Mixing and Mastering for the Electronic Musician


Authored by Jeff Baust


Course Code: OMPRD-382

Next semester starts September 23

12 Weeks

Level 3

Level 3

3-Credit Tuition


Non-Credit Tuition


Gain a greater understanding of the tools and techniques involved in mixing and mastering for electronic productions of all kinds. Essential knowledge for electronic music producers, self-producing artists, composers for visuals, songwriters, engineers, producers, and hobbyists, this course will teach you how to go beyond using plug-in presets. You will learn how to effectively use tools such as EQ, dynamics processing, reverb, delays, and more.

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Further topics explore advanced techniques using multiband compression, external keying (“Sidechaining”), parallel compression, and pitch processing techniques. You will work with iZotope’s Ozone to learn about EQ, compression, image adjustment, and limiting in mastering projects.

Using Apple’s Logic Pro X as the DAW platform, you will get hands-on experience working on mixing and mastering projects provided in this course. You will learn via tutorial videos, demonstration sessions, and more. You will also have the opportunity to share your work with your classmates, allowing you to receive feedback and open up opportunities for collaboration.

Berklee Online and iZotope have come together to offer an educational discount on the required software for the course, Ozone. Once you enroll in the course, you will be able to purchase this required software 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.

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

  • Understand the process of mixing in Logic Pro X
  • Use EQ and Dynamics processing in electronic mixing projects
  • Use Reverb and Acoustic Space in a mix
  • Use delay, chorus, and flanging in a mix
  • Apply advanced mixing techniques such as sidechaining, multiband compression, and pitch manipulation
  • Understand the process of automation and dynamic mixing with Logic Pro X
  • Use iZotope's Ozone plug-in to master stereo mixes with Logic Pro X
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Lesson 1: Course Introduction 

  • The Tools
  • Mixing and the Electronic Musician
  • Critical Listening and Mix Analysis
  • Mixing Workspace and Ergonomics
  • Logic Pro X Skills
  • Getting Ready to Mix
  • Working With Automation

Lesson 2: Mix Fundamentals: EQ and Compression

  • Introduction to EQ
  • EQ and Sound Design
  • EQ in Mixing
  • Introduction to Dynamics Processors
  • Working with Compressors

Lesson 3: Doing More with Dynamics Processors

  • Introduction to Noise Gates
  • Introduction to De-essers
  • External Keying and “Sidechaining”
  • Developing Relationships in a Mix

Lesson 4: Reverb in Mixing

  • Reverberation
  • Algorithmic Reverbs
  • Convolution Reverbs
  • Setting up Reverbs in a Mix
  • Reverbs in Mixing
  • Reverb Processing Techniques

Lesson 5: More with Dynamics and Mixing

  • Working with Large-Scale Mix Projects
  • Working with Subgroups and Track Groups
  • Parallel Compression Techniques
  • Reshaping Transients
  • Multiband Compression Techniques

Lesson 6: Adding Character to the Mix

  • Adding Color and Character to the Mix
  • Enhancing the Low End
  • Vocal Tuning
  • Pitch Effects in Mixing

Lesson 7: Working with Delays

  • Introduction to Delays
  • Long Delay Effects
  • Modulation Delay Effects
  • Stereo Image Effects
  • Doing More with Reverbs and Delays

Lesson 8: More Mix Techniques, Automation 1

  • Mix Compression
  • Splitting Tracks
  • SFX, Ear Candy and Transitions
  • Sends and Plugin Automation

Lesson 9: Shaping the Mix, Automation 2

  • VCA Mixing in Logic Pro
  • More with Mix Automation
  • Final Touches: Mix Limiters
  • Bouncing the Final Mix

Lesson 10: Mastering 1

  • What is Mastering?
  • Mastering in the Project Studio
  • Delivery to Your Audience
  • Intro to Ozone 6
  • EQ in Mastering
  • Limiting in Mastering

Lesson 11: Mastering 2

  • Dynamics in Mastering
  • Limiting and Loudness in Mastering
  • Adding Color and Character in Mastering

Lesson 12: Mastering 3

  • Image Adjustment
  • Loudness, Audio CDs, and Streaming Audio
  • Delivery
  • Mastering for iTunes


Prerequisites and Course-Specific Requirements 

Prerequisite Courses, Knowledge, and/or Skills
Completion of Producing Music with Logic or equivalent knowledge and experience is required.


  • No textbooks required


  • Logic Pro 10.0 or higher
  • 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.
  • Recommended: MIDI keyboard controller

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


Jeff Baust

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.

Jason Petrin



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.

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