Courses

This course is an accelerated version of MTEC-111 Introduction to Music Technology. The course covers music technology geared to the needs of today's professional musicians and music producers. One of the most significant challenges facing musicians today is mastering the skills required to continually adapt to a changing technology base. Musicians must understand and be prepared for the fact that this technology base is moving more rapidly than it can be assimilated. Course topics in music production using Logic Pro will focus on aspects of current technology to enable students to make intelligent decisions when creating music productions. 

Students who have been producing music previous to Berklee, who test between 65 and 80 points on the MTEC-111 test out exam, will be required to take this course. 

Building upon basic concepts and skills learned in MTEC-111, Introduction to Music Technology, this course will give students an opportunity to further develop their music production skills using Apple’s Logic Pro X DAW software. By completing a number of hands-on assignments and projects, students will advance their knowledge of MIDI sequencing using software instruments, music synthesis, samplers, drum programming, and mixing using common types of effects processing. The course also provides an introduction to writing music for visual media. Emphasis will be placed on developing strategies to effectively produce any style of music. Logic is a powerful tool for music creation, and students are encouraged to develop their original musical ideas in this class.

This course focuses on developing core sound-synthesis skills that can be applied to various types of synthesizers used in modern music production. Students will start exploring synthesis using the modular systems in electronic production and design lab B51, and apply those skills to commonly used software instruments. A variety of synthesis techniques will be covered, including subtractive, FM, and sampling. Students will be able to create and modify sounds they can use in their own productions. 

Students in this course will develop techniques for effectively using sampled material in their productions and performance practice. They will explore the technical skills and aesthetic considerations needed to use and produce sample packs of original and preexisting source material while examining the cultural context that gave rise to these techniques and methods of working. 

This course provides students with the basic conceptual and practical skills needed to design and produce sound for film, animation and video games. Students will gain an understanding of the types of sound used in these productions and their role in storytelling. Resources used in the class will include synthesized and sampled sounds, commercial sound effect libraries, and original field recordings. Common editing and effect processing techniques will be used to adapt these sources to the specific needs of a project, as well as to create new and original sounds and effects. Projects will include video clips, animation, animated logos, and video game play.

This course is a hybrid theory and practice workshop in critical game design. Students will play, analyze, research, and design games through the lens of the current socio-political environment. Video games will be the primary focus, but board games, card games, and even playground games will be studied as well. The course will take students through the fundamental “grammar” of game design (rules, actions, and interactions) all the way through advanced topics including narrative elements, systems design, ethnography, and games for change (games based on real-world issues like climate changes, racism, and mass incarceration). Students will also walk away with analysis skills and strategies for creating a game design document. While the primary mode of learning will be through “play” and class discussion, students will also be reading and discussing current literature in the field of critical game design, presenting original analyses on a game of their choice, and practicing game design skills in a workshop setting. Ultimately students will leave this course with a broad understanding of the field of game design, critical analysis skills, as well as a game design document and prototype of an original game. 

In this lab, students will unlock the secrets behind Foley artistry, creating sounds in film, television, and video games that are synchronized to characters' movement such as footsteps, clothing, and props. Through a dynamic blend of theory and hands-on practice, participants will delve into microphone selection, innovative recording techniques, and the artistry of Foley sound creation using both unconventional props and everyday objects. Integral to the curriculum are sound editing and processing techniques, empowering students to refine and optimize their Foley creations for richer, more immersive auditory storytelling. Workshops will guide students through the intricate process of seamlessly synchronizing authentic sounds, meticulously crafted and curated, to breathe vibrancy and authenticity into visual media. By doing so, students will enhance the overall storytelling experience, making this course a must for those passionate about the intersection of sound and storytelling.

This course examines the technical attributes of loudspeakers that assist the recording engineer in creating the best possible product. Topics include basic components of loudspeaker design, driver parameters, sealed and vented enclosures, crossovers, studio monitors, and computer aided analysis systems. Through the process of designing, building, and testing a high performing pair of passive studio monitors, students learn both the technical and artistic considerations required to create loudspeaker designs for studio, consumer, and car audio applications. The course concludes with a critical listening evaluation of the finished speakers.

This course explores the fundamental concepts of audio amplification. Topics include understanding basic circuit designs for class A, AB, and Class D amplifiers. Both vacuum tube and solid state variations are covered. Students will review basic design parameters and build a microphone preamplifier as their final project.

This course provides musicians the opportunity to develop the skills needed to effectively use effects processors in a computer-based live performance. Students will build on the skills developed in MTEC-213, Producing Music in Ableton Live, and explore some of the effects in Live that are commonly used for electronic performance, such as looping, beat slicing, and other DJ-style effects. Emphasis will be placed on developing strategies to support the individual player’s style and the instrument they use to perform.