Music Production and Engineering
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"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."
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"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."
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- 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.
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"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."
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