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Welcome to IPR
Table of Contents
Academic Calendar ......................................................................................................................4
Class Schedules and Facility Hours ..............................................................................................5
The Vision and Mission of IPR ......................................................................................................6
The IPR Philosophy .......................................................................................................................7
The IPR Campus ...........................................................................................................................7
Certification Preparation Courses ................................................................................................8
A.A.S. in Media Arts Audio Production & Engineering
Program Objectives ...................................................................................................................10
Career Opportunities ................................................................................................................ 10
Program Grid ..............................................................................................................................11
A.A.S. in Media Arts Music & Entertainment Business
Program Objectives ...................................................................................................................12
Career Opportunities .................................................................................................................12
Program Grid ..............................................................................................................................13
Course Descriptions .............................................................................................................. 14-27
Faculty .................................................................................................................................. 29-31
Administrative Team ............................................................................................................. 32-33
Studio Descriptions and Equipment Lists ............................................................................ 35-42
Admissions ........................................................................................................................... 45-48
Tuition and Fees .................................................................................................................. 48-49
Financial Information ............................................................................................................ 50-53
Office of Student Services ..........................................................................................................53
Student Services .........................................................................................................................53
Office of the Registrar .......................................................................................................... 54-58
Student Resources ............................................................................................................... 58-59
Academic Information .......................................................................................................... 60-61
Satisfactory Academic Progress ............................................................................................ 61-63
General Information ............................................................................................................. 63-64
Notes ..................................................................................................................................... 65-68
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Calendar
SPRING QUARTER 2010 WINTER QUARTER 2011
New Student Orientation for Spring Quarter 2010 March 13 New Student Orientation for Winter Quarter 2011 December 19
Open House (10a-2p) March 20 Quarter Begins January 10
Open House (10a-2p) May 15 Quarter Ends March 18
Early Fall Applied Student Open House (9a-5p) June 5 Quarter Break (No Classes, Offices/Facilities Open) March 19 – April 3
Quarter Begins March 29 Registration for Spring 2011 (weeks 4-7) January 31 – February 25
Quarter Ends June 4 HOLIDAYS
Quarter Break (No Classes, Offices/Facilities Open) June 5 – July 25 Martin Luther King Jr. Day (No Classes, Offices/Facilities Closed) January 17
Registration for Early Fall 2010 (weeks 4-7) April 19 – May 14 Presidents Day (No Classes, Offices/Facilities Closed) February 21
Graduation June 19
HOLIDAYS SPRING QUARTER 2011
Easter (No Classes, Offices/Facilities Closed) April 4 New Student Orientation for Spring Quarter 2011 March 12
Memorial Day (No Classes, Offices/Facilities Closed) May 31 Quarter Begins April 4
Quarter Ends June 10
SUMMER 2010 Quarter Break (No Classes, Offices/Facilities Open) June 11 – July 31
Summer Workshops June 7 – July 23 (tentative dates) Registration for Early Fall 2011 (weeks 4-7) April 25 – May 20
HOLIDAYS HOLIDAYS
Independence Day (No Classes, Offices/Facilities Closed) July 2 – July 4 Easter (No Classes, Offices/Facilities Closed) April 24
Memorial Day (No Classes, Offices/Facilities Closed) May 30
EARLY FALL QUARTER 2010
New Student Orientation for Early Fall Quarter 2010 July 17
Late Fall Applied Student Open House (9a-5p) August 14
Open House (10a-2p) August 28
Quarter Begins August 2
Quarter Ends October 8
Quarter Break (No Classes, Offices/Facilities Open) October 9 – October 17
Registration for Late Fall 2010 (weeks 4-7) August 23 – September 17
HOLIDAYS
Labor Day (No Classes, Offices/Facilities Closed) September 6
LATE FALL QUARTER 2010
New Student Orientation for Late Fall Quarter 2010 September 25
Open House (10a-2p) November 6
Quarter Begins October 18
Quarter Ends December 24
Quarter Break (No Classes, Offices/Facilities Open) December 25 – January 9
New Student Orientation for Winter Quarter 2011 December 18
Registration for winter 2011 (weeks 4-7) November 8 – December 3
HOLIDAYS
Jackie Lee Robinson Day (No Classes, Offices/Facilities Closed) November 11
Thanksgiving (No Classes, Offices/Facilities Closed) November 25 – November 26
Christmas (No Classes, Offices/Facilities Closed) December 24 – December 26
New Year’s (No Classes, Offices/Facilities Closed) December 31 – January 1
*Note: During breaks, individual labs may be closed for technical upgrades. IPR facility closings begin at midnight on the day listed. Facilities will be open through 11:59 p.m. the day before a closing and re-open at 7:30 a.m.
the following day.
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Class sChedules
Day classes are scheduled from 8:00 a.m. to 8:00 p.m. Monday through Friday; evening classed are scheduled from 5:00 p.m. to
10:00 p.m. Monday through Friday, and as required 8:00 a.m. to 8:00 p.m. on Saturdays. Daytime students may also attend evening
classes. Evening students may not attend daytime classes.
Class CONTeNT
The school reserves the right at any time to make changes to improve the quality or content of the programs of study offered. The
school reserves the right to cancel any classes or programs when enrollment is fewer than fifteen students.
OFFICe hOuRs
Monday through Friday 9:00 A.M. – 5:00 P.M.
FaCIlITY hOuRs
IPR is open twenty-four hours per day, seven days per week, except holidays. Availability of lab facilities during any given quarter break
period will be announced prior to the last date of classes. On days IPR is closed, the facility closes at midnight and re-opens at 7:30 a.m.
the following day.
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Our Philosophy
The entertainment business is in flux, and the tools of the trade are always evolving. As a community of learners, educators, and industry
professionals, we are dedicated to providing students with the dynamic skills they need to forge a rewarding career in a challenging field.
To meet this objective, we provide a learning environment that reflects an evolving industry. Our classrooms invite active inquiry, creative
problem solving, passionate discussion, and an open forum for the exchange of new methods and ideas. We encourage and recognize
achievement; we assist our students and colleagues in reaching their goals; we encourage self-directed learning; and we connect our
students with the people and resources to advance their emerging careers. We integrate a liberal arts education with business and
technical training; we respect the contributions of the designers, entrepreneurs, visionaries, and artists who built the industries our
graduates now enter.
A degree from IPR represents an education designed to give our alumni the skills and perspective they need to exceed the standards of
a competitive industry.
IPR’s history
The Institute of Production and Recording was started in 2002 by four very different individuals: Terry Myhre, owner of numerous career
colleges as well as production powerhouse Broadview Media; Jack Robinson, the owner/operator of the Electronic Musicians Workshop
and accomplished producer/engineer; Lance Sabin, a producer/song writer awarded with numerous major label and Billboard top 100
credits, and Tom Tucker Sr., a master engineer with years of experience at many of the Cities top studios. With a century of experience
among them, a passion for “the art” in all its forms, and a desire to lead the industry’s next generation, IPR was born.
The IPR Campus, in downtown Minneapolis
Located at 312 Washington Avenue North, IPR occupies 48,000 square feet in the heart of the revitalized warehouse district in downtown
Minneapolis. The campus is conveniently located close to the downtown public library, sports facilities, banks, department stores,
restaurants, trains and buses – essentially the swirling hub of commerce that is downtown Minneapolis. All access, 24 hours per day, seven
days per week…In addition to classroom experience in our equipped facilities, students are afforded the unique opportunity to “take the
helm” in IPR’s studio and lab facilities outside of class, providing access to the latest in audio and video production, design and business
technologies. The experience of working real-time, with real clients, is not only a benefit of IPR – it’s a requirement. In addition to IPR’s
nine real-world studio facilities (seven of which are available for student use outside of class), IPR’s facilities boast seven powerful lab
environments, each equipped with a variety of workstations for use in music production and sequencing, audio editing and mixing, video,
graphic design and web/multimedia production. No less than one hundred Mac and PC-based workstations, featuring technology ranging
from Digidesign’s Pro Tools M-Powered, LE and HD systems, to Apple’s Logic Pro and Final Cut Studio, to the entire range of Adobe
Creative Suite software and tools, provide students with even greater opportunity to practice and advance their craft.
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did You Know? IPR is also a...
digidesign™authorized Pro school
The largest official Digidesign Authorized Pro School in the US, IPR features a
staff of certified Pro Tools instructors with cumulative experience totaling well
over a century and more Digidesign equipment than any other Pro School
in the nation. Our Pro Tools classes provide an incomparable opportunity
to learn Earth’s universally-acknowledged, industry-standard recording
software from some of the earthlings who know it best.
apple authorized Training Center
Given IPR’s commitment to helping students and studio veterans alike satisfy
the desire to expand and enhance their skill sets, it’s only natural that we’re
an Apple Authorized Training Center. Our courses provide intensive training
in Logic Pro®, Apple’s widely acclaimed, all-purpose software suite. Learn
the ins and outs of this incredibly powerful writing, recording, mixing, and
editing tool under the guidance of acknowledged masters.
ableton Certified Training Center
Harness your creative vision and let your ideas flourish within this cutting
edge sound creation platform. From songwriting to improvisation, sound
design to score, Ableton Live streamlines these processes in an ultra intuitive
and exciting “real time” music creation environment. In July 2007, IPR
became the first Ableton US Education Partner. One year later, we were
chosen to pioneer Ableton’s first Certified Training Center program. Now
you can take our course, developed in direct collaboration with the Ableton
Educational Team.
Microsoft Office® authorized Training Center
IPR offers training for Microsoft Office as part of our Music and Entertainment
Business Degree. A globally recognized standard for demonstrating essential
office computing skills, this Microsoft training helps meet the demand for
qualified and knowledgeable people within the modern workplace, setting
graduates apart in the modern job market with essential skills in Microsoft
PowerPoint, Word, and Excel – primary tools of today’s business environment.
Degree-seeking students may complete certain courses within their program of study in preparation for certification by the named organizations. These courses are also available to single-subject students seeking certifications
or as continuing education courses. Certifications are awarded by the named organizations and are subject to the requirements of those organizations. The Institute of Production and Recording does not grant the certifications.
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IPR Associate in Applied Science Degree Programs
Emerging technologies affect virtually every sector of our economy as new methods of communication facilitate radically new means of content
creation, distribution and consumption. The mantra in the industry has become “communication,” as digital portals allow an unprecedented
level of interaction between company and consumer. Learning to navigate this digital environment is a critical skill for new professionals as they
enter an increasingly interconnected world.
An associate in applied science degree from IPR exposes students to these emerging technologies within a comprehensive framework, melding
science and creative arts. With a city as their classroom, IPR students are able to explore artistic passion within a dynamic environment that
fosters creative practice, technical fluency, social awareness and business acumen.
Our degree programs provide new professionals with concrete tools for exploiting tomorrow’s digital opportunities. Taught by instructors who
practice these disciplines in the field, students will learn business models and critical techniques in the arts and sciences that drive modern
business and allow open participation in the global economy.
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Associate in Applied Science Media Arts Audio Production & Engineering
98 credits (18 months, 1180 clock hours) Career Opportunities in
Media arts audio Production & engineering
Program Objective:
The Associate in Applied Science in Media Arts Audio Production Graduates from the Associate in Applied Science in Media Arts Audio
& Engineering is a degree program designed to train producer- Production & Engineering degree program will be prepared for entry-
engineers who are entrepreneurs, musically and technically creative, level employment in a variety of music and entertainment business
and proficient in modern recording technology and technique. Students related fields including but not limited to:
learn the fundamentals: acoustics, audio signal flow, recording, music
theory, digital audio workstations, MIDI sequencing and music and Studio Engineering
entertainment business essentials. Throughout the program, students Live Sound Reinforcement
are involved in hands-on exercises and real-world studio projects that
enable them to apply their knowledge and refine their skills. Music Production
Audio for Visual Media Songwriting/Arrangement
After mastering the core concepts, students learn artistic and
technical skills: microphone technique, mixing, critical listening, Sound Design
session management, studio etiquette, people skills, and basic song Music Programming
composition and programming. Students are introduced to many facets
Acoustics/Studio Design
of the audio production industry – from traditional studio work to live-
sound, post production, sound design, composition, A&R, marketing Audio/Video Equipment
and distribution. Manufacturing, Sales & Installation
Students select an emphasis area of study: audio engineering, music Production Equipment Maintenance
production, or post production, ensuring they receive advanced training Media Mastering & Restoration
in a focused skill set. In our advanced classes, students hone their
creative and technical skills while working with advanced recording, Media Distribution
editing, mixing and mastering techniques, song arrangement, chord Artist/Talent Development
structure and harmony.
Production Facility Management/Administration Production Facility
At the end of the program, each student presents a portfolio – a selection Intern/Runner
of his or her best work to date. This serves as a demo reel for potential Tour Support/Technical Management
employers and clients – an audio resume with professional content that
Multimedia Marketing, Production & Administration
highlights the graduate’s talent and skill.
Audio production is about communication; it is sharing an idea, an
emotion, or an abstract concept with the audience. Modern digital
technologies have made it possible to create and record sound
anywhere, but using the right tools is just the beginning; easy access
doesn’t guarantee success. Our program is about more than teaching
the right buttons to push; it’s about developing your ears, working with
others, and creating technically superior work of integrity.
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Associate in Applied Science Media Arts Audio Production & Engineering
Core Curriculum DIGITAL CINEMA Capstone area Requirements
Students are required to earn all credits from the following Class # Class Name Credits Students are required to complete one of the following
list of courses: DC152 Digital Cinema Production I 3 8-credit Capstone sequences:
Class # Class Name Credits DC161 Digital Video Editing I 4 STUDIO AUDIO ENGINEERING
AE130 Studio Audio Engineering I 5 DC202 Digital Cinema Production II 3
Class # Class Name Credits
AE200 Studio Audio Engineering II 5 DC205 Visual Effects I 3
AE258 Studio Audio Engineering III 3
AP152 Desktop Production I 5 AE282 Studio Audio Engineering Capstone 5
AP200 Audio Production II 5 DIGITAL PHOTOGRAPHY
AP210 Music Fundamentals I 3 DP150 Digital Photography I 4
AP260 Music Fundamentals II 3 MUSIC PRODUCTION
DP200 Digital Photography II 4
AV254 Post Production I 5 AP258 Audio Production III 3
CS110 Computer Sciences for Media Professionals 2 AP282 Audio Production Capstone 5
MUSIC AND ENTERTAINMENT BUSINESS
EB152 Enter the Dragon: The Past, Present, and
EB165 The Art, Culture and Economics
Future of the Business of Entertainment 3 POST PRODUCTION
of Video Games 4
EB160 Principals of Design 3 AV258 Post Production II 3
EB205 The Business of “Commercial”
EB202 Intellectual Property and Copyright Law 3 AV282 Post Production Capstone 5
Music Production 3
MB101 Career Development I 1 Total Capstone area Credits 8
EB210 For Love or Money: A Course in
MB200 Web Fluency 2
Creative and Promotional Writing 4
MB212 Career Development II 1 General education Requirements
EB212 Web Development for the
MB222 Career Development III 1
Entertainment Mindset 5 To attain an associate’s degree, students are required to
MG120 Small Business Management 4
EB252 Marketing and Branding Strategies 3 earn a minimum of 30 general education credits from the
Total Core Curriculum Requirements 51 EB261 Facility Management Strategies 3 following list of courses. A minimum of three credits must be
SB279 South by Southwest Media Conference 3 earned in each of the following four categories:
Technical Core electives
Students are required to earn a minimum of 9 elective credits INSTRUMENTATION COMMUNICATIONS
from the following list of courses: IN261 Vocal Techniques I 1 Class # Class Name Credits
IN262 Keyboard Techniques I 1 CM101 Critical Reading & Writing (required) 4
ENGINEERING IN263 Electronic Performance I 2
AE209 Sound Reinforcement I 4 CM140 Face-to-Face Communication (required) 4
IN264 Guitar Techniques I 1
AE219 Sound Reinforcement II 4 IN271 Vocal Techniques II 1
AE232 Large Format Consoles 2 IN272 Keyboard Techniques II 1 SOCIAL SCIENCE
AE237 Studio Maintenance and Electronics 3 IN281 Band Camp 101 2 SS111 Introduction to Psychology 4
AE240 Analog Technologies 2 SS113 Law in Society 4
AE245 Advanced Editing Techniques 2 SS115 Intercultural Communications 4
AE247 Surround Sound Techniques 2 LOGIC PRO SS123 History of Popular Music 3
AE281 Audio Mixing and Mastering 4 LP151 Logic Pro I 2
AE292 Summer Session - Guerilla Recording: LP201 Logic Pro II 2
NATURAL SCIENCE & MATHEMATICS
Vintage Sound w/ Modern Technology 5 MH150 Technical Math I (required) 4
ABLETON LIVE MH200 Tech Math II (required) 4
PRODUCTION LV151 Ableton Live I 2 NS223 Physics I: Acoustics 3
AP220 Session Psychology 2 LV200 Ableton Live II 2
AP243 Synthesis and Sound Design 2 HUMANITIES
AP251 Songwriting I 2 PRO TOOLS HU110 Introduction to Humanities 4
AP261 Composition and Songwriting II 2 PT111 Essentials of Pro Tools (Digidesign PT110) 2 HU125 World Music 3
AP270 Vocal Production Techniques 2 PT202 Pro Tools Production Essentials HU126 Popular Music and Literature 4
AP284 Arrangement & Orchestration 2 (Digidesign PT201) 2 HU130 Introduction to Film 3
AP287 Harmony and Ear Training I 3 PT211 Music Production Techniques HU160 Introduction to Literature 4
AP291 Summer Session - (Digidesign PT210M) 2
Music Production/Engineering Project 5 PT212 Post Production Techniques Total General education Minimum Requirements 30
AP293 Hip-Hop Essentials with (Digidesign PT210P) 2
Based on competency exam scores, students may be required to take
Rhymesayers Entertainment 3 PT251 Advanced Music Production Techniques
one or more of the following preparatory classes:
AP294 Summer Session - Live Performance (Digidesign PT310M) 2
in Urban and Electronic Music 5 CM060 Foundations of Writing, AP050 Elements of Music, KB050
PT252 Advanced Post Production Techniques
Keyboarding I, CS051 Foundations of Computing, MH050 Foundations
(Digidesign PT310P) 2 of Mathematics I, or MH060 Foundations of Mathematics II.
AUDIO/VIDEO Total electives Minimum Requirement 9
AV151 DVD Authoring and Media Management 2
AV257 Audio for Games I 2
AV286 Scoring for Film and Television 2
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Associate in Applied Science Media Arts Music & Entertainment Business
98 credits (18 months, 1140 clock hours) Career Opportunities in
Music & entertainment Business
Program Objective:
Music, television, film, industrials, theatrical production, video games, Graduates from the Associate in Applied Science in Media Arts Music &
graphic & web design are primary disciplines of Media Arts Music and Entertainment Business degree program will be prepared for entry-level
Entertainment Business. This program is designed to help individuals employment in a variety of music and entertainment business related
navigate these continually changing landscapes. Using a unique, hands- fields including but not limited to:
on learning environment and a technology-based learn-by-doing
approach, students will have immediate experience with the professional
Advertising Design & Production
tools, equipment, and software used throughout the industry.
Record Label Administration & Product Management
The Institute of Production and Recording’s Associate in Applied
Tour Promotion & Booking
Science in Media Arts Music & Entertainment Business is a degree
program focused on a core collection of courses geared toward Artist Management, Marketing & Publicity
providing graduates with the skills and practices needed for success Creative Editing
in both freelance and corporate environments. The core curriculum
covers such essential topics as: shopping a project, intellectual property Web Design & Development
rights, digital rights management, contract law, design, creative copy Video/Film Production
writing, communication and networking, history, business structures and
Artist Relations
economic maintenance, current events analysis, and strategic branding.
Theatrical Design & Preparation
The curriculum is designed to expose students to the myriad of tools
Event Production & Promotion
and techniques used to create, develop, manage, and market creative
content in the ever-expanding universe of arts and entertainment. The Digital Media Management
technical core elective pool is designed to enhance and provide advanced Distribution & Sales
experience in a variety of industry-related fields. Within each elective
class, both students and their instructors work in cooperation with other Entertainment Retail, Marketing & Sales
professionals to develop materials used in actual record releases, press
campaigns, digital video productions and marketing programs. This
unique approach allows our students to build a portfolio of published
work demonstrating their individual skills and abilities to potential
employers and clients. From desktop content creation to digital retail
distribution–the graphic arts, music, and motion picture industries are
changing dramatically. These changes are resulting in the creation of an
economy that offers unprecedented opportunity. This program provides
basic training for the next generation of entertainment professionals.
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Associate in Applied Science Media Arts Music & Entertainment Business
Core Curriculum Technical Core electives General education Requirements
Students are required to earn all credits from the following Students are required to earn a minimum of 22 elective To attain an associate’s degree, students are required to
list of courses: credits from the following list of courses: earn a minimum of 30 general education credits from the
Class # Class Name Credits following list of courses. A minimum of three credits must be
AC110 Accounting Principles I 4 earned in each of the following four categories:
MUSIC AND ENTERTAINMENT BUSINESS
AP152 Desktop Production I 5 AC170 Accounting Systems 3
CS110 Computer Sciences for Media Professionals 2 AC201 Entertainment Business Finance COMMUNICATIONS
CS120 MS Office Professional I 3 and Accounting 4 Class # Class Name Credits
EB123 Media as the Message 3 EB163 Intro to Indie Journalism 3 CM101 Critical Reading & Writing (required) 4
EB152 Enter the Dragon: The Past, Present, EB165 The Art, Culture and Economics CM140 Face-to-Face Communication (required) 4
and Future of the Business of Entertainment 3 of Video Games 4
EB160 Principals of Design 3 EB210 For Love or Money: A Course
EB202 Intellectual Property and Copyright Law 3 SOCIAL SCIENCE
in Creative and Promotional Writing 4 SS111 Introduction to Psychology 4
EB211 Business Communication and Networking 3 EB212 Web Development for the
EB252 Marketing and Branding Strategies 3 SS113 Law in Society 4
Entertainment Mindset 5 SS115 Intercultural Communications 4
EB262 Contract Law and Licensing Administration 3 EB261 Facility Management Strategies 3
EB290 Music and Entertainment SS123 History of Popular Music 3
EB263 Event Production 3
Business Senior Seminar 2 EB264 Tour Management and Theatrical Production 4
MB101 Career Development I 1 EB265 The Business of Video Games 4 NATURAL SCIENCE & MATHEMATICS
MB200 Web Fluency 2 EB271 Artist Management 3 MH150 Technical Math I (required) 4
MB212 Career Development II 1 EB272 Record Label Administration 4 MH200 Tech Math II (required) 4
MB222 Career Development III 1 SB279 South by Southwest Media Conference 3 NS223 Physics I: Acoustics 3
MG120 Small Business Management 4
Total Core Curriculum Requirements 46 HUMANITIES
AUDIO/VIDEO AND DIGITAL CINEMA HU110 Introduction to Humanities 4
AV151 DVD Authoring and Media Management 2 HU125 World Music 3
DC152 Digital Cinema Production I 3 HU126 Popular Music and Literature 4
DC161 Digital Video Editing I 4 HU130 Introduction to Film 3
DC202 Digital Cinema Production II 3 HU160 Introduction to Literature 4
DC205 Visual Effects I 3
Total General education Minimum Requirements 30
DIGITAL PHOTOGRAPHY Based on competency exam scores, students may be required to take
DP150 Digital Photography I 4 one or more of the following preparatory classes:
DP200 Digital Photography II 4 CM060 Foundations of Writing, AP050 Elements of Music, KB050
Keyboarding I, CS051 Foundations of Computing, MH050 Foundations
of Mathematics I, or MH060 Foundations of Mathematics II.
PRO TOOLS
PT111 Essentials of Pro Tools (Digidesign PT110) 2
Total elective Minimum Requirements 22
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IPR Course Descriptions
ACCOUNTING PRINCIPLES I
AC110 4 CREDITS
This course is an introduction to financial accounting and the basic accounting cycle.
The student will analyze transactions, prepare an accountant’s worksheet with related
financial statements, and account for cash and receivables.
PREREQUISITE: NONE
ACCOUNTING SYSTEMS
AC170 3 CREDITS
This course uses a business accounting software program (QuickBooks) to give
students hands-on experience in computerized accounting applications for small to
mid-sized businesses. Students will use the general ledger, accounts payable, accounts
receivable, inventory, invoicing, and payroll modules to case-study best practices in
accounting for a hypothetical business.
PREREQUISITE: AC110
ENTERTAINMENT BUSINESS FINANCE AND ACCOUNTING
AC201 4 CREDITS
This is a survey course on selected topics focusing on such subject areas as the
economic, finance and accounting methods affecting or used in various aspects of
the entertainment business (EB) industry. This will include venture capital, production
and project financing, business and/or product valuation, revenue generation, revenue
accounting and reporting, revenue sharing agreements, accounting for royalties
and other income, cost accounting, expense recognition, as well as other current
entertainment business practices. Special focus is given to cost and income accounting
methods for the music industry. The student will be responsible for the creation and
submission of a portfolio of knowledge regarding information presented or researched
during the course of the project.
PREREQUISITE: AC110
STUDIO AUDIO ENGINEERING
AE130 5 CREDITS
This course is intended to introduce students to the essentials of the studio environment
and recording process. Students will study basic sound and audio signal theory,
transduction, signal processing, and digital audio workstation operation. Additionally,
students will be instructed in the wiring, setup, and operation of a basic hybrid analog/
digital recording environment.
PREREQUISITE: NONE
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IPR Course Descriptions
STUDIO AUDIO ENGINEERING II ANALOG TECHNOLOGIES
AE200 5 CREDITS AE240 2 CREDITS
AE200 serves to “bridge” the fundamental elements of Studio Audio Engineering 1 Introduction to analog tape, consoles and outboard gear. Basic (4-track) to advanced
to the advanced concepts of Studio Audio Engineering 3. AE 200 is split into two (24-track) analog tracking, editing, effects (flanging, echo, live reverb) and mixing
main sections: Recording & Mixing. The first half of the class discusses the proper use techniques. Emphasis on microphone techniques and live ensemble recording using
of studio equipment to make a professional studio recording. The second half of the the discipline of analog recording technology to achieve the ultimate goal - to spend
class discusses how to create a professional mix of a song using both technical and more time listening.
artistic skills. After completing the class, students should feel comfortable with basic PREREQUISITE: AE200
studio equipment and understand the process of making a professional audio product.
PREREQUISITE: AE130 ADVANCED EDITING TECHNIQUES
AE245 2 CREDITS
SOUND REINFORCEMENT I This class is focused on developing students’ skills in real world editing techniques.
AE209 4 CREDITS Students will learn how to manipulate, change and fix recorded instrument tracks
This is an introductory course focused on the setup and use of sound systems in live through current editing tools and techniques.
performance settings. PREREQUISITES: AE200, AP200
PREREQUISITE: AE130
SURROUND SOUND TECHNIQUES
SOUND REINFORCEMENT II AE247 2 CREDITS
AE219 4 CREDITS The course will give a fundamental base of surround sound terminology and theory.
This is an intermediate course focused on mixing and advanced set-up of sound Students will concentrate on surround recording techniques for classical/ non-classical
systems in live performance settings. music and for sound-for-picture applications. Students will then focus on surround
PREREQUISITE: AE209 mixing techniques for music albums, videos, and film. The course will conclude by
examining how to prepare a surround sound product for delivery to a mastering house
LARGE FORMAT CONSOLES or client.
AE232 2 CREDITS PREREQUISITE: AE200
Understanding the use of a high level studio in the recording process. Use of high-end
large format consoles such as Solid State Logic (SSL), Neve, API, and understanding STUDIO AUDIO ENGINEERING III
the difference. Proficiency with basic mixing and tracking skills on an analog console. AE258 3 CREDITS
Use of analog recording formats and tools for music production. Integration of The course will begin by teaching students advanced recording techniques and
digital technology into the analog environment. Basic console automation and proficiency in microphone selection and technique. Students will also learn the studio
synchronization concepts. as an instrument and how to record large musical ensembles. Interfacing recording
PREREQUISITES: AP200, AE200 technologies through the use of synchronization and an understanding of computer
audio and data file types will also be stressed as will be musical timing issues. To
STUDIO MAINTENANCE & ELECTRONICS complete the class, students will learn advanced digital editing, audio mixing
AE237 3 CREDITS techniques, console / Pro Tools automation and preparation for mastering.
Introduction to basic electronics, its symbols and language as it applies to studio PREREQUISITES: AE200, AP200
maintenance. Know what goes on inside the box to better understand how to interface
it with other equipment. This course also teaches basic troubleshooting concepts and AUDIO MIXING AND MASTERING FOR MUSIC
power distribution. AE281 4 CREDITS
PREREQUISITES: MH150, AE200 Advanced concepts of audio sweetening, mixdown and mastering of popular music.
Learning how to build mixes through critical listening exercises, planned methodologies
and sound digital and analog techniques. Advanced inboard and outboard processing
with an emphasis on “in the box” techniques.
PREREQUISITES: AE200, AP200
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IPR Course Descriptions
STUDIO AUDIO ENGINEERING CAPSTONE AUDIO PRODUCTION II
AE282 5 CREDITS AP200 5 CREDITS
This course is a “Capstone” level course, intended to be taken during a student’s This class will explore the Technical, Musical, Critical Listening, Communication and
final term of study. This is a project-based class focused on the development and Management skills necessary to be a successful producer in today’s industry. Using
completion of a multi song professional audio production. Students will learn the skills as examples highly successful producers such as Brion, Dre, Toussaint, Albini, Mardin,
necessary in putting together a real life recording project, selecting the recording Spector, Jam & Lewis, Martin, and Rubin, students will be exposed to their unique styles
format as well as mixing and mastering formats and determining the best plan of and approach to production. Students will learn detailed critical listening skills, rhythm
action to create a project with sonic integrity and technical expertise. composition, tempo mapping and beat manipulation, composite editing techniques,
PREREQUISITE: AE258 preproduction management, instrument tuning and NARAS recommendations for
session management, delivery and backup.
SUMMER SESSION – GUERRILLA RECORDING: VINTAGE SOUND PREREQUISITES: AE130, AP152 and AP050 or advanced placement
WITH MODERN TECHNOLOGIES
AE292 5 CREDITS MUSIC FUNDAMENTALS I
Students will explore “Guerrilla Style” recording with studio veteran/technician Eddie AP210 3 CREDITS
Ciletti. Students will participate in the recording of a professional level music project This course is a fundamental overview of essential music vocabulary. Classes will
with a vintage aesthetic using modern technology in a minimalist environment. cover basic verbal and written musical expression and the elements of rhythms, key
Concepts explored will include preproduction and budgeting, the setup of a cost- signatures, scales and chords. The keyboard is used as the demonstrating instrument
effective and compact mobile recording studio, creation of a complete and accurate as the students learn to play as well as transcribe these elements of music. Computer
soundscape with minimal equipment and production “trickery”, and the concept of a programs, online games, simple percussion instruments and voices are also used
recording as an accurate reproduction of the live experience common today in musical throughout this course.
genres such as jazz and classical music. PREREQUISITES: AP050 or advanced placement
PREREQUISITES: AE130, AP152, AP050 or advanced placement, EB152
SESSION PSYCHOLOGY
ELEMENTS OF MUSIC AP220 2 CREDITS
AP050 2 CREDITS The most successful producer-engineers have one skill in common: they know how
This course is designed to give the student with little prior musical experience a to communicate clearly and inspire others in the studio. This course will explore the
background in the components of the musical language. Classes will cover music’s skills and techniques required to lead people through the creative recording process.
basic terminology, both written and verbal, giving the student the knowledge and Students will learn to recognize personality types and adapt their communication style
basic skills he or she needs to enter Music Fundamentals I. to each personality. Students will learn to be assertive and persuasive in the studio
PREREQUISITE: NONE without being abrasive. Students will learn to manage conflicts, prioritize goals and
keep the session running on schedule.
DESKTOP PRODUCTION I PREREQUISITES: AE130, AP152
AP152 5 CREDITS
In this course, students will be exposed to the essentials of setting up a multi-media SYNTHESIS AND SOUND DESIGN
desktop workstation. They will receive an in depth introduction to the world of desktop AP243 2 CREDITS
production learning basic audio and video capture and editing skills. Students will An in-depth study of audio synthesis and its creative application in sound design for
apply those skill-sets to real world multi-media projects. popular music and visual media. Students will combine samples, oscillators, filters,
PREREQUISITE: NONE LFOs, envelope generators and effects to create unique sound sets for a wide variety
of media.
PREREQUISITE: AP200
16
IPR Course Descriptions
SONGWRITING I VOCAL PRODUCTION TECHNIQUES
AP251 2 CREDITS AP270 2 CREDITS
This class is a study of popular songwriting method utilizing creative chord structure, Vocals are often described as the soul of a recording, and few instruments can convey
melody and lyrics to communicate an emotion or idea. Students will learn song a range of emotion like the human voice. In this class you will learn how to work with
composition for multiple styles of popular music. Students will study the works of vocalists to achieve the best possible vocal performance and capture it on a quality
modern master songwriters to explore artistically and commercially successful songs. recording. You will learn advanced vocal arrangement, recording, editing and mixing
An emphasis will be placed on collaborative songwriting. techniques. Students will use a variety of popular vocal microphones and pre-amps,
PREREQUISITE: AP210 exploring different signal chains to bring out the best qualities in an individual voice. In
addition to working with solo vocalists, students will learn how to arrange and record
AUDIO PRODUCTION III large and small vocal ensembles.
AP258 3 CREDITS PREREQUISITES: AP200, AP210
This class will focus on the advanced Technical, Musical, Critical Listening,
Communication and Management skills required to produce a professional music AUDIO PRODUCTION CAPSTONE
release. Students will learn the musical application of sampling and will create their AP282 5 CREDITS
own sample libraries to use in production, they will use composite editing and This course is a “Capstone” level course, intended to be taken during a student’s final
synthesis techniques to shape sound, students will apply their knowledge of chord term of study. Students will learn advanced harmonic composition and arrangement
progressions to strengthen arrangements, they will learn melodic composition, techniques. This is a project-based class focused on the development and completion
advanced instrument/vocal tuning with Autotune and Melodyne, they will explore the of a multi-song professional audio production. Students will be asked to defend their
use of Ableton Live as a non-linear composition tool. creative work in a written and verbal presentation before their instructor and peers,
PREREQUISITES: AP200, AE200, AP260 clearly communicating their technical, musical and artistic decisions.
PREREQUISITE: AP258
MUSIC FUNDAMENTALS II
AP260 3 CREDITS ARRANGEMENT AND ORCHESTRATION
This course is an intermediate to advanced overview and study of chordal structure, AP284 2 CREDITS
harmony, scales and chord charts. Classes will cover advanced verbal and written An advanced study of chord structure, harmony, arranging and orchestration
musical expression, song structure, and the components of melody and harmony. techniques as applied to live orchestra and MIDI-based orchestra. This course also
PREREQUISITE: AP210 includes a basic introduction to technical and dramatic considerations when scoring
for visual media.
COMPOSITION & SONGWRITING II PREREQUISITE: AP260
AP261 2 CREDITS
This course focuses on writing music for careers such as songwriting, staff writing for HARMONY AND EAR TRAINING I
publishers, composing music for film, television, jingles, Broadway, video games, AP287 3 CREDITS
or other music for hire. Students will study both traditional and contemporary This course is designed for the student who wishes to continue the development
compositional techniques for writing melodies, chord progressions and lyrics. of his/her reading and aural skills, resulting in a heightened sense of overall musical
PREREQUISITES: AP251, AP260 perception. The student will develop an informed and intelligent approach to the
perception and creation of the structures of tonal music. Through ear training exercises,
musical examples and instructor feedback, the student will be able to analyze, read,
write and listen more effectively as well as understand the fundamental knowledge
essential to the study of harmony.
PREREQUISITE: AP260
17
IPR Course Descriptions
SUMMER SESSION – MUSIC PRODUCTION/ENGINEERING DVD AUTHORING AND MEDIA MANAGEMENT
PROJECT AV151 2 CREDITS
AP291 5 CREDITS Students will learn how to author professional DVD projects using DVD Studio Pro.
Students of all experience levels will learn the process of musical production and Students will also learn various other aspects of media management that will help
engineering through the active participation and observation of a real recording them in their chosen fields of music or post production. Students will also learn basic
session in an intensive ten day course with IPR’s top faculty. Activities will include skills in other software programs to help with the creation of DVD assets and audio/
participation in the entire production process: including preproduction and production video content for the Web.
budgets as well as recording and overdubs, through final mixing and creation of a PREREQUISITE: NONE
deliverable master ready for commercial distribution.
PREREQUISITES: AE130, AP152, AP050 or advanced placement, EB152 POST PRODUCTION I
AV254 5 CREDITS
HIP-HOP ESSENTIALS WITH RHYMESAYERS ENTERTAINMENT This course is an introduction to the aesthetics and techniques of audio post-production
AP293 3 CREDITS for visual media. Students will learn the theory and practice of: recording dialogue,
Hip-hop is more than music, a business, or a lifestyle – it is a thing larger than the spotting audio to picture, matching music to visual media and mixing dialogue, effects
sum of its parts. This course is an intensive exploration of rap culture, recording and music stems.
and production, made possible by a unique collaboration with the record label PREREQUISITE: AP200
Rhymesayers Entertainment. A look into song production, lyricism, and the history of
B-Boy culture, graffiti, break dancing, urban apparel and performance: all serving to put AUDIO FOR GAMES I
modern hip-hop culture into perspective. Under the tutelage of artists and executives AV257 2 CREDITS
from Rhymesayers Entertainment students will build, mix and remix their own pieces. Creating music and sound design for video games is the focus of this “hands-on”
Students will also develop an understanding of the business of hip hop: distribution, course. Students will explore the many facets of the industry through projects that
sales, promotion and marketing, using in class presentations and real world models. allow them to directly experience the various stages of production that constitute a
PREREQUISITES: AP152, EB202 and portfolio submission successful video game sound design and score. Current tools and techniques will be
covered as well as workflow, planning and the core concepts of game sound. Future
SUMMER SESSION – LIVE PERFORMANCE IN URBAN AND trends in gaming will also be explored to help students become more forward thinking
ELECTRONIC MUSIC in their strategies for self-promotion and professional growth. The course culminates in
AP294 5 CREDITS a final project that will incorporate the concepts and skills learned.
Students will spend two intensive weeks practicing the techniques of the world’s key PREREQUISITE: AV254
electronic music innovators. From the studio to the stage, students will explore the levels
of technical intimacy required to become an expressive artist in the world of electronic/ POST PRODUCTION II
synthetic/ electro-acoustic music. From experimental and “musique concrète” to AV258 3 CREDITS
various forms of modern dance/club music, no electronic stone is unturned. Students This course is an in-depth study of the tools and techniques of audio production for
will explore products by companies like Ableton, Native Instruments, and Max/MSP visual media. Students will learn advanced editing techniques, location recording,
(Cycling74), both as production tools and as improvisation devices. This course will Foley technique, sound design and surround mixing for visual media.
culminate in a public live performance by each student, in groups or as solo artists, at PREREQUISITE: AV254
a Minneapolis premier nightlife location.
PREREQUISITES: AE130, AP152, AP050 or advanced placement, EB152
18
IPR Course Descriptions
POST PRODUCTION CAPSTONE FOUNDATIONS OF COMPUTING
AV282 5 CREDITS CS051 2 CREDITS
This is a project-based, “Capstone” level course, to be taken during a student’s final Students will receive an overview of modern computer functionality and operation.
term of study. It is focused on the development and completion of a professional Common uses, operating systems, data storage and software applications will be
quality post production project. Students will produce, score, supervise, and post discussed and utilized throughout the quarter. Additionally, students will learn to
each production using professional talent when available and prepare a thesis project navigate the internet as a research and mass communication tool.
that highlights their skills in post production. Additionally, students will engage in PREREQUISITE: NONE
collaborative project assignments involving web-dependent audio and video file
sharing techniques with professional clients as well as media schools. Students will also COMPUTER SCIENCES FOR MEDIA PROFESSIONALS
study post production budgets for radio commercials, TV commercials, music videos, CS110 2 CREDITS
film, video and new media and practice the skills and concepts necessary to work in In this course students will study the basics of computer technologies and gain
the fast-paced field of post production. a conceptual framework with which these technologies may be approached and
PREREQUISITE: AV258 understood. A broad range of computer related concepts will be covered including
Computer Hardware, Software, and Networking.
SCORING FOR FILM AND TELEVISION PREREQUISITES: CS051 or advanced placement
AV286 2 CREDITS
This course is an introduction to the aesthetics and techniques of music scoring for MS OFFICE PROFESSIONAL I
visual media. Students will learn the theory and practice of spotting music to picture, CS120 3 CREDITS
composing music in different styles, arranging and orchestration for live and electronic The student will receive hands on learning experience of the fundamental features of
music, and the business and practice of film scoring. the four major applications of Microsoft Office Professional: Word, Excel, PowerPoint,
PREREQUISITE: AP260 and Outlook. Upon completion, the student will be able to create simple word-
processed documents, worksheets, PowerPoint presentations and simple databases.
FOUNDATIONS OF WRITING This course is also the gateway to test for Microsoft Office user certification.
CM060 2 CREDITS PREREQUISITES: KB050 or advanced placement
Students will develop strategies for writing correct and effective paragraphs, blogs
and short essays. DIGITAL CINEMA PRODUCTION I
PREREQUISITE: NONE DC152 3 CREDITS
An in-depth study of modern video production techniques and platforms with a focus
CRITICAL READING AND WRITING on the planning and production process. Students will utilize digital video cameras
CM101 4 CREDITS and workstation based video production suites to shoot, capture, and produce moving
Students will develop the ability to critically examine written media for validity, purpose image content for cinema, television, DVD, web publishing and other multi-media
and aesthetics. Students will apply these analytical skills to writing essays and a releases, while being introduced to the collaborative responsibilities what makes
research paper. up a good production crew. Coursework will also include projects that provide an
PREREQUISITES: CM060 or advanced placement introductory understanding of video logging, capture and editing platforms.
PREREQUISITE: NONE
FACE-TO-FACE COMMUNICATION
CM140 4 CREDITS DIGITAL VIDEO EDITING I
This course involves intensive study of in-person communication skills. These skills DC161 4 CREDITS
include active listening, reading verbal and non-verbal cues, resolving conflict, This course will introduce and teach basic video editing techniques using Final Cut
teamwork, leadership, negotiation and cross-cultural communication. Students will Studio Pro 6 professional level nonlinear editing software.
learn the principles of and practice giving oral presentations. PREREQUISITE: NONE
PREREQUISITES: CM101
19
IPR Course Descriptions
DIGITAL CINEMA PRODUCTION II MEDIA AS THE MESSAGE
DC202 3 CREDITS EB123 3 CREDITS
A continued study of modern video production techniques with a focus on the planning This course discusses the technological advances in entertainment media and the
and production process. Students will learn advanced digital video techniques as it cultural change wrought by such inventions throughout the 20th century. By analyzing
pertains to professional video production. Coursework will include projects that will specific technological inventions, students will discover their impact on consumer
provide an understanding and working method of professional video production adoption of new media, economic trends associated with new business models
techniques. Emphasis will be placed on shooting digital video for public release and adapting these inventions, and the changes of artistic content creation as facilitated
viewing. by such devices. Starting with the phonograph, students will research a variety of
PREREQUISITES: DC152 technologies through the advent of high definition color lithography, multitrack
recording devices, and current emerging web technologies and developments.
VISUAL EFFECTS I PREREQUISITE: NONE
DC205 3 CREDITS
This course will instruct students in the use of visual effects, motion graphics and ENTER THE DRAGON: THE PAST, PRESENT AND FUTURE OF
compositing programs, such as Adobe After Effects and Apple Motion to create THE BUSINESS OF ENTERTAINMENT
compelling visual presentations for film, television, web and other moving image. EB152 3 CREDITS
PREREQUISITES: EB160, DC161 An introduction to the world of entertainment business and the practice and manners
thereof, the course uses current events and history. By showing where the industry
DIGITAL PHOTOGRAPHY I has come from, it helps the student to understand how it got where it is and help
DP150 4 CREDITS them to understand some directions that it may head. Other key topics include: basic
Students will learn the processes and techniques used by professional photographers business etiquette, common business practices of producers, music economics basics,
“through the lens.” Students will learn the fundamentals of digital photography, from current issues affecting the entertainment industry, record label structures, and, most
the basics of selecting and operating a Digital SLR camera to the production of a importantly student discovery of new perspectives on the world of business in regards
final image through advanced post-production software. The balance of lighting, to entertainment.
“film” speed, lens aperture and shutter speed, and their effect in achieving the “right” PREREQUISITE: NONE
exposure for an image, will be discussed and demonstrated in detail. Additional topics
will include use of on camera flash and image composition. PRINCIPLES OF DESIGN
PREREQUISITE: NONE EB160 3 CREDITS
An introductory course detailing a variety of computer based graphic design programs
DIGITAL PHOTOGRAPHY II used in 2-D media creation including Adobe Photoshop and Adobe Illustrator. Students
DP200 4 CREDITS will have the opportunity to develop competencies within these applications through
Students will hone their skills as a digital image maker, creating effective landscape, still the study of design history, aesthetics, and business practices. Hands on projects will
life, portrait, glamour/fashion, candid and product photographs for professional use. include but not be limited to: poster creation, logo design, mailers, album artwork, and
A great deal of attention will be paid to the manipulation of light, using both available other common industry needs.
light, as well as on and off camera flash and modifiers to create dynamic and compelling PREREQUISITE: NONE
imagery. Advanced post-production techniques, including the selective use of filters
and editing tools, as well as the compositing of multiple images/exposures will be INTRO TO INDIE JOURNALISM
taught. Finally, students will be taught the essentials of photography as a business, EB163 3 CREDITS
discussing how to get clients and what to do once they’ve got one. Independent media sources have become one of the most important outlets to the
PREREQUISITES: DP150, EB160 promotion and distribution of information in the entertainment age. This class serves as
an introduction to the world of “Zines”, “Blogs”, and other independent information
outlets. Based around the development of an actual on-line and print student
newspaper, students will learn review and news writing, criticism, the basic rules of
entertainment journalism and the technology that makes it possible. Students will also
learn how to develop relationships with labels, artists and other content providers.
PREREQUISITE: CM101
20
IPR Course Descriptions
THE ART, CULTURE, AND ECONOMICS OF VIDEO GAMES FOR LOVE OR MONEY: A COURSE IN CREATIVE AND
EB165 4 CREDITS PROMOTIONAL WRITING
Out-earning both recorded music and film, video games are quickly becoming the EB210 4 CREDITS
entertainment world’s most robust source of revenue. Infinite Variety is a survey of the Any artist faced with the task of promoting themselves faces a daunting task if their
business of videogames as one of the most lucrative and influential segments of the writing skills are underdeveloped or less inspired than their work. Any entrepreneur
media industry. Students will evaluate videogames for aesthetics, technical qualities faced with marketing and promoting an artist, group, or product will be equally
and through demonstrations and hands-on activities. Students will study the history challenged if their written communications and promotional materials are not both
of the gaming industry from the 1960’s through the present day, and be introduced entertaining and creative. Students will write poetry and short prose, workshop their
to legal issues and marketing techniques through case-study analysis. Students will drafts, revise, and prepare a piece for submission. Students will also compile a press
discuss economics and current events, and will be exposed to an array of both physical contact list, compose promotional documents, and format emails for correspondence
and online industry resources. with the media.
PREREQUISITE: NONE PREREQUISITES: CM101
INTELLECTUAL PROPERTY AND COPYRIGHT LAW BUSINESS COMMUNICATION AND NETWORKING
EB202 3 CREDITS EB211 3 CREDITS
This course is an analysis of the modern music industry and a detailed study of current Analysis of the role and importance of high quality communication and networking
digital media exploitation strategies. Students will discuss the importance of intellectual skills involved in the entertainment industries. Topics will focus on developing strong
property, copyright, and content ownership. Students will also learn the roles and client relations, cold calling, the art of negotiating, and networking. Course will involve
macroeconomic realities of the publishing, performing rights, and label industries. in-class interview techniques, presentations, and networking exercises.
Content will include the analysis of real life numbers as they relate to contemporary PREREQUISITE: EB202
business practices and current issues facing media industry.
PREREQUISITE: EB152 WEB DEVELOPMENT FOR THE ENTERTAINMENT MINDSET
EB212 5 CREDITS
THE BUSINESS OF “COMMERCIAL” MUSIC PRODUCTION The course will analyze basic design principals including multi-media, animation, unity,
EB205 3 CREDITS typography, interaction, and general design. Beyond a conceptual analysis, students
This course will define “commercial” music applications, and provide an overview will utilize computer based design tools such as Adobe Photoshop and Illustrator
of how it is created. The class will study the duties, roles and responsibilities of the to create web ready digital media, web pages, flash animations, blogs and the like.
industry professionals on “both sides of the glass” and practice the skill sets needed Students will leave the course with a basic understanding of the role of design in the
to create a basic jingle for radio or TV. With an emphasis on understanding the basic development of material for the world wide web of all facets of business marketing and
business etiquette and common business practices of producers, talent, and clients, promotion. Course assignments include development of an actual working web site
the class will be introduced to the often complex psychology involved with trying to the student, a client based project, interactivity and streaming media. Throughout this
interpret the needs of one’s client. The time-tables, budgets, and billing methods process, students are utilizing cutting edge technology and gaining an understanding
presently in use for local and national spots will be analyzed in detail. The course will of professional file formats and content production techniques.
provide hands-on experience in the creation of commercial-oriented music along with PREREQUISITE: EB160
in-person interaction with commercial guest professionals.
PREREQUISITE: EB152
21
IPR Course Descriptions
MARKETING AND BRANDING STRATEGIES TOUR MANAGEMENT AND THEATRICAL PRODUCTION
EB252 3 CREDITS EB264 4 CREDITS
This course is a study of mission development, story creation, aesthetic analysis, An introductory look into booking, managing, and profiting from touring and performing
product development, market analysis, and other techniques to understand the role as a musician or band. Lecture and discussion topics will include legal agreements
of marketing in all facets of business. Topics include planning strategies for financing, between artists and venues, lodging and transportation issues, merchandising and
promoting, and marketing media related companies and creatives. Student will fiscal management.
comprehend how to blend images and messages into a comprehensive and customer PREREQUISITE: EB202
relationship based campaign perspective. Further, students will study the integration
of internet technology and Web 2.0 resources into modern promotional and THE BUSINESS OF VIDEO GAMES
advertising with development of traditional and electronic press kits, media, press, and EB265 4 CREDITS
direct marketing, and gain an understanding advanced project and self-management Students will be introduced to the business of the emerging video game industry by
techniques. studying production processes, asset management, quality assurance initiatives and
PREREQUISITE: EB202 related legal issues. Students will also gain an understanding of the tools utilized by
developers, the workflow of design from conception to release, and the ever evolving
FACILITY MANAGEMENT STRATEGIES methods of marketing and promotions.
EB261 3 CREDITS PREREQUISITE: EB165
An introductory look into small business management. The course will use a case study
of recording studio management to develop an understanding of business structures, ARTIST MANAGEMENT
licensing and legal requirements for small businesses in Minnesota, and basic strategies EB271 3 CREDITS
to employ when launching a small business. Students will work through the process of A lecture and discussion-based analysis of understanding the artistic endeavor as a
opening a mock commercial recording studio of their design to discover first-hand the business. Discussion topics will include current issues affecting musicians and artists as
financial, legal and liability concerns that any business owner must know. well as unions, contracts, licensing and promotions techniques for managers.
PREREQUISITE: EB202 PREREQUISITE: EB252
CONTRACT LAW AND LICENSING ADMINISTRATION RECORD LABEL ADMINISTRATION
EB262 3 CREDITS EB272 4 CREDITS
A detailed analysis of contract law and how common agreements affect artists, writers, This course provides an introduction to independent record labels, teaching the
producers and companies. Course lectures will include topics covering licensing history and business of labels with a hands-on focus. Using a catalog of prerecorded
opportunities, recording contracts, management contracts and strategic decision material, students will have the opportunity to work on real record releases to the
making. public. Students are involved in selecting a catalog release each quarter and seeing the
PREREQUISITE: EB202 project through all stages of production from image and graphic design, re-mastering,
distribution, regional and web promotion, and sales of the record as well as licensing
EVENT PRODUCTION and contract issues.
EB263 3 CREDITS PREREQUISITE: EB252
A lecture and project-based class focusing on managing personnel, schedules,
equipment, and other details associated with entertainment industry events. Students
will have active roles in planning, organizing, and managing events at IPR and locations
around Minneapolis.
PREREQUISITE: EB202
22
IPR Course Descriptions
MUSIC AND ENTERTAINMENT BUSINESS SENIOR SEMINAR COURSE: POPULAR MUSIC AND LITERATURE
EB290 2 CREDITS HU126 4 CREDITS
This course serves as a crucial stepping point for all graduates in the Music and This course is a study of literary forms including fiction, non-fiction, and poetry as a
Entertainment Business program, and the major coursework involves two required basis for examining American popular music and song lyrics. African American writers
initiatives for all potential graduates. First, students will participate in a research project such as LeRoy Jones express experiences that led to the extraordinary creativity found
under the direct supervision of the EB 290 facilitating instructor and an additional EB in jazz, the blues, rock and roll, and other unique American musical forms. An emphasis
instructor who is involved in a professional arena related to the student’s direction of on the blues and its development will anchor the students in American cultural history,
study. Secondly, students will work throughout the quarter to prepare their work for a illuminating the growth and development of our popular songs and their lyrical
faculty and peer based portfolio review. At the end of the quarter, students will present content. Students will study, interpret, and analyze a wide range of popular musical
their research project in a school wide public forum and their portfolio materials in literary works, and participate in discussing each authors/composer’s forms, methods
a gallery format open house event. These two fields of study will provide valuable and themes.
experience across a broad scope of real-world related research, sales, marketing, and PREREQUISITE: NONE
public speaking skill sets.
PREREQUISITE: MINIMUM OF 80 CREDITS COMPLETED INTRODUCTION TO FILM
HU130 3 CREDITS
INTRODUCTION TO HUMANITIES This course examines film as an interdisciplinary form of human expression and
HU110 4 CREDITS creativity. Students will explore film’s close relationship to other narrative media such
This course is designed to provide students with an exploratory approach to the as the novel, short story, memoir, biography, essay, poetry, and both popular and
humanities. It focuses on the special role of the arts in the humanities and attempts operatic music. Students will study the interplay of elements necessary to understand
to foster understanding and appreciation of the arts through the students’ active how this complex medium conveys its message within its historical and sociological
participation and involvement in experiencing a wide variety of specific works of art. context and via its unique properties. Selected films will be screened and critiqued
Through coming to understand the relation of subject matter, content, and artistic to elucidate these broad topics along with auteur ideologies. Through exploration
form in these works, the student will be encouraged by guided questions to explore and study, students will learn the intricacies of film as art and entertainment as well as
the meaning and values embodied in these works and to form critical evaluations cultural influencer and social commentary.
based on a deepened understanding of the artists, their milieu and their methods of PREREQUISITE: NONE
expression.
PREREQUISITE: NONE INTRODUCTION TO LITERATURE
HU160 4 CREDITS
WORLD MUSIC This course is a survey of short stories, poetry, and drama as literary forms with an
HU125 3 CREDITS emphasis on using literary analysis to interpret a wide range of literary works. Students
This course is designed to prepare students to produce and record popular music in will read representative samples of each form and participate in discussing each
a multicultural, global marketplace. Using current popular music as a way to define author’s methods, and themes. Students will write a minimum of three 3-page papers
culture, students shall learn about global societies and their cultural history. Students demonstrating their understanding of these literary forms.
shall use the constituent and expressive elements of music as a basis for discussion PREREQUISITES: CM101
to compare and contrast popular music and culture on a global level. This course will
include ear training that will enhance students’ recognition of global instruments. VOCAL TECHNIQUES I
PREREQUISITE: NONE IN261 1 CREDIT
This course is designed for the producer or vocalist with little or no vocal experience
but who has a desire to sing, enhancing his/her ability to work with other artists on
vocal techniques in a live or studio setting. Classes take place in a lab setting and will
cover the basics of correct singing, vocal health, breathing, technique and style.
PREREQUISITE: AP210
23
IPR Course Descriptions
KEYBOARD TECHNIQUES I KEYBOARD TECHNIQUES II
IN262 1 CREDIT IN272 1 CREDIT
This course is designed for the producer or keyboard player with little or no keyboard This course is for the producer or keyboard player who has either completed Keyboard
experience but who has the desire to play, enhancing his/her ability to work with other Techniques 1 (IN262) or has already had prior keyboard experience and wishes to
musicians on piano or keyboard technique in live and studio performance settings. submit a keyboard or piano demo/audition for entrance, having the desire to enhance
Classes will take place in a lab and will cover the fundamentals of classic keyboard their performance skills on the keyboard in a live/studio setting. Classes will take place
technique and style. in the lab and will cover advanced performance techniques.
PREREQUISITE: AP210 PREREQUISITES: AP210, IN262 or by audition
ELECTRONIC PERFORMANCE I BAND CAMP 101
IN263 2 CREDITS IN281 2 CREDITS
This class will focus on urban and electronic music performance techniques. Students This course introduces students to the process of transforming a small group of
will learn the history and culture of these musical styles as live performance and apply interested performers and songwriters into a band. Students will create a band
the current tools and techniques used by top performers, remixers and DJs from concept based on the skills and interests of the group. They will write original songs
around the world. Students will gain hands-on experience with hardware and software and arrange cover songs. The class will be guided through the rehearsal process and
sequencers, synthesizers and drum machines, including Propellerhead’s Reason, culminate in a final performance.
Ableton Live, and Native Instruments Traktor DJ Studio. PREREQUISITES: AP260, AP200, audition and portfolio
PREREQUISITES: AE130, AP152
KEYBOARDING I
GUITAR TECHNIQUES I KB050 3 CREDITS
IN264 1 CREDIT This course introduces keyboard operating techniques. The touch system is stressed
This course will provide students with the basic skills necessary to play the guitar. in speed and accuracy development. Students are required to achieve 25 wpm on
It covers the fundamentals of musicianship, note reading, chord strumming, finger straight copy material for three minutes.
picking, and music theory. These skills will be applied to popular, folk, blues, and rock PREREQUISITE: NONE
styles in addition to classical technique. The course will emphasize ensemble playing
and will cover a wide variety of musical pieces. All students will have the opportunity LOGIC PRO I
to play lead lines, rhythm accompaniment and bass lines. Every effort will be made to LP151 2 CREDITS
accommodate players of all levels from beginners to advanced. While the beginners are This course is designed to prepare you for the Level-One Apple Certification Exam
working on the notes in first position, the more advances students will be encouraged in Logic Pro. You’ll learn the fundamentals of working in Logic through a series of
to challenge themselves by playing the same exercises in the higher positions. practical exercises covering music production, rhythm programming, recording,
PREREQUISITE: AP210 mixing and post production.
PREREQUISITE: NONE
VOCAL TECHNIQUES II
IN271 1 CREDIT LOGIC PRO II
This course is for the producer or vocalist who has either completed Vocal Techniques LP201 2 CREDITS
1 (IN261) or has already had prior experience and wishes to submit a vocal demo/ This course is designed to prepare you for the Level-Two Apple Certification Exam
audition for entrance and has the desire to enhance their ability to work with other in Logic Pro. You’ll learn advanced production techniques in Logic Pro such as
artists on vocal technique in a live or studio setting. Classes will take place in a lab manipulating pitch and tempo, creating notation scores, customizing the environment
setting and will cover more advanced elements that are required of the contemporary to speed workflow, editing real-time MIDI parameters and humanizing a performance.
singer. Software instruments, advanced MIDI editing, advanced audio editing and managing
PREREQUISITES: AP210, IN261 or by audition a mix session will be covered in depth.
PREREQUISITE: Apple Logic 101 Exam
24
IPR Course Descriptions
ABLETON LIVE I CAREER DEVELOPMENT II
LV151 2 CREDITS MB212 1 CREDIT
This course is designed to cover the Ableton Live recording and sequencing software Students will discuss and analyze modern trends within the media industry and their
in depth. You’ll learn the fundamentals of working in Ableton Live through a series of effects on potential career pursuits. Additionally, course discussions will highlight
practical exercises covering software configuration, session navigation, audio warping, the role of personal communication and social interaction skill sets as they relate
MIDI programming with virtual instruments, recording, editing, mixing and combining to professional standards of behavior. Students will learn to appreciate the role of
audio with visual media from within the Live production environment. networking and professional decorum in career success while exploring concepts
PREREQUISITE: NONE and developing techniques for self-promotion and networking. Students will have
the opportunity to practice communication skill enhancement, advanced decision
ABLETON LIVE II making and critical thinking techniques through assignments, readings, and class
LV200 2 CREDITS presentations.
This course is designed to cover the Ableton Live recording and sequencing software PREREQUISITE: MB101
in depth. It will expand on the fundamentals of working in Ableton Live, as explored in
the introductory course (LV151). It will cover media production concepts, encompassing CAREER DEVELOPMENT III
composition, production, improvisation, and performance. MB222 1 CREDIT
PREREQUISITE: LV151 Utilize concepts and skills acquired in EB101 and EB201 and throughout IPR education
to formally identify career goals and present career objectives to IPR Career Services
CAREER DEVELOPMENT I Representatives, prospective employees, and colleagues. Create promotional tools
MB101 1 CREDIT including resumes, cover letters, business cards, and other digital and “virtual”
Students will discuss common skills and attributes that can lead to successful college materials. Practice interview techniques and learn professional strategies and client-
completion. Additionally, students will discover how those skills can translate to based approaches which lead to meaningful and lasting professional experiences.
success in furthering one’s career goals and expectations. By exploring a variety of Discuss matching appropriate corporate job cultures with your professional aptitudes
self-assessment tools, students will gain a further understanding into their own unique and goals.
abilities while qualifying potential professional environments well suited to their own PREREQUISITE: MB212
aptitudes and abilities.
PREREQUISITE: NONE SMALL BUSINESS MANAGEMENT
MG120 4 CREDITS
WEB FLUENCY This course was designed to introduce the student to small business management in
MB200 2 CREDITS the real world. Through the use of lecture, class discussion and the text, the student
Students will receive an overview of the research and communication tools available will become familiar with writing business plans, financial report analysis, business
through the internet. Students will also gain a basic understanding of the underlying acquisition and government regulations that impact small business. Study will include
technologies of the internet including server systems, web hosting, and domain the legal aspects of small business, site selection and the future prospects for these
registration protocols. Additionally students will learn the processes involved in businesses. There will be a major focus on entrepreneurial activities and the traits of
securing their own digital properties and how to leverage those elements within their entrepreneurs. The student will bring his or her work and life experiences to class
professional careers. and combine them with case study, class projects and discussion so as to gain an
PREREQUISITE: CS110 understanding of the problems and opportunities involved in the operation of a small
business.
PREREQUISITE: NONE
25
IPR Course Descriptions
FOUNDATIONS OF MATHEMATICS I ESSENTIALS OF PRO TOOLS (Digidesign PT110
MH050 3 CREDITS PT111 2 CREDITS
This refresher course covers the arithmetic of whole numbers, fractions and decimals, This course is a training course in preparation for Pro Tools Certification. The course
including the use of the real numbers in ratios, percentages and averages. focuses on the foundational skills needed to learn and function within the Pro Tools
PREREQUISITE: NONE environment at a basic level. The aim of the course is to help students start working on
their own projects in Pro Tools.
FOUNDATIONS OF MATHEMATICS II PREREQUISITE: Digidesign PT101 Exam
MH060 2 CREDITS
This course is designed to help students acquire a fundamental understanding of PRO TOOLS PRODUCTION ESSENTIALS (Digidesign PT201)
algebra and geometry that can be built upon in future math based classes. Students PT202 2 CREDITS
will learn to use real numbers including fractions, decimals and scientific notation. This course is a training course in preparation for Pro Tools Certification. Focus on the
Students will also work with algebraic expressions, exponents, radicals, and formulas development of skills needed to competently operate a Pro Tools TDM system in a
as well as learn about length, area and volume of basic geometric shapes. Students will professional environment. Includes preparation for the diverse range of environments
learn to use problem-solving skills to solve real-world problems. found in the industry.
PREREQUISITES: MH050 or advanced placement PREREQUISITE: Digidesign PT110 Exam
TECHNICAL MATH I MUSIC PRODUCTION TECHNIQUES (Digidesign PT210M)
MH150 4 CREDITS PT211 2 CREDITS
This course connects algebra with applications in technology and business. Students This course is a training course in preparation for Pro Tools Certification. The course
will solve linear, exponential and logarithmic functions and work with polynomials and concentrates on completing 200-level training with a Music focus. Reinforcement of
basic geometry. These concepts will be applied to examples in electronics, digital 201 concepts and skills with music-specific examples
computing and finance. PREREQUISITE: Digidesign PT201 Exam
PREREQUISITES: MH060 or advanced placement
POST PRODUCTION TECHNIQUES (Digidesign PT210P)
TECHNICAL MATH II PT212 2 CREDITS
MH200 4 CREDITS This course is a training course in preparation for Pro Tools Certification. The
This course continues the work done in MH150 – Technical Math I. Students continue course concentrates on completing 200-level training with a Post Production focus.
their work in more advanced geometry and digital computing. They will also be Reinforcement of 201 concepts and skills with post-specific examples.
introduced to trigonometry. These concepts will be applied to examples in electronics PREREQUISITE: Digidesign PT201 Exam
and digital computing.
PREREQUISITES: MH150 OR NS090 ADVANCED MUSIC PRODUCTION TECHNIQUES
(Digidesign PT310M)
PHYSICS I: ACOUSTICS PT251 2 CREDITS
NS223 3 CREDITS Pro Tools 310M focuses on the advanced operation of Pro Tools TDM systems for
This course is designed to help students acquire a fundamental understanding of music production. Speed, efficiency, and flexibility are all stressed in this course.
acoustics and the science of sound wave mechanics. Students will learn to calculate Topics include advanced music editing, mixing, control surface techniques and
acoustic reverberation and solve problems of absorption, reflection and diffusion in functions, music-specific software instrument functionality, operation, and integration,
common structures and materials. Students will learn problem-solving techniques they specific application plug-ins, including pitch correction and sound replacement,
can use to solve real-world acoustic problems. and collaboration options, functionality and techniques, including sharing Pro Tools
PREREQUISITES: MH150 sessions with others.
PREREQUISITE: Digidesign PT210M Exam
26
IPR Course Descriptions
ADVANCED POST PRODUCTION TECHNIQUES INTERCULTURAL COMMUNICATIONS
(Digidesign PT310P) SS115 4 CREDITS
PT252 2 CREDITS In this course, the student will study the meaning and the nature of culture as well as its
Pro Tools 310P focuses on the advanced operation of Pro Tools TDM systems influence on management function and international business throughout the world.
for post production. Speed, efficiency, and flexibility are all stressed in this course. The course will provide an overview of dominant cultural norms in key world regions
Topics include advanced OMF applications and workflows with Avid video editing and methods of effective cross-cultural interaction designed to enhance international
systems, advanced post editing, advanced mixing, synchronization, advanced control business relations. Other topics included in the course will be international negotiating
surface techniques for post applications, and collaboration options, functionality, and styles, international business ethics, cross-cultural synergy, culture shock, re-entry
techniques, including sharing Pro Tools sessions with others. issues, human resource management issues for multi-national corporations, and
PREREQUISITE: Digidesign PT210P Exam gender issues in international management.
PREREQUISITE: NONE
SOUTH BY SOUTHWEST MEDIA CONFERENCE
SB279 3 CREDITS HISTORY OF POPULAR MUSIC
The South by Southwest (SXSW) Media Conference is a convergence of original SS123 3 CREDITS
music, independent films, and emerging technologies. Located in Austin, TX, SXSW This course is designed to tell the story of American Popular music through a study
showcases nearly 2,000 musical acts, and is attended by managers, labels, promoters, of its unique genres, songwriters, performers, and musicians. Starting with the birth of
press, internet media outlets, artists and other business professionals. SXSW “Tin Pan Alley” and recorded sound, the class includes an introduction to ragtime, jazz,
conference registrants also partake in a full agenda of provocative, informative panel blues, country & western, Broadway show tunes/Soundtracks, rock & roll, electronic
discussions and celebrity interviews featuring hundreds of speakers of international music, punk and hip hop. Students will experience the music of Scott Joplin, Irving
stature. SB279 is a two week course including travel to the SXSW Conference where Berlin, Cole Porter, George Gershwin, Robert Johnson, Bessie Smith, Billie Holiday,
students will attend panel discussions on current media topics during the day, and Louis Armstrong, Muddy Waters, Hank Williams, Elvis, “The British Invasion”, Bob
experience movie and video showcases while networking with media professionals Dylan, Motown, and many more. It is the goal of this course that the students recognize
during the evening. SB279 provides an opportunity to gain first-hand experience of each genre, be able to identify its roots and stylistic characteristics, and to know how
one of the world’s premier music and media events. the contributions of brilliant artists have developed our musical landscape.
PREREQUISITE: EB152 PREREQUISITE: NONE
INTRODUCTION TO PSYCHOLOGY
SS111 4 CREDITS
Introduction to Psychology is a basic overview of the facts, terms, ideas and research
findings, which form the basis for modern psychology. This course looks at the science
of psychology and includes consideration of behavior, perception, learning, memory,
human physical and personality development, motivation, and stress.
PREREQUISITE: CM101
LAW IN SOCIETY
SS113 4 CREDITS
Law in Society provides a basic understanding of the function of law in American
society. The student will study the nature of our legal system (with special emphasis
on the function and procedure of the courts), the use of our legal system in resolving
both personal and societal conflicts, and the use of alternative methods of dispute
resolution. The student will also acquire a basic knowledge of the relationships, rights
and duties of individuals to each other and to the government in such areas of law as
civil rights, torts and criminal law.
PREREQUISITE: NONE
27
28
IPR Faculty are seasoned professionals,
serious about your education.
Award winning… committed… experienced…
29
– IPR Faculty –
MARY JANE ALM, Music Theory, Vocal Performance CRAIG GROSSMAN, Artist Management, Booking, Event Production, Business
STEVE ALM, Music Theory, Keyboard Performance A.A.S., Brown College
B.S., Minnesota State University, Mankato B.A., University of Minnesota, Twin Cities
B.M., University of Minnesota, Twin Cities AMANDA GUSTAFSON, Social Sciences
NICHOLAS BOCHEK, Graphics Design, Adobe CS B.A., The Ohio State University
PAUL BOLEN, Audio Production, ProTools M.A., University of Minnesota, Twin Cities
KEVIN BOWE, Production, Songwriting MARCIA HINES, Communications
Diploma, A.A.S., A.A.S., The Institute of Production & Recording B.A., Concordia College
B.S., University of Minnesota, Twin Cities M.A., Hamline University
ERIC BULL, Law, Business STEVE HODGE, Engineering, Production
B.A., University of Minnesota, Duluth JERRY HORWATH, Post-Production
J.D., William Mitchell College of Law Diploma, Hennepin Technical College
WALTER CHANCELLOR, JR., Production, Logic Studio ROGER HUGHES, Accounting, Finance, Business
EDDIE CILETTI, Engineering, Electronics, Analog B.A., Minnesota State University, Mankato
JAMES CURRY, Video Editing, Final Cut Studio JP HUNGELMANN, Electronic Music, Ableton Live, Synthesis, Event Production
Certificate, Full Sail Real World Education Diploma, The Institute of Production & Recording
JUSTIN DELEON, Engineering, Pro Tools REV. DANIEL HUSTON, Mathematics
B.A., University of Minnesota, Twin Cities B.A., B.S., M.A., Marshall University
JEFF DESLAURIERS, Engineering, Post-Production, Pro Tools, Ableton Live BRIAN JACOBY, Engineering, Production, Pro Tools
Diploma, Conservatory of Recording Arts and Sciences A.A.S., McNally Smith College of Music
RANDY ENGEBRITSON, Web Design BOB JENKINS, Post-Production, Orchestration, Scoring, Music Theory
JAY FLEMING, Pro Tools, Post-Production, Live Sound DAMIAN KASTBAUER, Audio for Video Games
B.A., St. Olaf College DERRICK KNIGHT, Mathematics, Acoustics
PAUL FLYNN, Engineering B.A., Augustana College
A.A.S., The Institute of Production & Recording M.S., Rensselaer Polytechnic Institute
GUY FRECHETTE, Psychology, Social Sciences COLT LEEB, Engineering
B.A., M.A., M.A.T., Minnesota State University, Mankato Diploma, The Institute of Production & Recording
DAVID GARDNER, Engineering SCOTT LEGERE, Marketing, Intellectual Property, Business
B.A., Macalester College B.A., Carlton College
TOM GARNEAU, Engineering JOHN LEHMKUHL, Music Theory, Popular Music
Diploma, The Institute of Production & Recording
JOSH GRINOLDS, Writing B.A., Gustavus Adolphus College
A.A., Normandale Community College
B.A., University of Minnesota, Twin Cities ADAM LEVY, Songwriting
M.A., University of St. Thomas B.A., University of Minnesota, Twin Cities
30
– IPR Faculty –
ANDREW LUCAS, Audio Engineering, Pro Tools
A.S., Full Sail Real World Education
DUGAN MCNEILL, Engineering, Production
JENNI MCSWAIN, Preparatory Mathematics
B.S., Auburn University
JASON MESSERSCHMITT, Computer Sciences
Diploma, The Institute of Production & Recording
SCOTT “SCOOTER” NELSON, Business, Commercial Music, Career Development
ERIC OLSEN, Pro Tools, Production, Engineering, Ableton Live
B.A., Saint John’s University
JASON ORRIS, Engineering, Production
PAUL PETERSON, Production
STEVE PRICE, Production, Logic Studio, Pro Tools
B.A., Drake University
ELISE ROBERTS, Writing, Humanities
B.S.S., Cornell College
M.A., State University of New York College at Oneonta
MATTHIAS SAUNDERS, Digital Cinema
DIK SHOPTEAU, Engineering, Production
ELIZABETH SKWIOT, Writing
A.A., Bethany Lutheran College
B.A., University of Wisconsin-Madison
M.A., University of California, Davis
ROD SMITH, Journalism, Media History/Culture
KYLE STALLOCK, Game Industry, MS Office
A.A.S., The Institute of Production & Recording
ERIC TRELSTAD, Facility Management, Business
RANDALL ZIDONES, World Music
B.M., Bowling Green State University
M.A., The Ohio State University
31
The IPR Administrative Team – Experience behind the music scene
A passion for music, media and entertainment. That’s the common denominator for everyone on the IPR staff. Staff members aren’t just skilled in their
administrative and educational roles; many also have studio credentials, recording credits, awards and extensive entertainment business backgrounds.
They all recognize that art doesn’t just happen. That’s why they work together to provide you with the best education available.
DEANS & DIRECTORS Jeff Deslauriers, Program Chair: Carolyn Gleason, Admissions Representative
Lance Sabin, Vice-President Sound Design for Visual Media email: cgleason@ipr.edu
email: lsabin@ipr.edu email: jdeslauriers@ipr.edu
Jesse Hirdler, Admissions Representative
Brian Jacoby, Director Steve Hodge, Program Chair: email: jhirdler@ipr.edu
email: bjacoby@ipr.edu Audio Production & Engineering
email: shodge@ipr.edu Ryan Kulka, Admissions Representative
Tanya Norman, Director of Admissions email: rkulka@ipr.edu
email: tnorman@ipr.edu Jay Fleming, Program Chair:
Live Sound & Show Production
Scott Novak, Admissions Representative
Norbert Kreuzer, Director of Career Services email: jfleming@ipr.edu
email: snovak@ipr.edu
email: nkreuzer@ipr.edu
Eric Olsen, Program Chair:
Eddie Sekula, Admissions Representative
Amanda Gustafson, Dean of Faculty Certification Programs
email: esekula@ipr.edu
email: agustafson@ipr.edu email: eolsen@ipr.edu
BOOKSTORE/PRO AUDIO OUTLET
Jr. Hunte, Director of Financial Aid Eric Trelstad, Program Chair:
J.P. Hungelmann,
email: jrhunte@ipr.edu Music & Entertainment Business
Pro Audio Outlet Development Manager
email: etrelstad@ipr.edu
email: jhungelmann@ipr.edu
Scott Legere, Director of Research & Development
email: slegere@ipr.edu Kevin Bowe, Associate Program Chair Tim Zbikowski, Bookstore Ordering Assistant
email: kbowe@ipr.edu email: tzbikowski@ipr.edu
Rebecca Buller, Dean of Students
email: rbuller@ipr.edu ADMISSIONS & ENROLLMENT Dan Cortez, Pro Audio Outlet Sales Associate
Tanya Norman, Director of Admissions email: dcortez@ipr.edu
email: tnorman@ipr.edu
Erica West, Director of Student Services
email: ewest@ipr.edu BUSINESS OFFICE/ADMINISTRATION
Tina Nevala, Enrollment Manager Jolene Krieger, Business Office Manager
email: tnevala@ipr.edu email: jkrieger@ipr.edu
ACADEMIC AFFAIRS
Amanda Gustafson, Dean of Faculty
email: agustafson@ipr.edu David Norris, Administrative Assistant Erin Stubbs, Receptionist/Administrative Assistant
email: dnorris@ipr.edu email: estubbs@ipr.edu
Scott Legere, Director of Research & Development
email: slegere@ipr.edu Christian Groves, Admissions Representative Patricia Williams,
email: cgroves@ipr.edu Receptionist/Administrative Assistant
email: pwilliams@ipr.edu
32
The IPR Administrative Team – Experience behind the music scene
CAREER SERVICES LAB OFFICE LIBRARY
Norbert Kreuzer, Director of Career Services Matthew Koehne, Lab Manager Tina Halfmann, Librarian
email: nkreuzer@ipr.edu email: mkoehne@ipr.edu email: thalfmann@ipr.edu
Sandra Robinson, Paul Znascko, Lab Supervisor STUDENT AFFAIRS
Associate Director of Career Services email: pznascko@ipr.edu Rebecca Buller, Dean of Students
email: srobinson@ipr.edu email: rbuller@ipr.edu
Paul Flynn, Lab Engineer
Brianna Rhubee, Career Services Coordinator email: pflynn@ipr.edu Adam Levy, Student Success Coordinator
email: brhubee@ipr.edu email: alevy@ipr.edu
Athanosios Frentzos, Lab Engineer
Kevin Reeverts, Career Services Coordinator email: afrenzos@ipr.edu Nathan O’Brien, Registrar
email: kreeverts@ipr.edu email: nobrien@ipr.edu
Onyx Johnson, Lab Engineer
FACILITIES email: ojohnson@ipr.edu Ana Peterson, Academic Coordinator
Michael Simonson, Facilities Director email: apeterson@ipr.edu
email: msimonson@ipr.edu
Daniel Whitney, Lab Engineer
email: dwhitney@ipr.edu STUDENT SERVICES
Scott Gilbertson, Facilities Assistant Erica West, Director of Student Services
email: sgilbertson@ipr.edu email: ewest@ipr.edu
Alex Anderson, Lab Engineer
email: aanderson@ipr.edu
FINANCIAL AID Tom Hilde, Student Services Coordinator
Jr. Hunte, Director of Financial Aid email: thilde@ipr.edu
email: jrhunte@ipr.edu Thomas Dean, Lab Engineer
email: tdean@ipr.edu
David Rath, Café - Shift Supervisor
Maureen Koenig, Financial Aid Administrator email: drath@ipr.edu
email: mkoenig@ipr.edu Nathaniel Groshek, Lab Engineer
email: ngroshek@ipr.edu
Anna Rau, Financial Aid Administrator
email: arau@ipr.edu Andrew Neumiller, Lab Engineer
email: aneumiller@ipr.edu
INFORMATION TECHNOLOGY
Tom Kastigar, IT Support Specialist Jari Norgon, Lab Engineer
email: tkastigar@ipr.edu email: jnorgon@ipr.edu
Jesse Whitney, Lab Systems Administrator Harrison Schmidt, Lab Engineer
email: jwhitney@ipr.edu email: hschmidt@ipr.edu
Kristen Schmitigal, Lab Engineer
email: kschmitigal@ipr.edu
33
34
Studio Descriptions & Equipment Lists
Master Mix Studios
Since its completion in 1999, Master Mix Studios has been one of the premier recording facilities in the Midwest. It has been host to projects by nationally and
international known recording artists including: Sheila Ray Charles, Meat Puppets, Lucinda Williams, Neil Diamond, Yumi Matsutoya, Ricky Martin, Johnny Lang,
Soul Asylum, The Proclaimers, Next and Mudvayne.
Upgraded in 2009 to include Digidesign’s latest 48-channel Digidesign ICON|ES console, the room also features a massive Pro Tools HD|5 Accel system, a soul
shaking custom KRK 15K-A5 Main speaker system and a list of vintage and modern microphones, instruments and outboard sound processing equipment
long enough please any studio. Master Mix epitomizes the modern recording facility. Students at IPR are given the unique opportunity to learn hands-on in the
environment and take the room for a spin under the tutelage of acclaimed and prolific Producer/Engineers.
CONSOLE: COMPRESSORS / LIMITERS / GATES: PRO TOOLS / MIDI WORKSTATION:
Digidesign 48-channel D-Control ICON|ES API 225L Compressor/Limiter (2) Apple Dual 2.26 GHz Quad Core “8 Core” Mac Pro
Drawmer DS201 Stereo Gate Pro Tools HD5 Accel
MONITORING:
Empirical Labs EL8 Distressor (2) Digidesign 192 I/O (6)
KRK 15K-A5 Main Speaker System
Inovonics Model 201 Compressor Digidesign Sync I/O
Yamaha NS-10M Speakers
Neve 33609 Stereo Compressor/Limiter Digidesign MIDI I/O
Adam 2.5A Active Monitors
Summit TLA-100A Tube Compressor (2) MOTU MIDI Timepiece AV
Langevin 8 Channel Cue System
UREI 1176 “Silver Face” Compressor/Limiter (2) Yamaha M06 Keyboard
MACHINES: Valley People Kepex II Gate (4) Apple 20” Cinema Display
Studer A-827 2” 24 Track Analog Recorder Empirical Labs “Fatso Jr” Stereo Compressor Gateway 42” Plasma Video Monitor
Studer A80RC 1/2” 2 Track Analog Recorder dbx 166A Stereo Compressor/Limiter Pro Tools HD
DVD-V/DVD-A/SACD Player Logic Audio Pro
EQUALIZERS:
HHB CDR-830 BurnIt Plus Ableton Live
API 550B EQ with 550A Transformers (8)
Sony CDP-DII Pro Compact Disc Player Propellerhead’s Reason
API 560A Graphic EQ (6)
REVERBS / DELAYS: API 560B Graphic EQ (4) INSTRUMENTS:
Eventide H3000S “Ultraharmonizer” Digital Effects Avalon AD2055 Stereo EQ Yamaha C7 Grand Piano
Lexicon 480L Digital Effects Neve 1064 EQ (2)
Lexicon PCM42 Digital Delay (2)
MIC PRE / DI:
TC Electronic M3000 Digital Effects
API 205L DI (2)
API 512C Mic Pre (8)
DW Fern VT2 Stereo Tube Mic Pre
Neve 1064 Mic Pre (2)
Telefunken V76 Tube Mic Pre (2)
35
Studio Descriptions & Equipment Lists
Studio 1
IPR’s own Studio One is equipped with a fully expanded Pro Tools|HD3 Accel system and a Tannoy System 600A 5.1 Surround monitoring system, making it the
perfect environment for surround sound recording and mixing, audio for video post production, and DVD authoring. The 24-channel Digidesign D-Command
integrated console (ICON) offers fully digital surround sound mixing for those who prefer working hands-on instead of with a mouse and a keyboard. Integrated
video recording and editing hardware and software ensures this studio is the perfect environment for education and practice in audio for video post production
techniques. Studio One shares an acoustically designed performance area with IPR’s Studio Two.
CONSOLE: MIC PRE / DI: Apple 20-inch Cinema Displays (2)
Digidesign D-Command (ICON) Digidesign PRE Sharp XR-10X-L Projector w/ Screen
w/ Fader Pack 24-Channel Integrated Console Pro Tools HD
PRO TOOLS / MIDI / VIDEO WORKSTATION:
Logic Audio Pro
MONITORING: Apple Dual 2GHz Power Mac G5 w/ Avid Mojo Video
Ableton Live
Tannoy System 600A 5.1 Surround Pro Tools|HD3 Accel
Propellerhead’s Reason
Digidesign XMON Surround Monitor Controller Digidesign 192 I/O
Final Cut Studio
Furman Cue System Digidesign 96 I/O
Digidesign Sync I/O
MACHINES:
MOTU Midi Timepiece
HHB CDR-830 BurnIt Plus
Yamaha M06 Keyboards
Sony DVD-V/DVD-A/SACD Player
Roland XV5050 Synth Module
Studio 2
Acoustically isolated but wired to a common performance area with Studio One, our Studio Two is the perfect tracking and mixing environment for the 21st
Century, incorporating the best of “new school” digital technology into an “old school” analog environment. An industry standard 40 channel (80 input!) Solid
State Logic 4040G analog console, combined with a Pro Tools|HD3 Accel rig with a multitude of high-definition I/O and 24 tracks of analog 2-inch cover any
input requirements. Add to that an impressive list of outboard gear including industry standard analog processing from API, Great River, Summit, UREI, Empirical
Labs, and digital effects units from Eventide and Lexicon and you have a tracking and mixing environment suitable for everything from a single performer to
large bands and choirs.
CONSOLE: COMPRESSORS / LIMITERS / EQ: PRO TOOLS / MIDI WORKSTATION:
SSL 4040E/G with G Series Automation & Total Recall API 550B EQ (2) Apple Dual 2GHz Power Mac G5
Empirical Labs EL8 Distressors (2) Pro Tool|HD3 Accel
MONITORING:
Summit TLA-100A Tube Compressor Digidesign 192 I/O (2)
Mackie HR626 2.1 Active Monitor System w/ HRS120 Sub
Teletronix LA-2A Tube Compressor/Limiter Digidesign Sync I/O
Tannoy System15 Main Speaker System
UREI 1176 Compressor/Limiter (2) Digidesign MIDI I/O
Yamaha NS-10M Speakers
UREI LA-4 Compressor/Limiter Emu MoPhatt Synth Module
Furman Cue System
Korg Triton LE
REVERBS / DELAYS:
MACHINES: Roland XV5050 Synth Module
Eventide DSP4000 “Ultraharmonizer” Digital Effects
Studer A-827 2” 24 Track Analog Recorder Pro Tools HD
Eventide Eclipse Digital Effects Processor
HHB CDR-830 BurnIt Plus Logic Audio Pro
Lexicon PCM42 Digital Delay
MIC PRE / DI: Ableton Live
Lexicon Super Prime Time Digital Delay
API 512C Mic Pre (4) Propellerhead’s Reason
Great River MP-2NV Dual Mic Pre
36
Studio Descriptions & Equipment Lists
Studio 3
Studio Three features the D-Control Integrated Console (ICON). Yet another Pro Tools|HD3 Accel system, digitally integrated with the console provides the
cleanest signal path possible in the studio environment. This studio is additionally equipped with a Mackie HR626 5.1 Surround monitoring system, providing
great flexibility in both tracking and mixing while maintaining a high-resolution, all digital signal path.
CONSOLE: MACHINES: Digidesign 192 I/O (2)
Digidesign D-Control (ICON) 32-Channel Integrated HHB CDR-830 BurnIt Plus Digidesign Sync I/O
Console Samsung DVD-HD841 w/SACD Digidesign MIDI I/O
Emu MoPhatt Synth Module
MONITORING: MIC PRE / DI:
Korg Triton LE
Mackie HR626 5.1 Monitor System w/ HRS120 Sub Digidesign PRE (2)
Apple 20” Cinema Display
Digidesign XMON Surround Monitor Controller Drawmer 1960 Dual Channel Tube Mic
Sony VPL-CS5 LCD Projector w/screen
Studio Technologies Model 65 Bass Management Pre/Compressor
Pro Tools HD
System PRO TOOLS / MIDI WORKSTATION: Logic Audio Pro
Furman Cue System Apple Dual 2GHz Power Mac G5 Ableton Live
Leigh Audio 6+4 Distribution Amp Pro Tools|HD3 Accel Propellerhead’s Reason
Studio 4
Among the first studios students will get the opportunity to get behind the controls of while at IPR is Studio Four, the home of one of Digidesign’s flagship
products, the D-Control Integrated Console (ICON). A bit larger and more fully featured than its little brother, the D-Command in Studio One, and paired with
a Digidesign Pro Tools|HD3 this environment offers a level of advanced technology and workflow not available even a short time ago. With this system users are
able to record, edit and mix audio content in a truly integrated environment with a higher level of interactivity and efficiency than ever before.
CONSOLE: MIC PRE / DI: Roland XV5050 Synth Module
Digidesign D-Control (ICON) 16-Channel Digidesign PRE (2) Apple Dual 2GHz Power Mac G5
Integrated Console Drawmer 1960 Dual Channel Tube Mic Pre/Compressor Apple 20” Cinema Display
Sony VPL-CX70 LCD Projector w/screen
MONITORING: PRO TOOLS / MIDI WORKSTATION:
Pro Tools HD
Mackie HR824 Active Monitors Pro Tools|HD3 Accel
Logic Audio Pro
Digidesign XMON Surround Monitor Controller Digidesign 192 I/O
Ableton Live
Furman Cue System Digidesign Sync I/O
Propellerhead’s Reason
Digidesign MIDI I/O
MACHINES:
Emu MoPhatt Synth Module
HHB CDR-830 BurnIt Plus
Korg Triton LE
37
Studio Descriptions & Equipment Lists
Studio 5
Studio Five serves as a highly capable Desktop Production studio, featuring one of the latest in Yamaha’s pro audio line, the 02R96V2 digital console. With an
impressive 56 inputs and extremely flexible routing and impressive internal processing and effects, this surround sound capable console is a favorite among
many top-flight engineers and producers for its massive processing power in such a small package and is rapidly catching on throughout the industry as a new
standard in compact digital mixers. Equipped with an AKAI MPC4000 sampler/sequencer combined with a comprehensive suite of software and hardware-
based production tools (including Apple’s Logic Pro, Mark of the Unicorn’s Digital Performer, Propellerhead’s Reason, Ableton Live, and others available in ALL
of IPR’s studio environments) contained within the same level of Pro Tools|HD3 Accel based core workstation as our other flagship rooms, this room is a favorite
for producers of hip-hop, R&B, techno, house and all the other flavors of electronic based music prevalent in the music, advertising, film and television markets
of today.
CONSOLE: DJ / FINAL SCRATCH RIG: Emu MoPhatt Synth Module
Yamaha 02R96 56-Input Digital Console Technics SL-1200M3D Turntables (2) Yamaha MO6 Keyboard
Allen & Heath XONE:92 Professional DJ Mixer Roland XV5050 Synth Module
MONITORING:
Pro Tools HD
Mackie HR626 Stereo Monitor System PRO TOOLS / MIDI WORKSTATION:
Logic Audio Pro
Apple Dual 2GHz Power Mac G5
MACHINES: Ableton Live
Pro Tools|HD3 Accel
HHB CDR-830 BurnIt Plus Propellerhead’s Reason
Digidesign 192 Digital I/O
REVERBS / DELAYS: Digidesign Sync I/O
Lexicon PCM 70 Digital Effects Processor MOTU MIDI Timepiece
AKAI MPC 4000
Studio 6
While the equipment list for Studio Six may appear to be much less impressive at first glance, in an educational setting, its contents are priceless. Featuring
the same compact/affordable Mackie 24•8 (24-Channel/8-Buss) console installed in thousands of studios and live sound venues world-wide, a Digidesign
Digi 002-based Pro Tools LE system, and a collection of outboard processors and effects, Studio Six is nowhere near as “hard-wired” as any of our other
student environments. In fact, throughout their first term here at IPR, students get hands-on instruction in how to wire this integrated analog and digital studio
environment from the ground up.
CONSOLE: MONITORING: MACHINES:
Mackie 24 x 8 x 2 Console KRK V8 Studio Monitors HHB CDR-830 BurnIt Plus
Furman Cue System REVERBS / DELAYS:
MIC PRE / DI:
Presonus BlueTube Dual Tube Mic Pre COMPRESSORS / LIMITERS / EQ: Lexicon LXP-15
Yamaha GC2020B II Stereo Compressor/Limiter Lexicon PCM 91
PRO TOOLS / MIDI WORKSTATION:
FMR Audio RNC1773 Stereo Compressor /Limiter
Apple Dual 2GHz Power Mac G5
Logic
ProTools LE w/ Digi 002 Rack Interace
MOTU MIDI Timepiece
Pro Tools LE
Logic Audio Pro
Ableton Live
Propellerhead’s Reason
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Studio Descriptions & Equipment Lists
Studio 7
Studio Seven features the classic Trident 80B Limited Edition 56 input analog recording desk. Studio Seven is a true multi-format environment with the ability to
wire up either a vintage two-inch 24-track analog tape machine or other full featured Digidesign Pro Tools|HD3 system. A host of classic outboard gear combined
with the Trident’s wonderfully warm and musical microphone preamps and EQs provide a natural analog sound with the convenience of digital recording
technology to back it up.
CONSOLE: COMPRESSORS / LIMITERS / GATES / EQ: PRO TOOLS / MIDI WORKSTATION:
Trident 80B “Limited Edition” 56-Input DBX 160XT Compressor/Limiter (2) Apple Dual 2GHz Power Mac G5
Recording Console Drawmer DS201 Stereo Gate Pro Tool|HD3 Accel
GML Stereo EQ Unit Digidesign 192 I/O (2)
MONITORING:
Summit TLA-100A Tube Compressor Digidesign Sync I/O
Yamaha NS-10M Speakers
UA 1176 Compressor/Limiter (2) Digidesign MIDI I/O
Genelec 1032A Active Studio Monitors
UREI LA-4 Compressor/Limiter Korg Triton LE
Furman Cue System
Apple 20” Cinema Display
REVERBS / DELAYS:
MACHINES: Pro Tools HD
Eventide H3000 “Ultraharmonizer” Digital Effects
HHB CDR-830 BurnIt Plus Logic Audio Pro
Lexicon PCM 60 Digital Effects
MIC PRE / DI: Ableton Live
API 512C Mic Pre (6) Propellerhead’s Reason
Great River MP-2NV Dual Preamp
Studio 8
IPR’s “youngest” studio (established in 2005), Studio 8 is centered around a massive 32-channel Digidesign D-Control integrated console, a part of Digidesign’s
flagship ICON Integrated console system, which allows users to complete virtually every aspect of an audio production project (including recording, editing and
mixing) within a unified environment while maintaining the “feel” of a large format console. Equipped with a Pro Tools|HD3 Accel system and loads of analog I/O
(that’s inputs and outputs) this room provides its users with the ability to harness the power and convenience of a fully digital environment while incorporating
the same host of venerable but still industry standard analog signal processing devices, making this room ready for the workflow of the future. Additionally
equipped with a Genelec 5.1 surround monitoring system and Avid/Final Cut based video platforms, this studio is able to move from music recording to film
scoring and post production in moments.
CONSOLE: MACHINES: EQUALIZERS:
Digidesign D-Control (ICON) 32-Channel HHB CDR-830 BurnIt Plus Solid State Logic Duendo Studio Processors
Integrated Console DVD-V/DVD-A/SACD Player API 560A Graphic EQ (3)
Extron BBG 6A House Sync Generator MIC PRE / DI:
MONITORING:
Genelec 5.1 System w/1021A Active Monitors (5) & COMPRESSORS / LIMITERS / GATES / EQ: API 512C Mic Pre (6)
7070A Active Sub Woofer Solid State Logic Duendo Studio Processors Great River MP-2NV Dual Preamp
Yamaha NS10Ms Passive Monitors Empirical Labs EL8 Distressor Digidesign PRE (2)
Digidesign XMON Surround Monitor Controller Teletronix LA-2A Tube Compressor/Limiter Telefunkin V672 Dual Mic Pre
Leigh 6 + 4 Distribution Amp TubeTech CL 2A Stereo Compressor/Limiter
Furman Cue System (2) Universal Audio LA-4 Compressor/Limiter (2)
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Studio Descriptions & Equipment Lists
Studio 8 – continued
REVERBS / DELAYS: M-Audio Keystation Pro 88 Keyboard PRO TOOLS LE/FINAL CUT VIDEO WORKSTATION:
TC Electronics System 6000 Korg Triton LE Keyboard Apple 2.66GHz Intel Core 2 Duo iMac
Apple 20” Cinema Display Digidesign M Box 2
PRO TOOLS HD/MIDI/AVID VIDEO WORKSTATION:
Panasonic 42” HDTV TH-42P2700U Final Cut Studio
Apple Dual 2.26 GHz Quad Core “8 Core” Mac Pro
Gateway 42” Plasma Video Monitor Avid Media Composer
Pro Tools|HD3 Accel
Pro Tools HD
Digidesign Expansion Chassis
Avid Media Composer
Digidesign 192 I/O (3)
Logic Audio Pro
Digidesign Sync I/O
Ableton Live
Digidesign Midi I/O
Propellerhead’s Reason
MOTU MIDI Timepiece
Microphone Collection
To say the microphone collection at IPR and Master Mix Studios is impressive would be an understatement. IPR features more than 100 microphones – from
industry standards such as the Shure SM57 and Neumann TLM49, to vintage favorites such as the Neumann U67 and KM84.
Vintage/Other EV Shure
Lawson L251 EV Cobalt C04 (2) Shure 520DX “Green Bullet”
Audix Drumpack (2) EV N/D468 Shure Beta 52
B&K/DPA 4011 (2) EV RE20 (2) Shure Beta 57a (2)
Coles 4038 Ribbon (2) EV RE27 Shure Beta 91
Crown PZM 30D (3) Shure Drumpack
Neumann
Royer R-122 Ribbon (4) Shure KSM109
Neumann FET47
Royer SF-24 Stereo Ribbon Shure KSM137 (4)
Neumann KM84 (2)
S.E. SE5500 Shure KSM141 (2)
Neumann TLM49
Samson C01 Shure KSM27 (2)
Neumann U67 (2)
Shure KSM32 (2)
Audio Technica Sennheiser Shure KSM44 (4)
Audio Technica Drumpack Sennheiser E604 (3) Shure SM57 (11)
Audio Technica AT-4050 (2) Sennheiser E609 (2) Shure SM7B
AKG Sennheiser MD421 (11) Shure SM81
AKG C1000
AKG C414 B-ULS (1)
AKG C414 B-XLII (3)
AKG C418 Mic (2)
AKG C451B (2)
AKG D112 (3)
AKG D12E (2)
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Studio Descriptions & Equipment Lists
Computer Labs
IPR hosts three Computer Labs (C-Lab 1, 2, and 3) setup for individual use and practice of the same desktop based production, recording, editing, and mixing
concepts instructed in the larger studios. Each lab features 15 Digidesign Pro Tools LE systems, with a mix of Digi 002, Digi 002 Rack and M Box 2 audio interfaces.
A mix of Apple Power Mac G5 tower systems and iMac G5 CPUs running a host of audio/desktop production applications and Yamaha Motif keyboards are also
featured on every station. Featuring the full host of Digital Audio Workstation software contained in every one of our studios including Pro Tools, Logic Pro, and
Ableton Live give each workstation powerful software tools for songwriters, producers and engineers to practice and hone their skills.
Computer Lab 1 Computer Lab 2 Computer Lab 3
15 Workstations, equipped as follows: 15 Workstations, equipped as follows: Apple 15 Workstations, equipped as follows:
Apple 2.66GHz Intel Core 2 Duo iMac 2.66GHz Intel Core 2 Duo iMac Apple 2.1 GHz iMac G5
Digidesign Digi002 Rack – or – Digi002 Digidesign M Box 2 Digidesign Digi002
Yamaha M06 Keyboards Yamaha M06 Keyboard Yamaha M06 Keyboard
Digidesign Pro Tools LE Digidesign Pro Tools M-Powered Digidesign Pro Tools LE
Ableton Live Apple Logic Pro Ableton Live
Apple Logic Pro Propellerhead’s Reason Apple Logic Pro
Propellerhead’s Reason Ableton Live Propellerhead’s Reason
Alfred’s Essentials of Music Theory Native Instruments Reaktor Alfred’s Essentials of Music Theory
Garritan Personal Orchestra Arturia Moog Modular V 2 Microsoft Office
Microsoft Office Alfred’s Essentials of Music Theory
Microsoft Office
Business Labs
IPR’s Business Labs serve students within the Music and Entertainment Business program with sixteen Apple iMac-based workstations, each equipped with a
host of print and web design, video and DVD production and editing, financial, and office application software (including the Adobe Creative Suite CS4, Apple
Final Cut Studio, Quickbooks, and Microsoft Office) to prepare students for hands-on operation of the technology for tomorrow’s music and entertainment
business professional.
Business Labs 1 & 2 Additional Design/Print Media Equipment:
Each featuring 16 Workstations, equipped as follows: Flat Bed Image/Document Scanner
Apple 2.66GHz Intel Core 2 Duo iMac Epson High Quality Ink Jet Printer
Adobe Creative Suite CS4 Master Collection
Final Cut Studio Pro
Microsoft Office Professional
Quickbooks Pro
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Studio Descriptions & Equipment Lists
Pro Tools Labs
Our Pro Tools LE lab (Pro Tools Lab 3) features sixteen Apple MacBook/Digidesign Mbox 2-based portable workstations to support the early learning stages of
the Digidesign Certification curriculum. Each of IPR’s two Pro Tools|HD labs (Pro Tools Labs 1 & 2) boast five self-contained Digidesign/AVID integrated systems.
With Pro Tools|HD2 Accel on all ten systems and five with the Avid AVOption|V10 video interface, each powerful station serves as a fully independent audio/
video editing and mixing system. Our Pro Tools Certification courses through the Digidesign Certified Expert level are taught in these rooms, allowing students
to become Expert operators of the industry-standard digital audio workstation platform for recording, editing and mixing in music and post production.
Pro Tools Lab 1 Pro Tools Lab 2 Pro Tools Lab 3
5 Pro Tools|HD Stations, each equipped with: Pro Tools|HD Station, equipped with: 16 Pro Tools LE Stations, each equipped with:
Digidesign D-Command (ICON) Integrated Console Digidesign D-Control (ICON) 24-channel Apple 1.83 GHz Intel Core Duo 13” MacBooks
Pro Tools|HD3 System Integrated Console Digidesign Mbox 2 or Digi 002 Interface
Digidesign 96 I/O Pro Tools|HD3 System M-Audio Oxygen 8 V2 Keyboard
Digidesign Sync I/O Digidesign 192 I/O Pro Tools LE
Digidesign MIDI I/O Digidesign 96 I/O
Digidesign PRE Digidesign Sync I/O
Apple Dual 2 GHz Power Mac G5 Digidesign MIDI I/O
M-Audio Oxygen 8 USB Controller Digidesign PRE Dell Precision 670 CPU with Dual
3.0GHZ Processors
Avid Option V10
Pro Tools|HD & AVID Video Software
Extron BBG 6A House Sync Generator
Extron Video/Sync Distribution Amplifier
Panasonic 42” Plasma Monitor
Sony Betacam SP UVW-1800
Sony DSR-45 Professional DV/MiniDV
Tascam DA-98
4 additional Pro Tools|HD Stations, each equipped
with:
Digidesign D-Command (ICON) Integrated Console
Pro Tools|HD3 System Digidesign 192 I/O
Digidesign Sync I/O
Digidesign MIDI I/O
Digidesign PRE Dell Precision 670 CPU with Dual
3.0GHZ Processors
Avid Option V10
Pro Tools|HD & AVID Video Software
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43
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The Institute of Production and Recording is an equal opportunity educator and is committed to the policy that all persons shall have equal access to its programs and facilities
without regard to race, creed, national origin, religion, disability, veteran status, gender or sexual orientation. IPR respects the dignity of each individual as essential to the learning
environment.
ADMISSIONS PROCEDURE
Written inquiries regarding enrollment should be addressed to: Admissions Office, The Institute of Production and Recording, 312 Washington Avenue North, Minneapolis, MN
55401. Applicants may also call the campus at 612-375-1900, or 1 866-477-4840 toll-free.
The prospective student should schedule a personal interview at the school. The interview provides an opportunity for students to discuss their interests and to become fully
acquainted with the facilities and the courses offered. As a part of the interview process, students will be asked to complete our proprietary DNA Intake Form, a survey utilized to
determine prospective students’ skills, ambitions and career goals. Prospective students must also complete and return the application form with the registration fee in advance
of their selected start date. New students must sign off on acknowledgment of Hepatitis A, B and C information and must provide proof of immunization within 40 days of starting
school. Quarter start dates and new student orientation dates are listed within the calendar (see page 4). At orientation, new students receive their class schedules and complete
arrangements for payment of tuition, books and fees.
ADMISSIONS REQUIREMENTS
The Institute of Production and Recording admits only those students who possess a high school diploma or its equivalent (GED) and who meet the program admission standards.
All applicants must:
1. Provide documentation of high school graduation or equivalent (GED).
2. Submit a minimum passing score on one of the following entrance exams: Accuplacer, ACT, or SAT (see below), or provide documentation of a completed bachelor’s degree.
ENTRANCE EXAM REQUIREMENTS
Applicants must either provide a passing entrance exam score or submit proof of a completed bachelor’s degree program. Students may submit any of the following:
A minimum ACT score of 21, A minimum Composite Math & Reading SAT score of 990, -or-
An Accuplacer exam meeting a minimum Reading Comprehension score of 35, Sentence Skills score of 54 and Arithmetic score of 21.
The Accuplacer exam is administered by The Institute of Production and Recording (IPR). IPR will accept Accuplacer examinations proctored by MnSCU (Minnesota State College
and Universities) if scores are sent directly to IPR from the testing institution. IPR may accept Accuplacer examinations proctored by other institution if arrangements have been made
in advance. Students who are interested in taking their exam at another institution should contact the dean of students to determine if a proctoring relationship can be established
and all requests are subject to IPR approval.
Students may be required to take pre-college level preparatory classes where indicated by entrance exam results.
A prospective student who does not pass one or more portions of the entrance exam may retake any portion(s) of the test they did not pass.
A student may be allowed a third attempt at the discretion of the director of admission and/or campus director. The student must provide documentation of completion of a
rudimentary level language, reading and/or math class after the second exam. Successful completion includes earning a grade of C or higher, a pass from a pass/fail course, or a
letter from an administrator of a WorkForce Center, Hub Center or a similar organization stating successful completion of a language, reading or math workshop or class offered
through that organization. A retest request form must be submitted to and approved by the campus director prior to the student taking a third exam. Classes required will be
determined by the second exam results.
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TRANSFER OF CREDIT TO OTHER INSTITUTIONS
The Institute of Production and Recording offers associate’s degree programs. The purpose of these degree offerings is to provide career-specific education and general education
credits that will lead to rewarding employment. While it is unlikely that credits will transfer to a state college or university, some institutions will accept IPR credits. Credit transfer
is ALWAYS determined at the sole discretion of the receiving institution. IPR cannot provide information on whether outside institutions will accept credits. A student interested in
transferring to another college or university should check with that institution prior to enrolling. It is not the mission or the intent of IPR to act as a transfer institution.
ADDITIONAL REQUIREMENTS FOR INTERNATIONAL STUDENTS
International students must submit appropriate visa documentation and present an official copy of the Test of English as a Foreign Language (TOEFL) report with a minimum score
of 500 paper-based or 173 computer-based.
CLOCK TO CREDIT HOUR CONVERSION
Per Minnesota Office of Higher Education standards, IPR defines a credit hour as follows:
1 credit hour = a minimum of 10 contact hours in a lecture environment.
1 credit hour = a minimum of 20 contact hours in a lab environment.
1 credit hour = a minimum of 20 hours of approved independent study activity.
1 credit hour = a minimum of 30 hours of internship study.
LATE ADMISSIONS
Students may not register for class later than the start of the third day of the quarter. Applications received after the third day will be retained on a reserve status for the next class
start date. Exceptions may be made at the discretion of the Director.
SCHOLARSHIPS
IPR has eight scholarship programs available for students:
1 – Academic Merit Scholarships
2 – IPR Graduate Scholarships
3 – TA Scholarships for select advanced students
4 – LA Scholarships
5 – Community Service Scholarship
6 – High School Advantage Scholarship
7 – Military Scholarship
8 – Mary Ann O’Dougherty World Music Scholarship
1 – Academic Merit Scholarship
Qualifying candidates who apply for admission to the Institute of Production and Recording are eligible for the academic merit scholarship, available via application, and dispersed
upon completion of the IPR degree program as follows:
High School CGPA of 3.9 or higher (and) ACT Score of 30 or higher (or) Composite math and reading SAT Score of 1340 or higher $3,000
High School CGPA of 3.5 or higher (and) ACT Score of 26 or higher (or) Composite math and reading SAT Score of 1180 or higher $2,000
High School CGPA of 3.25 or higher (and) ACT Score of 24 or higher (or) Composite math and reading SAT Score of 1110 or higher $1,000
2 - IPR Graduate Scholarships (for returning students)
IPR graduates qualify for a scholarship applicable toward a new IPR degree program, available via application and dispersed upon completion of the new degree as follows:
IPR A.A.S. Graduates earn $2,000 toward a second A.A.S. Degree.
IPR A.A.S. Graduates with a 3.5 CGPA or higher earn $3,000 toward a second A.A.S. Degree.
3 - IPR Teaching Assistant Scholarships (for select advanced students)
Teaching Assistant (TA) Scholarships offer senior students who excel within their academic program financial support and an advanced learning opportunity, while providing newer
students with peer-based support and additional learning opportunities outside of the classroom. TA Scholarships are awarded via a faculty nomination process and are approved
by the Dean of Students on a quarterly basis. To qualify, students must be in good academic standing, must have a strong grasp of course material as well as strong interpersonal
communication skills, and potential to work with a wide variety of learning styles. Lastly, to be nominated and accepted for a TA scholarship, students must be highly reliable.
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4 - IPR Library Assistant Scholarships
Library Assistant (LA) Scholarships offer students who excel within their academic program financial support and a unique learning opportunity while providing library assistance
along with assistance to faculty. LA Scholarships are awarded via an application process and are based on merit of application and academic standing. Applications are reviewed;
Library Assistants are chosen by the Librarian and approved by the Dean of Students on a quarterly basis. To qualify, students must be highly reliable, in good academic standing
and must have strong reading, writing and organizational skills as well as strong interpersonal communication skills.
5 - Community Service Scholarship
IPR recognizes the importance and benefits for both the students and the community of volunteer involvement. The intent of this scholarship is to encourage learning through
action, foster positive interactions and involvement in community and reward continued IPR enrollment. IPR offers four community service scholarships in the amount of $2000, each
year. One scholarship is available to be awarded each quarter to a qualifying applicant.
6 - High School Advantage Scholarship
A high school student who applies for admission to The Institute of Production and Recording will have the opportunity to get a jump start on a college career. A high school senior
enrolled in an IPR program is eligible to take one course, free of tuition charges, per quarter beginning late fall quarter prior to the student’s official start date at IPR. The student
may take up to four courses free of tuition. This program is offered to seniors with minimum cumulative grade point averages of 2.0.
eligibility and award Guidelines:
1. An eligible applicant must be a current-year graduating senior.
2. The student must have a cumulative grade point average of at least 2.0.
3. The student must have a signed GPA verification form (provided by the admissions department) showing the student’s aptitude for succeeding in college-level coursework.
4. Only courses required in the student’s program of enrollment will be eligible for free tuition.
5. The student will be responsible for the cost of textbooks and/or laboratory fees associated with the specific course.
6. The student must begin attending IPR in the early or late fall quarter immediately following the student’s senior year. A student graduating early in the senior year that
chooses to start classes early in winter or spring can also take advantage of the scholarship program.
7. A student taking advantage of the early entrance start date will receive a course free of tuition charge during that quarter provided the student carries a minimum of 12
quarter credits and maintains satisfactory academic progress.
8. A student who withdraws or fails a course while enrolled under the High School Advantage program must successfully appeal in writing to the academic department for
continued enrollment under the program.
9. While in the High School Advantage program, a student will remain in a non-degree seeking status, will not be considered a regular student and will not be eligible to
participate in financial aid.
7 - Military Scholarship
The Institute of Production and Recording offers a military scholarship of 10 percent off quarterly tuition and books for qualified military personnel (the 10 percent benefit cannot be
used in conjunction with other awards). The Military Scholarship supplements any additional military education benefits (i.e. GI Bill/College Fund) as well as other grants and loan
programs available to students. The award will be applied as a credit to tuition and books on the receiving student’s account.
United States Military personnel in the following classifications* are eligible for the Military Scholarship each quarter:
Veterans Honorably Discharged
Spouse/Dependents of Veterans
*Documentation with DD Form 214 is required for veterans. Spouse/dependents must provide copy of military ID card for active duty, reserve and National Guard, dependent ID
card, marriage license, birth certificate or federal tax form to show proof of dependent status. A student can receive the Military Scholarship as a dependent student based on the
U.S. Department of Education’s Title IV determination of the dependency status. A student applying for this scholarship should complete the form at: www.ipr.edu. The form is also
available at the financial aid office.
The education department will evaluate credit for military education or occupational courses taken while in the military for credit applied toward an IPR program. The evaluation will
follow recommendations from the American Council on Education (ACE) on transfer of credit and granting credit for military work experience.
8 - Mary Ann O’Dougherty World Music Scholarship
The Institute of Production and recordings offers the Mary Ann O’Dougherty World Music Scholarship each quarter to one student chosen randomly from registrants for our World
Music course. The recipient will receive the book(s) required for the class at no charge. Mary Ann was the developer of this course and was a consummate educator and musician.
This scholarship is a part of IPR’s efforts to celebrate her life and work.
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CLASS SIZE
Class sizes may vary depending on the nature of the course. No lab class will exceed 15 students.
No lecture class will exceed 80 students.
RESOLUTION OF DISPUTES
Disputes and civil claims between a student and IPR (or any officer, director, shareholder, agent or employee of IPR), which are not resolved informally or through internal dispute
resolution procedures, shall be submitted to BINDING ARBITRATION before a retired judge appointed by the Chief Judge of the State District Court located in Hennepin County.
This “Resolution of all Disputes” section shall be governed by the Uniform Arbitration Act, Minnesota Statutes 572.08-30, and be conducted in accordance with the Rules of
Commercial Arbitration of the American Arbitration Association. Except for claims for nonpayment of tuition, this dispute resolution clause applies to ALL disputes and claims of any
kind or nature whatsoever between a student and the school, regardless of when such a claim arises or whether the student is still enrolled at the school.
LIMITATION OF LIABILITY
Liability for damages arising from a claim brought by a student against the school shall be limited to the sum of money the student actually paid the school for tuition, fees, and
books, and to any actual costs and disbursements (not including attorney’s fees) awarded to the student by an arbitrator.
TuITION aNd Fees (Late Fall 2009 Through Early Fall Quarter 2010)
The Institute of Production and Recording requires a $50 application fee at the time of initial application for all programs.
General Education (courses beginning with CM, HU, MH, NS, or SS), $295 per credit
Music and Entertainment Business Credits (courses beginning with AC, CS, EB, MB, KB, or MG), $345 per credit
Technical Credits (course beginning with AE, AP, AV, DC, DP, IN, or LV), $495 per credit
Certification Credits (courses beginning with LP or PT), $995 per credit
Students are responsible for paying their quarterly program costs (including tuition, laboratory fees, books, and supplies). Most students use a combination of financial aid and make
monthly payments. Quarter payments are made monthly in three equal amounts. The first payment is due on the first day of the quarter, and the second and third payments are
due by the fifth day of each subsequent month. There are no extra costs (such as interest or fees) for choosing to make three equal monthly payments. A fee of $30 will be charged
for each returned check.
A.A.S. IN MEDIA ARTS AUDIO PRODUCTION AND ENGINEERING
98 credit minimum (1180 clock hours) = $39,960 total2
Regular/daytime students (6 QuaRTeRs, 18 MONThs1):
Approx. cost of books and supplies (will vary depending on electives chosen) - $450 per quarter
Lab fees - $495 per quarter (access to all labs and studios)
evening students (12 QuaRTeRs, 36 MONThs1):
Approx. cost of books and supplies (will vary depending on electives chosen) - $225 per quarter
Lab fees - $495 per quarter (access to all labs and studios)
A.A.S. IN MEDIA ARTS MUSIC AND ENTERTAINMENT BUSINESS
98 credit minimum (1140 clock hours) = $33,060 total2
Regular/daytime students (6 QuaRTeRs, 18 MONThs1):
Approx. cost of books and supplies (will vary depending on electives chosen) - $400 per quarter
Lab fees - $295 per quarter (access to labs only)
evening students (12 QuaRTeRs, 36 MONThs1):
Approx. cost of books and supplies (will vary depending on electives chosen) - $200 per quarter
Lab fees - $295 per quarter (access to labs only)
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SINGLE SUBJECT ENROLLMENT (1 QUARTER, 3 MONTHS)
Tuition will vary depending on course(s) chosen.
Approx. cost of books and supplies (will vary depending on course(s) chosen) - $200 per quarter
Lab fees - $295 per quarter (access to labs only)
Tuition and lab fees are reviewed annually and changes are made effective each Late Fall (October) term. Revised tuition rates are typically published in the school catalog and/or
catalog addendum six to nine months in advance of the effective date.
Tuition rates for Regular/Daytime students will be fixed at the current rate effective when the student begins attending classes and will remain in effect for as long as the student
maintains continuous enrollment. Tuition for Evening students changes annually to reflect current rates. Students who withdraw and return will be re-enrolled at current rates.
1
Completion length may vary depending on: need for preparatory classes, failure to pass a required course(s), choosing to take additional electives, and/or averaging less than 15-17 credits per quarter.
2
Total program cost may vary depending on selection of classes. If specialization, capstone area or general education electives chosen are worth more than the minimum total credits required, or additional Technical or Certification courses
are selected, appropriate charges per credit will be assessed. The total cost of the degree would then reflect the cost of additional credits elected.
Tuition and Fees (Late Fall 2010 through Early Fall Quarter 2011)
The Institute of Production and Recording requires a $50 application fee at the time of initial application for all programs. A fee of $30 will be charged for each returned check.
A.A.S. IN MEDIA ARTS AUDIO PRODUCTION AND ENGINEERING
Tuition - $435 per credit.
98 credit minimum (1180 clock hours) = $42,630 total2
Lab fees - $995 per quarter (access to all labs and studios)
Regular/daytime students (6 QuaRTeRs, 18 MONThs1):
Approx. cost of books and supplies (will vary depending on electives chosen) - $450 per quarter
evening students (12 QuaRTeRs, 36 MONThs1):
Approx. cost of books and supplies (will vary depending on electives chosen) - $225 per quarter
A.A.S. IN MEDIA ARTS MUSIC AND ENTERTAINMENT BUSINESS
Tuition - $435 per credit.
98 credit minimum (1140 clock hours) = $42,630 total2
Regular/daytime students (6 QuaRTeRs, 18 MONThs1):
Approx. cost of books and supplies (will vary depending on electives chosen) - $400 per quarter
evening students (12 QuaRTeRs, 36 MONThs1):
Approx. cost of books and supplies (will vary depending on electives chosen) - $200 per quarter
SINGLE SUBJECT ENROLLMENT (1 QUARTER, 3 MONTHS)
Tuition - $435 per credit.
Lab fees - $995 per quarter for students taking Technical or Certification credits3
Total tuition will vary depending on course(s) chosen.
Approx. cost of books and supplies (will vary depending on course(s) chosen) - $200 per quarter
Tuition and lab fees are reviewed annually and changes are made effective each Late Fall (October) term. Revised tuition rates are typically published in the school catalog and/or
catalog addendum at least six to nine months in advance of the effective date.
Tuition rates for Regular/Daytime students will be fixed at the current rate effective when the student begins attending classes and will remain in effect for as long as the student
maintains continuous enrollment. Tuition for Evening students changes annually to reflect current rates. Students who withdraw and return will be re-enrolled at current rates.
1
Completion length may vary depending on: need for preparatory classes, failure to pass a required course(s), choosing to take additional electives, and/or averaging less than 15-17 credits per quarter.
2
Total program cost may vary depending on selection of classes. If specialization, capstone area or general education electives chosen are worth more than the minimum total credits required, or additional Technical or Certification courses
are selected, appropriate charges per credit will be assessed. The total cost of the degree would then reflect the cost of additional credits elected.
3
Courses beginning with AE, AP, AV, DC, DP, IN, LP, LV or PT.
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FINaNCIal INFORMaTION
The school is designated as an eligible institution by the U.S. Department of Education for participation in the following programs:
FEDERAL PELL GRANT PROGRAM
The Federal Pell Grant Program is intended to allow eligible students financial access to the school or college of their choice. For eligible students, Federal Pell Grants are the “floor”
or base upon which all other federal student financial aid is built. Current year awards range from $400 to $5,350. The amount a student may receive depends on the student’s family
financial situation, the student’s full or part-time enrollment status and how much of the student’s remaining education at the school falls within the current federal award year (July
1 through June 30). In order to be eligible for a Federal Pell Grant, a student may not have previously received a bachelor’s degree from any institution.
FEDERAL ACADEMIC COMPETITIVENESS GRANT PROGRAM
An eligible student may receive a federal Academic Competitiveness Grant of up to $750 for the student’s first academic year of study and up to $1,300 for the student’s second
academic year of study. To be eligible for each academic year, a student must:
• be a U.S. citizen;
• be a Federal Pell Grant recipient:
• be enrolled full-time in a degree program;
• be enrolled in the first or second academic year of his or her program of study at a two-year or four-year degree-granting institution;
• have completed a rigorous secondary school program of study (after January 1, 2007 if a first academic year student, and after January 1, 2006 if a second year academic-
year student);
• if a first academic year student, not have been previously enrolled in an undergraduate program; and
• if a second academic year student, have at least a 3.0 cumulative grade point average on a 4.0 scale for the first academic year.
The goal of this federal grant program is to encourage more students to pursue fields of study involving physical, life or computer science, engineering, mathematics, technology,
or a critical foreign language.
WILLIAM D. FORD FEDERAL DIRECT LOAN PROGRAM
These loans are to eligible students enrolled at least half time in an eligible institution and are based on financial need demonstrated by each student.
SUBSIDIZED FEDERAL DIRECT LOAN
If eligible, a student may borrow up to $3,500 for the first academic year and $4,500 for the second academic year. The loan amounts will be prorated for the academic years of
less than nine months. A student must repay his or her subsidized Federal Direct Loans based on the amount borrowed but no less than $50 per month beginning six months after
graduation or termination of studies.
Repayment of a subsidized Federal Direct Loan may be deferred for up to three years for any student who:
1. is seeking and is unable to find full-time employment;
2. suffers economic hardship; or
3. returns to school and is enrolled at least half time.
UNSUBSIDIZED FEDERAL DIRECT LOAN
This loan was created so that any student, regardless of income, would be able to obtain a Federal Direct Loan.
A dependent student (per valid results of the Free Application of Federal Student Aid) may borrow $2,000 for each of the first two academic years under this program. If the parent
of a dependent student is ineligible to borrow using the Federal Direct PLUS loan program, the dependent student is then eligible for $6000 for the first award year, and must be
re-evaluated for the second award year.
An independent student (per valid results of the Free Application of Federal Student Aid) is eligible for $6000 for each of the two academic years under this program.
The terms and conditions of the unsubsidized loan, including deferments, interest rate and loan charges, with few exceptions, are the same as the subsidized Federal Direct Loan
described above. However, a student must pay the interest or capitalize the interest on any unsubsidized Federal Direct Loans during the time he or she is in school and during any
deferment period.
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FEDERAL DIRECT PLUS LOAN PROGRAM
Federal Direct PLUS Loans are for parent borrowers. Federal Direct PLUS Loans enable parents to borrow the cost of the student’s education, less other aid received by the student.
Federal Direct PLUS Loan borrowing is limited to parents with a favorable credit history.
CURRENT INTEREST RATES
As of the date this catalog was published, the fixed interest rate for subsidized Federal Direct Loans is 5.6% and unsubsidized Federal Direct Loans is 6.8%. In addition, all Federal
Direct Loans are charged an origination fee of 1.5%. With the current rebate allowances for on time payments of 1.0%, the actual origination fee charged is 0.5%.
For a Federal Direct PLUS loan, the fixed interest rate is 7.9% which is less than the FFELP PLUS loan rate of 8.5%. In addition, the Federal Direct PLUS loan has an origination fee
of 4%. With the current rebate allowances for on-time payment, the actual origination fee charged is 2.5%.
CANCELLATION AND REFUND POLICY
1. The contract is executed when the student receives a written letter of acceptance from the school and it becomes a legally binding instrument subject to the cancellation
provisions which follow. The date of acceptance will be the delivery date of the notice of acceptance, and if delivered by mail, it will be the postmarked date of the letter
of acceptance. Notwithstanding anything to the contrary, the school will refund all tuition, fees and other charges paid by the student* if the student is not accepted by the
school or if the student gives written notice of cancellation within five business days after the day on which the contract was executed, regardless of whether the course of
instruction has started.
2. When a student gives written notice of cancellation following the fifth business day after the date of execution of the contract, but before the 10th business day of their first
quarter of instruction, all tuition, fees and other charges, except 15% of the total cost of the program but not to exceed $50, shall be refunded to the student.
3. When a student gives written notice of cancellation after the fifth business day of the quarter (the 10th business day for first quarter students), but before completion of 60
percent of the quarter, the amount charged for tuition, fees and all other charges shall be prorated based on number of days in the term as a portion of the total charges for
tuition, fees and all other charges. An additional 25 percent of the total cost of the quarter may be added, but shall not exceed $100.00. After completion of 60 percent of
the quarter for which the student has been charged, no refunds are required.
4. The effective date of the written notice of cancellation is the date the notice is postmarked, or in the case where the notice is hand carried, it shall occur on the date the notice
is delivered to the school. The school will acknowledge in writing any valid notice of cancellation within ten (10) business days after receipt of such notice, and within forty five
(45) business days of LDA shall refund to the student any amounts due him/her and arrange for termination of the student’s obligation to pay any sum in excess of that due
under the cancellation and refund policy.
5. The refund policy is not linked to any student conduct policy and this school does not negotiate any promissory notes or instruments received as payments of tuition or other
charges.
6. When a student fails to provide written notification of termination of enrollment at The Institute of Production & Recording, the school will use the date that they determined
the student was no longer attending classes, in order to establish a time frame for any required refunds. In this instance, all refunds will be made within forty-five (45) days of
the date that the school determined the student is no longer attending The Institute of Production & Recording. However, calculation of applicable charges for the term will
be based on the last date of attendance (LDA).
7. Any student who enrolls in a course may request a copy of the current list of textbooks and prices. Any student who returns unused and unmarked books within ten (10)
business days following enrollment cancellation will receive a full refund for said books. The cost of unreturned books or books not suitable for resale may be added to the
cost of tuition and deducted from the tuition refund.
8. Students who have not visited the school facility prior to enrollment will have the opportunity to withdraw without penalty within three (3) days following either the regularly
scheduled orientation procedures or following a tour of the school facilities and inspection of equipment. This agreement is subject to final acceptance by The Institute of
Production and Recording. Full refund of the application fee will be made if this agreement cannot be approved.
9. The return of Non-Title IV funds will be distributed in the following order:
a. Other federal, state, private, or institutional financial assistance.
b. Student.
* The $50 application fee will only be refunded if requested, in writing, by the student. Application fees are refunded only to students who have not been accepted for training
-or- if accepted, have submitted their request within five business days after the day on which the contract was executed. Notwithstanding anything to the contrary, after this date the application fee becomes non-refundable.
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VETERANS REFUND POLICY
In the event that a veteran or a veteran’s beneficiary enrolls under the provisions of Title 38, US Code and/or Title 10, US Code and discontinues training before completion of the
program, the school will retain ten dollars ($10) as a bona fide registration cost. All other advance payment of tuition, fees and other charges will be refunded to the trainee on a
pro rata basis computed to the date of discontinuance.
MINIMUM TERMS OF TUITION PAYMENT
Students who are not eligible or do not wish to participate in any of the financial aid programs available must pay tuition in advance. Quarterly tuition is due and payable on or before
the first day of each quarter. Students whose financial aid is insufficient to cover the total cost of fees, tuition and books must establish a satisfactory payment plan prior to starting
class. Students whose accounts are more than five (5) days past due will be charged a late fee of $25.00 and may be withdrawn from class attendance until satisfactory arrangements
are made to bring their accounts to a current status. Students who fail to fulfill the financial arrangements agreed upon may be withdrawn from school and may re-enter only upon
full payment of the delinquent portion of their account. Students must re-apply and fill out a new enrollment agreement in order to request re-entry to school; in so doing, students
approved for re-entry will be charged current tuition and fees.
DEFINITION OF A STUDENT
“Student,” as it is referred to in the Enrollment Agreement, means the student is the party to the Enrollment Agreement. Otherwise, it means the student’s parent or guardian or
another person if the parent or guardian or other person is the party to the Enrollment Agreement on behalf of the student.
INTERNATIONAL STUDENT INFORMATION
Upon receipt of the student’s completed application and appropriate fees, the school will advise immediately as to the student’s acceptance. If the applicant is accepted, the
school will supply the necessary form to be presented to the American Consular Office at the time of visa application. If a visa is denied, all monies will be refunded. The enrollment
agreement should be forwarded to the school at least ninety (90) days in advance of the selected starting date. It is unlikely that the immigration authorities will grant permission for
international students to work at a part-time job during the training period. Therefore, international students should have sufficient funds available to cover both tuition and living
costs. International applicants are required to meet all entrance requirements and may require Director Approval.
RETURN OF FEDERAL FINANCIAL AID
If a student withdraws or is terminated from the program, depending on when the student’s withdrawal or termination occurs during the quarter, the student and/or his or her
parent(s) may be ineligible to use a portion of any federal student financial aid awarded to the student and/or his or her parent(s) for use in that quarter. If the student’s withdrawal
or termination date occurs: (a) within the first 60% of the quarter, the amount of the federal student financial aid awarded for use in that quarter that the student and/or his or her
parent(s) may use is a proportional calculation based on the percentage for the quarter that has elapsed as of the student’s withdrawal of termination date; or (b) after the first 60%
of the quarter, the student and/or his or her parent(s) may use 100% of the federal student financial aid awarded for use in that quarter. If the student and/or his or her parent(s) are
ineligible to use a portion of any federal student financial aid:
i. Remitted to the school to satisfy the student’s obligation for tuition, fees, or other costs of the student’s education, (I) federal law requires the school to return to the appropriate
party(ies) such unusable aid, (II) the school will advise the student of the amount of such unusable aid returned by the school and (III) the student will be liable for, and
immediately pay the school in full, an amount equal to the portion of such unusable aid for which the student is obligated to the school under the Refund section; or
ii. Received by the student and/or the parent(s) and not remitted to the school, (I) federal law requires the student and/or the parent(s) to repay the appropriate party(ies) such
unusable aid and (II) the school will advise the student and/or the parent(s) of the amount of such unusable aid.
Any return or repayment of unusable federal student financial aid required under this Return of Federal Financial Aid section will be paid first to eliminate any outstanding balances
for any federal student financial aid received by or with respect to the student in the following order and priority and within the time period prescribed by law: (1) unsubsidized
Federal Stafford loans;(2) subsidized Federal Stafford loans; (3) unsubsidized Federal Direct Stafford loans; (4) subsidized Federal Direct Stafford loans; (5) Federal Perkins loans;
(6) Federal PLUS loans; (7) Federal Direct PLUS loans; (8) Federal Pell Grants; (9) Federal Academic Competitiveness Grants; (10) Federal SEOG Program aid; and (11) other aid
authorized by Title IV of the Higher Education Act of 1965, as amended.
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DISTRIBUTION PRIORITY
After all refund obligations to any Minnesota financial aid programs are satisfied, the school will pay any remaining refund required under the Cancellation and Refund section
to eliminate any outstanding balances for any student financial aid received by or with respect to the student in the following order and priority (unless otherwise required under
applicable law): (1) private or institutional student loans; (2) private or institutional parental loans; (3) unsubsidized Federal Stafford loans; (4) subsidized Federal Stafford loans; (5)
unsubsidized Federal Direct Stafford loans; (6) subsidized Federal Direct Stafford loans; (7) Federal Perkins loans; (8) Federal PLUS loans; (9) Federal Direct PLUS loans; and (10) state
student loans. The school will pay the student any refund remaining after all outstanding balances specified in the immediate preceding sentence are eliminated.
Office of student services
SERVICES FOR STUDENTS WITH DISABILITIES
IPR is committed to providing equal access for students with disabilities to the programs, resources, and facilities on our campus. Our goal is to facilitate reasonable accommodations
for students, foster a welcoming community climate for people with disabilities, and teach students to advocate for themselves.
Any student who needs assistance in gaining equal access to IPR classes or resources, due to a physical, psychological, or learning disability, should request assistance by contacting
the Dean of Students and completing the academic accommodation request process.
STUDENT SUCCESS COORDINATOR
IPR’s student success coordinator offers an open door to students and families regarding students’ academic success, life skills, and overall success plans. This individual works
closely with faculty, staff and students on behalf of student success.
TEACHING ASSISTANTS (TA’S)
Because it is essential to master the basics, IPR offers teaching assistant scholarships to advanced students via a faculty nomination process in many of our fundamental courses.
Recipients of these TA scholarships bring additional support to students in the classroom and beyond via extra studying sessions outside of class.
student services
OUR STUDENT SERVICES MISSION
IPR’s Office of Student Services provides support to students throughout their academic career. From orientation to graduation and at all times in between, IPR’s student services
team creates forums for students to come together to build new friendships, refine their talents and explore their interests. The Office of Student Services coordinates special
academic seminars, student music showcases, live music events, holiday parties, open jams, game nights, IPR’s biannual graduation ceremonies, and many other community building
activities. Student services coordinates the Student Advisory Board (SAB), made up of elected student leaders, who represent the student body in addressing campus needs and
student concerns through positive and productive communication with staff and faculty. The SAB also assists in organizing and promoting additional learning opportunities that
complement the IPR experience. Lastly, student services offers assistance on many of the day-to-day issues of student life including: public transportation, housing, parking, health
care, on-line resources, banking options, the Twin Cities music scene and much more.
HOUSING
While IPR does not maintain dormitory facilities, student services staff is here to help students find convenient and affordable housing during their education at IPR. Our student
services coordinators meet with current and incoming students and their families to discuss a range of housing options. Students are referred to privately-owned student housing
communities, which are all located within four miles of our campus and house students from many different colleges and universities in the Twin Cities. At student housing
communities, students live together in fully furnished 2-, 3-, and 4-bedroom apartments that offer a host of luxury amenities while still maintaining individual leases separate from
their roommates. The student services staff also maintains established relationships with many different apartment communities that are located in the Minneapolis area near
campus. Every effort is made to ensure that the housing needs of each individual student are satisfied.
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Office of the Registrar
MANAGEMENT OF STUDENT RECORDS
Once a student begins classes at IPR, the Registrar’s office maintains all students’ electronic and permanent records. All personal information (address, phone number, disclosure
consent) must be updated in the Registrar’s office.
FAMILY EDUCATION RIGHTS AND PRIVACY ACT OF 1974, AS AMENDED
In today’s day and age, it is ever more important that an individual’s information be protected from crimes such as “identity theft.” It is our goal at IPR to provide students and parents
with the easiest means possible to access their educational records, while protecting against such unwanted intrusion.
Statement of Compliance:
1. General Policy
Under the authority of the Family Educational Rights Act of 1974 (“Act”), a student has the right to examine certain records concerning the student which are maintained by the
school. The school must permit the student to examine such records within 45 days after the school receives a written request from the student. The school will also permit the
student to obtain a copy of such records upon payment of a reproduction fee. A student may request that the school amend his or her education records on the grounds that they
are inaccurate, misleading or in violation of the student’s right of privacy. In the event the school refuses to so amend the records, the student may, after complying with the Student
Complaint/Grievance Procedure, request a hearing. If the outcome of a hearing is unsatisfactory to the student, the student may submit an explanatory statement of inclusion
in his or her education record. A student has the right to file a complaint with the Family Policy Compliance Office, U.S. Department of Education, 400 Maryland Avenue, S.W.,
Washington, DC 20202-4605, concerning the school’s alleged failure to comply with the Act.
2. Education Records
Education records are records maintained by the school which contain information directly related to the student. Examples of education records are the student’s education, career
services and financial files. The only parties allowed access to such records are those who have a legitimate administrative or educational interest.
3. Exemptions
The following records are exempt from the Act:
• Financial records of the student’s parent.
• Confidential letters and recommendations relating to admission, employment or honors to which the student has waived his or her right to inspect.
• Records about students made by faculty or administrators which are maintained by, and accessible only to, the faculty or administrators.
• Employment records for school employees who are also current or former students.
• Records compiled or maintained by physicians, psychiatrists, psychologists or other recognized professionals or paraprofessionals acting or assisting in such capacities for
treatment purposes, and which are available only to persons providing the treatment.
• Records that only contain information about an individual after her or she is no longer a student at the school.
4. Review of Records
It is the policy of the school to monitor educational records to insure that they do not contain information which is inaccurate, misleading or otherwise inappropriate. The school
may destroy records which it determines, in its discretion, are no longer useful or pertinent to the student’s circumstances.
5. Directory Information
Directory Information (as defined below) is that information which may be unconditionally released without the student’s consent, unless the student specifically requests in writing
that such information not be released. The school requires that such requests must (I) specify what categories of Directory Information are to be withheld by the student and (II) be
delivered to the school Director within 15 days after the student starts class. Any such request must be renewed annually by the student. “Directory Information” means information
contained in a student’s education record which would generally not be considered harmful or an invasion of privacy if disclosed. Directory Information includes, but is not limited
to, the student’s name; address(es); telephone number(s); electronic mail address(es); photograph; grade level; enrollment status (e.g. full-time or part-time); date and place of birth;
program of study; extracurricular activities; credentials and awards received; last school attended; honors list or equivalent; and dates of attendance (i.e. enrollment period(s), not
daily attendance record).
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6. Access Without Student Consent
The school may release a student’s education records without written consent of the student to:
• Other school officials who have a legitimate education interest.
• Other schools where the student has applied for admission.
• Authorized representatives of the U.S. Department of Education, state and local education authorities, the Comptroller General of the United States or the Attorney
General of the United States.
• Providers of financial aid (and services in connection therewith) for which the student has applied or received, including, without limitation, lenders, guaranty agencies,
Veterans Administration, state vocational rehabilitation agencies and collection agencies.
• State and local authorities where required.
• Accrediting agencies.
• A parent (whether a natural parent, guardian or an individual acting as a parent or guardian) of a student who is a dependent of the parent for purposes of the Internal
Revenue Code. The school is not required, however, to release such records.
• Any court in which the student or a parent of the student initiates a legal action against the school, but only with respect to the student’s education records that are relevant
for the school to defend itself.
• Any court in which the school initiates a legal action against the student or a parent of the student, but only with respect to the student’s education records that are relevant
for the school to prosecute the legal action.
• Any person pursuant to and in compliance with a judicial order or subpoena provided that the school reasonably attempts to notify the student prior to compliance (unless
the order or subpoena specifies that the student must not be notified).
• Appropriate persons or agencies in the event of a health or safety emergency, where such release without consent is deemed necessary by the school under the
circumstances.
• Organizations conducting studies to develop, validate, and administer predictive tests, to administer student aid programs or to improve instruction.
• The public, if the school determines, in its discretion, that the student, as an alleged perpetrator, has committed a Crime of Violence (as defined below) or a Non-forcible
Sex Offense (as defined below) in violation of the Conduct section of this catalog, but only the following information from the student’s education records: the student’s
name, the violation committed; and any sanction imposed by the school on the student. A Crime of Violence means an act that would, if proven, constitute any of the
following offenses or intent to commit the following offenses: arson; assault, burglary; criminal homicide, whether manslaughter by negligence, murder or non-negligent
manslaughter; the destruction, damage or vandalism of property; kidnapping or abduction; robbery; or forcible sex offense. A Non-forcible Sex Offense means an act that
would, if proven, constitute statutory rape or incest.
• The purported victim, regardless of whether the school determines that the student, as an alleged perpetrator, committed a Crime of Violence or a Non-forcible Sex
Offense in violation of the Conduct section of the catalog, but only the following information from the student’s education records: the student’s name; the violation
committed; and any sanction imposed by the school on the student.
• Any person, if the education records disclosed are Directory Information on the student.
• The student, or the student’s parents if the student is less then 18 years old.
• A parent of the student regarding the student’s violation of any federal, state or local law or any rule or policy of the school concerning the use of possession of alcohol or a
controlled substance, of the student is under the age of 21 and the school has determined that the student has violated the Conduct section of the catalog with respect to
that use or possession.
The school will obtain the written consent of the student prior to releasing the student’s education records to any other person or organization, except with respect to Directory
Information.
The Institute of Production and Recording has adopted a detailed Family Educational Rights and Privacy Act policy which is available to the student upon request.
Students are provided with a Disclosure Consent form at their IPR Orientation, allowing them to specify which, if any, individuals they wish to allow IPR to disclose information
(except where specified above). In order for parents of a Dependent student or other individuals to receive information regarding a student’s grades, attendance, or any other
information contained within the academic record, the student must provide written consent on this form. The student may revoke such consent at any time in writing to the Office
of the Registrar. IPR may utilize a variety of means to ensure the identity of an individual making a request for student information and may not always be able to immediately supply
requested information via phone or e-mail.
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ADVANCED STANDING TESTS
Credit may be awarded for demonstrated proficiency in a subject. Advanced-standing tests may be arranged through the Registrar’s Office on a request basis and must be taken
prior to the beginning of the quarter in which the course would otherwise be taken. To earn the credit, reach test, whether the student passes or fails the test. (There is no fee for
taking the “Elements of Music” course test-out or the Pre-Algebra course test-out.)
A student who wishes to test out of a required course must complete a “Request to Test-Out” form (available through the Registrar’s Office) and submit it to the Dean of Faculty
office by the end of the registration period. No student will be allowed to test out of any course for which they either have already attempted or for which they have not completed
all prerequisites.
Many courses do not have a test-out option, and requests for test-out in these courses may not be approved. The Dean of Faculty must approve the test-out option. In addition,
the Dean of Faculty will supply a suitable exam for any approved course for which a test-out is not generally offered.
TRANSFER OF CREDITS
Credits for successfully completed courses at other institutions accredited by agencies recognized by the United States Department of Education may be transferred upon the
approval of the designated school official. In order to determine transfer of credit, a student must submit official transcripts from any previous school attended. Official transcripts
should be submitted prior to a student’s first day of classes. Students who do not comply will be required to register for classes prescribed by their course of study, regardless of
credit transfer. The following conditions apply:
1. All transferable credits must have earned a grade of C or better and be at the college level of 100 or above.
2. A maximum of 50% of total program credits may be transferred in for a degree program. Transfer credit includes credits from other institutions, credit awarded for work
experience, and credit earned through competency examinations.
3. IPR awards quarter credits. In considering transfer courses, a semester credit is equivalent to 1.5 quarter credits.
4. Courses considered for transfer must normally be completed prior to commencement of attendance at IPR. Any courses completed at another institution after a student
has begun attendance at IPR will be subject to a $50 transfer fee, per quarter credit hour.
5. Only those courses that are applicable to a student’s chosen degree will be considered for transfer.
6. A course approved for transfer must be comparable in nature, content, and level and must meet the same basic educational objectives as an equivalent IPR course.
7. Transfer credits do not affect a student’s grade point average (GPA). Courses transferred in will be recorded on the IPR transcript as “TR”.
Transfer of credit evaluations are usually mailed from the Office of the Registrar within 10 working days of receipt. Credits obtained at IPR are not universally transferable to other
schools, and acceptance is always up to the receiving institution. A student who hopes to transfer IPR credits to another school is advised to check with that school in advance.
AP classes: IPR currently accepts Advanced Placement (AP) test scores of 3 or higher as transferable in appropriate courses. These AP scores are usually found on the High School
Transcript.
Send official transcripts to:
IPR Office of Registrar
312 Washington Avenue North
Minneapolis, MN 55401
ATTENDANCE
Each student’s attendance record will be documented and maintain in the office of the Registrar. Attendance questions can be addressed in the Registrar’s office. Make-Up
Attendance Request forms may be obtained here as well.
100% Cumulative Attendance = Graduation with Distinction
100% Quarterly Attendance = Deans’ List for Outstanding Achievement
Classroom Attendance
Training at IPR is highly concentrated. Students must maintain 80% minimum attendance in any given course in order to remain actively enrolled within that course. Up to 60% of the
quarter, should a student reach a point where s/he is absent more than 20% of any given course, s/he will automatically be withdrawn from the course and will receive a WI grade
designation (Withdrawal). Following 60% of the quarter, the student will receive a WF grade designation (Withdrawn/Fail) for the course. 80% minimum attendance is required in
both lecture and lab sections when applicable. If students are withdrawn from one or the other, they will be withdrawn from the course. If withdrawn from a course, the student must
then pay in order to retake the course in a later quarter. Students are asked to alert their instructors if they cannot be in class on a given day, and to work with fellow students to
review missed material. Under no circumstances, however, can a student miss more than 20% within a single course and remain within the course.
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Class Make-up Option
Students may, with the approval of their instructor, request to make up a missed class. The make-up experience or assignment must meet the educational objectives for the class
missed and completed IPR attendance make-up forms must be submitted to the Registrar’s office before the attendance can be adjusted. Students and instructors are encouraged
to take advantage of this option after the first absence in any given lecture or lab, thus avoiding the likelihood of being withdrawn from a course. Further, once a student reaches
the point of having missed more than 20% of a course, s/he may not petition to make up an absence.
PROGRAM TRANSFER
Students interested in transferring between programs may do so two times or at the discretion of the Dean of Students. Eligibility for program transfers includes:
1. The student meets the minimum entrance requirements for the program to which they are transferring
OR
2. The student has completed a minimum of 12 credits at IPR with a grade point average of 2.0 or better and has been recommended for acceptance by the Dean of Students.
Students must transfer all relevant courses, therefore shortening the maximum time frame in the program. Furthermore, all internally transferred courses are counted in the
completion rate and calculated into the student’s CGPA.
In keeping with IPR satisfactory academic progress standards, courses that are not relevant to the new program will not be transferred or calculated in CGPA or completion rates.
Students transferring between IPR programs must complete a new enrollment application.
All requests for program transfers must be made in the Office of the Registrar.
TRANSCRIPTS
An official transcript is issued to the student at the time of graduation. Additional copies of academic transcripts are available through the Registrar’s Office. Requests must be made
in writing including the student’s signature and social security number. A $5.00 processing fee is charged for each additional official transcript copy. Unofficial copies will be furnished
for informational purposes only. Students must have no outstanding obligations to the Institute to receive official transcripts. This service is subject to the Family Educational Rights
and Privacy Act of 1974.
RE-ENTRY
The definition of a re-entry student is any student who drops from school after the first two weeks of his/her initial quarter and later seeks readmission. The student must remain out
of school until the next start date. A student may have only one reinstatement unless extenuating circumstances are determined to be present. A readmission committee reviews
applications for re-entry. Students interested in reenrolling should contact the Office of the Registrar.
EXPIRY OF CREDITS
The music and entertainment industries are constantly evolving, and, as such, IPR’s curriculum must evolve to remain current with technologies and trends in the industry. Credits
awarded for any non-general education course taken at IPR will expire after a period of three years from completion of the course unless the student has been continuously enrolled
for that entire period of time. At the time of re-entry, a student’s past course records will be audited to determine if any courses must be repeated, at the cost of the student, in order
to be counted toward completion of the program.
REGISTRATION AND COURSE SCHEDULING
IPR is a quarter-based program. Our early fall, late fall, winter and spring quarters are ten weeks each. Course schedules are printed quarterly for student use in registering for classes.
Registration is open for five weeks each quarter, running weeks three through seven. Students registering after the close of week seven will be assessed a $50 late fee.
The Office of the Registrar assists students with the registration process. Staff will be available to advise students in determining the best path towards graduation. The ultimate
responsibility toward the progress and completion of a student’s degree program, however, rests with the student. Students are asked to utilize the quarterly course schedule
booklet to come prepared for registration.
All students should pick up final schedules in the first week of each new quarter, as schedules are subject to change following registration. For instance, in the event a class does not
have sufficient enrollment, IPR reserves the right to cancel the class and thus new schedules are issued. Also, for students who fail a course, new schedules may be issued.
Students cannot exceed 150% of the minimum credit requirement for their program of study in attempted credits. This applies specifically to students that have withdrawn (for
whatever reason) and/or failed (F letter grade) classes. With current credit requirements of 98 credits for each of our degree programs, this means students may not exceed 147
credits attempted prior to completing their degree. If it is determined that a student will not be able to complete their program within this requirement, he or she will be withdrawn
from school.
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ADD/ DROP POLICY
Students may add or drop courses within the official add/drop period (the first week of the quarter) by completing and submitting the appropriate paperwork with the Office of the
Registrar. Students are charged for any course they drop following the add/drop period.
STUDENT COURSE LOAD POLICY
The IPR program is built to be one of intensive, continuous study. In order to ensure success, we expect our students to average 15-17 credits per quarter and to make their IPR
education the highest of priorities during their tenure with us. For our part, IPR commits itself to the delivery of educational systems that support our students’ academic progress.
Our program is continuous because of the technical nature of our training. Like studying mathematics or a foreign language, studying technology is best served by continuous
programming. Research shows that interruptions seriously hinder retention of learned material and, as such, lower overall academic success.
AUDITING COURSEWORK
Because the nature of the business and technology are ever changing, IPR acknowledges this with continual learning opportunities for students and graduates. For any course they
have taken and passed, current IPR students and graduates may audit these courses again at no additional charge when there is space available. Students and graduates carrying
a financial balance with the school will not be eligible to audit coursework. Audited courses must be part of a program for which the student is currently enrolled or has successfully
completed. When auditing a class, attendance and participation are expected. Please contact the Office of the Registrar to audit.
REGISTERING FOR SINGLE SUBJECT COURSEWORK
Students wishing to take classes in Pro Tools/Logic Certification or Ableton Live only, or students who have completed an IPR program, are eligible to register for single-subject
coursework. Students who qualify to take single subject coursework may do so by completing a new enrollment agreement for each quarter of study. Single subject students are
generally not eligible to participate in financial aid unless they are working toward a subsequent IPR degree. Please contact the Office of the Registrar to enroll and register for
Single Subject coursework.
student Resources
THE IPR LIBRARY
The library acts as the extension of the IPR curriculum by offering students a large variety of course-specific music and entertainment business resources. Each quarter we acquire
hundreds of new items for student use. The librarian works closely with faculty to ensure that students can access information and acquire the research skills that will help them to
succeed both at IPR and in their future careers. Besides numerable reference books, the library also has:
• CD, DVD, and 5.1-audio collections -- the selection reflects the major artists, genres, and movements in popular music.
• Three powerful databases – Ebscohost provides tens of thousands of full-text, indexed, searchable, peer-reviewed articles spanning the entire range of academic
scholarship. ProQuest grants the same level of access to newspaper articles, offering up-to-the minute articles from hundreds of national and international news
publications. Finally, the AES Electronic Library offers searchable archives for the Journal of the Audio Engineering Society.
• Library instruction services – the library provides many levels of support for students looking for study help. Students may approach the librarian for one-on-one research
instruction at any point during regular library hours. The librarian also visits classes to promote best research practices. Additionally, the library room adjoins the Learning
Resource Center, which imparts a quiet study area all day and tutoring sessions during evening hours.
IPR’S LEARNING RESOURCE CENTER
IPR’s Learning Resource Center provides additional study space, as well as a place for outside-of-the-classroom testing.
LOST AND FOUND
The lost and found is located in the lab office. If you have found an item, or have lost something, please go to the lab office for assistance.
It is our goal at The Institute of Production and Recording to help our graduating students achieve their goals in the music, entertainment and production industry. Whether a
graduate is leaving school with the desire to find a position, internship or start off as an entrepreneur, our career services staff will provide professional, courteous and experienced
guidance in helping him or her to become a part of the entertainment industry.
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IPR STUDENTS
IPR’s Office of Career Services is available to assist students while they are attending IPR as well as when they graduate. For current students seeking assistance with employment
opportunities while attending school, the Office of Career Services provides assistance in creating a resume, cover letter, and business card. Students can expect to find job
opportunities in fields that include but are not limited to telemarketing, retail, restaurant work, customer service, etc. IPR’s Office of Career Services provides students with resources
such as a list of job search engines and our infamous ‘the classifieds’ to help explore work options close to their home or the school.
IPR GRADUATES
Career services assistance is available to graduates at no extra charge. Upon graduation this office will continue to provide personalized service and to keep alumni informed of
opportunities in the industry. The concern continues even after graduation, as periodically the Office of Career Services contacts graduates to ensure their continued success.
INTERNSHIPS
IPR’s Office of Career Services works continually to establish relationships with industry-related businesses to provide students with internship opportunities. These internships are
offered to students who express interest and meet qualifying criteria during the last portion of their education at IPR.
While most internships are unpaid, they offer students invaluable working experience in the industry that will benefit the student as they finish their education at IPR and pursue
their future goals.
Some internship opportunities may also provide students with the chance of receiving college credit towards completion of the elective requirements of their degree*. Students who
successfully complete an internship for credit opportunity may receive up to six (6) credits towards completion of their elective requirements; credits awarded will be determined
based upon the length and nature of the training opportunity. When taken for credit, students will receive a letter grade upon completion of the internship requirements, which will
be posted on their official college transcript. Students will be billed at their current per-credit cost listed on their enrollment agreement for technical or music and entertainment
business credits. In order to be eligible to apply to receive credit for an internship, students must have completed a minimum of 60 quarter credits in their current program and be
in good academic standing.
In addition to the resources provided by the Office of Career Services, students are encouraged to seek out additional opportunities on their own; however, all internships for which
a student wishes to receive college credit must be approved in advance by the director of career services, dean of faculty and the appropriate program chair.
* While we can guarantee equal access to educational opportunities for all students who maintain compliance with our academic standards, it is important to note that many of these
opportunities are limited and selection of candidates is typically in the hands of the employer, rather than the school.
Contact and Resource Information: Website: http://careerservices.ipr.edu Email: careerservices@ipr.edu
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academic Information
GRADING
The purpose of training is to prepare graduates for entry-level employment and success in their chosen careers. Grading is administered to correlate the student’s progress in
terms related to employee proficiency expected by business and industry. Grading is based on daily performance in class and laboratory and the student’s level of achievement on
assignments, laboratory projects, and exams.
Letter Grade Percentage GPA
Indicates a superior grasp of material earned through excellent performance on assignments and examinations and is a strong indication of career success.
A 93 – 100 4.0
A- 90 – 92 3.7
Indicates a good level of proficiency and is a strong indication of career success.
B+ 88 – 89 3.3
B 83 – 87 3.0
B- 80 – 82 2.7
Indicates a satisfactory level of achievement to enable successful employment or completion of further coursework.
C+ 78 – 79 2.3
C 73 – 77 2.0
C- 70 – 72 1.7
Indicates a marginal level of achievement.
D+ 68 – 69 1.3
D 63 – 67 1.0
D- 60 – 62 0.7
Indicates unsatisfactory performance. Students earning a grade of “F” in any required course must successfully repeat that course in order to progress toward graduation.
F 59 or less 0.0
F* Indicates that a student has failed this course, has retaken the course, and successfully completed the requirements in a subsequent quarter.
I Indicates that a student has not completed all work required for the course because of some unusual event. Incomplete work must be made up. “I” grades may be given only
with the approval of the instructor and the dean of faculty or students. An incomplete grade not completed by the deadline will be changed to an “F” and will be included
in the cumulative grade point average.
FL Indicates a failing grade was earned in the Lab section of the corresponding failing grade in the lecture course.
P Indicates that the student has earned credits for this course by successfully demonstrating proficiency through advanced standing tests.
PS Indicates a passing grade was earned in the Lab section of the corresponding passing grade in the lecture course.
TR Indicates that previous education has been transferred for class credit.
WI Indicates that a student has withdrawn or has been withdrawn from the course prior to the end of the sixth week (60 percent) of the quarter.
WF Indicates that a student has withdrawn (or has been withdrawn) from the course after to the end of the sixth week (60 percent) of the quarter.
WM Indicates that a student has withdrawn from the course prior to 60 percent of the scheduled class meeting sessions due to military commitments.
PROGRAM WITHDRAWALS
Students who wish to withdraw from a program may begin this process by meeting with the Student success Coordinator.
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LEAVE OF ABSENCE POLICY
IPR does not allow for a leave of absence. However, under extenuating, unavoidable circumstances (e.g., jury duty, medical reasons, or military service), IPR will allow students to
withdraw with “intent to return.” Students on “Intent to Return” status will need only sign a new enrollment agreement to reactivate their student status. Any student who ceases
attendance without an approved documented “withdrawal with intent to return” must seek re-admission through the Registrar’s Office upon return. Students with the status of
“Intent to Return” who do not return within 180 calendar days must likewise seek re-admission upon return.
Requests for “Intent to Return” status must be made in writing to the Student Success Coordinator and will be evaluated on an individual basis.
COURSE NUMBERING AT IPR
The following provides a guideline for course numbers and class sequencing:
001 – 099 Pre-college level, preparatory courses.
100 – 199 Courses having no prerequisite & courses normally taken during first quarter.
200 – 249 Courses normally having prerequisites from 150 – 199 level.
250 – 299 Courses normally having prerequisites from 200 – 249 level.
GRADUATION REQUIREMENTS
In order to graduate, students must attain an overall minimum cumulative grade point average of 2.0 and successfully complete all required courses in the program within the
maximum time frame. Candidates for graduation must complete an exit interview and be free of indebtedness to the school.
DEGREES
Upon successful completion of requirements for graduation, the school will award the appropriate degree.
HONORS
In order to stress the importance of academic performance, the school awards honor certificates to qualifying students. A student who graduates with a cumulative grade point
average of 3.5 or above will achieve honors recognition. Academic honors are awarded as follows:
Cumulative GPA Honor Awarded
3.90 – 4.00 Summa Cum Laude
3.76 – 3.89 Magna Cum Laude
3.50 – 3.75 Cum Laude
saTIsFaCTORY aCadeMIC PROGRess (saP)
On a quarterly basis, IPR monitors students’ satisfactory academic progress (SAP) via two key indicators of student success:
Cumulative Grade Point Average (CGPA)
Cumulative Completion Rate (credits attempted vs. credits completed)
REQUIRED CUMULATIVE GRADE POINT AVERAGE (CGPA)
Students receive a numeric grade for each course according to the grading system outlined earlier in the catalog. Students are evaluated according to their CGPA at the end of each
quarter. The minimum CGPA to remain in compliance with IPR Academic Standards is 2.0.
REQUIRED CUMULATIVE COMPLETION RATE
The maximum time frame allowed for a student to complete a program is one and one-half times the number of required credits. The maximum time frame is calculated for each
student and is reduced or increased to reflect course exemptions, transfer credits, the need for developmental courses or changes in the program. The minimum cumulative
completion rate to remain in compliance with IPR academic standards is 67%.
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EVALUATION POINTS AND STANDARDS
A student in active status is evaluated at the end of each quarter. The maximum program length is 150 percent of the total credits required for program completion. All applicable
courses attempted are included in this evaluation measurement. Any time a student is unable to complete the program within the maximum time frame/maximum credits allowed,
or to meet the minimum grade point average required to graduate, the student will lose financial aid eligibility and will be suspended from school. For purposes of evaluating
satisfactory academic progress, the credit equivalent of two academic years is 72.
SATISFACTORY ACADEMIC PROGRESS (SAP) PROBATION
As long as a student continues to be in compliance with SAP standards, the student remains active and in good academic standing. A student who does not meet minimum
SAP standards at the end of a quarter of study is no longer in good academic standing and, as such, is placed on PROBATION. The student is given up to two quarters to meet
satisfactory academic progress standards in order to come off probation and return to good academic standing.
Minimum standards will be defined for a student to meet at the end of each quarter of their probation in order to maintain enrollment at the school. Failure to meet these standards
will result in the student being suspended from school. Should a student wish to appeal this decision, the student must be able to demonstrate significant mitigating circumstance
to waive satisfactory standards, per the following appeal procedure.
APPEAL PROCEDURE & MITIGATING CIRCUMSTANCES
A student who disagrees with the application of the satisfactory academic progress standards or feels that there are mitigating circumstances to warrant the waiving of satisfactory
standards may appeal in writing to the Dean of Students. An appeal must be filed by the close of the fourth business day of the new quarter following probation or suspension for
noncompliance with PR satisfactory academic progress standards.
An appeals committee will determine if change in status is justified. The student is responsible for submitting a written request for a waiver. Mitigating circumstances must be
documented, and the student must demonstrate that such circumstances had an adverse impact on the student’s satisfactory progress in the academic program. No waivers will be
granted for graduation requirements.
COURSE REPEATS
The credits for all repeated courses will be included in the calculations for cumulative credits attempted for the purpose of determining satisfactory academic progress. A student
may repeat a failed course a maximum of two times. The last grade received will replace any previous course grade in the calculation of cumulative grade point average.
COURSE WITHDRAWALS
The credits for all course withdrawals after the add/drop period (whether initiated by the student or the school) will be counted in the calculations for cumulative credits attempted.
INCOMPLETE COURSES
The credits for all incomplete courses will be counted as credits attempted but not earned in the quarter of enrollment. Incomplete grades must be completed by close of the add/
drop period (the fifth business day) of the subsequent quarter unless special approval is received from the dean of students. An incomplete grade not completed by the deadline
will be changed to an “F” and will be included in the cumulative grade point average and completion rate calculation. The final grade awarded for the course is included in the
calculation of the cumulative grade point average.
TRANSFER STUDENTS
Students transferring from another school will start with a 0.0 CGPA and 0% courses attempted. Transfer credits will be removed from the total program credits required, reducing
the maximum time frame.
ADVANCED STANDING CREDITS
Advanced standing credit does not impact satisfactory academic progress in either CGPA or credits attempted or earned. Advanced standing credits will not be included in the
maximum time frame calculation.
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NON-CREDIT/ PREPARATORY CLASSES
Non-credit courses and pre-college level preparatory classes do not count toward the required credits for completion of a program. Dependent upon entrance score requirements,
students may be required to take fundamental courses in writing, math, or music theory in preparation for college-level coursework. While these fundamental courses will not count
toward the completion of the degree, fundamental courses will be included in both the qualitative and quantitative calculations for the purpose of satisfactory academic progress.
The overall program credit requirements increase to reflect the required fundamental courses.
General Information
IPR CODE OF CONDUCT
It is the right and responsibility of The Institute of Production and Recording to enforce a code of student conduct which protects the rights of the student to an environment
conducive to learning. This requires a classroom, campus and community in which students, faculty and staff are free of distraction and safe from violence, threats or intimidation as
well as an environment that encourages an orderly approach to resolution of conflict.
The Code of Conduct, along with IPR Safety and Security Policies, are delineated within the IPR Student Handbook. These policies apply to conduct that occurs on the premises
of the IPR campus (including adjacent sidewalks, streets or parking lots) or any school organized or sponsored activity but may be extended to include off-campus conduct, at the
school’s discretion, if the alleged conduct: a) constitutes a criminal offense as defined by state, federal or local law, regardless of the outcome or existence of any criminal proceeding;
or, b) indicates that the student may present a danger or threat to the health or safety of him/herself or others.
Violation of the Code of Conduct will result in immediate disciplinary action up to and including suspension or expulsion from school. Appropriate action will be determined and
enforced by the IPR disciplinary committee, consisting of the director, director of admissions, dean of students and dean of faculty. In the event of either suspension or expulsion,
no refunds of tuition or costs will be made.
CURRICULUM REVISIONS
The school reserves the right to vary the sequence of courses and to revise curriculum content for the purpose of upgrading program material. Significant changes to the curriculum
that alter the program length, cost, or other factors specified on a student’s enrollment agreement will require a signed acknowledgment by the student. Students who drop from
school and wish to re-enter in a later quarter must sign a new enrollment agreement and will thus re-enter their program under current catalog requirements, tuition and fees.
Prerequisites may be waived for certain courses with the approval of the dean of faculty.
HEALTH AND SAFETY
Classrooms and laboratories comply with the requirements of the various federal, state, and local building codes and Board of Health and fire department regulations. In case of
emergency, the school will obtain the services of medical professionals as required. However, The Institute of Production and Recording does not provide health care services to
its students.
TERMINATION BY THE SCHOOL
The school reserves the right to terminate any student who fails to maintain passing grades; shows tardiness or absences in excess of school policy; fails to pay his or her school
financial account; destroys or damages any property of the school; engages in unlawful or improper conduct (including cheating, conduct that is contrary to the best interest of the
school, or any conduct that reflects adversely upon the school); or demonstrates behavior disruptive of normal classroom conduct. The student may also be held liable for repair or
replacement of any property that he/she has damaged.
SEXUAL HARASSMENT
IPR regards sexual harassment and discrimination of others by employees or students as unacceptable behavior and just cause for disciplinary action. Such action constitutes a
violation of Section 703 of Title VII of the Civil Rights Act of 1964 as amended in 1972, the Minnesota Human Rights Law, and Title IX of the Education Amendments, and it is
punishable under both federal and state Laws. IPR’s policy on Harassment, Discrimination and Equal Opportunity is posted within the Student Handbook.
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GRIEVANCE POLICY
Students should make every attempt to resolve academic problems with the appropriate instructor. If the student and instructor are unable to resolve the difference, the student
may appeal the decision with the dean of students. All appeals should be submitted in writing. Appeals not resolved by the dean of students may be submitted to the director of
the Institute for resolution. Complaints of a non-academic nature should also be brought to the Dean of Students, either verbally or in writing.
Schools accredited by the Accrediting Commission of Career Schools and Colleges (ACCSC or Commission) must have a procedure and operational plan for handling student
complaints. If a student does not feel that the school has adequately addressed a complaint or concern, the student may consider contacting the Commission. All complaints
considered by the Commission must be in written form, with permission from the complainant(s) for the Commission to forward a copy of the complaint to the school for a response.
The complainant(s) will be kept informed as to the status of the complaint as well as the final resolution by the Commission.
Please direct all inquiries to:
Accrediting Commission of Career Schools and Colleges
2101 Wilson Boulevard, Suite 302
Arlington,VA 22201
(703) 247-4212
A copy of the Commission’s complaint form is available at the school and may be obtained by contacting the dean of students.
Complaints may additionally be filed with the Minnesota Office of Higher Education:
Minnesota Office of Higher Education
1450 Energy Park Drive
Suite 350
St. Paul, MN 55108-5227
(651) 642-0533
REGISTRATION
The Institute of Production and Recording is registered as a private institution with the Minnesota Office of Higher Education pursuant to sections 136A.61 to 136A.71. Registration
is not an endorsement of the institution. Credits earned at the institution may not transfer to all other institutions.
ACCREDITATION
The Institute of Production and Recording is accredited by the Accrediting Commission of Career Schools and Colleges (ACCSC).
OWNERSHIP AND GOVERNANCE
The Institute of Production and Recording, Inc. is a proprietary corporation based in the State of Minnesota IPR is governed by the following board of directors: Terry L. Myhre,
President/CEO Lance Sabin, Vice President/Secretary.
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