Find your voice as a producer through utilization of Berklees time-tested techniques using

cutting edge production software. The following lesson material is taken from Berklee Onlines
Bachelor of Professional Studies degree program in Music Production. Want to learn more
about earning a degree online? Contact us at 1-866-BERKLEE (USA) / +1-617-747-2146 (INTL)
or advisors@online.berklee.edu.

3.

Music Production:
An Introduction

4.

Listening Like a Producer

7.

Tools of the Trade:

Microphones for Vocal Production

9.

Tools of the Trade:

Mixing & Mastering with Pro Tools

12.

Meet Instructor Jeff Baust

13.

How Berklee Online Works

14.

Get in Touch

2.

Music Production: An Introduction

From Music Production Analysis by Stephen Webber

Being a recording artist or record

producer is in many ways a strange
job. What a producer creates cant
be seen. What a producer creates
is not even an object. If you zoom
all the way out, what a producer
does for a living is this: Vibrate air
molecules in such a way that when
the air molecules bump up against a
human life form, that life form feels
something.
That last part, the part about feeling
somethingthats the key. Vibrating
air molecules is the easy part,

Fraser T. Smith, Grammy award winning producer for Adele

and Sam Smith, and Berklee Online student

especially with all the gear record producers now have at their disposal. With a modest investment in
technology, you can be the master of frequency, volume, and timbre. But what determines whether or
not vibrating air molecules are worth anything is what happens neurologically to the organism whose
epidermis, eardrum, and cochlea receive those air molecules.

Make Your Mark: Careers in Music Production

Recording Engineer

Sound Technician

Mix Engineer

Production Assistant

Mastering Engineer

Acoustic Consultant

Live Sound Engineer

Studio Manager / Owner

3.

Digital Remaster
Engineer

Multimedia Developer
Studio Designer

Listening Like a Producer

From Music Production Analysis by Stephen Webber

Music, Prejudice, and the Brain

There is data that suggests that
musicians experience music
differently than non-musicians.
One brain imaging study showed
that when professional classical
musicians listened to music, the
left hemisphere of the brain (the
analytical hemisphere) was more
stimulated, while the brains of nonmusicians listening to the same music
were more stimulated in the right
hemisphere (the hemisphere involved
with creativity).
Often, musicians listen to music for reasons other than stimulating their emotions. They may want to learn
something, glean new ideas, broaden their horizons, check out the competition, or see how they stack
up against other players or singers. Sometimes they subconsciously harmonically analyze what they are
hearing out of habit.
Regardless of whether or not one is a musician, any person who listens to music has musical prejudices.
Fortunately, there are ways to transcend those prejudices. These skills are not easy to cultivate, but they
will make an enormous impact on how effective one is at making a record that conveys the intended
response.
Specific listening skills that benefit record producers include:

Responding to a records emotional content

Listening on many levels at once

without unwanted prejudice

Making note of possible problems without

Reacting to a record as though it is the first time

letting this pull you out of the emotion of the

you are hearing it, even on the hundredth listen

record

4.

Listening Like a Producer

How To Develop Your Listening Skills

Put yourself in a good listening environment free from distractions. This can be your listening room or studio, or
somewhere comfortable and private with a good pair of headphones. Turn off your phone, and let the people
around you know that you will need to focus for the next several minutes and shouldnt be disturbed.
Attempt to let go of as many of your musical prejudices as possible, and become an empty vessel. Allow yourself
be a good audience. If the record you are about to experience is capable of conveying emotion, resolve to
stay open to receiving this slice of human experience. At the same time, if you are distracted or confused by
something in the record, make note of this as well.
Have in front of you a blank sheet to write on, or, if you are more comfortable typing your notes, create a blank
word processing document on your computer. You will be making short, quick notes while listening, reporting
what you feel, and then returning to a relaxed state of listening.
Immediately after the record ends, expand on your abbreviated notes while your emotional response is still fresh.
Lets take a few moments to consider some of the emotions and sensory responses one may experience when
listening to a record.

Examples of Possible Emotions Being Conveyed:

agitation

depression

gloom

longing

fervor

anger

desire

gratefulness

love

remorse

anticipation

disgust

grief

lust

repentance

anxiety

ecstasy

guilt

melancholy

righteousness

arousal

elation

happiness

nostalgia

indignation

awe

emptiness

hate

passion

sadness

boredom

energy

homesickness

peacefulness

scorn

calmness

envy

hope

pleasure

sensuousity

confidence

exasperation

humility

rage

sexiness

confusion

excitement

infatuation

rapture

shock

contentment

exhilaration

joy

rebelliousness

sorrow

defiance

ferocity

jubilation

relief

sympathy

delight

fury

loneliness

religiosity

torment

5.

Listening Like a Producer

Examples of Organic, Kinesthetic, or Sensory Responses:

chills

hand touching face

raised eyebrow(s)

clapping

head bobbing

relief

clicking fingers

headache

exhalation

clicking tongue

holding of breath

rubbing fingers together

concerned expression

increase or decrease in
breathing rate

rubbing hands together

eyes closing

shallow or deep breathing

eyes widening

increase or decrease in heart

rate

singing along

feeling of exhilaration

knot in stomach

sleepiness

foot tapping

laughter

smiling

frowning

mouthing the words

squinting and tilting

head to one side

furrowed brow

nausea

goosebumps

noticeable increase or
decrease in heart rate

tear(s)

playing air guitar or air drums

tingling

surprised expression

hair standing up on the back

of neck or arms
hand covering mouth

protruding lower lip

pursing lips

6.

Tools of the Trade: Microphones for Vocal Production

From Vocal Production by Prince Charles Alexander and Mitch Benoff

Transduction is a process that converts energy. Microphones are transducers that convert acoustical energy into
electrical energy. Although there are different types of microphones available for commercial use, two have
emerged as workhorses in recording environments: the condenser microphone and the dynamic microphone.
Dynamic Microphones
Dynamic microphones operate by attaching a

Magnet

thin diaphragm to a wired coil that is suspended

around a magnetic field produced by a permanent

Diaphragm

magnet. When a vocalist sings into the diaphragm,

the vibrations cause interruptions in the magnetic

Sound Waves

Coil

field that cause the generation of a minute electrical

Cone

current. The electrical output of this mini electrical

Signal
Out

generator is not powerful enough to be useful at this

point, so it needs to be amplified using a microphone
pre-amp.
Dynamic microphones are sturdy, but have a low
sensitivity. Sensitivity is usually given in terms of a
reference dB SPL (Sound Pressure Level, i.e., 94 dB
SPL = 1 pascal). Microphones simply convert the
sound pressure variations Pa (pascals) to audio

Dynamic Microphone

voltage V (volts). Dynamic microphones have an

output in the neighborhood of 1.53 mV/Pa, which is
less sensitive than condenser microphones.
Dynamic microphones dont reproduce high frequency
detail as well as condenser mics. They are most

effective when working with sound sources where a lot of high frequency detail is not necessary.
Although dynamic mics are preferable in live situations because they are rugged, there are some dynamic
microphones that are very common in recording studios. The Shure SM57 is known to be a great snare-drum
mic, for live situations and in the recording studio.

7.

Vocal Production

Microphones

Ribbon Transducer
Another type of dynamic microphone is the
ribbon microphone. Ribbon microphones

Transformer

replace the moving coil with a thin sheet of

aluminum placed between the poles of a
magnet. Once again, the vibrations of the

Ribbon

singers voice on the diaphragm moves the

aluminum ribbon, which then causes small

Magnet

interruptions in the magnetic field and,

thus, the generation of a minute electrical
current.

Ribbon Microphone
In the past, ribbon microphones were
typically not sturdy, but technological advances have given producers a generation of ribbon microphones that
are almost as durable as their coil counterparts. Ribbon microphones have an output of about 12 mV/Pa.
Ribbon microphones are good for high-frequency detail, thus making them competitive for vocal performances
with the fine detail of condenser mics.

Condenser Microphone

Output
Audio Signal

Condenser microphones use a different method of

transduction for the conversion of a singing voice
into electrical energy. The diaphragm of this type
Sound
Waves

of microphone is one side of a two-sided capacitor.

The changes in air pressure from a vocalist singing
into the diaphragm change the distance between

Front Plate
(Diaphragm)

the diaphragm and the back plate. The back plate is

charged with a direct current from an external power
supply.

Back

Magnet

Condensor Microphone

Condenser mics are more fragile than their dynamic-coil counterparts and rely on external power, either via
inputs on mic preamps as phantom power, or from a small battery. Condenser microphones have an output
between 515 mV/Pa.
Because condenser mics reproduce audio with a very high fidelity and great detail, most often they are the
microphone of choice for recording vocalists in recording studios.

8.

Tools of the Trade: Microphones for Vocal Production

From Vocal Production by Prince Charles Alexander and Mitch Benoff

Pro Tools is as ubiquitous today as a tape recorder

things one by one. When you go to mix, draw upon

was 25 years ago. Vast multitrack recording

everything in your toolbox as you need it, relying

capability, non-destructive editing, MIDI sequence

on your technical knowledge as well as your musical

playback, automated mixing, signal processing,

intuition and creative instincts.

integrated software, synthesizers and samplers, full

video support, and numerous other capabilities
make it possible to use Pro Tools for anything that
involves audio recording.
Starting a Mix
Imagine that youve been given a project to mix. The

Overall Approach in a Mix

big question is, Where do I start? The answer, of

Lets think about the overall approach you might

course, is that all mix engineers have their own way

employ in a mix. Imagine a typical pop music track

of approaching a mix, and they arent all going to

with lead vocals, two guitars, bass, drums, and keys.

do it the same way. There are many approaches to

One of the most common ways engineers approach

mixing, none of which is the perfect or proper

this kind of mix is to solo the kick drum, and EQ

way.

and compress it. Next, solo the snare, and add EQ

and compression to that. Soloing and tweaking the

Mixing is a creative actan intuitive process where

hi-hat comes next, then the drum overhead mics.

you will be required to draw upon and utilize all of

Once the drums are set, solo the bass and tweak

your learned skills at once. Its like playing a jazz

that up. Next, EQ the guitars, soloed and tweaked

solo on a saxophone: a musician spends time in a

one at a time, followed by the keys. Once the

practice room learning scales and modes, playing

backing tracks have been tweaked up, mostly while

Charlie Parker transcriptions, and practicing ideas

soloed, the engineer adds the lead vocals...last!

over a variety of changes. In an actual performance,

There is nothing wrong with this approach, and it

however, the musician deploys everything she has

works great for legions of engineers the world over.

learned in a synthesized and intuitive way that

defines who she is as a player.

However, its not the only way to mix. In the

above description, each track is tweaked (EQd,

When youre learning how to mix, break the

compressed, etc. while soloedthat is, in isolation.

process down into its components, such as mix

For many inexperienced engineers, this approach

organization, working with EQ, using time domain

often leads to hours and hours spent making each

effects, and so forth, and focus on learning those

individual track sound great, but when the tracks

9.

Tools of the Trade

Mixing & Mastering with Pro Tools

are all combined, the overall mix sounds terrible.

Layered Approach to Mixing

The problem is that working in solo mode helps

In this approach, you will work from the outer

you focus on an individual sound, but takes away

parts of the mix, in towards the inner parts of the

your ability to hear how the sound will relate to the

mix. Tools such as groups and memory locations

rest of the production. This is where inexperienced

help facilitate this process.

engineers stumble when they mix. These engineers

forget that a mix is essentially a sonic jigsaw puzzle,

1. Start by putting up the lead vocals, the drums

where all of the pieces of the mix fit together in an

(and/or loops), and the bass. It is important to

intricate way.

think about the most important elements in the

song: the lead vocals, and the foundation of the

In a pop song, the most important element isnt

rhythm section.

the kick drum, or the rhythm guitar track; its the

2. After those sounds and balances are underway,

vocal. Everything about the mix and the production

add the rest of the production: guitars, synths,

should support that. But if you mix by starting with

and so forth, perhaps with the backing vocals.

the kick, then the snare, etc., and add the vocals
last, you set yourself up for a situation where, by

3. Put up the pads and strings last, once the more

the time you add the most important element into

important elements are in place.

the mix, theres no more room for it. The mix has
slamming drums, and clean, crisp backing tracks,

Layered Approach to Mixing

and yet, the lead vocals are buried and must

compete for their own frequency and amplitude

Pads

space with myriad other sounds. This might cause

Strings

you to go back and redo substantial amounts of

EQing and tweaking the other sounds, meaning

Guitars

that the hours and hours you spent getting the

drums just right were, at least in part, wasted.

Keys
Backing Vocals

There are other ways to approach a pop song. For

example, think of this kind of production as having

Vocals

layers of sonic elements:

Drums

lead vocals

Bass

backing vocals
ear candy (strings, pads, sound effects)
supporting chordal and textural elements
1:30

(guitars, keys, etc.)

rhythm foundation (bass, kit, loops)

10.

-2:04

Tools of the Trade

Mixing & Mastering with Pro Tools

Focus Approach to Mixing

In this approach, simply set the faders for a rough mix,
sit back, and listen critically. When something doesnt
sound right, adjust it, and then listen some more. When
you identify the next sound that isnt quite right, adjust
that sound and continue the process. This approach can
be compared to a videographer slowly bringing an entire
sonic picture into focus on a camera. When everything
feels like its in focus, the mix is done! In working this way,
dont think about any sound elements in isolation; instead
hear and adjust every sound in context. React to the
overall blend of all of the tracks, and how it enhances or
distracts from the impact of the music.
The point is to think consciously about how you approach a mix, and then evaluate your results. The next
time you mix, force yourself to try a different approach, and then evaluate your success. This way, you will refine
your mixing skills by developing your own best approach to mixing. And of course, youll probably find that
different mixing situations will call for a different approach, and youll be adept at any of them.

11.

Jeff Baust
Associate Professor, Electronic Production and
Design

Online Course Author and Instructor: Mixing and

Mastering with Pro Tools, Advanced Mixing and
Mastering with Pro Tools, and Producing Music
with Logic

A composer, audio engineer, educator and multiinstrumentalist, Jeff Baust has created scores for 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 concentration was electronic and electroacoustic composition. He has been published in Berklee
Today and Electronic Musician magazine.

Berklee students go on to do everything from composing

and producing cutting-edge music to scoring and sound
design for video games, television, film, and the web,
to working as DJs and remixers, to being music artists
in and of themselves. Some become producers and
programmers for other artists as well as producing their
own music.

12.

How Berklee Online Works

Renowned Faculty
Berklee Online instructors have managed, produced, and engineered hundreds of artists
and records and have received numerous industry awards and accolades. Each week youll
have the opportunity to participate in a live chat with your instructor and receive one-onone instruction and feedback on assignments.

Award-Winning Courses
Instantly access assignments, connect with your instructor, or reach out to your classmates
in our award-winning online classroom. Study from anywhere in the world at a time that fits
into your schedule.

Specialized Degree Program

No other accredited institution offers the acclaimed degree curriculum provided by Berklee
Online. Earn your degree at a cost thats 60% less than campus tuition and graduate with a
professional portfolio that will prepare you for a career in the music industry.

Like-Minded Classmates
Offering courses for beginners and accomplished musicians alike, our student body comes
from over 140 countries and includes high school students getting a jump-start on college,
working professionals, executives at industry-leading technology and business firms, and
members of internationally known acts like Nine Inch Nails and the Dave Matthews Band.

Experienced Support
Every online student is assigned a Berklee-trained Academic Advisor. Each Advisor is
passionate and knowledgeable about music and here to support you throughout your
online learning experience.

Try a sample lesson for free:

online.berklee.edu/sample-a-course
13.

Questions about
Earning Your Degree Online?
Contact Us.

1-866-BERKLEE (USA) | +1-617-747-2146 (INTL)

advisors@online.berklee.edu

14.