Jonathan Wyner is an associate professor in the Music Production and Engineering Department at Berklee College of Music and owner of M Works Mastering Studio in Cambridge, Massachusetts. Throughout his career, he has worked with artists both well-known and more esoteric, including James Taylor, David Bowie, Aerosmith, Kiri Te Kanawa, Pink Floyd, Cream, Richard Stoltzman, Miles Davis, Nirvana, Aimee Mann, Juliana Hatfield, Tiny Tim, Snakefinger, John Cage, and Rahsaan Roland Kirk.
Wyner mastered the first interactive CD game (Play It by Ear), the first recorded opera (Madame Butterfly, recorded in 1912 by the BBC), and what is believed to be the longest CD (80 minutes, 32 seconds, for Razormaid Records). He holds a bachelor's degree in French horn and composition from Vassar College.
- Career Highlights
- Plays French horn, trumpet, tuba
- Performances/appearances with the Buffalo Philharmonic, Deborah Henson-Conant, and Marvin Hamlisch
- Recordings with Aerosmith, David Bowie, Cream, Kiri Te Kanawa, Rahsaan Roland Kirk, the London Symphony Orchestra, Aimee Mann, Pink Floyd, Pete Seeger, Bruce Springsteen, Tiny Tim, and the Weavers
- Publications include Mix Magazine, Studio Sound, and REP
- Live recording and mix of WGBH's inaugural webcast
- Audio for interactive CD-ROM game Play It by Ear
- Surround mix/master for Disney, Weather Report
- Grammy nominee for Invention and Alchemy
- A.B., Vassar College
In Their Own Words
"I try to get students to remember what excites them about music and to tap into it. If they can connect with that, it provokes interesting questions and inspires interesting thoughts. They'll understand all these little bits of technical minutiae that we teach them, since then it's in the context of this thing that they really do care about. It's hard to always be mindful of what is meaningful in your world. If you can meditate every day for half an hour—10 minutes even!—about what you're grateful for, it changes your perspective on everything that you do in the course of the day."
"I'd love for students to come away with a sense that their role as shepherds and caretakers of music has expanded. I want them to understand how to take better care of the music and how to improve on the communication that is supposed to be taking place. I'd like them to tap into their enthusiasm, I'd like their skill level to increase, and I'd like them to come away with a feeling of satisfaction, so that even if they're not continuing in the discipline of mastering per se, they've got something they could use in some other aspect of production work or simply as well-informed artists/performers, if that's the context in which they find themselves thinking about mastering."
"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."