
Build Beats. Shape Sound. Finish Tracks.
FL Studio has become a go-to DAW for electronic music producers and beat-makers around the world—but whatever your genre, if FL is your weapon of choice, and you want your name on this list of notable users, this course will give you the tools and confidence to have the best chance.
Whether you're a complete beginner or already making tracks in FL, this 36-hour course delivers deep, structured training in music production, beat-making, and engineering. We cover every major element in detail, packed with real-world tips and techniques that even experienced users find game-changing. You’ll leave with a solid workflow, polished production skills, and a competitive edge over anyone stuck in YouTube rabbit holes.
Classes are live and interactive—in-person or live online—so you can ask questions and get feedback in the momentwhen you're inspired... or confused. It’s this kind of immediate, practical support that makes in-person learning so effective.
This course is available live online, taught in real time by Garnish instructors from across our network of campuses, in the same small-group format as our in-person classes, using our specialist music collaboration software, Muse. Discover qualities that distinguish us, here.
36 hours, live online, covering the full path from building beats to finishing tracks.
No. The course works for complete beginners and for producers already making tracks in FL who want deeper, structured knowledge.
Use the Connect button on this page to request the current schedule and price; one of our placement team will reply within a business day.
It is a go-to DAW for electronic producers and beat-makers, but the course applies to whatever genre you make - production principles are the same.
A computer running FL Studio and a reliable internet connection for the live sessions.
All about MIDI The MIDI (Musical Instrument Digital Interface) standard has had a profound impact on the music industry since its introduction in the early 1980s. MIDI allows electronic musical instruments, computers, and other digital equipment to communicate with each other, allowing for the creat
Read →Sampling Frequencies & Bit Rates: 96 v 44.1Khz & 24 v 16bit by Stephen Powell I had a conversation recently with a guy who described himself as a “glitch-dubstep-lo-fi composer” He went on to describe a couple of his tracks which turned out to be pretty much what you might expect from such a descrip
Read →Antares Autotune pitch correction software on Xfactor shows: I had a chap called Will Payne from the Sunday Mirror contact me and ask if I could spot any Antares Auto-tune pitch correction software on Susan Boyle's pre-recorded audition performance of 'I Dreamed a Dream' on Britain's Got Talent, whi
Read →When I very first started in the early-nineties, we all used Atari STs with a whole 512k of Ram for sequencing MIDI and not much else. All the audio was dealt with using 24 track 2" tape, with up to 3 slaved together synchronised using lynx synchronisers. Back then for sampling, we had the classic A
Read →by Katie Gilchrest When it comes to mixing, establishing a balance is one of the most important parts of creating a professional sounding production. Some of the same miscalculations are made again and again, and fortunately there are ways to recognize, avoid and fix them. Here are five common mixin
Read →You’ve completed your recordings and now it’s time to put them all together. If you ask any experienced mixing engineer, they will tell you that they have a system they use every time they want to mix a project.
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