This course offers a comprehensive introduction to the equipment, setups, and techniques used in sound reinforcement for live events. It delves into the technical, creative, and logistical aspects of managing sound for live performances, conferences, and other events, with a focus on achieving professional-quality results.Topics include the principles of front-of-house (FOH) sound, stage sound, and sound reinforcement systems.The course also emphasises effective communication, collaboration, and context within the live events industry, providing insights into planning and executing events that meet professional standards.Through theoretical study and practical applications, students will gain the skills and knowledge needed to contribute to the success of live event sound operations.

This NQF Level 6 course provides students with the knowledge and practical skills required to plan, manage, and execute medium- and large-scale live audio productions and events.Students will gain hands-on experience in setting up audio equipment professionally, implementing stage protocols, and managing live event crews. The course emphasises the development of stage management skills, focusing on directing and supervising crews during live productions. Students will also learn how to produce comprehensive show plans, schedules, and technical budgets that meet the demands of professional live events.By the end of the course, students will be equipped to lead live audio productions confidently and efficiently, ensuring successful delivery while adhering to industry standards.

In this capstone module, students are required to complete a minimum of 120 hours of industry-based live sound work outside of the Academy of Sound Engineering’s formal curricular activities. The module is designed to develop professional experience, industry networks, and employability skills. Students will be assessed using industry-standard rubrics and must compile a portfolio of evidence that may include technical documentation, photographs, videos, and other relevant production materials. Upon completion of the required hours and compilation of evidence, students must submit two reflective essays based on different productions, evaluating the challenges, successes, and technical aspects of their involvement while supporting their discussion with appropriate references and evidence.

This course covers advanced theory and characteristics of transducers. It covers microphone theory in detail, goes on to describe specific examples of complex microphones and other pickup systems and further describes techniques for using these microphones in a variety of situations. Demonstrations of setups and practical techniques are covered in the tutorial sessions.

The architecture of a large format analog mixing desk is describedVarious signal flow and configuration variations of generic analog audio mixers are discussed.Variations of the generic mixer are described and the application of these variations is discussed in the contexts of music recording, sound reinforcement and broadcasting applications.The course goes on to describe the differences between analog and digital mixing desks in terms of signal flow and architecture.The operation of specific common models is then discussed

In this advanced course, students expand their knowledge of video theory, building on concepts covered in Video Post Production and Non-Linear Editing 5. Topics such as GOP structures, colour compression, and temporal and spatial compression are explored in greater depth, while new topics such as interlaced fields and colour space models are introduced.Students will engage in hands-on work with professional non-linear editing (NLE) systems, mastering the primary feature sets and interfaces of the software. They will learn to set up projects, adjust preferences and settings, capture video and audio, and use a variety of editing and trimming tools including ripple, roll, slip, and slide techniques.Visual effects and motion effects will be applied to enhance video sequences, and students will create composite images using keying techniques for titling, graphic overlays, and other effects. The course also covers finishing techniques and final output, preparing students to deliver broadcast-quality video in various formats.

Building on the foundational knowledge gained in Video Post Production and Non-Linear Editing 6A, this course introduces advanced video editing techniques and expands on key theoretical concepts. Students delve deeper into video theory, exploring specific file formats, CODECs, and data wrappers, with a focus on professional video compression methods, such as IMX, H264, AVCHD, and expanding dynamic range using technologies like Dolby Vision and HDR.Students gain hands-on experience with professional video editing systems, learning to manage media effectively and apply advanced editing and trimming techniques using ripple, roll, slip, and slide tools. They will also explore the use of visual effects, keying techniques, and advanced colour correction methods. In addition to mastering these techniques, students will work with multicam editing and audio synchronisation, and will develop projects that require integrating graphics, mattes, and motion effects. The course concludes with students preparing their projects for finishing and final output, ensuring they are ready for broadcast or other professional delivery standards.

The course introduces basic design principles for the screen, covering the essential aspects of set design, prop management, and practical effects. Students will learn to use tools safely and effectively, with a focus on understanding the role of sets and props in visual storytelling. Emphasis is placed on the practical application of design principles, hands-on experience with tools, and ensuring a safe working environment.

This course focuses on the essential skills and techniques needed for managing multi-camera shoots and operating vision mixing equipment. Students will learn to set up and utilise vision mixers, apply upstream and downstream keys, and work with virtual sets, green screen, graphics, and text overlays. The course covers practical aspects of directing live multi-cam shoots, effective communication on set, and teamwork. Additional topics include camera calibration, PTZ camera operations, and managing technical elements such as tallies, slates, timecode settings, and latency.By the end of the course, students will be equipped to work in dynamic broadcast environments, understanding the interplay of technical, creative, and logistical elements essential for seamless studio and OB operations.

This course provides an in-depth exploration of cinematography as both a technical discipline and a visual storytelling craft. Designed for intermediate-level students, it equips learners with a comprehensive understanding of camera systems, lens theory, lighting techniques, composition, and sound integration within cinematic contexts. Emphasizing hands-on experience, the course balances theoretical frameworks with practical application in camera operation, exposure control, lighting for mood and genre, and collaboration on set.Students will develop the ability to interpret story through visual design, compose and frame shots to enhance emotional impact, and light scenes using both natural and artificial sources. The course also introduces colour theory, digital workflows, and basic audio capture, enabling students to work confidently across pre-production, production, and post-production environments.By the end of the course, students will be capable of independently designing, executing, and evaluating visually cohesive, technically sound cinematic sequences that demonstrate intentionality in storytelling, mood creation, and aesthetic coherence.

Production AspectAcademy of Sound Engineering facilitates about 80 live-event production days each year, typically three days per week, over each teaching week.Project AspectStudents are required to respond to project briefs to present draft edits and rough mixes of the productions recorded at the Academy of Sound Engineering hosted live events. In such cases, the outcomes of these projects are strictly defined according to the requirements of the client. Other projects provide the student with much more liberal briefs, where specific production qualities must be demonstrated, but where the content is open-ended. These projects provide opportunities to explore creative expression as long as certain technical outcomes are achieved.Live Event VenueThe Academy of Sound Engineering live events usually take place in our V1 studio complex. V1 is a ‘Variety’ studio that includes a small theatre with a 90 square meter stage area, a seating area for an audience of up to 175 people, connected to a foyer area, technical storage, a machine room, a recording studio, with an isolation booth, and an ‘OB’ unit with both sound and vision mixing facilities. This facility is equipped with professional video cameras, broadcast vision mixing, two of the most advanced audio mixing consoles in the country, very advanced PA equipment that has been used for stadium concerts and by international touring music artists, and stage and video lighting. Dedicated fibre lines interconnect V1 to SABC Main Control for live broadcasts, the internet for live streaming, our radio broadcasting studio, and our other studios in the building, with high bandwidth audio and video connections.The ShowsThese Academy of Sound Engineering-hosted live events are usually live-streamed music concerts featuring local professional artists and musicians. Occasionally the artists record albums, DVDs, or material for radio or television shows. Academy of Sound Engineering usually provides a free or very affordable recording service to these clients to provide its students with professional production experience. Occasionally, when a group or artist cancels we substitute the group with one of our student bands, or with staff musicians, several of whom have performed or continue to perform professionally.From this venue we have hosted live streams for top local acts like Thabsie, Sio, and dozens of others, Live radio broadcasts on 5FM for Kwesta, AKA, and others, recorded album material for Amadodana Ase Wesile, Joyous Celebration, and others, including international artists Mumford and Sons, and Jann Klose. We have hosted conferences for the Copyright Coalition of South Africa, Music Exchange (MEX), workshops for CAPASO, and a product launches for DPA Microphones and Avid.Student ParticipationSecond and third-year students are invited to productions on a rotational basis in groups of up to 16. Students participate in every aspect of a production, from planning equipment lists, back-line, audio and video lines, schedules, programme run-down, stage layouts, camera angles, and lighting cues, through the execution of the live event, and to delivering post-production edits and mixes. Each student will attend at least six such production events and thus have the opportunity to rotate through a variety of roles such as stage manager, stage lighting operator, gaffer, front-of-house, monitor, vision, or broadcast mixer, camera operator, and video director. One or two staff members will be in attendance to supervise and direct, but it is the students' hands on the equipment.

This course provides practical, hands-on demonstrations of sound, lighting and video set-ups and involves participation in recordings, live shows, radio broadcasts, or broadcast simulations to gain workplace experience.Students will complete a variety of practical assignments designed to address the diverse skill sets required for successful employment in the entertainment arts industry.