Electronic Production and Design Faculty

Jeff Baust

Also affiliated with: Berklee Online
jbaust@berklee.edu | 617 747-8585

"The technology and tools of music synthesis are changing at an incredible speed. Berklee has been really good at making sure that students have the latest tools in their hands, both in the studios and through the Berklee laptop program. No matter what the tool, however, faculty know and impart upon the students the commonalities of all of those tools. We don't teach just the button pushing for today's technology, but how to achieve effective music and sound design with any set of tools. We want students to sit down at the newest synthesis software tool, and say, 'I know what I'm looking for; the question is, where are they hiding it?'"

Michael Bierylo

Also affiliated with: Berklee Online
mbierylo@berklee.edu | 617 747-8275

"I developed an elective called Sound Design for Animation. . . . Mass Art students studying animation pair off with Berklee students and collaborate on developing sound design for their projects. It's interesting to watch Berklee students negotiate with Mass Art students, not just about what the music and sound is going to be—there's also timetables and scheduling meetings and the whole idea of the interpersonal relationship you have. How do you talk to a visual artist? How do you listen to what he's saying and parse that into specific musical ideas? That's the kind of stuff I could go into a classroom and do a lecture on, but you really don't learn it until you start doing it with people."

Richard Boulanger

rboulanger@berklee.edu | 617 747-2485

"For me, music is a medium through which the inner spiritual essence of all things is revealed and shared. Compositionally, I am interested in extending the voice of the traditional performer through technological means to produce a music that connects with the past, lives in the present and speaks to the future. Educationally, I am interested in helping students see technology as the most powerful instrument for the exploration, discovery, and realization of their essential musical nature—their inner voice."

Michael Brigida

mbrigida@berklee.edu | 617 747-8127

"The technology changes; the concepts do not change. The foundational concepts do not change, but it’s easy to bypass those concepts and get on to the great sounds. It’s easy to go up to a synthesizer and have a lot of fun with it and come away really not knowing what you just did. If you do that, it’s a problem later on. That’s why we’re trying to teach the fundamentals, even though the technology is new every second."

Brian Cass

bcass@berklee.edu | 617 747-6353

Stephen Croes

scroes@berklee.edu | 617 747-2992

"Music technology is a very interdisciplinary part of Berklee. To produce music in our studios and labs, we engage all aspects of contemporary musicianship and skills taught throughout the college, all of Berklee's essential offerings in terms of musical analysis, performance, improvisation, and composition."

Matthew Davidson

mdavidson@berklee.edu | 617 747-6352

"I teach the generalized concepts underneath the technology so my students can apply what they learn to any future technology they’re going to encounter. I want to give them the base of the pyramid: the information to solve their own problems or know where to go to solve them."

David Doms

Also affiliated with: Berklee Online
ddoms@berklee.edu | 617 747-8516

"It's a nice spot to be in, to be able to draw back on some of the things in the analog world, some of the physical tools we've had post-World War to now, but also to have this whole digital tool set. It's pretty incredible. We've realized how crucial it is for the student to get exposed to this, even the ones who aren't synth majors. Part of what we do is to make sure those students get exposure and learn how to use what's on their laptop, which is pretty extensive."

Neil Leonard

Professor; Artistic Director of the Berklee Interdisciplinary Arts Institute, Electronic Production and Design
nleonard@berklee.edu | 617 747-8402

"I teach my students that time management is a composition skill. The planning process is critical to making quality music efficiently. This doesn't mean you can't just write spontaneously; maybe the best thing you ever write will come out that way. But if you're in this for your entire life, you need to have more than one way to work, because some days it's going to come out of you, and some days it won't."

Steve Maclean

Also affiliated with: Berklee Online
smaclean@berklee.edu | 617 747-8114

"Some people have stereotypes that electronic music is just about dance beats, but there's a ton of music you can make using these technologies. One ensemble I'm now teaching focuses on compositions using electronic instruments and processes. Advanced students are writing their own software and doing all sorts of things in all genres. Using the technology is the thread that holds the ensemble together, often with fascinating results!"

Chris Noyes

cnoyes@berklee.edu | 617 747-2298

"I was a guitar player and composition major at Berklee. My first foray into synthesis was to control the results of my compositions. Even before I had a piece done, I could model it using tools like tape recorders and synthesizers before getting musicians to record it. There weren't many synthesizer programmers back then, so I got a lot of work even before I finished at Berklee, doing TV commercials and small independent film scores."

Thomas L. Rhea

trhea@berklee.edu | 617 747-2487

"The characteristic that I've noticed common to highly successful people is that they're fanatical. They don't just practice or work a little bit; they go to incredible extremes. They perform amazing feats, primarily because they can focus intensely. They're not constantly entertaining themselves and don't need to be frivolously stimulated. I would really like to see my students become more monk-like about music, technology, and business. I'd like to see that sort of devotion."

Jay Rinaldi

jrinaldi@berklee.edu | 617 747-2782

"You can look at the synthesizer as a keyboard instrument—a physical, playable instrument. It's an instrument unto itself. But it allows players and composers an outlet for sounds and layering that potentially you can't get anywhere else. For me, studying music synthesis at Berklee allowed me to realize music is around us almost all the time. Sounds, rhythms, patterns surround us more often than we realize."

Kai Turnbull

Also affiliated with: Berklee Online
kturnbull@berklee.edu | 617 747-8401

"Technology is a tool and, ultimately, when mastered it can become transparent. It takes time and discipline to learn, of course, but this is no different from other musical skill sets. On the piano, for example, one develops technical proficiency through the practice of specific exercises and repertoire with the aim to ultimately express oneself fluently and effortlessly. It's the same way with music technology. You have to spend the time required to get the fundamentals-the principles that work behind it-to really know it inside and out, in order to support those unexpected and creative leaps of imagination."

Jeffrey Williams

jdwilliams@berklee.edu | 617 747-8480

"One of my classes is Introduction to Music Technology, which gets first-year students started using their new laptops. It's a required purchase that's their own personal recording studio and music production system. The class is very hands-on and interactive, because everyone's trying things out on their laptops. The sound of 30 people making music in a classroom—it's a great cacophony."