John Whynot

Associate Professor

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Career Highlights
  • Performances with the Band, Levon Helm, Blackie and the Rodeo Kings, Bruce Cockburn, and Carole Pope
  • Film scores (music mixer) include Last of the Mohicans, Austin Powers: International Man of Mystery and Austin Powers: The Spy Who Shagged MeWild Things, Ronin, Tyrant (series)
  • Album projects include Five Days in July, Nowhere to Here, and Tremolo by Blue Rodeo; The Charity of Night (featuring Gary Burton), Breakfast in New Orleans, Dinner in Timbuktu, and You've Never Seen Everything by Bruce Cockburn; Some Devil by Dave Matthews; and the Grammy-winning Timeless: A Hank Williams Tribute by Lucinda Williams, and more
  • Instruments include piano, guitar, bass guitar, percussion, alto and tenor sax
In Their Own Words

"I like to mix it up between illustrative storytelling, a generous portion of information transfer, and demonstrations directly involving the students. Recording and mixing are, in large part, activities that involve direct physical interaction with the technology. Watching me do something is good fun; engaging in the activity directly is great learning."

"I also like to talk about why we do what we do—not only the technical and musical reasons behind our decision-making as engineers and producers, but why we are making a recording in the first place. What is this thing we are making? Why? And for whom? Even if we can't precisely answer these questions, pondering them brings a sense of artistic focus to the work."

"When I'm leading a class I combine demonstrations, storytelling, and some theory to support what we are seeing together. Most importantly, teaching, for me, is part storytelling, part information transfer, and part demonstration. I mix all of these together and interweave the content so that the stories, along with all those facts and figures, come to life as I create examples right in the classroom."

"Along with expertise and facility in their work, I want students to leave with a sense that they are the next wave of innovators. I want them to fully grasp that great recordings—great music—are a public service, that their work matters to everyone. And I want them to experience that passion that drives me to make music every day, and to pass that on to everyone around them."

"The first thing I notice about Berklee's program is the amazing talent and enthusiasm of the students themselves. Next on the list is the fact that, even in the technical areas of recording engineering and technological prowess, everything in the school is taught from a basis of excellence in musicianship. I cite my professional experiences every day in the classroom. This allows me to make the prospect of a career more real in the eyes of the students. At the same time, I find that my decades working in music allow me to dispel many fears and myths about what it's like to make a living doing music. And, of course, there is the wealth of amusing and instructive 'war stories' which the students seem to enjoy!"