HNC Music Production

HNC Music Production Course

Become a multi skilled professional

Course Introduction

Are you looking to follow your passion for music production and audio engineering, whilst gaining a higher level qualification in the process? Do you want to study a higher level music production qualification, but don’t want to commit to 3 years of university or the levels debt that comes with it? Our 1 year HNC Music Production course might be the course for you.

It is aimed at those looking to become multi-skilled professionals, or self-employed entrepreneurs within the audio industry.

It has been developed using the MMS ethos of practical hands-on training in small class sizes, with more extra studio time available that any other UK college, and support from technical staff available at all times.

The HNC qualification is equivalent to the first year of an undergraduate degree.
HNC Muisc Production
  • Command Logic Pro, Ableton Live and Pro Tools

    The same creative MMS environment with expert tutors and specialist facilities: this time it’s accredited by Pearson/Edexcel.

  • Getting down to business

    We’ll give you the tools to achieve in a huge range of disciplines within the music industry.

LECTURES

 

Tuesdays 10am-5pm, Fridays 10am-5pm for lectures, practical sessions and tutorials. Your course runs for 3 semesters, each semester is 15 weeks long.

DEDICATED STUDIO TIME

 

You’ll have 2 x 4hr studio slots per week, flexible to your schedule. Tech support staff will use these sessions to give you extra mentoring when you need it.

UNLIMITED ACCESS

 

We’re open from 10am – 10pm Monday – Friday, and 12 – 9pm on weekends for you to use the studios, and offer more practical time than any other UK equivalent.

HNC Unit Overview

  • Music Technology

    Sound production
    Create/control MIDI
    Recording/editing audio
    Complete composition

  • Studio engineering

    Rectify audio issues
    Use key studio gear
    Process sound creatively
    Plan a recording session

  • Sound creation

    Synthesis manipulation
    Sampling theory
    controlling sounds
    creative processing

  • Production Analysis

    Defining genres
    Technological factors
    Landmark recordings
    Applied techniques

  • Audio mastering

    Identify mix faults
    Creative/corrective skills
    Format considerations
    Identify client needs

  • Studio production

    Command the studio
    Know key audio concepts
    Record/process instruments
    Mix a recording

Units Included

Unit 12 : Computer Music Composition and Production

Duration: 1 semester

Technological advances in recent times have dramatically changed how we produce and compose music. This unit looks into the resources and techniques made available during the creative process, and the manipulation and production of musical ideas and sounds. You will examine a range of software and hardware options with a view to integrating them in to the creative process. You will develop an individual creative resource of techniques, processes and material. You will be exposed to a range of musical examples in which these techniques are used and you will be encouraged to apply these techniques and processes to their preferred musical idioms.

Many of the concepts and techniques involved in this unit are delivered by demonstration. It is essential for it to be reinforced by ‘hands-on’ practice and experimentation. Supervised workshop sessions will allow individual queries and problems to be addressed. You will be encouraged to manage your own learning, supported by tutorial and group discussion. Presentation and discussion of your work by their peers can be valuable for sharing ideas and constructive criticism.

Evidence for most of the content of this unit will take the form of a portfolio of music software files that demonstrates your growing affinity with computer-based composition and production. Where possible it would be beneficial for the musical content of this portfolio to represent your own creative direction.

1 Be able to use computers to synthesise and process sound
Sound editing and processing: top and tailing samples; time stretching; pitch shifting; convolution
Software and hardware synthesis: software samplers; sample-based software synthesisers; classic synthesiser emulators; virtual instruments; hardware synthesisers
Synthesis techniques: additive synthesis; substractive synthesis; FM synthesis; wavetable synthesis

2 Understand protocols used to control music software and hardware
MIDI: MIDI controllers; MIDI conventions eg specification, controller messages, system exclusive messages, MIDI time-code
Hardware controllers: controller types eg slider, rotary, touch sensitive, visual feedback, pads; controller programming; controller interfacing eg USB, MIDI chains
Sound utilities: sound routing utilities eg sound flower, Jack; application interfacing protocols eg VST, audio units, RTAS, Rewire

3 Understand the tools used for composing and arranging using technology
Sequencers and host applications: packages eg Reaktor, Live, Logic, Pro Tools, 
Composition and arranging techniques: editing; audio and MIDI data transforming; workflow; application specific functionalities

4 Be able to produce musical material using a range of techniques and technology
Planning: material eg sources, concepts, style; aesthetic considerations
Production: processes eg synthesis, editing
Mixing and mastering: processes eg computer-based editing, levels, digital transfer, exporting files, professional standards, hardware

Unit 52 : Studio Recording and Engineering

Duration: 1 semester

Whether taking up the art of studio engineering as a career or not, it is worth any musician who may participate in a recording at some point having knowledge and an appreciation of the way in which a studio recording session is organised. Being able to talk the same ‘language’ as the engineer and producer could help in getting the best possible results from the session. This can be from a variety of points of view.

First, a musician should have an understanding of how the studio works on a technical level, comparing the use of different processes, techniques and equipment such as microphones. The use of different audio effects can enhance the final production, whether used correctively or creatively. It can also be from the viewpoint of how a studio session is organised and run, and what the musician can do in terms of effective preparation for any recording. All of this applies to anyone using current digital recording as much as to someone building up their songwriting on a basic four-track.

Learning outcomes 1 and 2 look at factors affecting audio quality, together with the two recording methods of using microphones and direction injection (DI). Learning outcomes 3 and 4 look at the use of the mixing desk, including such things as routing and use of EQ, and the creative and corrective treatment of sound. Finally, the unit will look at effective studio session preparation, both from the point of view of the musician and from that of the studio personnel.

1 Be able to rectify factors affecting audio quality
Distortion: issues eg frequency response, amplitude response, linearity, clipping, intermodulation distortion, transient response, phase cancellation, gain staging, summation
Monitoring/metering: options eg monitor types, headphones, control room acoustics, meter types, judging sound quality, safety
Microphone type and choices: options eg operating principles, sensitivity, frequency response, polar pattern, instrumental characteristics, stereo recording, placement, ambience, separation, coloration, accessories
Line level sources: issues eg line level standards, impedance matching, direct injection, amplification

2 Understand and use essential studio equipment
Recording formats: features eg tape or hard disk-based digital formats, bit rates, editing, storage, analogue recording systems
The mixing desk: features eg mixing-desk types, mixing-desk topography, patchbays
Use of mixing desks: functions eg routing, sub-grouping, use of internal/external effects, mic/line inputs, monitoring, automation

3 Be able to implement the treatment of sound creatively and correctively
Compression: functions eg types of compressor, corrective compression, creative compression, limiting, expansion, using the side chain
Noise gates: functions eg types of noise gate, corrective gating, creative gating, ducking, using the side chain
Equalisation: uses eg types of equalisation, corrective equalisation, creative equalisation, filters
Use of effects: contexts eg delay-based effects, tempo, width, depth, reverberation, enhancers, hardware, plug-ins

4 Be able to demonstrate effective recording studio session organisation
Pre-production: planning eg rehearsal and arrangement, demos, instrumentation
Session planning: efficiency eg session aims, schedule and timescale, resources, accommodation, equipment, track plan
Session arrangements: details eg live recording, multi-tracking, overdubs, sound balance, effective monitoring, session logging, track sheets

Unit 30 : Music in Context

Duration: 1 semester
The study of any chosen art form requires placing it in context with other art forms. Any style or feature, regardless of discipline, will have been influenced by previous events. These experiences could be from any source: other art forms, previous personalities, cultural influences as well as social and political trends and demands, religious beliefs and so on. Global influences are hugely important and quickly felt with the ever accelerating capabilities of technology. Any single creation will, in effect, have a creative family tree, an inheritance trail which can be traced back through the creator’s experiences and through previous works and how these in turn were influenced. Disciplines migrate to other forms (for example architecture to art to literature to music). Some events are directly linked (for example how war directly results in works of art, literature, photography, music and film). Other influences have a longer process of evolution (for example the social and cultural origins of pop music to the present-day milieu of genres). Often a completely different development will open new avenues (for example improvements in mechanical recording and reproduction of music and the effect on songwriting). All continue to develop.

You will be able to research these pathways and understand how the chosen art form resulted in the way it did, and when it did. Study will be wide and detailed so you can formulate an informed conclusion. On completion of this unit, you will have much greater knowledge and appreciation of how art forms emerge and develop. An awareness of possible future directions which could influence the way music is produced and marketed will also be cultivated.

1 Understand the key developments in different genres of music
Evolution: key periods and artistic movements in popular music and western classical traditions where appropriate; relationships made between modern practices and past practices
Influences: cultural and social; political and historical; spiritual; geographical; technological; issues of gender and sexuality; key works; cross-cultural; religious Practitioners: a range of influential practitioners who have helped to shape the direction of music

2 Understand a variety of musical genres
Styles of performance: different styles of performance characteristics belonging to historical periods and artistic movements eg punk, baroque, jazz
Location: the effect that location has on styles of performance and reception; open spaces; studio; site-specific eg carnival, rock festivals
Audience: the relationship between audience and the work created eg mods, rockers, demographics of radio audiences, punk, sub-genres, country, bluegrass, indie and brit pop, jazz and cool

3 Understand the cultural contexts that musicians work within
Cultural: the conditions under which a musician creates a work of art and how these can affect the completed product eg censorship, early rock and roll, punk, resistance to new ideas
Social: the social structures and institutions which musicians operate within; moral and ethical concerns; environmental issues
Political: censorship; free expression; manipulation; propaganda

4 Understand the effects of globalisation on music within a wider cross-cultural context
Technology: ever-developing technological influences on the production of music; combining music with other art forms; technology within any given period eg recording, playback developments, formats
Multi-national: monopolisation of the administration of music by large business concerns (the Big Four); sustainability; copyright law
Markets: cross-cultural influences on music; fusions; global opportunities in the marketing of new music; advantages and disadvantages of global availability

Unit 49 : Sound Creation

Duration: 1 semester

Sound creation and manipulation is a central component of modern music production. The introduction of virtual systems has put sound creation technology within reach of all musicians and composers. However, as more individuals have access to music creation, the ability to manipulate sonic content in order to achieve originality has become increasingly important.

The unit is designed to give you the confidence to create and manipulate sound using a range of different methods and technologies. You will develop the practical skills associated with synthesis and sampling technique, supported by relevant theory. You will also develop their skills and creativity in a compositional context and understand the historical developments that have led to modern-day practice.

On completion of this unit you will understand the relevance of sound creation and manipulation in the context of a wide area of musical disciplines. Emphasis will also be placed on transferable skills in order to give learners confidence with a wide range of platforms and technology. The unit also provides the opportunity to discover sound in non-musical contexts (for example sound design) as well as helping to develop a wider understanding of instrumental timbre and playing techniques. Finally, the content can support understanding of related issues such as the properties of sound, listening skills and copyright regulations.

1 Understand the theoretical basis of synthesis and sampling
History: landmarks eg Fourier, Morse, Edison, Nyquist, Buchla, Moog, Chowning, Ondes Martenot, Theramin, Hammond Organ, Melotron, Akai etc
Types and platforms: types of synthesis eg additive, subtractive, FM/AM, wavetable, modelling
Synthesis theory: modules eg oscillators, waveforms, envelope generators, LFOs, audio rate modulation, interfaces
Sampling theory: concepts eg sample rate, bit rate, aliasing, quantisation, dither, interfaces

2 Be able to operate synthesisers
Sound creation: sources eg oscillator parameters, frequency range, tuning, noise, layering, musicality, timbre
Sound manipulation: treatments eg envelope shaping, dynamic envelope shaping, modulation, sequencing, SFX processing, automation
Interfaces: MIDI; audio in/out; librarians; game controllers; keyboards; control surfaces; USB; parameter sliders; knobs

3 Be able to operate samplers
Sound creation: techniques eg sound sources, frequency range, tuning, audio editing, layering, musicality, pitched instruments
Sound manipulation: treatments eg looping, pitch changing, time stretching, envelope shaping, modulation, sequencing, SFX processing, automation
Interfaces: MIDI; audio in/out; librarians; game controllers; keyboards; control surfaces; USB; parameter sliders; knobs

4 Be able to create and manipulate sound in virtual environments
Choosing virtual instruments: context eg standalone, modular, sample based, synthesis based, presets, libraries; integrated systems eg Logic, VST
Choosing plug-ins: functionality eg modulation effects, reverb, EQ, compression, presets
Creating sound: context eg originality, authenticity, musicality, suitability
Controlling sound: control eg processing, routing, mixing, automation

Unit 34 : Music Production Analysis

Duration: 1 semester

Analytical listening skills are fundamental to the role of a music producer. This unit develops aural skills that focus on studio-recorded performance and music production, working with a wide range of musical styles and production methods. You will develop the skills to analyse the musical and production elements of recorded works, identifying studio processes that can be developed in your own work. You will learn how to identify the musical characteristics of a range of genres, recognise the different stylistic elements and evaluate the production techniques involved in the recording process.

You will analyse how elements of good practice can be applied to creative recordings, developing production skills through analytical listening. You will also experience the creative processes that have marked individuality in production and experience how the art of recording has advanced through experimentation, creativity and experience.

On completion of this unit students will be able to evaluate the musical and production elements of a range of landmark recordings. They will understand the musical and technological factors that define music and production styles, identify key studio techniques and be able to apply this to creative recording. They will demonstrate their understanding of studio processes and the application of analysis through practical recording.

1 Understand the musical factors that define musical styles and genres
Texture and timbre: techniques eg instrumentation, amplification, ambient noise, balance, arrangement, dynamics, voicing, range, effects
Rhythm: approaches eg pulse, time signature, metre, groove, feel, syncopation
Style: context eg idiom, signifiers, performance techniques, motifs, riffs, instrumentation, arrangement, performance mistakes

2 Understand the technological factors that define musical styles and genres
Recording systems: resources eg mono, stereo, ambient recordings, tape recording, 4- track, multi-tracking, overdubbing, effects, digital systems, digital correction
Performance technology: solutions eg effects processing, synthesisers, drum machines, MIDI, virtual instruments, sampling, digital modelling, voice processors
Computer technology: tools eg MIDI sequencing, plug-ins, virtual instruments, digital editing, mastering, networking, the internet, digital compression

3 Understand studio production practices through listening and analysis
Landmark recordings: personalities eg innovative producers and engineers, innovative artists and recordings
Studio technology: techniques eg magnetic tape, analogue effects, digital effects, mixing, synthesis, sampling, digital recording, digital mixing, digital correction
Studio techniques: skills eg microphone techniques, multi-track techniques, ambient recording, processors, editing, mixing, mastering

4 Be able to apply studio production techniques to creative recording
Analysis: examples eg microphone techniques, location, room acoustics, texture, sound treatment, sound editing techniques, sound sources
Application: considerations eg audio quality, musicality, arrangement, communication, sound and style, professional standards
Innovation: experimentation eg imitation of classic techniques, unusual use of equipment, effect programming, mixing technique

Unit 5 : Audio Mastering and Manufacture

Duration: 1 Semester

‘This is a Porky’s prime cut’ – these words were once carved into the run-off area of vinyl LPs as a sign from the mastering engineer George Peckham of his stamp of quality. In the age of the internet and bedroom studios, the mastering and manufacturing process is often overlooked or left to chance.

This unit develops a working knowledge of the role and work of a mastering engineer and the mastering studio. It is supported through study of the listening skills essential to mastering, how faults and problems are identified and how audio quality is ensured. You will explore the creative and corrective possibilities in mastering as the final stage of the recording process. You will learn to give technical consideration to the needs of different consumer formats and will investigate and use the various techniques needed for the process. You will crucially produce their own premastered CDs (PMCDs) ready for mass production.

You’ll cover the coding process that identifies tracks and times on a CD, other embedded data and the format standards for presentation to manufacturers. You will study the manufacturing process and prepare masters and media suitable for manufacturing and distribution. And finally, you will ultimately understand the importance of quality sound and the conflicting needs of the client, the manufacturer and the consumer.

1 Be able to identify faults and problems in a recording and plan the mastering process
• Types of recordings: format eg classical, commercial music, compilations, speech, sound effects or combinations thereof
• Listening and analysis
• Production issues: final running order; gaps and fades etc

2 Be able to apply creative and corrective techniques in the mastering process
• Monitoring
• Equalisation and level
• Editing

3 Understand the technical considerations needed to suit various formats and clients’ needs
• PQ encoding
• CD formats
• Formats: modern and historic eg DDP format on Exabyte, PMCD on CD-R MO disc (PCM9000)

4 Be able to prepare a master recording in readiness for the manufacturing process
• CD manufacture
• Quality control
• Distribution via internet
• Historical manufacturing systems

Unit 15 : Creative Arts Research Skills

Duration: 1 semester

This unit will allow you to develop the research skills you’ll need to support both theoretical and practical elements of your chosen genre. This can be applied academically, to enable you to complete a presentation of independent work or to support and develop practical work, for example in identifying specific methodologies and techniques or providing the historical or social background for a realised product.

You’ll will be able to select the most appropriate methods and techniques for undertaking detailed research. You will have the opportunity to develop the skills needed to identify suitable source material and to apply the information in an appropriate context. You will acquire the skills to distinguish between primary and secondary sources, to evaluate the validity of such sources, and to extract the necessary information from them. You will then learn to synthesise their research material into an appropriate form for presentation.

You will identify the most suitable ways of presenting and disseminating this information in order to support specific performing arts and music activities. This will include techniques for gathering research, referencing, summarising key points and the management of research for a presentation. You will also be encouraged to present the researched material in a number of ways, for example written texts, PowerPoint presentations, practical demonstrations, audio and video recordings, or graphic illustrations.

On completion of this unit, You’ll demonstrate the ability to select appropriate topics for research, source and categorise research data, collate information to support your argument and present the findings using a suitable format.

1 Be able to select effective methods and techniques for undertaking research activities
Research methods: type of research eg qualitative, quantitative, systematic, original; use of libraries and archives; internet and digital resources etc
Academic framework: identifying previous research eg literature review; selecting suitable methodologies eg musicological frameworks, reception, critical analysis

2 Understand the validity of appropriate research material from primary and secondary information sources
Organisation: standards eg thematic, chronological, biographical, comparative viewpoints, informed awareness of different perspectives, specific issues
Primary sources: evidence eg first editions, autographed scores, live performance, studio recordings, audio-visual presentations, internet resources, online polls, etc
Secondary sources: evidence eg publications, referenced texts, archives, reviews, recordings/photographs/videos of live performance

3 Be able to formulate critical opinions on a selected research subject
Formulation: critical evaluation of sources; synthesis/interpretation of data; critical thinking; objectivity; identification of target audience
Methodology: context eg critical review of material, links to practice, balance between text and other forms

4 Be able to present outcomes based on research using a recognised format
Format: suitability eg essays, dissertations, journal entries, bibliographies, reading lists, live practice, audio recordings, audio-visual presentations etc
Presentation methods: context eg written texts, verbal presentations, recordings, performances, demonstrations and workshops
Referencing systems: citation eg Harvard, American Psychological Association (APA), Modern Languages Association (MLA)

Unit 36 : Music Technology

Duration: 1 semester

Music technology is a subject that focuses upon the creation of music within the context of modern production environments. Contemporary music production covers a variety of disciplines, such as sequencing, audio recording, sampling, synthesis and associated compositional technique. However, this unit focuses on how these different techniques are integrated to form the basis of modern music production.

The unit is designed to give you the confidence to produce music using a range of different methods and technologies. You will develop the practical skills associated with sequencing and audio recording. You will also develop the skills required to create musical composition using modern technology. On completion of this unit you will understand how the realisation of musical ideas can be achieved through the application of technology. Emphasis will be placed on transferable skills to give the you confidence with a wide range of platforms and technology. The unit gives you opportunities to investigate performance technique and musical scores; this helps understanding of the interaction between technology and performance and emphasises the need for good communication skills. Content will support understanding of related issues such as listening skills and computer architectures.

1 Understand sound production within contemporary music making
Digital Audio Workstation: design eg system architecture, interfaces, connections, sequencers, storage Sequencers: features eg architecture, MIDI standards and protocols, MIDI sequencing, MIDI messages, software sound sources, hardware sound sources, audio sequencing
Studio recording: components eg acoustic instruments, electric instruments, human voice, microphones, DI boxes, mixing desk, separation, foldback and monitoring, audio recording
Production technique: concepts eg planning, collaboration, managing the environment, sound palettes, sound processing, mixing, mastering

2 Be able to create and control MIDI sequences using hardware and software
Sound sources and interfaces: software synthesisers; software samplers; hardware sound sources; presets; original sound creation; sound cards; sample and bit rates; MIDI input devices; connections
Composing and editing: tempo and time signature; key and pitch; timbre; style and genre; entering information; track types; editing functions; quantising; edit windows; mix windows; arranging
Advanced techniques: automation; MIDI controller maps; groove templates; replicating specific instruments
Computer issues: CPU load; RAM management; HDD management; file types and extensions; file handling; fault finding; back-up and storage

3 Be able to apply recording practice and technique to music creation
Recording: considerations eg studio set-up, recording chain and signal path, gain, signalto-noise ratio, levels, monitoring, headphone mixes, latency, needs of the performer, tuning, recording for sample creation, click tracks
Microphones and DI boxes: function and choice eg dynamic, condenser, polar patterns, placement, separation; phantom power; microphone and line level; connections and leads
Multi-tracking: techniques eg separation, bed tracks, overdubbing, group performance, multiple headphone mixes, click tracks
Editing and mixing down: audio editing eg destructive and non-destructive editing, back-up, trim, fade in/fade out, normalise, tempo matching; sample creation eg strip silence, pitch shifting, time stretching; use of equalisation and effects, balance and stereo image, levels and dynamics, automation, basic mastering

4 Be able to create a music composition using a software sequencing application
Integration: audio and MIDI eg MIDI sequences, virtual sound sources, live performance, sample patches, sample loops
Composition: technique eg form, timbre, arrangement, rhythm, melody, harmony, originality, authenticity, musicality, communication
Production: process eg editing, sound creation and manipulation, time management, mixing and mastering
Notation: graphic and standard eg time signature, key, tempo, dynamics, layout, editing, adding text, step versus score editor, display quantise, printing

 

 

Is this course for me?

This course is for you if you’re serious about employment in a range of possible areas of the industry – not just DJ/Producer. You should be committed to the subject, be able to manage your own learning outside of lessons, and be able to reflect on your own practice.

You’ll gain a very varied set of practical skills, and master every element of the modern recording studio. 

We will prepare you for self employment, setting up your own company, and working with others in the music industry. In short, this course is for you if you want an in depth knowledge of music production, want to gain accreditation in the process, and don’t want to commit to a 3 or 4 year program of study.

  • Entry Requirements

    Candidates will have GCSE (or equivalent) Maths and English, and a relevant level 3 qualification in music technology or similar. Extensive experience may be taken into account in lieu of a level 3 music-based qualification. Candidates will attend an interview before a place can be offered, and will be contacted upon registration to organise this.

  • Course Outcome

    You’ll be able to produce music to a very high level with all the elements of the recording studio. You’ll have a studio engineer’s portfolio, and leave with an HNC in Music Production. You can then progress on to our HND year, or on to university to complete your undergraduate degree. Please contact us for further information.

Gain a higher level qualification whilst doing something you love

Enrol on course

  • Course Fees

    Option One: A single payment including the registration fee.
    Total £5950.

    Option Two: Reg fee (£450) + 4 quarterly payments x £1425.
    First payment due 1 calendar month before start date. Total £6150.

    Option Three: Reg fee (£450) + 12 x £490 monthly instalments.
    First payment due 1 calendar month before start date. Total £6330
    .

    Funding options available.
    Contact a course advisor (+44) 0161 833 4722

  • Start dates

    September 12th 2017
    Tuesday lectures 10am-5pm
    Friday lectures 10am-5pm
    Studio slots flexible 

    Semester 1
    Sep 12th 2017 – Dec 22nd
     2017

    Semester 2
    Jan 9th 2017 – Apr 20th 2018

    Semester 3
    Apr 24th 2018 – Aug 3rd 2018

HNC Music Production

£450.00£5,950.00

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SKU: N/A

Additional Information

Start Date

Tuesday September – 12th – 2017 – 10am – 5pm

Payment Options

Option One: Advance payment of £5950., Option Two: Reg fee (£450) + 4 x £1425 instalments., Option Three: Reg fee (£450) + 12 x £490 monthly instalments.

Course FAQS

What is my timetable for the course?

The HNC year is split into 3 15-week semesters. For each semester, your contact time will be as follows:

Tuesday 10am-5pm

Friday 10am-5pm

Studio time 8 hours per week which can be organised to suit your timetable

Do I get practical time in the studios as well as lectures?

Yes, MMS guarantees more practical time than any other UK equivalent.

Practical time is allocated to you (flexible to your schedule) which goes alongside your lectures.

You can also take an unlimited number of any free studio slots

We’re open from 10am – 10pm Monday – Friday, and 12 – 9pm on weekends for you to use the studios.

Full time technicians are on hand for these sessions to give you mentoring if you need it.

Can I get funding for the course?

Self-funding : Payment plans for the course

The MIDI School has a range of payment options for the course, in either advanced, termly or monthly plans. In some instances at the school’s discretion, an extended monthly payment plan can be arranged if there is a guarantor. Please contact us about this if you need more advice.

Loan Funding

We cannot currently accept Student Finance or Advanced Learning Loans to fund this course.

Many students at the MIDI School can however fund their course through a Professional and Career Development Loan.

A Professional and Career Development Loan (PCDL) is a bank loan to pay for courses and training that help with your career or help get you into work. You may be able to borrow between £300 and £10,000. Loans are usually offered at a reduced interest rate and the government pays interest while you’re studying. You start repaying the loan (plus interest at a reduced rate) 1 month after leaving your course. To apply, you must be 18 or over, and have been living in the UK for at least 3 years before your course starts.

To apply for a PCDL, we recommend the following:

I work full-time. Is it possible for me to take this course?

To satisfy the number of required guided learning hours for this qualification, you must be able to commit to Tuesday and Friday from 10am-5pm for lectures as an absolute minimum. Assessments and practical time are more flexible can be completed around your work schedule.

If you have any questions please contact a Course Advisor on + 44 (0) 161 8334722.

Do I need equipment for the course?

You do not need to own equipment to do a course with us

Other than a pair of studio headphones (which are recommended but not essential. If you need advice on what headphones to purchase, please contact a Course Advisor on + 44 (0) 161 8334722.

Every student has access to their own iMac workstation which contains all the software, samples and plugins that you will use throughout the course.

Do you take term breaks?

Yes we do take term breaks.

For this course:

Winter Break – Closed from 23rd December 2016 – Open 7th January 2017

I am an international student. Can I apply?

Students from within the European Union, or who have joint nationality with the UK can enrol via the normal way, by clicking ‘Enrol Now’ on their chosen course.

However, if you are an international student from outside the EU…

We cannot provide you with a Tier 4 Licence. Do please contact us so we can notify you when this is in place.

You can however apply for a Short Term Study Visa to enable you to study for up to 6 months with us in the UK.

And, if you are here on a short trip, you can study one of our shorter courses.

See international students page for more information.

Do you provide student accommodation?

Student accommodation is not provided with the course.

Please see our accommodation page which has detailed information on both student halls, and private renting in and around Manchester.

It is advised that if you are moving to Manchester from abroad or a different city, the atmosphere of student halls might be better for you.

We can help you with other aspects of re-locating, such as advising you on the best transport links to find us, and where some of the best musical venues around Manchester are.

See accommodation page for more information.

Do you hold open days?

We do indeed hold Open Days!  Yes see the next date.

There’ll be free music production and DJ workshops, a range of industry seminars, and a chance to get lots of career advice. All are welcome.

However, if you’re keen to get started quicker than when the Open Day comes around, particularly if you’re looking to study this course, we advise booking in for an informal personal tour of the school.

Please contact a Course Advisor on + 44 (0) 161 8334722 to make an appointment for either a tour or the Open Day.

When should I enrol?

Unlike most training centres MMS has a limit on lecturer to student ratio and keeps its class sizes small. We therefore have limited availability and courses fill up well in advance. We recommend registering as soon as you are ready to secure your place to avoid disappointment.

If you have any questions please contact a Course Advisor on + 44 (0) 161 8334722,  who will be happy to help!

I still need advice!

If you have any questions please contact a Course Advisor on + 44 (0) 161 8334722, who will be happy to help!

If you’d like to view our facilities and chat to a course advisor, please contact us below.

Got a question?

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