This class focuses on the skills necessary for recording live ensembles of musicians. Students work as engineers, assistants, and Pro Tools operators with faculty supervision and guidance in the context of weekly recording sessions. This class works in collaboration with regularly scheduled daytime recording ensembles, covering a variety of styles and instrumental groupings.
This class focuses on the techniques and applications employed in live concert recording. Students will regularly record concerts held in the Berklee Performance Center to 48-track multitrack and two-track formats, as well as concerts from Cafe 939 through the Berklee Internet Radio Network production studio to 32 tracks and stereo. Live mixing to video and or live broadcast of the Live-to-2 mix is also part of the typical work. Topics include systems integration of live sound reinforcement, live recording and video capture; microphone choice and placement; scene storage and documentation strategies; and audience/ambience recording techniques.
In this capstone project class, instructor and classmates review and advise each class member at every step during the planning and production of two or more fully professional multitrack recordings. Projects include song selection or scoring. Students will be expected to present a demo, arrange, session plan, rehearse, record, and produce a final mix. Emphasis is placed on creative and technical aspects of quality in production, and market targeting.
This advanced engineering elective builds upon previously acquired recording and mixing skills. Course emphasis is on achieving professional studio standards through in-class sessions and demonstrations. Topics include advanced signal processing, critical listening, large format console automation, and observation in various professional environments through site visits. Projects include live-to-2-track recordings, engineering MP-461 senior production projects, and the preparation of a senior engineering portfolio.
Monitored and evaluated professional work experience in an environment related to the music production and engineering major. Placement is limited to situations available from or approved by the Office of Experiential Learning and the Music Production and Engineering Department chair or designee. To apply for an internship, students must see the internship coordinator in the Office of Experiential Learning prior to registering. Note: Equivalent credit for prior experience is not available due to the requirement of concurrent contract between the employer/supervisor and the college. International students in F-1 status must obtain authorization on their Form I-20 from the Counseling and Advising Center prior to beginning an internship.
For non-MPED majors, this course is a hands-on study of vocal production and mixing techniques focusing on the musical, psychological and technical steps necessary to achieve emotionally impactful and commercially competitive productions. Special emphasis is placed on interpersonal and technological considerations aimed at making students adept in collaborative production teams as well as achieving self-sufficiency as “in-the-box” producers and mixers.
Amidst the proliferation of desktop tools available to the modern producer, the traditional process of making music—that is, live performances by ensembles and bands—remains a unique and vital experience that can often yield more compelling results than what can be accomplished alone. However, these settings require a skill set largely unknown to those whose experience in the studio has been solitary. This course will help producers develop the capabilities necessary to succeed in collaborative production environments. The primary focus is on supporting and motivating creative work of writers and performers, coordinating complex projects with numerous participants, and managing the challenges and real-time decision making typical of collaborative recording sessions.
This course is an introduction to the various disciplines and skills that make up audio post-production for visual media. Topics include: the history of motion picture audio; modern methods of synchronizing sound; the language of film and film production; on-location sound recording and mix treatments; basic dialog recording, editing, and mix; backgrounds, Foley, and sound effects; adding music to film. Students will work on short projects including an “industrial” film, a short dramatic clip, and a 60-second advertisement, bringing each to a professional level of completion.
This advanced engineering elective course introduces students to the film scoring environment. The course explores large ensemble recording techniques specific to film scoring sessions, while working with the Berklee Film Scoring Orchestra. Through hands-on experience on the scoring stage, students will learn about the set up, recording, and mix of film scoring orchestras, including recording to picture. Music production and engineering students will have the opportunity to work with guest celebrity conductors and composers, in addition to working with senior film scoring students and faculty.
This course gives the student insight into capturing the myriad drum sounds available by exploring different drum configurations, sizes, styles, and ambient spaces. The class explores getting great drum sounds at source and learning how to adjust, tune, and manipulate drums to perform at their full potential. Students learn how to capture that sound in recordings by utilizing the many microphone, mic pre, EQ, and processing options available in the studio. They also learn how to manicure, adjust, fix, destroy, and present drum sounds so that they are appropriate for the required song. Finally, the class covers the many editing, fixing, timing, and sampling options used by today’s top recordists. Mixing drum sounds, including those recorded by someone else, will also be covered.
This course explores the functional operation of large- and small-format DAW controllers, including Avid's S5 digital console, used in multitrack mixdown of digital master recordings. The emphasis is on configuration and operation of the hardware, with consideration given to critical listening and the aesthetics of mixing. Topics covered include common DAW procedures and protocol, data management, signal flow, editing, and digital signal processing (plug-ins). Projects consist of mixing prerecorded multitrack files.
This upper-level elective focuses on the technical, artistic, operational and business aspects of working in today's world as a freelance producer/engineer. The objective of this course is to foster a versatile, entrepreneurial approach to the diverse—and increasingly nontraditional—production opportunities that dominate today's business and cultural climate. The successful modern freelancer combines and transcends discrete industry roles with adaptation, improvisation, and creative problem solving in art and business. Students will refine and supplement skills learned in their previous courses, synthesizing a comprehensive, fluid skill set to service projects with a broad range of parameters, resources and goals. A series of hypothetical and practical scenarios will present students with widely varied objectives and parameters: client types, abilities and expectations; musical material, time and dollar budgets, and recording settings. The course will focus on in-class discussion and review of these projects, most of which will take place in-class, with both instructor(s) and students in the role of freelancers. Online materials will both assist in presenting information and act as an ongoing asset for the students after graduating. There will also be in-class discussions and online presentations from current professionals (including MTEC alumni) and a business tutorial, both in-class and on-line, focused on starting and operating a business.