12 Weeks
Level 3
3-Credit Tuition
$1,545Non-Credit Tuition
$1,290Gain a greater understanding of two key elements of production by learning the Berklee approach to mixing and mastering using Pro Tools. Essential knowledge for engineers, producers, or hobbyists who have their own home studio up and running, this course presents concepts that go beyond basic EQ and panning. Students will be exposed to more advanced mixing and mastering techniques including parallel compression, understanding reverb parameters as well as discussing compression techniques in mastering. You'll view demonstrations of engineers engaged in the processes, and by mixing and mastering Pro Tools sessions that are provided in the course, you will be able to hear, compare, and discuss the different mixes of your classmates.
By the end of this course you will have acquired a thorough understanding of the entire mixing and mastering process, information that you can apply to any mixing and mastering situation.
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 and know the process of mixing in Pro Tools
- Use EQ and Dynamics in a Pro Tools session
- Use Reverb and Acoustic Space in a Pro Tools session
- Use delay, chorus and flanging in a Pro Tools session
- Understand and know the process of automation and dynamic mixing with Pro Tools
- Understand and know the process of mastering with Pro Tools
- Use the iZotope's Ozone plug-in to master stereo mixes with Pro Tools
Syllabus
Lesson 1: Introduction to Mixing in Pro Tools
- Mixing, Workspace Ergonomics, and You
- Monitor Placement
- The Mix Position
- Controlling First Reflections
- Tweaking Your Setup
- Compiling a Sonic Reference Library
- Working with a Pro Tools Mix Session
- Pro Tools Workflow Settings
- Pro Tools Metering Preferences
- Pre- and Post-Fader Metering
- Zooming In/Out and Zoom Presets
- Track Heights
- Setting Basic Levels and Panning
- Headroom and the Mix Bus
- Levels and Panning: The Foundation of a Mix
- The Dynamic Mix
- Adding Automation Offline
- Recording Automation in Real Time
- Editing Automation
- Assignment 1: Levels and Panning Mix
Lesson 2: Mixing Efficiently in Pro Tools
- Starting a New Mix Project
- Panning Strategies
- Tracks Show and Hide
- Track Groups
- Activating/Deactivating Groups
- Strategies with Groups
- Working with Memory Locations
- Memory Location Parameters
- Pre- and Post-Roll
- Intro to EQ
- Parametric EQ
- Shelving EQ
- Filters
- The Pro Tools EQ Plug-ins
- Shaping Sounds with EQ
- Assignment 2: Practice Mix and Post
Lesson 3: Shaping the Sounds: EQ and Dynamics
- What Makes a 'Good' Mix Good?
- Ideas of a Well-Balanced Mix
- Overall Approach in a Mix
- EQ Revisited
- Shaping Sounds with EQ
- The Kick Drum
- The Snare and the Overheads
- The Bass and the Rest of the Band
- Understanding EQ
- Intro to Dynamics Processors: Gates and Expanders
- Compressors and Limiters
- Limiters
- The Bomb Factory BF76
- EQ or Compression: Which One First?
- Assignment 3: Slip and Fall
Lesson 4: More with EQ and Dynamics
- Cool Techniques with EQ and Dynamics
- Creating and Using Subgroups in a Mix
- Externally Keying Dynamics Processors
- Managing Time—Plug-In Latency
- Assignment 4: More 'Slip and Fall'
Lesson 5: More with Dynamics Processors
- Parallel Compression
- Ducking
- Listening
- Bouncing Tracks
- File-Based Processing Using AudioSuite
- 2-Mix Compression and EQ: The Master Fader Track
- Assignment 5: Mix Task
Lesson 6: Reverb and Acoustic Space
- Creating Acoustic Space in a Mix
- Setting Up a Send Return Loop in Pro Tools
- Understanding Reverb Parameters
- Strategies for Using Reverb in a Mix
- Processing Reverb Sends and Creating Multiple Reverb Sends
- The AIR Reverb Plug-Ins
- Sending Tracks to an External Hardware Reverb
- Assignment 6: Applying Reverb to 'Slip and Fall'
Lesson 7: Delay, Chorus, and Flanging
- Introduction to Delays and Delay Parameters
- Short Delays: Timbre Effects and Flanging
- Doubling and Chorusing
- Longer Delays: Slapback and Tempo Delays
- More Delay Techniques
- The AIR Delay Plug-Ins
- Assignment 7: Applying Delay to 'Slip and Fall'
Lesson 8: Automation and Dynamic Mixing, Part 1
- Pro Tools Realtime Automation Modes
- Managing Mix Automation
- How and When to Add Automation Data to a Track
- Automation and Groups
- Applying Automation: Transitions
Lesson 9: Automation, Part 2: Final Delivery of a Mix
- Automating Panning and Drawing Automation with Shapes
- Sends Automation
- Plug-In Automation
- Creative Uses and Strategies for Mix Automation
- Make My Mix Loud!
- Bouncing Your Mix to Disk
- Assignment 9: 'Slip and Fall'
Lesson 10: Introduction to Mastering: EQ and Limiting in Mastering
- What Is Mastering?
- Mastering a Single Mix
- The Creative Side of Mastering
- Mastering Engineers
- Mastering in the Project Studio
- Professional Mastering Studios
- Tweaking Your Studio Space
- Mastering with Pro Tools and Ozone: An Overview
- Digital EQ's Surgical Mode
- Some Tips on EQ and Mastering
- Intro to Limiting in Mastering
- Assignment 10: 'Last Mistake' Mastering
Lesson 11: Mastering, Part 2: Compression and Limiting in Mastering
- The Mastering Process
- Compression in Mastering
- Using the Dynamics Module
- Multiband Compression with Ozone
- The Dynamic EQ
- Mastering and Loudness
- The Ozone Maximizer, Revisited
- Loudness Today
- Mastering, Loudness, and LUFS
- Assignment 11: Mastering 'Not That Easy'
Lesson 12: The Final Touches
- Stereo Image Manipulation and M/S Processing
- The Ozone Imager Module
- Multiband Image Adjustment
- M/S Processing with the Equalizer
- The Exciter
- Mastering Workflow
- Making a Mastering Chain
- Workflow Tips
- Bouncing Your Mastered Audio
- Mastering for Digital Delivery
- Mastering for Audio CDs
- Dither and Ozone
- Creating a CD Master
- Delivery Formats Summarized
- QC = Quality Control!
Requirements
Prerequisites and Course-Specific Requirements
Prerequisite Courses, Knowledge, and/or Skills
Completion of Pro Tools 110, or equivalent knowledge and/or experience.
Textbook(s)
- No textbooks required
Software
- Pro Tools 11 or higher (Intro or Artist editions not sufficient)
- iZotope Ozone 9 or higher (Elements edition not sufficient)
Hardware
- 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.
- iLok USB required to use Pro Tools offline. iLok Cloud (free) may be used instead, but requires a continuous internet connection while using Pro Tools.
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 Chats. 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
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.
Instructor
David Lefkowitz has been teaching in higher education since 2000. He has taught courses such as physics, acoustics, electronics, sound design for visual media, music theory, audio technology, digital audio, advanced recording, and advanced mixing. David served as the assistant department chair for the Audio Production department at the New England Institute of Art. He also moderated/coordinated for the Boston area Pro Tools User Group (PTUG) and has presented at the Parson’s Expo and at other events. He is a Pro Tools certified expert instructor.
Under his independent business name, Lefko Productions, David worked on records with international and regional artists including Johnny A, Stuart Kimball, the Beloved Few, Entrain, Kol B’Seder, Dany Silva, Bana, and the Mendes Brothers. Bana and the Mendes Brothers were featured in the Putumayo World Disk Series. Dave was a principal business partner of Renaissance Recording Company, a commercial recording facility in Boston’s Back Bay where he worked as the chief recording engineer.
David's passions are composition and songwriting and he is currently producing his fifth full-length album. David is additionally skilled as a playwright, a show producer, a show director, and as a musical artist. Unyfi, David's audience-centered comical rock arts show featured his compositions. Unyfi performed at the Regent Theatre and at A.R.T. Oberon in 2015. Recently, David has been venturing into sound design and so far has worked on various films including Archie's Betty, Celling Your Soul, and Whaling City. David also produced and directed a film dedicated to the legendary Boston rock club "The Rat," featuring a variety of Boston rock artists including the Dropkick Murphys. He is a member of the Audio Engineering Society (AES) and Broadcast Music Inc. Read Less
What's Next?
When taken for credit, Mixing and Mastering with Pro Tools can be applied towards the completion of these related programs:
Related Certificate Programs
Related Degree Majors
Related Music Career Role
Employers look for skills learned in this course, when hiring for the following music career role:
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.
