12 Weeks
Level 4
3-Credit Tuition
$1,545Non-Credit Tuition
$1,290Mastering is the final, critical, step in the post-production process. Although considered by many to be a somewhat mysterious art, the truth is that audio mastering is a process that relies on a combination of real-world experience and knowledge. Audio Mastering Techniques, authored by two working professionals with a total of 40 years of mastering experience, provides you with a thorough understanding of what is involved in creating a final master recording ready for duplication, replication, or online distribution.
The course begins with a discussion of acoustics, monitoring, and the digital audio "nuts and bolts" particular to the mastering process. You'll learn how to make a proper assessment of what needs to be done to a piece of music to fulfill the artist's vision and expectation, and engage in a step-by-step process of optimization, using equalizers and compressors, to reach that vision.
You'll learn the specific tools used to modify, enhance, and correct the sound of a recording. Topics include applying signal processing to enhance audio material, noise reduction techniques, advanced editing techniques such as album sequencing and manual gain riding, the importance of quality control, and disc/electronic delivery preparation. You'll also delve into other popular techniques in the field of audio mastering, including enhancing the stereo field of a master, and cutting edge filtering and fading techniques.
Throughout the course you'll study examples of effective mastering techniques and engage in step-by-step exercises that allow you to apply these techniques. You'll work with Izotope's RX and Ozone plug-ins, which you will use in conjunction with your DAW.
Audio Mastering Techniques will equip you with a professional-level understanding of the day-to-day mastering process, which will enable you to create a level matched, hi-fidelity, error-free, and duplication-ready master with associated documentation.
By the end of the course, you will be able to:
- Apply appropriate signal processing to enhance audio material
- Use advanced editing, noise reduction, and album sequencing techniques
- Understand quality control and how to ensure the quality of a master
- Implement the red book standard for CD preparation
- Prepare material for electronic delivery formats such as MP3 and AAC
- Provide proper documentation to finalize the mastering job
Berklee Online and iZotope have come together to offer an educational discount on Ozone and RX software. Once you enroll in the course, you will be able to purchase software at the discounted price through the Required Course Materials link on your My Home page. Early enrollment is encouraged to ensure software delivery prior to the start of the course. Read Less
Syllabus
Lesson 1: Monitoring
- Monitor Types and Architectures
- Headphones vs. Speakers
- Monitoring Levels and Calibration
- The Ears and Perceived vs. Actual Loudness
- Room Treatment and Speaker Placement
- Using Acoustic Measurement Tools
- Assignment 1: Improving Your Monitoring Environment
Lesson 2: Digital Audio, Metering, and Volume
- Digital Audio Review
- Sample Rates and Bit Depth
- Metering: Spectrum, Peak, RMS, and Correlation Meters
- Normalization and Loudness Perception
- Peak Limiters and Over-Level Indicators
- Assignment 2: Encoding Audio Digitally
Lesson 3: Monitoring Functions, A/B Listening, and the Processing Chain
- Clocking, Jitter, and D/A Converters
- Monitor DAC Setups and Console Monitoring
- A/B and A/B/C Comparative Listening Techniques
- Mid/Side Processing
- Typical Mastering Signal and Processing Chains
- Assignment 3: Processing Order
Lesson 4: Equalization, Part 1
- Corrective vs. Creative EQ
- EQ Types: Shelving, Peaking, and Filters
- Linear-Phase and Minimum-Phase EQ
- Finding and Adjusting Undesirable Frequencies
- Assignment 4: EQ
Lesson 5: Equalization, Part 2
- Mid/Side EQ and Stereo Width Control
- Creative Use of EQ and Frequency Feathering
- Elliptical and Baxandall EQ
- The Mastering Mindset: Making EQ Decisions
- Assignment 5: EQ
Lesson 6: Dynamics Processing, Part 1
- Understanding Dynamic Range
- Compressor Controls: Threshold, Ratio, Attack and Release
- Peak vs. RMS Detection
- Compression Artifacts and Make-Up Gain
- Order of Processing in the Mastering Chain
- Assignment 6: Choosing a Dynamic Range
Lesson 7: Dynamics Processing, Part 2
- The Loudness War and Overcompression
- Multi-band and Parallel Compression
- Sidechain Compression Techniques
- Analog vs. Digital Limiters
- When and Where to Apply Limiting
- Assignment 7: Dynamics Processing
Lesson 8: Removal of Noise and Artifacts
- Common Noise Sources in Mastering
- Expanders, Filters, and De-Noise Techniques
- Removing Impulsive Noise and Transients
- Spot De-Essing and Low-Frequency Reduction
- DC Offsets and Headroom
- Assignment 8: Noise Reduction
Lesson 9: Understanding Loudness and Mastering Goals
- The History of Loudness in Music Production
- LUFS Standards and Metering for Streaming
- Loudness Normalization Across Different Delivery Platforms
- Setting Goals for Consistent Levels in Mastering
- Assignment 9: Master for Consistent Loudness in the Pop Genre
Lesson 10: Final Editing, Dither, and Sample Rate Conversion
- Head and Tail Editing, Crossfades, and Gain Riding
- Bit Depth Reduction and Dither Types
- Sample Rate Conversion and Quality Considerations
- Managing Distortion and Truncation Artifacts
- Assignment 10: Fades
Lesson 11: Audio Release, Delivery Formats, and Quality Control
- Release and Distribution Formats (CD, Vinyl, Streaming)
- Metadata, ID3 Tags, and Disc Description Protocol (DDP)
- Quality Control: Null-Testing and Final Checks
- Lossy vs. Lossless Encoding Techniques
- Assignment 11: DDP Creation and Vinyl Sides
Lesson 12: Finalizing the Mastering Job
- Final Project Preparation and Delivery
- Labeling and Documentation Best Practices
- Archiving and Backup Strategies for Mastering Sessions
- Assignment 12: Submit Your Final Project
Requirements
Prerequisites and Course-Specific Requirements
Prerequisite Courses, Knowledge, and/or Skills
Completion of Critical Listening 1, or equivalent knowledge and experience is required. You should have a good understanding of the principles of digital audio, and be comfortable using a digital audio workstation (DAW). Some experience with using compressors and equalizers is strongly recommended. To meet the DAW proficiency requirements, you may benefit from taking any of the following courses: Pro Tools 101, Pro Tools 110, Producing Music with Logic, Producing Music with Reason, Producing Music with Cubase, Ableton Live Fundamentals.
Textbook(s)
- Audio Mastering: Essential Practices by Jonathan Wyner (Berklee Press, 2013)
- Recommended: Mastering Audio: The Art and the Science by Bob Katz (Focal Press, 2013)
Software
- Full-featured Digital Audio Workstation (DAW), such as Pro Tools (Studio or Ultimate), Logic Pro, Cubase Pro, Ableton Live (Suite or Standard), Reaper, Reason, or FL Studio (Producer or Signature). Note that GarageBand is not acceptable.
- iZotope Ozone 8 or higher (Elements edition not sufficient)
- iZotope RX 7 or higher (Elements edition not sufficient)
Hardware
- Audio interface
- Studio monitors (pair), such as JBL 305Ps or better, as well as necessary cables
- Professional over-ear studio headphones, such as Sennheiser HD 600, beyerdynamic DT 770 PRO, etc.
- Recommended: SPL meter
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
Marc-Dieter Einstmann is the chief mastering engineer at Einstmann Mastering Studios, based in Hamburg and New York. Since 1987 he has worked for artists and producers, such as Dave Stewart, Annie Lennox, Chrissie Hynde, Mick Jagger, Mary J. Blige, David Lee Roth, Notorious B.I.G., Dru Hill, Doug E. Fresh, D’Angelo, Tricky, Depeche Mode, KD Lang, Yo-Yo Ma, Elvis Costello, The Neptunes, Frankie Knuckles, Flood (U2), David Kahne (Paul McCartney), Rodney Jerkins (Michael Jackson), Alan Moulder (Nine Inch Nails), Imogen Heap and Cindy Lauper, among others.
Einstmann’s mastering career began in 1997 in Boston, where he founded Sonic Silver Mastering, working on releases by local and international award-winning artists in New England. During this time, he also served as an assistant professor in the Music Production and Engineering department at Berklee College of Music, before relocating himself and Sonic Silver to New York City. From 2002-2005 he was a mastering engineer at Sterling Sound, a large mastering facility in New York City. In addition to mastering, he has worked as a freelance recording and mix engineer, as well as taught at the Institute of Audio Research and SAE. He has been involved in audio post-production, location recording, and live broadcast, in addition to live sound and studio installations. Playing trumpet, drums and percussion, he holds bachelor’s honours degrees in classical music from Keele University in England and in music production and engineering from Berklee College of Music. Read Less
Author & Instructor
Jonathan Wyner is an associate professor in the Music Production and Engineering department at Berklee College of Music and owner of M Works Mastering Studios in Cambridge, Massachusetts. Throughout his career, he has worked with artists both well-known and more esoteric, including James Taylor, David Bowie, Aerosmith, Kiri Te Kanawa, Pink Floyd, Cream, Richard Stoltzman, Miles Davis, Nirvana, Aimee Mann, Juliana Hatfield, Tiny Tim, Snakefinger, John Cage, and Rahsaan Roland Kirk. Wyner mastered the first interactive CD game ("Play It by Ear"), the first recorded opera ("Madame Butterfly," recorded in 1912 by the BBC), and what's believed to be the longest CD (80:32 for Razormaid Records). He holds a bachelor's degree in French horn and composition from Vassar College.
What's Next?
When taken for credit, Audio Mastering 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:
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.
