Ted Paduck is an assistant professor in the Music Production and Engineering (MP&E) Department at Berklee College of Music, where he teaches Mix Techniques 1 and 2, as well as Multitrack Techniques. Since graduating from Berklee in 1991 with a Bachelor of Music in Music Production and Engineering, Paduck has worked with an impressive roster of artists.
Early freelance engineering projects in Boston at such studios as Synchro Sound, Newbury Sound, and Sound Techniques eventually led to a staff engineering position at the latter, where he worked with Aerosmith, Duran Duran, Nine Inch Nails, Run-DMC, Busta Rhymes, and Erykah Badu, and also engineered television spots for commercials and film scores for Better than Sex, Prefontaine, and the HBO series Earth to the Moon.
Paduck is a staff engineer/producer at Mix One Studios, formerly Sound Techniques. Recent clients include Paul Simon, John Mayer, Ciara, Bow Wow, JoJo, Toots and the Maytals, and countless local unsigned artists. Among his accomplishments is the recording of "Never Grow Old" with the Skatalites for True Love, which won a Grammy Award for best reggae album in 2004. He also has worked on scores for the John Sayles film, Silver City, and Mike Teoli's film, The Red Thread.
- Career Highlights
- Staff engineer/producer at Mix One Studios
- Worked with Aerosmith, Duran Duran, Busta Rhymes, Nine Inch Nails, Toots and the Maytals, and the Boston Symphony Orchestra
- B.M., Berklee College of Music
In Their Own Words
"My feeling is that it's never too early to start making mistakes and seeing what you like to do as far as a mix engineer or a recording engineer. The further on down the line you go, you start to get pigeon-holed into the rules of what you're doing. I want students to experiment more. I mean, certainly there are guidelines. We want them to find those guidelines and then, once they have a good understanding of the guidelines, to move beyond that and see what works."
"The typical MP&E student has become a lot more tech-savvy. They're full of information they've gotten from either reading online or reading in a magazine. But the actual practice of using things and listening—I guess they've kind of lost the art of listening. They're more involved with 'What are the exact parameters and what are the numbers I should be plugging in?' not so much 'What can I try to do and what should I listen for?' But since the technology and the software has become so available to so many different people, we've actually found that the demographic of the program has been much, much wider than it used to be."
"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."