Course
Overview
Our course takes a wide view of what working with sound means, to create the next generation of audio professionals able to work across the entire audio industry: recorded sound, live sound, film and TV, gaming and emergent technology.
In your first year you establish the solid foundations required to develop and progress throughout the course. From the second year onwards as your skills advance and you use more sophisticated technology you select areas of study that reflect your aspirations, strengths and interests.
Accreditated By:
What You Will
Study
Technical Foundations - core (30 credits)
This module provides the theoretical underpinnings of many of the practical modules throughout the course, covering fundamental acoustics and the physics and electronics applicable to audio systems. Concepts are introduced and explained in lectures and followed by practical workshops and demonstrations in various forms. These can include using software to perform calculations and modelling, exploring acoustic theory in a studio environment, using test equipment to diagnose faults and building and testing audio cables.
Audio Practice - core (30 credits)
Based in a recording studio environment, this module acts as the ‘bedrock’ for your technical craft learning in the first year. You learn how to operate a modern studio recording environment, including signal flow, signal processing, microphone techniques, mixing and basic mastering. You also learn how to confidently use industry standard Digital Audio Workstations (DAWs) and effectively integrate their use in a studio environment. Although situated around music recording and mixing, many of the ideas, concepts and techniques are directly transferable to other areas of audio production that you encounter elsewhere in the course. Lectures discuss theoretical ideas and concepts, which are then applied practically in small workshops in both the recordings studios and audio labs.
Live Sound 1 - core (30 credits)
This module enables you to develop the core practical skills and theoretical knowledge for designing and deploying sound reinforcement equipment. Practical work focuses on applying small and medium scale portable systems to live music gigs. You learn how to select appropriate equipment and how to get the best out of it. Areas of focus include live mixing, monitoring, system design and tuning, working with artists and procedures for sound checks and changeovers.
Sound for Picture - core (15 credits)
In this module you are introduced to the basic skills and knowledge needed to capture, edit, create and mix audio in conjunction with moving image. You learn how to effectively capture sound on location and later synchronize this to picture using industry-standard Digital Audio Workstations (DAWS), how to build and use sound FX using both ‘found sound’ and library effects, and understand the function and use of the different sound elements employed in sound design.
Collaborative Technical Project - core (15 credits)
In this module you develop your collaborative, planning, time management and project specific technical skills by working on practical projects, productions or performances at LIPA. You work with students from other disciplines, as you apply your technical knowledge and skills to the needs of the production/project. You are guided by teaching staff who help you plan and manage your roles and provide technical instruction if required.
Advanced Technical Studies - core (30 credits)
This module bridges the gap between theoretical concepts and their application with a focus on current developments in digital audio systems. This includes digital signal processing, networking, data storage and transmission, and immersive audio. Ideas and concepts are introduced and discussed in lectures before workshops take place in the recording studios and audio labs where specific concepts can be applied in a practical setting.
Professional Preparation - core (15 credits)
In this module you prepare for employment. Key employment sectors in the audio industry are explored, including sessions with visiting industry practitioners. You develop the skills to identify opportunities and take advantage of them by developing an in-depth knowledge of the particular sector or sectors of the industry that you plan to work in. You begin to plan your third-year projects so you can acquire key skills, experience, and industry knowledge to enhance your prospects. As part of this module graduates return to share their experience of and advice for breaking into industry.
Live Sound 2 - option (30 credits)
As well as the core modules, in your second year you select 2 x 30 credits options and a 1 x 15 credits option as you start to specialise in line with your interests, strengths and ambitions. This module develops and advances the skills and techniques learned in Live Sound 1. Having previously focused on popular music, you are now introduced to sound reinforcement and sound design for theatrical and other non-musical performances. You work with more advanced technologies to deliver practical work combining both live elements and recorded cues, using distributed sound systems and matrixes. As part of the module, you also learn how to resolve faults in complex systems and are introduced to the set-up of complex multichannel RF systems for radio mics and monitoring.
Music Recording – option (30 credits)
As well as the core modules, in your second year you select 2 x 30 credits options and a 1 x 15 credits option as you start to specialise in line with your interests, strengths and ambitions. Building on the core studio skills developed in your first year, in this module you learn to use increasingly complex and sophisticated studios and tools. You learn how to mix and master multi-track recordings to meet specific briefs, using a variety of tools including automation, EQ, effects and dynamics processors. You work with a range of advanced analogue and digital production consoles and DAW control surface options, and learn how these integrate into recording studios. There’s also an emphasis on defining music genres and their sound qualities, and further developing specific recording and production techniques to work in these genres.
Audio Post Production - option (30 credits)
As well as the core modules, in your second year you select 2 x 30 credits options and a 1 x 15 credits option as you start to specialise in line with your interests, strengths and ambitions. This module teaches you the practical skills, knowledge and understanding needed to enable you to record, mix and create sound for moving image after the picture has been locked. You work with surround-capable desks and workstations to produce multi-channel mixes in a variety of formats including 5.1, 7.1 and Dolby Atmos. Professional workflows for track-lay, Foley recording and editing and dialogue re-recording are explored. The module also looks at the key technical principles surrounding audio for TV and film including video signals, formats, codecs and timecode.
Music Production – option (15 credits)
As well as the core modules, in your second year you select 2 x 30 credits options and a 1 x 15 credits option as you start to specialise in line with your interests, strengths and ambitions. This module helps you to develop your music production practice with a growing commercial awareness as you consider audience and industry expectations and how they can shape production values. You develop detailed knowledge of the stylistic conventions and qualities of a contemporary music genre and produce a recorded musical work that meets those conventions and qualities. This knowledge enables you to evaluate the work of existing songs and producers within social, cultural and theoretical contexts and critique your own work from a commercial angle.
Sound Design for Theatre – option (15 credits)
As well as the core modules, in your second year you select 2 x 30 credits options and a 1 x 15 credits option as you start to specialise in line with your interests, strengths and ambitions. In this module you develop your understanding of sound design along with the role of a theatrical sound designer and associate sound designer. Through lectures, workshops, practical exercises and project work you explore the key concepts of the role and how to create sound FX, moods and a sonic narrative in response to a brief. As part of your learning, you undertake the role of theatre sound designer and/or associate designer on a LIPA production or project.
Broadcast Audio – option (15 credits)
As well as the core modules, in your second year you select 2 x 30 credits options and a 1 x 15 credits option as you start to specialise in line with your interests, strengths and ambitions. This module develops your understanding of the technical requirements, systems and operational considerations for broadcast audio. Covering Radio and TV – both studio based and outside broadcasts – you learn to select the appropriate technical solutions for a broadcast and design, rig and operate a system for a live broadcast.
Final Portfolio - core (60 credits)
In this module, you bring together everything you have learned on the course to produce a portfolio of work, related to your ambitions, that matches professional standards and practice. It consists of a number of pre-agreed audio-related products which demonstrate your skills, knowledge and understanding. You analyse your work, comparing what you have produced to existing professional products. You also research a specific topic linked to an element of your practical work and present your findings in a practice-linked research paper.
Professional Preparation 2 – core (15 credits)
In this module you plan a pathway for the first steps of your career. You develop a personalised strategy for self-promotion, become increasingly confident in your communications with other professionals and gain a clear understanding of how to manage your personal and business finances. You take part in mock interviews/pitches and compile a portfolio which includes an overview of your intended role or business and a database of potential employers/clients.
Advanced Live Sound – option (30 credits)
In your final year as well as completing the core modules you choose a 1 x 30 credits module and a 1 x 15 credits module as you expand and deepen your knowledge, skills and experience.
To select this option you must have completed Live Sound 2 in your second year. In this module, you expand your understanding and knowledge gained over the previous two years. You develop advanced skills with live digital consoles, automation, speaker system design and control including line arrays, and digital audio distribution and networking. Taking on senior roles such as Sound Designer, Production Sound Engineer and Sound Number 1 and 2 on major LIPA public performances allows you to gain a broad range of practical experience. Although primarily a practical module, lectures, workshops and tutorials are used for the introduction of advanced theoretical concepts and their application.
Advanced Post Production – option (30 credits)
In your final year as well as completing the core modules you choose a 1 x 30 credits module and a 1 x 15 credits module as you expand and deepen your knowledge, skills and experience. To select this option you must have completed Audio Post Production in your second year. This module allows you to hone your post-production skills and techniques to an advanced level so you are working confidently at a professional standard. You build a sophisticated understanding of the use of track-lay and mixing techniques for film and video in surround, stereo and object-based formats. These include dialogue and Foley fitting and editing, multichannel effects applications and use, creating deliverables to a specified brief and conforming and re-conforming to picture changes.
Advanced Studio Production – option (30 credits)
In your final year as well as completing the core modules you choose a 1 x 30 credits module and a 1 x 15 credits module as you expand and deepen your knowledge, skills and experience. To select this option you must have completed Music Recording in your second year. This module helps you to extend and build on your music recording skills. You are introduced to new approaches to music sequencing, sound recording, layering and arrangement and advanced mixing techniques including Atmos Music. This enables you to achieve increasingly sophisticated and professional results in your music production work.
Game Audio – option (30 credits)
In your final year as well as completing the core modules you choose a 1 x 30 credits module and a 1 x 15 credits module as you expand and deepen your knowledge, skills and experience. To select this option you must have completed Audio Post Production in your second year. This module builds on the ideas and concepts you learned in Audio Post Production and applies them to game audio development and other adaptive media. You become familiar with workflows and tools as you devise, create and implement audio assets using existing established industry techniques. You work with game engines, learn the basic principles of coding and are introduced to audio piplelines. Lectures focus on theoretical aspects, which include analysis of existing games and their sound designs. Your workshops are ‘hands on’ practical sessions, which deal with operational skills and the application of these skills.
Lighting, Rigging and Power - option (15 credits)
In your final year as well as completing the core modules you choose a 1 x 30 credits module and a 1 x 15 credits module as you expand and deepen your knowledge, skills and experience. This practical module provides you with the fundamental concepts and practical skills required to safely and appropriately implement a temporary lighting system for a live production. It culminates in you working to a brief as you rig, fly, program and operate a lighting design for a live performance. Along the way you learn essential health and safety, rigging conventions and power distribution and safety.
Location Recording – option (15 credits)
In your final year as well as completing the core modules you choose a 1 x 30 credits module and a 1 x 15 credits module as you expand and deepen your knowledge, skills and experience. This highly practical module equips you with a range of skills and approaches to the capture and post production of a variety of different location recordings. It includes applying stereophonic, ambisonic and multi-channel techniques to a range of sources on location, evaluating different approaches and selecting the most appropriate for differing locations and editing and mixing location recordings using a range of post-production tools.
Video Production – option (15 credits)
In your final year as well as completing the core modules you choose a 1 x 30 credits module and a 1 x 15 credits module as you expand and deepen your knowledge, skills and experience. In this module, you are introduced to the basic techniques, skills and ideas needed to produce short videos, including music videos. You learn about camera techniques, basic lighting and editing. You gain experience of the production process including how to script and develop a storyboard, before shooting and editing a finished video.
How You Will
Study
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Workshops
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Practical Production Work
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Lectures
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Tutorials
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Seminars
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Independent study
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Group Work
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Masterclass
How You Will Be
Assessed
You will be assessed through exams, written papers or presentations, practical production work and continuous assessment. In your third year, you complete a research project in an area which is of interest to you and relevant to your intended career path. Practical work forms the largest percentage of your assessed work.
Practical/written work ratio
65% practical work / 35% written assignments/exams
Validated By:
Our
Facilities
George Martin Studio
The George Martin Studio (GMS) is LIPA’s flagship recording studio. Featuring a large control room, allowing hands on masterclasses with visiting practitioners to take place, it is built around an SSL Duality console. This console has been widely adopted across a range of larger commercial studios and features tight integration with Digital Audio Workstations such as ProTools, while still giving the benefits of a high-performance analogue signal path. Outboard equipment majors on ‘boutique’ and classic analogue devices to complement the extensive range of plug-ins available on the resident ProTools HDX system. Optimised for music tracking and mixing, GMS has visual sight-lines and connectivity to two separate recording spaces. It also features its own machine room to house some equipment, including a vintage 24-track analogue multi-track. Like all of the studios, there’s the opportunity to connect to all of the other studios and to performance spaces throughout the institute using a sophisticated digital audio network built around the Dante networking standard.
Monitors
Coastal Acoustics Boxer T4
Nearfields by Neumann, PMC, Yamaha, Focal
C-Audio and Chevan Amplification
Console
SSL Duality 48 channel c/w Ultimation and Recall
Record / Playback
Tascam MX2424 for legacy media transfer
Otari MTR90 MkII 2” 24 track (No NR)
ProTools HDX2 c/w 2 x HD I/O interfaces giving 32 channels of analog I/O
Tascam DA60 DAT with timecode
iZ Radar 24 Classic c/w full remote and DVD-R / CD-R / DVD-RAM backup
Marantz PMD340 CD Player
Tascam 122 Mk II Cassette
Synchronisation by Motionworks / Lynx
Outboard
2 x Drawmer DS201 Gates
1 x Grove Hill ‘Liverpool’ Compressor
1 x Thermionic Culture Phoenix
1 x Thermionic Culture ‘Vulture’
1 x Manley Massive Passive EQ
1 x Empirical Labs Distressor
1 x LA2 Compressor
1x Neve 1073 DPA
1 x Millenia HV3-C
1 x Chandler Germanium
1 x API 3124x
2 x Drawmer DL241 Compressor
1 x BSS DPR402 Compressor/Deesser
1 x Focusrite ‘Blue’ ISA 215 EQ/Preamp
1 x BSS DPR901 Dynamic EQ
1 x Aphex 250 Type III Exciter
1 x tc M2000
1 x Yamaha SPX 990
1 x Lexicon 960L
1 x dbx 168A Dynamics Processor
1 x Eventide DSP4000 Ultraharmonizer
1 x tc M5000
Other
Mac Pro (2019) 16 core with 64Gb RAM
UAD-2 Octo Card with Ultimate Plug-in bundle
Runs ProTools 2023.6 Ultimate, Ableton Live, Logic Studio, NI Komplete
Digidesign Sync I/O
Roland JV1080
Emagic Unitor 8 / AMT8 MIDI Interfaces
Recording Studio 1
Studio 1 may be LIPA’s smallest studio, but that doesn’t mean that it’s lacking in power. Built around an SSL AWS900, it is optimised for small-scale music tracking, over-dubbing and mixing, with carefully selected outboard equipment and a ProTools HDX system. As the console shares much in common with the larger Duality in GMS, this means that projects can move from room to room very easily at different stages in the project. The size and layout of this room is typical of many commercial ‘project’ or ‘writing’ studios. It has visual sight lines to a single recording space.
Monitors
PMC twotwo.6
Neumann KH120A
Genelec Sub-woofer
Console
Neve Genesys
Recorders
ProTools HDX c/w 2x HD I/O giving 24 channels of analogue I/O
Marantz PMD340 CD Player
Outboard
1 x Focusrite ISA215
1 x Millennia HV3-C
1 x Manley Vari-mu compressor
1 x Bricasti M7
1 x Lexicon 300L
1 x tc M2000
1x UA 2-1176
Other
Mac Pro (2019) 16 core with 64Gb RAM
UAD-2 Quad Card with Ultimate Plug-in bundle
Runs ProTools 2023.6 Ultimate, Ableton Live, Logic Studio, NI Komplete
Unitor 8 and AMT 8 MIDI Interfaces
Recording Studio 2
Studio 2 is primarily designed as a post-production mix stage, although we’ve made it flexible enough to use for music mixing and tracking as well. Built around an Avid S6 M40 control surface, this studio allows mixing in 5.1, 7.1 and Dolby Atmos 7.14 formats. Featuring HD projection it’s a primary space for sound-to-picture work, and is also designed to accommodate work in the developing field of immersive audio.
Monitors
3 x Neumann KH310 (LCR)
8 x Neumann KH120D (Surrounds and Height)
2 x Neumann KH810 (Sub Wooofers)
Console
Avid S6 M40 16 fader + Surround Panel
Record / Playback
Protools HDX2 c/w 1 x Avid MTRX and 1 x AVID HD I/O
Denon BluRay / DVD / CD Player
Outboard
1 x Focusrite 828 8-channel Mic Pre
1 x Grace M103 Channel Strip
1 x Neve 1073DPA Mic Pre
1 x tc System 6000 multi-channel reverb / fx
1 x Eventide Eclipse
Other
Mac Pro (2019) 16 core with 64Gb RAM
Runs ProTools 2023.6 Ultimate, Ableton Live, Logic Studio, NI Komplete
UAD-2 Quad Card with Ultimate Plug-in bundle
SynchroArts Vocalign Pro
Dolby Digital (5.1),Monitoring and Decoding (DP564)
Dolby LCRS Surround Mixing, Monitoring and Encoding (SEU4 / SDU4)
Dolby Atmos Production Suite
Nugen Audio Halo and Loudness Toolkit
Black Magic Design Ultrastudio 4K
ADR Master 2 Studio
Recording Studio 4
Studio 4 is almost identical to Studio 3 – and features the same ASP8024 console and outboard selection. It’s a physically smaller room though, so the main monitors are correspondingly scaled down in size. Aside from that though, everything else (including the dedicated recording space) is identical – meaning that it’s easy to move projects between the two studios depending on availability.
Console
Audient ASP8024 24:24 cw patchbay
Record / Playback
Tascam DA40 DAT
ProTools HD Native c/w 2 x HD I/O giving 24 channels of analogue I/O
Denon CD player
Monitors
Neumann KH310A
DAS Monitor 6
C-Audio Amplification
Outboard
2 x Drawmer DS201 Gates
1 x BSS DPR 504 Quad Gate
1 x BSS DPR402 Compressor
1 x Drawmer DL241 Compressor
1 x Amek Purepath Mic Pre / Compressor
1 x Amek 9098 Neve EQ
1 x BSS DPR901 Dynamic EQ
1 x Aphex 104 Exciter
1 x Yamaha SPX990
1 x tc M2000
1 x Yamaha SPX 2000
1 x Bricasti M7 Reverb
1 x Lexicon 300L
1 x Focusrite ISA220 Session Pack
1 x Drawmer 1961 Stereo EQ
1 x Drawmer 1961 Valve Compressor
Other
Mac Pro (2019) 16 core with 64Gb RAM
Runs ProTools 2023.6 Ultimate, Ableton Live, Logic Studio, NI Komplete
Recording Studio 5
Studio 5 serves several purposes. It features the ‘scaled down’ version of the Audient consoles found in Studios 3 and 4, which makes it easy to get to grips with for students of all levels. In addition it features a wide range of hardware synthesizers, both analogue and digital, for music creation and sound design. The relatively small live room makes it ideal for tracking overdubs for single instruments and vocals, but also features a purpose built foley stage for recording Foley FX to picture. There are also additional facilities for video playback and synchronisation and wipe and cue generation for dialogue re-recording.
Console
Audient ASP4816-HE
Record / Playback
Marantz PMD340 CD Player
ProTools HD Native c/w 1x HD I/O giving 16 channels of digital I/O
Monitors
K&H O300
Outboard
1 x Focusrite ISA220 Session Pack
1 x Amek 9098 Neve Mic Pre / EQ
1 x Neve 1073DPA Mic Pre
1 x tc Fireworx
1 x Bricasti M7 Reverb
1 x BSS DPR402 Compressor
Other
Mac Pro (2019) 16 core with 64Gb RAM
Runs ProTools 2023.6 Ultimate, Ableton Live, Logic Studio, NI Komplete
SynchroArts Vocalign Pro
ADR Master 2 Studio
The Paul McCartney Auditorium
The PMA is the largest of LIPA’s performance spaces and is a traditional proscenium arch theatre. It can seat an audience of around 350 people and has flexible seating arrangements and staging configurations.
Each year over 30 performances take place in the PMA. These include shows that make up part of LIPA’s season of public performances, providing Sound Technology students with the opportunity of working on large-scale, fully realised drama, dance, and musical theatre productions as well as a two week-long music festival.
The PMA acts as a practical teaching space for Sound Technology students with sound reinforcement and other live sound sessions taking place here along with industry-led demonstrations. It also hosts most of our large-scale masterclasses and whole student body presentations.
Sennheiser TV Studio
The Sennheiser TV Studio is a fully realised TV and broadcast studio. The studio, along with motion capture and editing, sound and grading suites, was completed in 2020. Students have access to state-of-the-art facilities and equipment to replicate a professional environment and support learning.
George Harrison Workshop Studio
Seating over 100 people, the GHWS is a fully equipped experimental performance space that offers creatives and performers a ‘blank canvas’ for productions. As well as immersive and promenade performances, it can also host more traditional theatrical productions with a variety of stage and audience configurations. It is also used as an exhibition, rehearsal and teaching space.
Live Sound Facilities
While each of the performances spaces will have its own basic installed sound system, the reality is that every show or event is different, and so a large stock of live sound equipment is available from a central store to be specified and used by students. This includes mixing desks (analogue and digital), loudspeaker systems (point source and line-array), amplifiers, microphones, radio microphones, IEM systems, and all of the cabling, multicores, stage boxes and associated equipment to stitch it all together. Mixing desks include models from Yamaha, Soundcraft, Allen & Heath and Digico. Loudspeaker systems are primarily d&b audiotechnik, but with some additional stock from other manufacturers.
As the live sound industry has moved increasingly towards digital technologies, so has LIPA – and has invested in a building wide audio network with fibre-optic and copper cabling, that allows multi-channel audio distribution between performance spaces, recording studios and other technical areas using EtherSound, MADI and Dante standards. In addition, the PMA has an installed Peavey Nion system for system processing and routing.
FOH / Monitor Consoles
DiGiCo Quantum 225
DiGiCo SD12 (W/ Theatre Software Extension)
Allen & Heath Avantis (W/ DPack Plugins)
Allen & Heath SQ6
Midas M32 Live
Yamaha M7CL-ES
Yamaha M7CL
Yamaha PM5D
Soundcraft Si Expression
Soundcraft GB8
Allen & Heath ML5000
Allen & Heath GL2800M
Loudspeakers
4x d&b Audiotechnik Y7P
4x d&b Audiotechnik Y10P
8x d&b Audiotechnik C7 Sub
4x d&b Audiotechnik C7 Top
2x d&b Audiotechnik B4
3x d&b Audiotechnik B6
11x d&b Audiotechnik E12
5x d&b Audiotechnik E15X Sub
15x d&b Audiotechnik Max12
6x d&b Audiotechnik T10
1x d&b Audiotechnik T Sub
8x d&b Audiotechnik E6
8x d&b Audiotechnik E8
13x K&F Sona 5K+F Sona 5 x8
Amplification
Installed amplification in Paul McCartney Auditorium by Chevan /MacroTec / d&b
System Processing and Routing via Q-Sys / BSS OmniDrive
9x d&b Audiotechnik D20
4x d&b Audiotechnik D12
13x d&b Audiotechnik D6
RF Capability
Up to 26 channels of Sennheiser handheld, lavalier and IEM systems – Sennheiser G3 / Series 2000
Playback
Flightcased Q-Lab playback systems c/w Mac Mini and MOTU interfaces x 3
Other
KT Square 1 Active 8-way splits x 6
Yamaha Rio 3224-D Dante I/O x 3
Yamaha Rio 1608-D Dante I/O
Allen & Heath ME-U / ME-1 personal monitoring system
Digital Audio Lab
LIPA has three off-line labs, each of which houses up to 13 M1 iMac workstations along with monitoring and projection facilities. These labs are used to teach ‘in the box’ production, and each workstation is loaded with the latest DAW and audio software, Including Logic Studio, ProTools, Ableton Live, Native Instruments Komplete and a range of plug-ins from Waves and McDSP.
Technical Services
LIPA’s Technical Services team can help with general technical queries and booking out equipment for short-term loan. Loan equipment includes musical instruments, microphones, various recording and playback equipment, digital video and stills cameras and AV equipment. Term-time opening hours allow you access to Technical Services from 9am until 11pm every weekday and 9am until 5pm on Saturday and 11am until 5pm on Sunday. Outside of term time it is open on weekdays from 9am - 5pm.
Learning Resources Centre
LIPA’s Learning Resources Centre (LRC) is a specialist creative and performing arts library with an extensive collection of books, e-books, scores, CDs, DVDs, e-resources, print and electronic journals. Whether you are looking for individual songs or scripts, background research or creative inspiration, the LRC Team will be able to help. The LRC offer support sessions in ICT and study skills through subject specific lectures, as well as one-to-one and drop-in sessions, ensuring you get the most out of your study. The LRC website provides the gateway to LIPA’s online catalogue and electronic resources and includes links to a wide selection of help sheets and video guides.
In addition, LIPA’s virtual learning provision which includes Moodle, holds a variety of subject-specific learning materials, such as lecture notes, useful web links and module information. The majority of these services are available off-campus. LIPA’s integrated learning environment has a variety of study spaces, including individual and group work areas, and an open-access computer suite. Facilities include printing, copying and scanning, plus binding and laminating equipment.
A range of stationery is available for purchase to support your studies. Opening hours during term time are Monday and Wednesday 9.00am to 6.00pm, Tuesday and Thursday 9.00am to 8.00pm, Friday 9.00am to 5.00pm. The LRC may be closed for some weeks in June and is also closed during July and August.
ICT Services
LIPA's Information, Communications and Technology Department provides the infrastructure and services framework that enable students to exploit the latest information and communication developments. Industry-standard computer resources are running the latest productivity software on high specification workstations in dedicated computer suites. LIPA also has a colour A0 plotter, ideal for floor plans. All PCs are installed with Microsoft Windows, Microsoft Office & Project as standard.
There is also access to a range of additional specialist software installed on selected workstations. These include AutoCAD, Adobe Creative Cloud applications, EarMaster, Sibelius, MindManager, Vectorworks and WYSIWYG. All workstations have access to the Internet, email and other electronic resources.
There is free Wi-Fi access throughout our buildings for students and staff members via the Eduroam network which provides a world-wide roaming access service developed for the international research and education community. Specialist ICT staff are available to answer questions, give assistance and advise on ICT issues.
LIPA Bar & Canteen
As well as serving food and drink, the bar and canteen are the hub of social activity within LIPA with both spaces licensed for performances. The canteen is the venue for LIPA’s weekly gig night, The 2ube. Most Fridays the 2ube features live performances, showcasing musicians from LIPA and Liverpool’s music scene. The event is a collaboration between Management, Music, Sound Technology and Theatre & Performance Technology students.
The canteen also hosts open mic and jukebox shuffle nights, and independent student organised performances and benefit nights. The bar hosts regular quiz nights and Student Event Board parties.
The bar is open Monday, Thursday and Friday from 3pm - 11pm, and Tuesday and Wednesday from 3pm - 10pm, with extended hours for special events. The canteen is open Monday to Friday from 8.30am – 3pm, serving food and drink at student-friendly prices.
LIPA is also home to a 92 Degrees Coffee shop. The popular Liverpool independent has a number of coffee stores and roasteries across the north west. It serves up barista coffee and cakes in the Art School Atrium during term time.
Jon Thornton
Director of School of Creative Technologies, Design and Enterprise
Jon started by helping out in studios, and studied the UK’s first BTec in Music Technology. While studying, he gained experience in TV audio before moving on to a post-production facility (sound to picture). Jon continued working there until he began lecturing. He regularly writes for Resolution, a leading audio magazine, which keeps him up to date with the latest equipment and thinking. Having worked in different areas of the audio industry, he is able to spot where skills and knowledge crossover, which informs his teaching. Jon believes that students need to learn by doing things, but also by understanding why they are doing them.
Mark Atherton
Lecturer
Mark works as an engineer and producer for artists requiring further production work on their material. Mainly focused on electronic music, the majority of his work is in desktop audio. Mark has worked with labels including Soulfuric Recordings, Defected and Ministry of Sound and artists such as Joe Roberts and Melanie Williams. He feels that understanding how to get the most from today’s multi-functional music production programmes are key to helping artists realise their creative aspirations. Having spent 15 years in music production, Mark believes in showing students the possibilities first, then allowing them to shape these possibilities around their own projects.
Chris Layton
Senior Lecturer
Chris has over 20 years of experience as a live sound engineer and specialises in providing practical solutions for complex and challenging acts. He has toured extensively with artists including Prodigy, The Pogues and Chumbawamba. Chris’ experience means he understands both the technical and the equally important non-technical skills needed to work and succeed in the industry. Chris feels that it’s vital to develop a solid understanding of underlying principles before learning to apply these to a range of situations. He relates theoretical concepts to actual projects, allowing students to collaborate, problem solve and gain hands-on experience which reflects real-world production environments. In 2013, Chris won the PRG award for outstanding achievement in education at the inaugural Technical Theatre Awards (TTA), which celebrate the UK live entertainment industry’s backstage professionals.
Pete Philipson
Lecturer
Pete has been involved in the audio and music industry for around 30 years. His activities involve recording, mixing and performing music, where he both collaborates with other artists and works on his own productions. His recordings have been released on established independent labels including Fire, Leaf and Static Caravan, and they have been played on BBC 6 Music, Radio 2 and Radio 3. Musicians he has worked with recently include Jane Weaver, Nancy Elizabeth and Jon Thorne. As a guitarist he has played many notable venues and festivals including Glastonbury, Green Man and SXSW.
His qualifications include a BEng in Electroacoustics and a Masters in Music Technology. Before joining LIPA as a lecturer in 2003, he worked as a sound technology lecturer at Salford University, and before that as an audio research assistant and test engineer. He is a member of the Audio Engineering Society.
Pete mostly teaches course content associated with recording studio operations and the audio theory behind this technology. The modules that he leads are Sound Technology Theory, Studio Design, Creative Signal Processing, Immersive Audio and Research Project. He also contributes to Digital Audio and Advanced Studio Techniques modules.
Paul Stakounis
Lecturer
Paul graduated with LIPA’s very first intake of students in 1998 and worked as a gigging engineer, producer and studio consultant for a number of years before joining the Sound Technology teaching team. He is a multi-instrumentalist and composer, currently composing for his own untitled music project. Paul helps students deconstruct the technical and creative processes of professional studio engineers and encourages them to apply these processes in their own work. He also supports students to embed professional practises in their work, preparing them for entry level jobs, and allowing them to convert these early opportunities into long-term technical and creative careers.
Tony Draper
Visiting Lecturer
Tony is a freelance recording engineer, mixer and producer, who mainly works out of Parr Street Studios and Real World Studios. Tony was one of the engineers on the Justice Collective 2012 Christmas number one single He Ain’t Heavy, He’s My Brother. His work on albums for recent clients from China, Canada, Egypt, Lebanon, Israel and Switzerland has taken him to New York, South Africa, Norway, Paris. Tony’s day to day professional practice in software and production technique means he’s able to pass on his skills and expertise in the most current production trends and technology.
What Our
Graduates Do
LIPA graduates work across the entire audio industry, including live sound, recorded sound, film and TV, gaming and emergent technology. Their career achievements have included:
Abbie Shaw (2021)
Junior Sound Editor, Boom Post
Joe O'Halloran (2020)
Sound assistant, Phaze UK
Ben Harper (2019)
Studio engineer, Motor Museum Recording Studio
Xena Kirby (2019)
Assistant sound effects editor, Soundbyte Studios
Matt Taylor (2019)
Sound Engineer. Winner of MPG Awards Rising Star 2022
Rob Davidson (2018)
Foley editor & recordist, Twickenham Film Studios
Will Stanton (2018)
Assistant re-recording mixer, Formosa Group
Joe Wyatt (2018)
Assistant engineer, Abbey Road Studios
Henry Bentham (2017)
Broadcast engineer, Gravity Media
Jake Boulter (2017)
Team manager, Formula One for RIEDEL Communications
Calum Gilmore (2016)
Sound guarantee, NEP
Django Holder (2016)
Lead audio production coordinator, ARK360
Jake Smith (2016)
Sound engineer, RSC
Andrew Watts (2016)
Head of Technical, AdLib
Joss Walker (2015)
System technician (Pharrell Williams, Liam Gallagher, Take That)
Dan Wishman (2015)
Game sound designer, Game sound designer, Rock Steady
Jamie McIntyre (2014)
Consultant (Theatre Design), Charcoal Blue
Alex Baranowski (2005)
Sound designer, composer, arranger (True Things, Staged for BBC, The Windermere Children for Warner Brothers)
Robin Schmidt (2002)
Mastering engineer
Mike Crossey (2001)
Producer (Arctic Monkeys, The 1975, Jake Bugg, Ben Howard)
Educational qualifications are important but limited in what they can tell us about you.
Your natural ability, your fit with what and how we teach, your growth and your potential are also key factors in our admission process. We can’t evaluate these solely on your educational achievements, so no matter which course you are applying for, we look for the following attributes on your application and at the interview stage.
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"Students at LIPA are trained on some of the most up-to-date equipment by some of the most highly qualified instructors in the country. "
John Leonard
Award-winning Sound designer who works extensively in the West End and Broadway
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"LIPA graduates, I’ve had the pleasure of working with, have never failed to impress me with their knowledge, relentless enthusiasm, and eagerness to learn the tricks of the trade."
Trevor Horn
Producer and songwriter and winner of the Ivor Novello Award for outstanding contribution to British music
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"LIPA students are by far the most savvy and qualified students that we have. The standard is fantastic."
Maria Walker
Chief operating officer at Twickenham Film Studios
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"I’ve been absolutely overwhelmed by the total scope of what’s being done here. To see it in action where you have all of the arts integrated is so rewarding, the arts should be integrated like this. Too few schools are so specialised and that is a problem. I think what LIPA is doing is wonderful. "
Eddie Kramer
Producer, engineer (Jimi Hendrix, Led Zeppelin, The Rolling Stones)
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"Year on year I find myself amazed at the quality of graduates from LIPA. These graduates are naturally well rounded and entirely capable but, more importantly, they have the extra poise and confidence to make their way in the modern music industry."
Tony Platt
Managing Director, Music Producers Guild
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"The amount of people in the industry that have come from LIPA is testament to the training and the quality of people who leave there. The environment is very creative, working with the other disciplines, creates a more rounded individual."
Dan Bennett
SSE/Wigwam Hire Manager
Additional Costs
As part of this course, there are likely to be some additional costs that are not included within your tuition fees. Many of these are optional. We’ve also included information about cost of living expenses in Liverpool in this section.
Books and equipment
All of the key texts for the course can be found in our Learning Resources Centre (LRC). A couple of books are so good as working references for the entire three years that it can be worth buying your own copies. We’ll send you recommendations for these before you enrol.
As we work almost entirely in the digital domain, backing up and restoring your work to a variety of media will become a key part of your life. Although we will supply you with some re-writable media (USB pen drives etc.), many students find an external USBC / Thunderbolt hard-drive to be a quicker and more useful solution, especially if you have your own computer.
You also need your own set of headphones to use while working in the Digital Audio Lab environments. While any set of cans or earbuds that you might already have to use with your phone etc. will do for this, many students like to have something a little more accurate that they can use in other environments too. We’ll give you more advice on selecting headphones in your enrolment pack.
Finally, you need a decent scientific calculator with a log and inverse log function, you can usually pick one of these up quite cheaply. Although many smartphones have a calculator that work perfectly well for this, you won’t be able to use your smartphone in exams here.
Cost of living
Wherever you choose to study, you'll have to budget for accommodation and other everyday living expenses, such as food and bills.
Liverpool is one the UK's cheapest student cities. Accommodation costs are relatively low, particularly compared to the south east of England, and the city's shops and entertainment venues also have lots of student discounts.
We’d recommend completing a simple budget plan to predict your income and outgoings. This should include accommodation, bills, insurance, TV licence, food, laundry, clothes, books, travel and socialising. How much you'll want to spend on a lot of these is completely personal.
There is lots of advice available online about budgeting:
- UCAS budget calculator is a great tool to help you balance your in-comings and out-goings.
- SaveTheStudent provides useful information on student money resources, including loans, budgeting, and scholarship sources.
Most UK students will be able to take out a maintenance loan to assist with living costs and there are some grants available. We also offer some bursaries. To find out more, please see Student Finance and bursaries.
Because our courses are intensive and we have a busy season of student performances, options for part-time work during our teaching periods can be limited. However, many of our students gain flexible part-time work, in performance venues, shops, restaurants and bars. We also provide casual work opportunities for our students ranging from stewarding work on our productions to working with young people to help us widen access to our courses. The long summer break is when many of our students choose to work.
Additional Costs
As part of this course, there are likely to be some additional costs that are not included within your tuition fees. Many of these are optional. We’ve also included information about cost of living expenses in Liverpool in this section.
Books and equipment
All of the key texts for the course can be found in our Learning Resources Centre (LRC). A couple of books are so good as working references for the entire three years that it can be worth buying your own copies. We’ll send you recommendations for these before you enrol.
As we work almost entirely in the digital domain, backing up and restoring your work to a variety of media will become a key part of your life. Although we will supply you with some re-writable media (USB pen drives etc.), many students find an external USBC / Thunderbolt hard-drive to be a quicker and more useful solution, especially if you have your own computer.
You also need your own set of headphones to use while working in the Digital Audio Lab environments. While any set of cans or earbuds that you might already have to use with your phone etc. will do for this, many students like to have something a little more accurate that they can use in other environments too. We’ll give you more advice on selecting headphones in your enrolment pack.
Finally, you need a decent scientific calculator with a log and inverse log function, you can usually pick one of these up quite cheaply. Although many smartphones have a calculator that work perfectly well for this, you won’t be able to use your smartphone in exams here.
Cost of living
Wherever you choose to study, you'll have to budget for accommodation and other everyday living expenses, such as food and bills.
Liverpool is one the UK's cheapest student cities. Accommodation costs are relatively low, particularly compared to the south east of England, and the city's shops and entertainment venues also have lots of student discounts.
We’d recommend completing a simple budget plan to predict your income and outgoings. This should include accommodation, bills, insurance, TV licence, food, laundry, clothes, books, travel and socialising. How much you'll want to spend on a lot of these is completely personal.
There is lots of advice available online about budgeting:
- UCAS budget calculator is a great tool to help you balance your in-comings and out-goings.
- SaveTheStudent provides useful information on student money resources, including loans, budgeting, and scholarship sources.
Most UK students will be able to take out a maintenance loan to assist with living costs and there are some grants available. We also offer some bursaries. To find out more, please see Student Finance and bursaries.
Because our courses are intensive and we have a busy season of student performances, options for part-time work during our teaching periods can be limited. However, many of our students gain flexible part-time work, in performance venues, shops, restaurants and bars. We also provide casual work opportunities for our students ranging from stewarding work on our productions to working with young people to help us widen access to our courses. The long summer break is when many of our students choose to work.
