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 the course, you will be able to:
- Organize, implement, and execute large multitrack mixes in a DAW mixdown environment
- Execute technically and creatively advanced mixing techniques
- Mix for contemporary streaming formats
- Execute advanced mixing techniques, such as pitch and time corrections
- Produce a professional mix across a number of popular musical genres
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
- Mixer of the Week: Tom Elmhirst
- Foundational Principles of Mixing Review
- Assignment 1: ‘Gold Bricker’
Lesson 2: Equalization
- Historical Perspectives on the Use of EQ in Mixing
- SSL and Neve EQs
- A Few More EQs
- Types of Equalizers
- Equalization Strategies - 10 Approaches to Consider
- Corrective vs. Creative Equalization
- The EQ Mixing Tools
- Mixer of the Week: Tom Lord-Alge
- Assignment 2: Mix ‘I Can’t Have You’ by Austin Armstrong
Lesson 3: Spatial Effects
- Reverb
- Algorithmic vs. Convolution-Based Reverbs
- Inserts vs. Sends and Returns
- Using Delays in Mixing
- ADT Automatic Double Tracking
- Rhythmic Delays
- Delayed Reverb
- Classic Hardware Delays
- Mixer of the Week: Hugh Padgham
- Assignment 3: Reverb and Delay
Lesson 4: Dynamics Processing: Part 1
- Compression and Limiting
- Significant Hardware Compressors
- Optical Compressors
- VCA Compressors
- Four Vari-Mu Compressors
- Gear Demo
- Mixer of the Week: Mark ‘Spike’ Stent
- Assignment 4: Mix Using Balance, EQ, Reverb, Delay, and Dynamics Control
Lesson 5: Dynamics Processing: Part 2
- Loudness, Peak Limiting Controls, Tools, and Functionality
- Limiters
- Peak Limiter Controls
- Using the Ozone 8 Maximizer
- Exercise 5.3: Using Ozone 8
- Noise Gates
- De-essing: Three Approaches
- Multi-Bus, and Parallel Compression Techniques
- Mixer of the Week: Michael Brauer
- 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
- A Timeline for the Development of Pitch-Based Signal Processing
- 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
- Assignment 6: ‘A Rush to the Stars’ Produced by Mateus Tinoco
Lesson 7: Harmonic Processing and Drum Replacement
- Distortion and Saturation
- Decapitator
- Izotope Trash 2
- Analog Tape and Console Emulation
- Tape Machine Emulation Tools
- Analog Console Emulation
- The Steven Slate Virtual Console
- Drum Replacement
- Steven Slate Trigger 2
- Mixer of the Week: Bob Clearmountain
- Assignment 7: ‘Best Friends with Your Ex’ by Salem Davern, Produced by Bendik Moller
Lesson 8: Exciters, Spectral Processing and Transient Shapers, AI, and Automation
- Exciters, Spectral Processing, and Transient Shaping
- 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
- Assignment 8: Mixing ‘Garden of Eatin’’
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: The Izotope Tonal Balance Control
- Low-Frequency Management and Translation
- 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
- Assignment 9: Stem Mixing ‘Boundaries’
Lesson 10: Midrange and High-Frequency Management and Translation and Instrumental Mixing Techniques: Part 1
- Midrange and High-Frequency Management and Translation
- Five Strategies for High-Frequency Management in a Mix
- Instrumental Mixing Techniques: Drum Sounds
- Processing the Kick and Snare
- Mixing Electronic/Programmed Drum Sounds
- Mixing Bass
- Mixer of the Week: Jimmy Douglass
- Mid- and High-Frequency Management and Translation and Instrumental Mixing Techniques
- Assignment 10: ‘Breakdown’ by Merrily Scruggs-James
Lesson 11: Instrumental Mixing Techniques Part 2 and Vocal Mixing Techniques
- Mixing Keyboards: Pianos, Organs, and Synthesizers
- Piano Mixing Techniques
- The Hammond B-3 Organ
- Four Iconic Keyboards: Wurlitzer and Fender Rhodes Electric Pianos, 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
- Assignment 11: ‘Prove Me Wrong’ by Olivia Engler
Lesson 12: Billboard Chart-Related Mix Techniques and Mix Tips, Tricks, and Secrets
- Billboard Hot 100 Chart
- Tips, Tricks, and Secret Techniques
- 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 All Access Pass
- iZotope Music Production Suite
- Recommended: Trigger 2 Platinum
- Recommended: Soundtoys 5 plug-in bundle
Hardware
- Audio interface
- Professional-quality studio monitors (pair), such as Dynaudio's or Focal's, as well as necessary cables
- Professional over-ear studio headphones, such as Sennheiser HD 600, beyerdynamic DT 770 PRO, etc.
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
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 & Instructor
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
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
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.
