High-level mixing decisions drive this graduate-level music production course, where you’ll craft polished, chart-ready mixes from complex multitrack sessions. In this graduate music production course, you’ll apply advanced EQ, dynamics, spatial processing, pitch and time correction, and streaming-focused delivery techniques across contemporary genres.
Key Learning Outcomes
- Design and execute polished, professional mixes from large, complex multitrack sessions
- Apply genre-specific mixing strategies to achieve competitive balance, impact, and translation across playback systems
- Integrate advanced processing techniques—including saturation, imaging, and spectral tools—into cohesive, large-scale mixes
- Prepare platform-ready mixes optimized for contemporary streaming formats and modern digital distribution
Course Description
Are you prepared to enroll in this graduate course?
Take the Mixing Techniques self-assessment to check your readiness for this material.Advanced Mixing Techniques is a next-generation music mixing course for you to take your mixing skills to the highest level. In addition to an in-depth exploration of traditional mixing techniques such as balance, EQ, dynamics, spatial effects, and automation, you’ll explore pitch and time correction and mixing for digital streaming services. Throughout the course, you will mix 12 provided recordings in a variety of Billboard chart-related styles, including R&B/hip-hop, pop, electronic dance, country, and rock. This work requires you to organize, implement, and execute large multitrack mixes in a DAW mixdown environment, in addition to executing technically and creatively advanced mixing techniques and preparing mixes for contemporary streaming formats.
By the end of this course, you will be able to:
- Execute technically and creatively advanced mixing techniques
- Execute advanced mixing techniques, such as pitch and time corrections
- Produce a professional mix across a number of popular musical genres
- Evaluate and refine mixes for consistent translation across playback systems by managing low-end, midrange, and high-frequency balance
Syllabus
Lesson 1: Foundational Principles of Mixing
- Mix Organization
- Audio Subgroups
- Insert FX vs. Sends and Returns
- Master Faders, Submaster Faders, and Metering
- Setting Up and Organizing a Mix Session
- Mix Balancing
- Level, Volume/Loudness, and Gain
- Balancing a Mix: Pan Perspectives
- To Mute or Not to Mute
- Foundational Principles of Mixing Review
- Assignment 1: “I Can’t Have You” by Austin Armstrong
Lesson 2: Equalization
- SSL EQs
- Neve EQs
- A Few More EQs
- Types of Equalizers
- Equalization Strategies: 10 Approaches to Consider
- Corrective vs. Creative Equalization
- EQ Mixing Tools: Ozone 8 EQ
- EQ Mixing Tools: Ozone 8 Vintage EQ
- EQ Mixing Tools: Neutron 2 EQ
- EQ Mixing Tools: Slate Virtual Mix Rack EQs
- Mixer of the Week: Tom Lord-Alge
- Mix Processing Equalization Review
- Assignment 2: “I Can’t Have You” by Austin Armstrong – Mix Revision
Lesson 3: Spatial Effects
- Reverb
- Algorithmic vs. Convolution-Based Reverbs
- Inserts vs. Sends and Returns
- Slapback Delay
- Automatic Double Tracking
- Rhythmic Delays
- Delayed Reverb
- Classic Hardware Delays
- Mixer of the Week: Hugh Padgham
- Spatial Processing Review
- Assignment 3: “Sweatin’ Like a Pig, Singin’ Like an Angel” by Vanessa Collier
Lesson 4: Dynamics Processing: Part 1
- Compression and Limiting
- FET Compressors
- Optical Compressors
- VCA Compressors
- Vari-Mu Compressors
- Gear Demo
- Mixer of the Week: Mark “Spike” Stent
- Dynamics Processing, Part 1: Review
- Assignment 4: “Sweatin’ Like a Pig, Singin’ Like an Angel” by Vanessa Collier – Mix Revision
Lesson 5: Dynamics Processing: Part 2
- A Very Brief History of Loudness
- Limiters
- Peak Limiter Controls
- Ozone 8 Maximizer
- Noise Gates
- De-essing
- De-essing: Three Approaches
- Parallel Compression
- Multi-Bus, and Mixer of the Week: Michael Brauer
- Dynamics Processing, Part 2: Review
- Assignment 5: “Corona and Lime” by Fraser Watt, Produced by Peter Hanuman
Lesson 6: Pitch-Based Effects, Imaging Enhancement, and Phase Correlation
- Flanging, Chorusing, and Phase-Shifting
- Development of Pitch-Based Signal Processing
- Flanging, Phasing, and Chorusing: The Essential Differences
- Delay-Based Flange and Chorus Controls
- Plug-In-Based Pitch FX
- Enhancing Width and Depth
- Stereo Pitch Change for Image Enhancement
- Image Enhancement with Mid/Side Processing
- Phase Correction
- Mixer of the Week: Serban Ghenea
- Pitch-Based Processing, Image Enhancement, and Phase Correction Review
- Assignment 6: “Corona and Lime” by Fraser Watt, Produced by Peter Hanuman – Mix Revision
Lesson 7: Harmonic Processing and Drum Replacement
- Distortion and Saturation
- Soundtoys Decapitator
- Izotope Trash 2
- Analog Tape Emulation
- Tape Machine Emulation Tools
- Analog Console Emulation
- Steven Slate Virtual Console
- Drum Replacement
- Steven Slate Trigger 2
- Mixer of the Week: Bob Clearmountain
- Harmonic Processing: Review
- Assignment 7: “Roses to His Ex” by Salem Davern, Produced by Bendik Moller
Lesson 8: Exciters, Spectral Processing and Transient Shapers, AI, and Automation
- Exciters
- Transient Shaping
- The Ozone 8 Spectral Shaper
- AI-Assisted Mixing Using Neutron 2 and Ozone 8
- Neutron 2 Track Assistant
- Ozone 8 Master Assistant
- DAW Automation Techniques
- Mixer of the Week: Manny Marroquin
- Exciters, Spectral Processing and Transient Shapers, AI, and Automation Review
- Assignment 8: “Roses to His Ex” by Salem Davern, Produced by Bendik Moller – Mix Revision
Lesson 9: Multiband Compression vs. Dynamic EQ, Izotope Tonal Balance Control, Low-Frequency Management, and Translation
- Multiband Compression vs. Dynamic EQ
- Ozone 8 Dynamics
- Neutron 2 EQ
- Improving Mix Translation: Izotope Tonal Balance Control
- Low-Frequency Management and Translation
- Low-Frequency Translation Techniques
- Mix Translation for Deep Bass Tracks
- Global Processing for Low-End Clarity
- Mixer of the Week: Chris Lord-Alge
- Multiband Compression vs. Dynamic EQ, Izotope Tonal Balance Control, and Low-Frequency Management and Translation Review
- Assignment 9: “Boundaries” by Kayelee, Produced by Ian Kimmel
Lesson 10: Midrange and High-Frequency Management and Translation and Instrumental Mixing Techniques
- Midrange and High-Frequency Management and Translation
- Mix Management and Translation for High Frequencies
- Five Strategies for High-Frequency Management in a Mix
- Drum Sounds
- Processing the Drums
- Mixing Electronic/Programmed Drum Sounds
- Mixing Bass
- Mixer of the Week: Jimmy Douglass
- Mid- and High-Frequency Management and Translation and Instrumental Mixing Techniques Review
- Assignment 10: “Boundaries” by Kayelee, Produced by Ian Kimmel – Mix Revision
Lesson 11: More Instrumental Mixing Techniques and Vocal Mixing Techniques
- Mixing Keyboards: Pianos
- Piano Mixing Techniques
- Hammond B-3 Organ
- Four Iconic Keyboards: Wurlitzer, Fender Rhodes, Clavinet, and Mellotron
- Mixing Virtual Instruments and Synthesizers
- Mixing Real or Sampled Strings
- Mixing Guitars
- Vocal Production
- Izotope Vocal Processing Tools
- Nectar 3 Advanced Vocal Processing Plug-In
- Vocal Synth 2
- Mixing Doubles, Harmonies, and Background Vocals
- Mixer of the Week: Tony Maserati
- More Instrumental Mixing Techniques and Vocal Mixing Techniques Review
- Assignment 11: “Breakdown” by Merrily James
Lesson 12: Billboard Chart-Related Mix Techniques and Mix Tips, Tricks, and Secrets
- Billboard Hot 100 Chart
- Tips, Tricks, and Secret Techniques
- Mixer of the Week: Marcella Araica
- Richard Furch's Advice on Mixing and Launching a Career
Requirements
Ready to submit an unofficial copy of your transcript?
Submit TranscriptPrerequisites and Course-Specific Requirements
Prerequisite Courses, Knowledge, and/or Skills
Completion of Critical Listening 1, Music Production Analysis, and Art of Mixing or equivalent knowledge and experience is required. In order to be successful in this course, you should have the following background prior to enrolling:
- Multi-track production and mixing experience working with a Digital Audio Workstation, such as Pro Tools, Logic, Cubase, Digital Performer, Traktor, or Ableton
- Access to basic, high-quality equipment to mix engineer music (DAW, audio interface, monitors, headphones, plus the required plug-ins)
- Experience collaborating on projects as a music producer/engineer
- Ability to write effectively and clearly when conveying information and ideas
Textbook(s)
- No textbooks required
Software
- Full-featured Digital Audio Workstation (DAW), such as Pro Tools (Studio or Ultimate), Logic Pro, Cubase Pro, Ableton Live (Suite or Standard), or Reaper
- Subscription to Slate Digital Complete Access Bundle
- iZotope Music Production Suite (version 6.0 or higher)
- Recommended: Trigger 2 Platinum
- Recommended: Soundtoys 5 plug-in bundle
Hardware
- Audio interface
- Professional-quality studio monitors (pair), as well as necessary cables
- Over-ear studio headphones (advanced tier or higher)
Important Technical/System Considerations
- At least 50 GB unused storage space
Student Deals
After enrolling, be sure to check out our Student Deals page for various offers on software, hardware, and more. Please contact support@online.berklee.edu with any questions.
General Course Requirements
Below are the minimum requirements to access the course environment and participate in Live Classes. 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
- macOS Monterey 12.0 or later
PC Users
All Users
- Latest version of Google Chrome
- Zoom meeting software
- Webcam
- Speakers or headphones
- External or internal microphone
- Broadband Internet connection
Instructors
Author
Richard Mendelson is a senior faculty member in the Music Production and Engineering department at Berklee College of Music. A long-time educator, Mendelson specializes in mixing and recording. His former students include many Grammy-winning mixing and recording engineers.
Mendelson's work has been featured in recordings by artists such as Rihanna, Nicole Scherzinger, Fergie, and Garbage, and he is a first-call mix-down engineer in the Boston area. Mendelson is an expert in digital sampling and has created more than 10 international best- selling sample products for Big Fish Audio and East/West Communications. Read Less
Instructor
Rachel Alina is a New York-based mixing engineer who has worked in every production situation imaginable, with artists ranging from Stephen Marley and Federico Aubele to Birdie Busch and P!nk. Her mixes utilize both vintage analog equipment and modern digital processing to give records the depth of both worlds. Rachel graduated from Berklee in 2003. She worked for Shelly Yakus, Greg Wells, and Henry Hirsch before becoming a freelance Mixing and Mastering Engineer.
What's Next?
When taken for credit, Advanced Mixing Techniques can be applied towards the completion of these related programs:
Related Certificate Programs
Related Degree Majors
Related Music Career Roles
Employers look for skills learned in this course, when hiring for the following music career roles:
ADR Recordist
Assistant Engineer (Studio)
Dialogue Editor (Film, TV, and Video Games)
Field Recordist
Music Editor
Recording Engineer
Sound Designer (Theater)
Studio Maintenance Engineer
Technology Trainer/Specialist
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.
