Jim Blair:

 I started recording when I was around ten years old, using multiple tape machines. I’ve worked in most audio formats, and have been producing and engineering for over 25 years.

What we do now, with software like REAPER, is a direct result of the technical advancements and classic workflow methods used by producers and engineers over the last 100 years. The tools are more powerful, and work can be done faster, and with more effective methods of project recall, but the basics of recording have not drastically changed.

I designed this 16 week course because many of my guitar students expressed interest and enthusiasm for recording. REAPER is powerful, stable, intuitive, and inexpensive. It has become my first choice for software in the recording studio and the classroom.

During classes, I try to emphasize real world recording techniques. I describe classic recording methods, and try to show the class how the amazing power in the software must be used in combination with professional engineering methods. Powerful tools like REAPER are great, but they are used most effectively with a solid understanding of the basic audio recording skills.

 

Aaron Carey (aka pipelineaudio):

 Aaron Carey started his career in 1989, training as an engineer working on guitars, amplifiers and sound reinforcement electronics. In 1991 he started studying under Pierre Grill at Rendezvous Recording in Hawai’i, working as late night audio engineer, primarily for death metal bands.

In 1994, Aaron relocated to Arizona, where he took the opportunity to enhance his skills in an area where the industry had much more to offer. Aaron’s background as a solder jockey who could build connections offered him opportunities in the studio as a tech, and most often, a patch bay and routing builder, working under greats such as Michael Kaye, Jeff Harris and George Augsperger.

Aaron attained an internship after college at Vintage Recorders in Phoenix. He assisted and firsted for such musical greats as Lee Ving from Fear, Sacred Reich, Megadeth, Flotsam and Jetsam, and Dokken. Aaron also worked with the regulars of the studio including Stevie Nicks, Joey DiFrancesco and The Gin Blossoms.

In 1999, he started the pipelineaudio studio. During this time, he began to pursue software solutions to real world and hardware problems; building relationships with Sonic Foundry, Sony, iZotope, and various visionaries of the impossible, and probably most importantly, Wave Machine Labs. Aaron also consulted with Vintage Recorders to make impulses of the gear, rooms and reverbs there for the newly emerging convolution reverb technology, which led to the AES_24_96 and pipelineaudio impulses popularized by Noisevault. During this time he released one of the first party samples for Drumagog.

In 2006, Aaron teamed up with Justin Frankel and Christophe Thibault to turn their fledgling REAPER digital audio workstation into a product that could be used by professionals, dominating a section of the market who had been almost completely ignored by the existing DAW manufacturers.

In 2009, Aaron returned home to Kailua, Hawai’i where he manages the Kailua Music School, supporting local musicians, developing software solutions, developing young independent bands and teaching classes.