Music Production and Engineering Faculty

Michael P. Abraham

mabraham@berklee.edu | 617 747-8584

"Many of the technical tools and methods used today in the recording studio are quickly going to become obsolete, and it's important for the contemporary music production and engineering student to have an education that's going to allow them to not only change with the new technologies, but help invent them as well."

Prince Charles Alexander

Also affiliated with: Berklee Online (available courses)

Prince Charles Alexander is a sought-after recording and mixing engineer, whose clients include Mary J. Blige, Destiny's Child, Faith Evans, P. Diddy, the Notorious B.I.G., Usher, Babyface, Sting, Aretha Franklin, and others. 

Matthew Beaudoin

mbeaudoin@berklee.edu | 617 747-6505

"I want students to come away from my class with practical skills that they can apply in their future work."

Mitch Benoff

Also affiliated with: Berklee Online (available courses)
mbenoff@berklee.edu | 617 747-2397

"A good producer needs perspective above all else. You need to be clear about what you've been hired for, what the artist's real goals are, what is possible and what is not within the confines of budget, ability, time, and personalities. And you need to be able to step back and know when to stop."

Chad Blinman

cblinman@berklee.edu | 617 747-2226

"Recording music is taking part in a kind of alchemy—you're transforming intangible, cerebral ideas into something real, something physical. It's a sort of magic."

Tony Carbone

tcarbone@berklee.edu | 617 747-2400

"My whole thing is to try to work creatively and aesthetically, not just use the tools because it's a new plug-in."

Mike Denneen

mdenneen@berklee.edu | 617 747-6249

"Hopefully, I can give my students some tools and some perspectives to figure the problems out themselves."

James Donahue

jdonahue@berklee.edu | 617 747-6940

"I want my students to be curious about everything and to quickly get beyond the intimidation of the equipment in order to reveal the artist within. Berklee is a great place to experiment and to learn."

Andy Edelstein

Also affiliated with: Berklee Online (available courses)
aedelstein@berklee.edu | 617 747-2396

"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."

Matthew Ellard

Also affiliated with: Berklee Online (available courses)
mellard@berklee.edu | 617 747-6328

"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."

Enrique Gonzalez Muller

Also affiliated with: Berklee Online (available courses)

Every decision we make means something and has definite impact, so we might as well strive to make thoughtful choices and really mean what we do!

Rob Jaczko

rjaczko@berklee.edu | 617 747-8253

"I really respond to students who are eager to learn and willing to go all out to achieve their goals."

Richard Mendelson

Also affiliated with: Berklee Online (available courses)
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 (available courses)
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 (available courses)
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 (available courses)

"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 (available courses)
serogers@berklee.edu | 617 747-2721

Susan Rogers worked for recording artist Prince for five years as staff engineer, and has also produced, engineered, or mixed for such diverse artists as Barenaked Ladies, David Byrne, Tricky, and Tevin Campbell.

 

Sean Slade

kslade@berklee.edu | 617 747-6374

“I hope that I’m preparing my students for a successful career while teaching them to never forget the sheer fun of making and recording music."

Jason Stokes

jtstokes@berklee.edu | 617 747-6420

"This environment is so pregnant with talent and energy. It's the center of the musical universe as far as I'm concerned." 

David Thibodeau

dthibodeau@berklee.edu | 617 747-6301
 

 

Daniel M. Thompson

Also affiliated with: Berklee Online (available courses)
dthompson@berklee.edu | 617 747-8145

"From the production side, it's easy to lose sight of that ultimate goal by getting 'lost in the toys.' Obviously when you're in school it's important to try out a lot of different techniques, and to get facile with the tools. But ultimately we want to make the technology disappear—to be in service of the process and the creative moment. We're trying to get out of the way, to be masters of the tools and not slaves to them.

Leanne Ungar

Also affiliated with: Berklee Online (available courses)
lungar@berklee.edu | 617 747-2483

"In technology, the only thing we can count on is change. So we prepare our students to go on learning, long after they have their Berklee degree. We believe the best way to do this is to foster critical thinking and adaptability, and give them a broad foundation of recording practices. Our goal is to mold versatile, well-rounded musicians with critical-listening skills, interpersonal skills, and a wide range of technical knowledge, balancing historical context with state-of-the-art methods."

Mark Wessel

Also affiliated with: Berklee Online (available courses)
mwessel@berklee.edu | 617 747-8193

"The foundation of the MP&E program at Berklee is musical as opposed to technical. The focus first and foremost is the song and the production. The knob twisting and button pushing is always contextualized. Most of our engineering classes serve production classes. Students in the production classes 'hire' engineers from the engineering classes. It mimics the real world in that way."

John Whynot

jwhynot@berklee.edu | 617 747-6810

"What is this thing we are making? Why? And for whom? Even if we can't precisely answer these questions, pondering them brings a sense of artistic focus to the work."

Jonathan Wyner

Also affiliated with: Berklee Online (available courses)
jwyner@berklee.edu | 617 747-3130

"Our students are encouraged to explore something as abstract, slippery, and hard to define as art and approach it from the standpoint of the aesthetic and the technical. They go fairly deep in both directions and that is unusual. Berklee's not just an art school and it's not just a trade school."