory

This module provides the student with a theoretical understanding of a wide range of subject areas relating to the writing, recording and production o f commercial music.

4. MIDI and Audio Sequencing

This Module develops the student's practical understanding of MIDI and Audio Sequencing. It utilises both Logic and Cubase and enables students to make creative and successful use of these sequencing packages.

5. Sampling & Sound Synthesis

This module develops the students' theoretical and practical understanding of the roles of the sampler and synthesizer in commercial music and other audio applications.

6. Digital Technology and Academic Study Skills

This module enables students to examine their methods of learning and the nature and practice of academic research. It also aims to introduce students to a wide variety of computer platforms (for example: Word, Excel, Power Point, graphics and database software).

7. Music Industry Studies (structure & copyright)

This module is designed to demystify the role and operation of various organisations that exist in the music industry and the legal framework within which the music industry functions.

8. Music Marketing & Business Skills

This module helps students to understand the processes through which music is marketed in the recorded and live sectors of the industry.

Level Two Core Modules

9. Practical Recording Techniques II

This module will consolidate and build on students' knowledge of contemporary recording systems/techniques, developing awareness and proficiency in studio operation whilst becoming familiar with the principles and approaches of world-class engineers.

10. Essentials of Multimedia

The multimedia industry continues to expand and no sound engineer or recording musician can afford to ignore the possibilities offered by emerging new media technologies. This module provides students with basic website development and multimedia presentation skills.

11. Record Production Process

This module deals with the role of the Record Producer and the ‘product' extending the students' analysis of production values, styles and techniques. Guest lectures from established professionals in the industry provide students with a wide variety of perspectives.

12. Digital Recording, Post Production and Mastering

This module extends students' digital recording and editing skills acquired in level one into the areas of digital mastering, digital signal processing, post production and includes the official Digidesign Pro Tools 101 Course.

13. Advanced Music Industry Studies

This module offers a global perspective of the relationship between music, technology and mass communication, examining amongst other things the role of music in society and the impact of technology on the production and consumption of the world's music.

14. Individual project

This module gives students an opportunity to focus on an area of particular interest. They will develop their research skills drawing on the various disciplines within the programme to produce an in depth project.

Level Two Option Modules

15. Music Technology, Composition & Arrangement

Although musical training is not a requirement of the course this is the module for those who wish to build upon their composition and performance skills. Theoretical content will focus on basic principles of composition and arrangement, leading to practical work applying these in the studio and the production of a portfolio.

16. Sound Structure & Design

This module will appeal to anyone with a keen interest in the technical aspects of contemporary soundtrack design for radio, film, multimedia and games.

17. Live Theatre & Sound

This module introduces the student to all aspects of live sound from mixing a band on stage to sound reinforcement for conference and theatre, examining the various components of a PA system and its different applications.

18. Post production for Film & TV

This module introduces the student to the field of audio post-production for the film and television industries. You will learn how the skills and experience gained in level one of the course can be applied to this ever-expanding sector.

19. Multimedia Programming

This module follows on from the Essentials of Multimedia to explore professional multimedia design and authoring for enhanced audio, CD-Rom and the Internet.

20. Broadcast Systems

This module introduces the student to broadcast systems and working practices in TV and radio studios, and the role and responsibilities of the sound supervisor in the production team.

Level Three Core Modules

21. Project Design and Research Skills

This module develops students' individual research and organizational skills in preparation for the major individual project of the dissertation module in a series of lectures tutorials and seminars.

22. Group Project

This module involves the design and undertaking of a practical creative project, such as making a video or producing a showcase, in a team setting, working with an outside professional or visiting artist.

23. Dissertation

This double module offers the student the opportunity to produce a serious in-depth piece of work on a topic taken from any aspect of the music industry.

Level Three Option Modules

24. Advanced Multimedia Production

This module will further develop students' understanding of interdisciplinary applications of sound for interactive information and entertainment systems and enable them to use and integrate software applications across a range of media types.

25. Music Production Techniques

This module explores the historical perspective of social, technological, and theoretical developments of production practice in the 20th century and the significance of particular Producers and Production Houses in a series of lectures. Practical workshops will enable students' to recreate production styles in the modern studio and develop their creative ability as producers.

26. Virtual Studio

This module will introduce the student to virtual instrument authoring systems and programming languages and develop their understanding and appreciation of a range of digital synthesis and processing of sound.

27. Technology for Performance

This module involves the students in the development of their practical experience, using the diverse skills acquired on the course in a public performance event.

28. Working in the Music Business

This module takes a practical approach, putting the knowledge gained in the business modules into practice in the development of a business project and work experience placements.

29. Music Business Online

This module develop students understanding and appreciation of digital copyright issues and explores techniques for promotion and marketing online and developing a professional web presence.

30. Advanced Recording

This module aims to prepare students to work in professional high-end studio setting, using the highest standard equipment and contemporary techniques. In a practical context, students will cover topics such as: surround sound, Mixing for Film, Mastering and restoration, DVD authoring.

Funding Information - Helping to pay for your course

Gateway School of Recording is independent of direct government funding and charges tuition fees. The full fee per year of study during 2008-9 is £8,700. The majority of students on our courses will be eligible for limited funding assistance in the form of Student Loans Council grants and LEA fees, and are required to pay any balance of tuition fees due. For information on assistance to support your learning, please visit:

www.direct.gov.uk/adultlearning

unimoney.direct.gov.uk/financial-help/

or contact 0800 100 900

Charities and Education Trusts

Charities and Education Trusts Applications for financial aid from Trusts and Charities need to be made well in advance of the start of the course. Most have very specific criteria for eligibility. You will usually need to prove that you have exhausted all other avenues of funding. The following should be available for reference from your local library

> Charities Digest: Family Welfare Association

> Directory of Grant Making Trusts: Charities Aid Foundation

> Money to Study: The Guide to Student Financial Support

What do our Graduates do when they leave?

The main areas and roles our graduates have been involved in when they leave include:

  • Chief or Assistant Engineers in Recording Studios
  • Mixing / Remixing Engineers
  • Music Producers
  • Engineers for Live and Pre-recorded TV
  • Engineers for Live and Pre-recorded Radio
  • Radio Producers
  • Engineers for Post Production for Film and TV
  • Surround Sound Remixing Engineers
  • Engineers for Live Music PA FOH and Monitors
  • Engineers for Theatre Sound
  • Engineers for Conference Sound
  • Sound Effects Design for Computer Games
  • Synthesiser/Sequencer Programmers
  • Audio and Music Technology Teachers in Secondary Schools
  • Audio and Music Technology lecturers at FE/HE institutions
  • Musicians and DJ's
  • Songwriters and Arrangers
  • Events Managers
  • Record Company Marketing
  • Record Company Sales and Distribution
  • Band management
  • A&R
  • Professional Audio Product Retail Sales
  • Wholesale Importers of Audio Products
  • Audio and PA Hire Companies
  • Audio Engineers for Website Designers
  • Audio Designers for Multimedia Applications
  • Audio Technicians for Large Public Venues
  • Audio Electronics Designers
  • Audio Software and Hardware Development

Many graduates have set up their own companies such as recording studios, PA hire, event management, wholesale importers and record or production companies. Others, in addition to their main jobs also perform live as musicians and DJs. Most graduates will have their own home studios and will be writing or producing their own projects on the side no matter what main job they have.

The majority of graduates will have been in more than one role during the course of their careers, and sometimes will have even undertaken on several roles simultaneously. For example, a graduate producing a band may find themselves in the roles of: producer, musician, arranger, songwriter, DJ and engineer as well as negotiating with management and record companies. Those working with sound design may find themselves also recording, sequencing, mixing and producing the sounds in addition to conceiving the design in the first place.

We encourage graduates to be flexible in their approach to work and diversify their roles. In this way they will meet a wider range of employers and potential clients and therefore become more valuable as employees and project leaders.

Some graduates also simply use the fact they have earned a BA Hons Degree from a top university to obtain work in other areas at some point in their careers. Some of our graduates also had a previous degree before coming to us, and may also use that qualification to further their careers.

Gateway Women Graduates

Yes guys it's true! Women at Gateway achieve excellent results on the course and they are also often more ambitious and successful as graduates. Here is a sample of the variety of roles some of our female graduates have taken:

  • Set up own business:
    Eve Horne and Jessicca Farrer, Carol Hollingsworth, Lisa Fitzgibbon Smythe
  • Assistants to famous producers: Sara Lind (Trevor Horn)
  • Remastering Engineers: Libby Jones (EMI,Abbey Road)
  • Record companies: Laura Seach (Ninja Tunes)
  • Classical and jazz recording: Lorna Washington, Yvette Shea
  • Engineer at South Bank centre: Gurjit Dhinsa
  • Engineer at Barbican centre Sapna Patel
Where are they now?

Our ex-students have an enviable record of achievement. Many are now highly regarded in the industry as specialists in their fields. Some of the many employers who contact us to offer jobs to our new graduates turn out to be Gateway Alumni themselves! We have a tradition of maintaining strong links with our ex-students; even years later! Here is a small selection of Gateway Alumni:

Kienda Hoji 1989 Kienda was already an Entertainments and Media Lawyer when he joined us to study part-time for his Diploma. He stayed to develop the Music Business elements for our courses and was a much loved lecturer and colleague. You can now find him at Westminster University where he is the Course Leader for the Commercial Music degree. hoji
David Gibbons 1992 Left us to join Soundtracs PLC as a Product Designer, from 1993- 1998, credits include Senior Designer of the DP3 console. Now Senior Director of Product Marketing at Digidesign in California USA.  
Tim Speight 1993 P.W.L. assistant engineer; in-house engineer. Freelance engineer/producer with credits like London Records, Island Records, BMG/Arista & Hear' Say. Authorised Pro-Tools Tutor. Lecturer. www.spag.tv tim
David Klein Karnadi 1993 Studio and broadcast engineer in Indonesia. Also session jazz keyboard player. Set up the first school of recording in Indonesia with 5 branches in various cities. www.lpdk.org david
Marcus Salisbury 1994 Studio Manager and A/R coordinator at Mute Records London 1995-present. Working with Moby, Erasure, Depeche Mode, Goldfrapp. Also a musician with his own band.  
Daniel Donovan 1995 Gateway Technical Officer 1995-2000. Became a Digidesign Pro Tools Certified Trainer 2002 Teaching at Gateway on BA (Hons) and Pro Tools courses 2000-present dan
Howard Steed 1995 Currently working for the Interactive Factual & Learning group on the BBC's Digital Curriculum project as a Requirements Manager. Also studying part time for an MA in Media Management at Leeds Uni.  
James Gordon 1995 European Sales Director Soundtracs /DiGiCo   1996 - present. Spends time touring the world and promoting the company.  
Adrian Winman 1995 Lecturer in Music Technology at ACM in Guildford.  
Ebeneezer Acquah 1996 House Engineer at Mute Records London. 1997-2004. Technical Manager Kingston University School of Music 2003- present.  
Paul Smith 1996 Set up his own very successful recording studio Bus Space in West London. Has worked with Elton John, Paul McCartney, Destiny's Child, Beyonce, Keane and McFly. www.paulsmithmusic.com  
Chris Anderson 1997 Engineer at Rive Droite Studios working with the likes of Cher and Enrique Iglesias. Now a freelance composer and arranger.  
Colm O'Rourke 1998 Studio Manager Westminster University Also a regular guest lecturer on their post-graduate and undergraduate programmes. A proficient composer, bass and keyboard player. Previously worked as an engineer for Mute Studios working with artists such as the KLF, Barry Adamson and producer Flood. colm
Chris Pietrek 1999 Setup a freelance composers agency supplying bespoke music and sound effects for computer games/tv and radio. Now teaching music technology.  
Libby Jones 2000 EMI Music, initially in the Production department and now as part of the A&R team for EMI's back catalogue. Originates both audio and packaging for a variety of products such as album reissues, compilations, best ofs, DVDs. Liaises with artists & managers, and oversees the mastering process.  
Daniel Ott 2000 House Engineer at Rive Droite Studios 2001-present.  
Gurjit Dhinsa 2001 Studio Manager Gateway Studio, 2001-2005. gurjit
Sara Lind 2001 Producer. Trevor Horne's technical assistant 2001-2003. Now living in Sweden and currently working with streaming media for a company called Qbrick dealing with major media, broadcasting and music companies in Scandinavia. Also has own band and occasionally DJs as well.  
Harry Bishop 2001 Currently working as a freelance live sound engineer. Technical manager at The Mass and Bug Bar, also engineering at The Telegraph and Jamm in Brixton Also live engineer for WE Audio. Promoting various live acts as well.  
Schon Emanuel 2001 Live sound engineer specialising in Jazz.   Worked at various jazz festivals in the Caribbean. Currently live monitor engineer, touring with Courtney Pine.  
Anthony Greaves 2001 Teaching Music Technology at ACM in Guildford. Musician with his own band  
David O'Gorman 2002 Studio Engineer at Stoneroom Studios, London. Freelance engineer at Wordwave in Fleet Street recording Crown Court cases. Songwriting part time.  
George Apsion 2003 George and Tariq have set up a fantastic studio facility - KORE STUDIOS - well worth a look see! kore
Moy Tonsompong 2004 EMI Thailand Product Executive, 2004-, present. moy
Jessicca Farrer 2004 Another double act, together with Eve below, set up THE LAB jae
Eve Horne 2004 Eve and Jessica finished setting up their recording studio in Woolwich London with grants from the Princes Trust. National Business Award Winners 2005 in the Prince's Trust Award for Social Enterprise category.  
Laura Seach 2004 Head of New Media at Ninja Tunes Records  
Stephen O'Callaghan 2005 Sound Designer at Sony Computer Entertainment  
Richard Adams 2005 Also left to join Sony Computer Entertainment, but quickly moved on to Kuju as a sound designer  
James Sealy 2005 Currently studying for a Graduate Diploma in Law in preparation to take over the music industry (the only student ever to submit a 500 page appendix with his dissertation!)  
James Aparicio 2005 Gateway's latest addition to Mute's merry engineering team. jamesa