Meet the Instructors

Our instructors are engineers, so as an Omega student you will learn from the professionals who’ve made a career out of audio production and engineering. Their list of accolades is long, and they’re the ones who will be teaching you the art of audio engineering. Their real-world experience and the fact that they also work on the studio side of Omega makes them the ideal teachers for our students.



Jim Curtis, Chief Engineer: Jim Curtis is a Pro Tools HD expert-certified recording engineer with 20+ years of in-studio experience.  Jim graduated from SUNY Stony Brook in 1993 with a Bachelor of Arts in Music.  He came on board at Omega in 1995 as an Assistant Recording Engineer, and rose to Chief Engineer in 2009.  Jim’s many credits include David Archuleta, Dru Hill, Radiohead, Third Eye Blind, Lou Reed, Blindboys of Alabama, NBC Sports.  As a Pro Tools expert certified in both music and audio for film production, Jim is part of a select group that numbers less than 100 engineers worldwide.  Jim teaches Pro Tools techniques at Omega as part of the Audio Production Techniques and Audio Engineering for Film and Television programs, as well as all levels of recording studio instruction.



Scotty O’Toole, Senior Staff Engineer: Scotty started working at a small multitrack studio about 1999 after graduating from the Omega Studios School and he hasn’t looked back. He’s been working as a full time engineer, out of a variety of studios, ever since. He feels fortunate to have worked with many great artists and bands over the years.

As a senior staff engineer at Omega Studios, he continues to work on great sessions ranging from rock and country music to the Washington Opera, as well as sharing his experience with students of the Omega Studios School.



Peter Novak, Staff Engineer:

Grammy award winning engineer Pete Novak started his career after completing the audio engineering programs at Omega. After receiving a degree in music from Radford University, Pete attended the Omega Studios’ School for the year-long course in the recording arts and sciences. He knew that he wanted to work with the biggest artists in the world so he decided to pick up and move to Los Angeles. The story is similar to that of many engineers: he started as a runner at Larrabee Sound Studios. After a short period of time as a runner he moved into the assistant engineer role. It was not long before he was working on sessions from everyone from Stevie Nicks to Dr. Dre. The time and dedication would soon pay off. After assisting and doing some smaller freelance sessions he was soon getting calls to engineer sessions for Aftermath artists and even Outkast. The Outkast sessions included the 2004 Grammy Award for album of the year Speakerboxxx, and led him to work with Andre 3000 for about a year and a half on The Love Below. That work resulted in several additional Grammy nominations. After that, he worked with Gwen Stefani on her first solo album, the  Grammy nominated “Love, Angel, Music, Baby.”  For a two year span he was Will Smith‘s personal engineer, overseeing all of his recording and running his studio facility. He has since moved back to the Baltimore/ DC area where he is now a staff engineer at Omega Recording Studios and an instructor at the Omega Studios’ School.



Adam Stamper, Senior Staff Engineer: Adam Stamper began experimenting with audio recording at an early age.  Like so many others of his generation he began on an old 4-track cassette recorder (the Tascam Portastudio).  Adam later moved on to computer based audio production and it is there in the digital domain that he fell in love with music and audio.  For years his interest in audio remained an important part of his life as he assisted local bands in recording and running sound for live shows.  Always artistic, Adam first studied graphic design in the mountains of North Carolina before moving to the DC area to enroll in the Omega Studios’ School of Applied Recording Arts and Sciences.  After graduating at the top of his class Adam began his professional career in audio by establishing his own freelance engineering and audio consulting business.  In 2005 he was hired as an engineer at Omega Recording Studios and has since worked with a wide range of clients, including guitarist Mike Stern, rock band Def Leppard, comedian Cedric the Entertainer, Disney Cruiselines, The Folger Shakespeare Library, gospel artist Richard Smallwood, producer Brian Transeau (BT), and many others.  Adam possesses expert level certification in Pro Tools.



Instructor and Engineer Bill Mueller

Bill Mueller, Audio Engineer and Instructor: Bill was a roadie for Heil Sound in the early 1970’s, touring and building PA gear for Humble Pie, ZZ Top, The Who and other major artists.

In 1975 he moved to the East Coast. From 1976 to 2000 Bill was the chief engineer/senior VP of A/V productions  of Sheffield Recording Studios. As Engineer, was an online video editor for Discovery, Family and CNN, and was the A1 engineer for Remote Recordings programs.

In addition to his music engineering, in the 2000’s Bill designed game and systems engineering software for the NASA International Space Station and Constellation Moon and Mars programs. Bill also worked as a Master Control Center operator at National Public Radio headquarters in DC, and designs therapeutic software, music and games for brain-injured children with sensory processing disorder.

His audio career includes touring live sound, live remote broadcast, studio engineering, music production, audio for video, game audio, studio systems design, acoustic design, radio broadcast engineering and equipment maintenance.



Neal Keller, Audio Engineer:  Neal attended the Omega Studios’ School between 1991 and 1992, and was invited to join the staff as an adjunct in 1994.  In 2008 Neal became a member of the full time staff.  Neal’s main areas of expertise include live sound, A/V, presentation systems, mobile recording, and lighting.  Neal also has an extensive background in MIDI, sound synthesis, sampling, as well as software based digital audio workstation systems, and video editing systems.  Neal has mixed sound for Clan Of Xymox, Romania, Covenant, Mary Chapin Carpenter, Doc Scatlin’s Imperial Palms Orchestra, I Scintilla, Dawn Robinson(En Vogue), Dismemberment Plan, and Mindless Faith.  Neal’s main teaching responsibilities at Omega include the Sound Reinforcement For Live Performance Program (Live Sound), for which he has served as the primary instructor since 1994.  Neal also teaches classes in the MIDI program and the recording programs.  Neal helped to revise Omega’s MIDI program in 2011 to include classes on remixing techniques and advanced sound synthesis.



Alex Cloud, Audio Engineer: Alex Cloud became interested in audio through the DIY punk and metal shows of his youth. His adventures in live sound reinforcement have ranged from noise bands in dirt-floored basements to tuxedo-clad opera singers performing for Charles, Prince of Wales – and everything imaginable in-between. He has tweaked faders for tap dance master Savion Glover, Jazz pioneers Chucho Valdez, Branford Marsalis, and Doc Severinsen, R&B hitmakers Tony!Toni!Tone!, and a wide assortment of others. He has also done extensive work for corporate and political events, having worked with both President Obama and Michelle Obama, Joe Biden, Segway inventor Dean Kamen, astronaut Buzz Aldrin, and many more. He has recorded genres as diverse as screamo, alt-country, gospel, pop, and symphonic orchestra.

The following are links to the federal ‘Gainful Employment Disclosure’ templates. These disclosures reflect data for students enrolled 7/1/14 – 6/30/15. The information provided includes items such as program costs, program length, financing options for that program, completion, and placement rates.

Please note, is there were less than 10 graduates from a specific program within the surveyed time period, the school was not required to provide data.

For additional information about our Career Programs please visit:

Audio Engineering for Film and Television Program Disclosures (Day)

Audio Engineering for Film and Television Program Disclosures (Evening)

Audio Engineering for the Music Industry Program Disclosures (Day)

Audio Engineering for the Music Industry Program Disclosures (Evening)

The Comprehensive Recording Industry Program Disclosures (Day)

The Comprehensive Recording Industry Program Disclosures (Evening)


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