Advanced Mixing and Mastering with Pro Tools

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Authored by Jeff Baust, Mark Wessel


Course Code: OMPRD-425

Next semester
starts June 24

12 Weeks

Level 4

Level 4

3-Credit Tuition


Non-Credit Tuition


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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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


Prerequisites and Course-Specific Requirements 

Prerequisite Courses, Knowledge, and/or Skills
Completion of Mixing and Mastering with Pro Tools or equivalent knowledge and/or experience.


  • No textbooks required


  • Pro Tools 11 or higher (Intro or Artist editions not sufficient)
  • Waves Gold Bundle (discount available after enrolling)
  • iZotope Ozone 9 or higher (Elements edition not sufficient)


  • Audio interface
  • One of the following studio monitoring options suitable for mixing (both recommended):
    • Studio monitors (pair), such as JBL 305Ps or better, as well as necessary cables. Monitors with 8-inch woofers are recommended, such as JBL 308Ps or better.
    • Professional over-ear studio headphones, such as Sennheiser HD 600, beyerdynamic DT 770 PRO, etc.
  • iLok USB required to use Pro Tools offline. iLok Cloud (free) may be used instead, but requires a continuous internet connection while using Pro Tools.

Student Deals
After enrolling, be sure to check out our Student Deals page for various offers on software, hardware, and more. Please contact with any questions.

General Course Requirements

Below are the minimum requirements to access the course environment and participate in Live Chats. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course. 

Mac Users

PC Users

All Users

  • Latest version of Google Chrome
  • Zoom meeting software
  • Webcam
  • Speakers or headphones
  • External or internal microphone
  • Broadband Internet connection


Jeff Baust


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.

Mark Wessel

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.

David Lefkowitz


David Lefkowitz has been teaching in higher education since 2000. He has taught courses such as physics, acoustics, electronics, sound design for visual media, music theory, audio technology, digital audio, advanced recording, and advanced mixing. David served as the assistant department chair for the Audio Production department at the New England Institute of Art. He also moderated/coordinated for the Boston area Pro Tools User Group (PTUG) and has presented at the Parson’s Expo and at other events. He is a Pro Tools certified expert instructor.

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Under his independent business name, Lefko Productions, David worked on records with international and regional artists including Johnny A, Stuart Kimball, the Beloved Few, Entrain, Kol B’Seder, Dany Silva, Bana, and the Mendes Brothers. Bana and the Mendes Brothers were featured in the Putumayo World Disk Series. Dave was a principal business partner of Renaissance Recording Company, a commercial recording facility in Boston’s Back Bay where he worked as the chief recording engineer.

David's passions are composition and songwriting and he is currently producing his fifth full-length album. David is additionally skilled as a playwright, a show producer, a show director, and as a musical artist. Unyfi, David's audience-centered comical rock arts show featured his compositions. Unyfi performed at the Regent Theatre and at A.R.T. Oberon in 2015. Recently, David has been venturing into sound design and so far has worked on various films including Archie's Betty, Celling Your Soul, and Whaling City. David also produced and directed a film dedicated to the legendary Boston rock club "The Rat," featuring a variety of Boston rock artists including the Dropkick Murphys. He is a member of the Audio Engineering Society (AES) and Broadcast Music Inc. Read Less


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