Faculty

e.g. "Tuba"

Rob Jaczko

rjaczko@berklee.edu | 617 747-8253

"The ongoing goals for the Music Production and Engineering Department are centered in three critical areas: curriculum, faculty, and facilities. Every topic, class, and assignment has been evaluated for its relevance, emphasis, timing, and balance. And with 12 studios operating 22 hours per day, seven days per week, it is critical to maintain a state-of-the-art technical infrastructure."

Jeff Largent

jlargent@berklee.edu | 617 747-8100

"The culture of Berklee, as well as the curriculum, recognizes that technology is every bit the instrument as is a saxophone, piano, guitar, or any other musical instrument. Students must be proficient on their tech instruments just as they would their musical instruments. But being a professional requires transcending the proficiency on your instrument and focusing on a deeper communication in creative and artistic ways. It is my goal to bring my students to that understanding."

Richard Mendelson

Also affiliated with: Berklee Online
rmendelson@berklee.edu | 617 747-8281

"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."

Michael Moss

Also affiliated with: Berklee Online
mmoss@berklee.edu | 617 747-8285

"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."

Ted Paduck

Also affiliated with: Berklee Online
epaduck@berklee.edu | 617 747-8897

"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."

Alejandro Rodriguez

Also affiliated with: Berklee Online

"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."

Susan Rogers

Also affiliated with: Berklee Online
serogers@berklee.edu | 617 747-2721

"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."

Sean Slade

kslade@berklee.edu | 617 747-6374

“Music production is almost like creative writing: You can’t teach someone exactly how to do it. You can give overall guidelines, but you have to let students learn by experience. I teach the philosophy behind good producing and the aesthetics of production—how to balance art and commerce. I particularly enjoy talking about the history of recording, which is really the history of 20th-century music—just a blip in the whole history of music. Recordings, and changes in the way we record music, affect the way we listen to and play music."

Jason Stokes

jtstokes@berklee.edu | 617 747-6420

""I want students to be able to use the tools that are at their disposal, that they're carrying around on their laptops, to accomplish the things that they want to do." 

David Thibodeau

dthibodeau@berklee.edu | 617 747-6301
  • B.S., Computer Science, Middle Tennessee State University
  • Drummer