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Beat Kitchen at-a-glance
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FAQ

Welcome to Your Beat Kitchen Questions Corner

Curious how Beat Kitchen works—or whether it even is a traditional school? You’re in the right place. Here, we unpack everything—from how our live, discussion-centric classes run and what tools you’ll need, to what kind of students thrive with us, and how we make creative learning accessible. Take your time exploring—your next beat, insight, or spark of inspiration is just a question away.

Is This A Real School?

Yes. In the sense that there is learning and teaching. But we do not give grades, we do not keep transcripts, and we do not want to have to conform to the rigid structure and requirements that come with accreditation. Beat Kitchen is not a vocational school. Our primary mission is to offer a creative space for musicians to grow and share.

Are Classes Recorded?

No. We don't record our classes, and it's a deliberate choice. When sessions are recorded, attendance drops. People tell themselves they'll watch it later, and later never comes. The entire ethos of Beat Kitchen is built around the idea that you show up, you're present, and you get your questions answered in real time. That's where the learning happens.

That said, we get it. Life gets in the way. You miss a week. So here's what we do instead:

Every session is transcribed and summarized. If you're enrolled in the class, you get access to detailed notes that cover everything discussed — concepts, tools, references, homework. These aren't thin bullet points. They're thorough enough to get you caught up and keep you moving.

On top of that, you have free access to office hours throughout the week. If something in the notes doesn't click, come in, sit down with an instructor, and work through it. We'd rather pay for someone to sit with you and get you up to speed than stick you in front of a recording.

We think the combination of real session notes and open office hours is a better system than a video you'll never watch.

See what a lesson summary looks like

Synthesis Fundamentals & Loudness Metering — June 9, 2025

Quick Abstract: Explored the core concepts of subtractive synthesis using a step-by-step walkthrough of oscillators, harmonics, filters, and envelopes. Demonstrated synthesis concepts with both software synths (Alchemy) and hardware (Korg Volca series). Transitioned into critical mixing fundamentals: the Fletcher-Munson curve, loudness perception, and why everything sounds better when it's louder. Introduced LUFS metering as the solution for objective loudness measurement and proper reference track comparison.

Pinned Notes

  • Nathan: "Reference tracks are like — I'll sing their praises to the end of time"
  • Nathan: "Get your system so that you know what an Apple sounds like" — find consistent monitoring levels for reliable mix decisions

Class Recap

Tonight we dove deep into two fundamental areas that every producer needs to master: synthesis and loudness perception. We started by deconstructing a synthesizer to understand the building blocks — oscillators generating different waveforms (triangle, sawtooth, square), filters subtracting harmonics, and envelopes shaping the sound over time. Nathan walked through the signal flow step by step, showing how triangle and pulse waves contain only odd harmonics while sawtooth waves are "buzzier" with more harmonic content.

The hardware discussion centered on the Korg Volca series, particularly the Bass and Keys models. Nathan demonstrated how these compact synths offer the same fundamental synthesis concepts but in a more musical, tactile interface compared to complex software like Logic's Alchemy.

The second half addressed a crucial mixing reality: loudness perception and the Fletcher-Munson curve. We discovered that human hearing is far from linear — we need significantly more low-end boost at quiet levels to hear bass frequencies clearly. This means when you turn up your mix, you're essentially EQing it differently.

The solution is LUFS (Loudness Units Full Scale) metering, which measures perceived loudness rather than just peak levels. Using tools like the free Youlean loudness meter, we practiced measuring songs and level-matching them for proper A/B comparisons. This transforms mixing from "hope mixing" (randomly tweaking until something sounds better) into problem-solving (identifying specific differences between your mix and professional references).

Detailed Breakdown

Synthesis Fundamentals — The basic signal path: oscillator → filter → envelope → output. We identified the key components:

  • Oscillators: Multiple waveforms (triangle, sawtooth, square, pulse)
  • Harmonic content: Triangle and pulse waves contain only odd harmonics, creating less "buzzy" sounds compared to sawtooth
  • Filtering: The frequency parameter (cutoff) determines which harmonics get removed
  • Resonance: Adds emphasis at the cutoff frequency, creating a whistle-like quality
  • Envelopes (ADSR): Attack, Decay, Sustain, Release shape the sound over time

Hardware vs. Software Philosophy — While software synths like Alchemy offer unlimited routing possibilities, hardware units like the Volca provide focused, musical interfaces. Specific models discussed:

  • Bass: Nathan's favorite, praised for its analog satisfaction and prominent cutoff control
  • Keys: The "sleeper" that grows on users over time
  • FM: Uses frequency modulation synthesis, requiring different conceptual knowledge
  • Sample: Allows loading custom samples for unique sound design
  • Drum: Excellent for unconventional percussion and IDM-style beats

The Loudness Perception Problem — Nathan introduced the McGurk effect video — demonstrating how visual input can change what we hear even when the audio remains constant. The Fletcher-Munson curve (Equal Loudness Contour) reveals that human hearing is extremely uneven across frequencies, and this unevenness changes with volume levels. At quiet levels, we barely hear low and high frequencies. As volume increases, we naturally hear more bass and treble. This creates the fundamental mixing challenge: when you change your monitoring level, you're effectively changing the EQ of your mix.

LUFS Metering — LUFS measures how loud something actually sounds to human ears by weighting different frequencies based on hearing sensitivity, ignoring silent passages, and calculating averages over time. The critical insight: LUFS numbers correspond directly to fader positions. If one song measures –6 LUFS and another measures –12 LUFS, you can turn down the first song by exactly 6dB to match.

Reference Track Application — Nathan demonstrated the workflow using two reggae songs with very different production styles. Initial playback suggested one sounded much "better," but LUFS measurement revealed it was simply 5–6dB louder. After level-matching, the comparison became much more revealing about actual mix differences rather than volume differences.

Key Concepts

  • Subtractive synthesis: Starting with harmonically rich waveforms and filtering them
  • Oscillator types: Triangle (soft, odd harmonics), sawtooth (bright, all harmonics), square/pulse (hollow, odd harmonics)
  • ADSR envelope: Attack, Decay, Sustain, Release parameters shaping sound over time
  • Fletcher-Munson curve: Human hearing's uneven frequency response that changes with volume
  • LUFS metering: Perceptual loudness measurement that enables objective comparison
  • Reference track methodology: Level-matching professional songs for meaningful mix analysis
  • Monitoring discipline: Maintaining consistent levels for reliable mix decisions

Notable Quotes

  • "There is this idea that the signal chain ends at the speakers… but it doesn't end with the speakers, it ends at your ear… and perception"
  • "10 out of 10 people. If you play them the same thing, and play one a little bit louder, they're gonna like the louder one better"
  • "You can't just turn it up. When you turn it up, you're changing the way it sounds"
  • "That volume control… is the sauce. This is the most impactful thing"

Action Items

  1. Download and install Youlean loudness meter (free) for Ableton, or use Logic's built-in loudness meter
  2. Gather 3–5 reference tracks in similar styles to current projects
  3. Establish consistent monitoring levels in your mixing environment
  4. Practice measuring reference tracks and level-matching using LUFS readings
  5. Set up LUFS metering on master bus for objective loudness measurement
  6. Begin implementing reference track workflow in current mixing projects

How Do I find my Discord ID?

Your Discord ID is a series of numbers (not the friendly name you see when you visit Discord. You can get your User ID on the Beat Kitchen Discord by typing /id. This will show only to you your ID. Copy that number and paste it in the cart where it asks you for your User ID.

Which Class Is Right For Me?

Take our quick quiz and we will point you in the right direction. It takes about two minutes and helps us understand where you are so we can recommend the best fit.

You can also chat with us anytime and we will gladly help place you.

What If I Don't Use Logic, Ableton, Fl Studio, Pro Tools?

Can I join the program using ______. As long as you are on solid footing in a DAW that supports the tools, techniques, and plugins we supply, you will have no trouble in our program. Right now we discourage entry level platforms like GarageBand and mobile apps because they are not robust enough to demo the concepts we teach. But that may change in the future.

Platforms like Reaper, Cubase, Nuendo, Studio One, and Luna are all fantastic. We don't necessarily teach them on their own (Core Skills Classes), but as long as you have mastered the basics of workflow and usage in those platforms, you will feel right at home in our program.

Beat Kitchen classes strive to be as relevant in 20 years as they are today. We believe that most things worth teaching are evergreen and therefore we do not stress any particular platform. You'll find most of our instructors are comfortable in more than one DAW and we encourage you to develop that sort of fluidity as well. Collaboration is the name of the game in music, and we are all about supporting that.

What Kinds Of Students Are You Looking For?

We are looking for students that match the values of our school and its instructors.

We are looking for people from all backgrounds, who are curious, generous and open. Anyone with a passion to explore the craft of producing music is invited, and we are looking for diversity in all its forms. Our only expectation is that you are eager to experiment, can learn from failure, and come fully dedicated to the learning experience. It is our expectation that we can all, ultimately, learn from each other.

Do You Offer Financial Aid Or Payment Plans?

We have a small number of scholarship seats that we set aside each year. Our team has an active policy whereby we donate time to fund it. Scholarships are awarded based on need and merit, with special consideration given to members of our community that have been under-represented in our industry. We want all these voices to contribute to our culture.

We do not offer financial aid, however we feel that with a membership (or even without), our prices are low enough that beatmakers can purchase classes one at a time. We do not charge an additional fee to do this, although each purchase will incur a new registration fee. We think this offers the best value and flexibility.

How Do Classes Work?

Most of our classes meet remotely on Discord. In every other way they are exactly like classes you attend in a classroom. They are discussion-centric and small enough that you can (and should) ask questions if you get stuck.

Nearly all the principles and techniques that we teach lend themselves to being presented on a screen. Your recording platform and your software effects are already on your computer. By studying with us from your setup at home, you needn't worry if your skills will translate to your home environment.

Some parts of the program such as Recording Studio Masterclass are the opposite. They take place in our partner studios where you can touch, hear, and use professional equipment. This is why these classes are significantly more expensive. We also host classes sometimes at these locations. If you are a member and live in one of those cities, you are welcome to join for those days.

But we don't think you should have to pay for a space you don't need, and for the bulk of the program, we are confident that you will benefit just as well by attending the classes remotely.

Do I Need A Computer?

Yes

You may not use it as much in courses like the Keyboard Skills Elective, Digital Marketplace, Songwriting Masterclass, etc., but this is a software based program. You will need a professional grade digital audio workstation that runs on Mac or Windows OS. Some students attend classes using their mobile devices, but you will find mobile platforms such as GarageBand to be too limiting for our courses.

Will This School Help Me Get A Job?

We are not a vocational school. In our experience, music industry jobs simply don't work that way.

As industry veterans, all of us will tell you that you need to be scrappy, motivated, and sometimes a little lucky to find work. Work comes in places we don't always expect it, and we believe we can help train you to recognize and be prepared for those opportunities when they arise.

But this is a school to develop your music production skills, the language and concepts we use, and to bolster your ability to create, communicate, and collaborate. We can absolutely help you with that!

Incidentally, we feel that these are skills that employers value as well. But ultimately, the person who will help you get a job is going to be you!

Do You Offer Dj Courses?

Not Yet

But if you want to DJ professionally, you are going to have to learn to produce tracks eventually. Our courses will help you understand the skills DJs need to mix. Our classes will help you understand things like transitions, key matching, tempo matching, effects as well as song form. For this reason, we think many of our classes are very well suited to teaching you to become a DJ. Your experience with Beat Kitchen will greatly accelerate your learning to become a DJ using CDJs, Turntables, or software like Ableton Live.

Is This An Audio Engineering School?

We teach all the important concepts of audio engineering: signal flow, microphone polar patters, speakers, cables, acoustics, mixing, mastering, effects processing, recording, etc. But our focus is not vocational. Our students tend to be creatives who are not looking to work for other people. Our students are typically making music on their own. They often have home studio setups (and often quite elaborate ones). But you don't need a massive recording studio to produce music anymore. That doesn't mean you can't learn those skills. Those skills are important, but our focus is on teaching you to produce and collaborate at a high level with the tools you have at your disposal.

What Do I Need To Get Started?

Obviously, you need to bring yourself and your desire to take chances, make something new, and to be engaged. As for equipment, the requirements are actually pretty modest. Most everything we teach, can be demonstrated (at a very high level) with just a computer and a DAW like Ableton, Logic, Pro Tools, or FL Studio.

This isn’t to say you aren’t going to probably want some other stuff down the road, but we’d rather get to know you and recommend something that’s just right for you. Bear in mind, your needs may change as you learn. For the full program, there isn’t anything that you can’t live without for the first class or two

But we know you are excited, so with that in mind, read our article on getting started that we also don’t think you’ll outgrow.

Who Started Beat Kitchen?

I'm Nathan Rosenberg and I started Beat Kitchen. You can read more about me here.

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