 |
"I'm teaching MP-320, Producing for Records. Really, it's a full semester with one goal. The first half, they do demos of a couple of songs, and the second half, they do a full recording. That means a little detours with different songs, maybe, or trying out different things, but in the second half, they get their studio time, and they get really focused. They pick their own artist. It's got to be a Berklee song and a Berklee artist. It's all connected with the engineering class and the mix class. It's a project with three different courses involved, so they're all integrated and coordinated."
Read More |
"If a course is working, my students are going to learn more about how their brains work, their instincts, their strengths, what's compelling to them, and what they gravitate towards. Students are required to articulate their goals and plans, then critique their own and each other's work. It sounds easy enough, but is often quite a challenge. Trying to describe what we're doing and why, and attempting to understand other students' motivations, often reveals biases and discontinuities in our own perspectives and assumptions. 'Why?' is often the hardest question."
Read More |
"With more than 24 years of music industry experience in London, Los Angeles, and Boston as a recording engineer, mixer, and producer, and more than 7 years of teaching audio, I bring a depth of technical knowledge in both the analog and digital realms and a wide breadth of professional music industry experience to the instruction of music production and engineering."
Read More |
Enrique Gonzalez Muller, Assistant Professor
DEPARTMENT : Music Production and Engineering Department“As far back as I can remember I always knew I would end up doing something music-related, but it wasn't until I discovered music production and engineering that I truly found my voice. It fits like a glove, since it blends a highly creative and philosophical endeavor with a highly precise, tangible, and technical craft, and the convergence of those elements go totally in line with my personality and passions. I’m drawn to understanding people, emotions, and things, to figure out how to use and combine elements for an emotional outcome. That’s what I do in this profession: I communicate with musicians as human beings, try to really understand the emotional connection that moved them to make music, and figure out how to capture and bring out 110% of their message (and in doing so, also my own).”
Read More |
- Alumnus, Berklee College of Music
- Guitarist
- Academy Award–winning sound designer
- Motion picture and television credits include Braveheart; Beakman's World; Dr. Quinn, Medicine Woman; and The Adventures of Brisco County, Jr.
 |
"There's such a spirit of excitement, enthusiasm, and interest from the students, and it causes you to look very carefully and deeply into what you're doing. And in so doing, you get better at both roles. When I'm teacher, I'm also a recording engineer. I'm not one or the other. I find that those different roles—as an engineer and a mixer and a producer, as well as a teacher—they really feed one another."
Read More |
"I teach exactly what happens in the real world, and I'll summarize what's going on in my recording studio that week—the good and the bad. I acquaint students with the business process; how we estimate how long jobs will take, how we do bids, what the competitive market place is like; how we engineer and master audio, what equipment we use. In the summer, I have an associate's program, where I'll hire four or five extra engineers from the student body, or from qualified applicants who send me resumés. I generally hire some of those students after graduation. Out of the six engineers I have working now, five of them are Berklee grads."
Read More |
"You can know every parameter of every piece of gear that you work with, but if you can't make your time in the studio enjoyable to the artist or make them feel comfortable enough to create, you're not very useful. I tell my students that the job is probably 40 percent knowledge of the gear and how it's used and 60 percent being a psychologist."
Read More |
"The big advantage of being here is to have the ability to try different types of technology—not only the latest one but the original ones at the same time. Not only the most expensive microphone but a cheap one and lots of them in between. The fact that I started my career in a third-world country and lived in another third-world country for several years gave me the perspective of being forced to work only with limited resources most of the time, trying to be creative with whatever you have, not whatever you would like to have."
Read More |
"In the late '90s I produced a hit record with Barenaked Ladies. I took my royalty check and quit the music business, and in 2000 enrolled as a freshman at the University of Minnesota. I went to McGill University in Montreal to do my graduate work in music perception and cognition. This branch of psychology explores musical behaviors from the psycho- and neurological perspective, in other words, the what, where, how, when, and why of human musical experience. Berklee hired me to teach engineering and production, but also to help implement a more music-centric science program in the Liberal Arts department. They encouraged me to design courses in music cognition and psychoacoustics."
Read More