Online Courses

Advanced Mixing and Mastering with Pro Tools

Authored by Jeff Baust, Mark Wessel

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Course Code: OMPRD-425

Next Term Starts January 8

Level 4

Level 4

3-Credit Tuition

$1,479

Non-Credit Tuition

$1,229

Continuing on from the concepts and lessons presented in Mixing and Mastering with Pro Tools, this advanced course provides students with a deeper understanding of mixing and mastering tools and techniques that can be applied to a wide variety of styles. Advanced Mixing and Mastering with Pro Tools conducts in-depth, hands-on examinations of several mix techniques, such as EQ, compression, reverb, delays, and tempo maps, unique to Jazz, pop/rock and electronica. As you progress through the course, you will learn to monitor and apply critical listening to your mixes, add character to your mix by using "Lo-Fi" techniques, use multi-band compression in mastering, and master your mix using EQ and limiting. Although the course uses Pro Tools as the audio engineering tool, many of these skills will be portable to any kind of studio; regardless of software, hardware, or if the studio is digital or analog based.

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Berklee Online and Waves have come together to offer an educational discount on the required Waves plug ins for this course. The required plug-ins include the Waves Education Bundle (Renaissance EQ, Renaissance Compressor, Renaissance Reverb, and C1 Compressor) and iZotope's Ozone mastering software. Once you enroll in the course, you will be able to purchase the plug-ins at a discounted price through the Required Course Materials link on your My Home page. Early enrollment is encouraged to ensure delivery prior to the start of the course. Depending on the shipping option chosen, delivery could take up to eight business days.

By the end of the course you will be able to:

  • Gain an advanced understanding of mixing and mastering in Pro Tools
  • Use mixing techniques unique to a jazz, pop / rock or electronica project
  • Mix lead and backing vocals
  • Automate mixes
  • Use stylistic analysis to inform your mix
  • Use EQ and Dynamics processing effectively
  • Use reverb to add acoustic space
  • Use delays to add space and dimension to a mix
  • Use tempo maps, groove templates, and Beat Detective
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Syllabus

Lesson 1: Mix Analysis

  • Critical Listening and Mix Analysis
  • Listening Examples
  • Intention and Concept
  • Sonic Versus Stylistic Reference Materials
  • Mix Analysis I: Assessing the Raw Tracks
  • Mix Analysis II: Getting Organized
  • Mix Analysis III: Sonic Issues
  • Mix Analysis IV: Making Adjustments
  • Mix Analysis V: Adding EQ and Dynamics
  • Mix Analysis VI: The Finish Line

Lesson 2: Mixing Acoustic Music

  • Stylistic Analysis
  • Song Analysis, Track Analysis, and Session Prep
  • Balance and Panning in Acoustic Music
  • Signal Processing in Acoustic Music Mixing
  • Automation, and the Finishing Touches

Lesson 3: Mix Project 1: Jazz Tune

  • Stylistic Analysis
  • Song Analysis and Session Prep
  • Session Analysis and Track Assessment
  • Balance and Panning in Jazz Mixing
  • EQ in Jazz Mixing

Lesson 4: Mix Project 1: Jazz Tune Part 2

  • Reverb and Acoustic Space in Jazz Mixing
  • Dynamics Processing in Jazz Mixing
  • Automation in Jazz Mixing
  • The Final Mix Delivery

Lesson 5: Mix Project 2: Pop / Rock Tune

  • Stylistic Analysis: Pop and Rock
  • Signal Processing in Pop/Rock Mixing
  • Song Analysis, Song Form, and Session Analysis
  • Session Analysis: "Keep All Your Money"
  • Mix Analysis: The Rhythm Section
  • Mix Analysis: The Vocals
  • Mix Analysis: The Guitars and B-3 Organ

Lesson 6: Mix Project 2: Pop / Rock Tune Part 2

  • Tempo Maps
  • Beat Detective
  • Backing Vocal Treatment
  • Time Domain Processing
  • Delays
  • Bringing the Mix Together
  • Mix Automation

Lesson 7: Project 3: Electronica Tune

  • Stylistic Analysis
  • Song Analysis and Song Form
  • Session Analysis and Track Assessment
  • Editing Loops
  • Creative Editing / Stutter Edits

Lesson 8: Mix Project 3: Electronica Tune Part 2

  • The Basic Mix-EQ and Dynamics
  • Dynamics Processing in Electronic Music Making
  • Keyed Dynamics Processing Techniques
  • Parallel Compression and Mix Compression

Lesson 9: Mix Project 3: Electronica Tune Part 3

  • Reverb in Electronic Music
  • Time Domain Effects in Electronic Music
  • Lo-Fi Effects: Adding "Dirt" and Distortion
  • Image Adjustment and Manipulation
  • Mix Automation

Lesson 10: Mastering Part 1

  • The Mastering Process, Revisited
  • Mastering Job Analysis, Part 1
  • Mastering and EQ
  • Limiting and Loudness
  • Mastering Job Analysis, Part 2
  • Bouncing Down the Audio

Lesson 11: Mastering Part 2

  • Dynamic Control and the Dynamics Module
  • Using the Imager
  • Applying a Limiter in Jazz CD Mastering
  • Mastering Job Analysis

Lesson 12: Mastering Part 3

  • Harmonic Exciters in Mastering
  • M/S Processing
  • Mastering in Electronic Music
  • The CD Assembly

Requirements

Prerequisites

Completion of Mixing and Mastering with Pro Tools or equivalent knowledge and experience is required.


No Required Textbooks


Software Requirements

  • Pro Tools 12. Earlier versions of Pro Tools, Pro Tools Free, and the Pro Tools Demo are not supported in this course. For detailed system requirements, visit the Avid support page.
  • Waves Education bundle
  • Ozone 7

Mac Users

  • OS X 10.9 Mavericks or higher (click here for system requirements)
  • Latest version of Google Chrome

Windows Users

  • Windows 7 or higher (click here for system requirements)
  • Latest version of Google Chrome

Hardware Requirements

  • Pro Tools-compatible audio interface
  • 2 GB RAM (4 GB recommended)
  • 500 MB hard drive space
  • Speakers or headphone
  • Webcam
  • Internet connection with at least 4 Mbps download speed ( http://www.speedtest.net to verify or download the Speedtest by Ookla app from your mobile app store)

Instructors

Author & Instructor

Jeff is a professor in Berklee's Synthesis and the Music Production and Engineering Departments. A composer, audio engineer, educator and multi-instrumentalist, he has created scores for the ESPN, New England Sports Network (including music for the Bruins and Red Sox), Avid, Sony, Polaroid, Sharp, Reebok, Lotus, and others. He works primarily in his own facility, Coral Sea Music. As an audio engineer, Jeff has worked on projects for such artists as the Boston Symphony Orchestra, San Francisco Symphony Orchestra, NBC-TV, Andre Previn, Itzhak Perlman, Jessye Norman, and Dawn Upshaw, as well as labels such as EMI, Philips, Nonesuch, and many others. Specializing in digital audio production, Jeff works with technologies such as Sonic Solutions, high-resolution audio (96k/24bit), HDCD encoding, and mastering as well as forensic audio and restoration tools. Jeff holds a M. A. in Composition from University of California, Davis, and a D. M. A. at Boston University, where his primary area of concentration was electronic and electro-acoustic composition. He has been published in Berklee Today, Electronic Musician magazine, and various Internet e-zines.


Author & Instructor

Mark Wessel is an Assistant Professor in the Music Production and Engineering department at Berklee College Of Music, where he has taught audio engineering and production techniques since 1996. After receiving a B.S. in Mass Communication from Emerson College, Mark worked as a staff engineer at Blue Jay Recording Studio for many years and is now an independent recording and mix engineer. With over twenty years of experience in records, films, and television scores, his credits include numerous label projects including Sony, Narada, MCA, Rounder, RCA Victor, Gramavision, Sire, BMG, American Gramaphone, CBS, and Flying Fish, as well as projects for Miramax Films, WGBH, National Public Radio, Paramount Pictures, and various independent records and films.

Questions?

Contact our Academic Advisors by phone at 1-866-BERKLEE (U.S.), 1-617-747-2146 (INT'L), or by email at advisors@online.berklee.edu.

We can also answer basic questions in the comments below. Please note that all comments are public.

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