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Jonathan Wyner

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Jonathan Wyner witnessed the birth of the Arp 2600, the four-track cassette, MIDI, ADAT, SoundDroid, SoundTools, the internet, Pro Tools, Dropbox, and HTML5 audio, and now works on artificial intelligence in music production. He is a director for iZotope, chief engineer for M Works Mastering, and a professor at Berklee College of Music. He's mastered and produced more than 5,000 recordings over the last 34 years. Mastering, recording, and mixing since 1983, he established M Works mastering studios in Cambridge, Massachusetts, in 1991 and has worked on projects by such artists as James Taylor, David Bowie, Aerosmith, Kiri Te Kanawa, and Paco Loco, among many others. A Grammy nominee for his project Invention and Alchemy, he has conducted seminars around the world and presented with George Massenburg, Doug Sax, and Bob Ludwig, among others.

Career Highlights
  • Instruments include the French horn, trumpet, and tuba
  • Performances and appearances with the Buffalo Philharmonic, Deborah Henson-Conant, and Marvin Hamlisch
  • Recordings with Aerosmith, David Bowie, Cream, Kiri Te Kanawa, and Rahsaan Roland Kirk, among many others
  • Publications include Mix Magazine, Studio Sound,  and REP 
  • Live recording and mix of WGBH's inaugural webcast
  • Audio for interactive CD-ROM game Play It by Ear
  • Surround mix/master for Disney and Weather Report
  • President of the Audio Engineering Society, 2021
  • Recipient of a TEC Award for Best Educational Software
  • Grammy nominee for Invention and Alchemy in the Best Classical Crossover Album category, 2005
  • A.B., Vassar College
In Their Own Words

"Due to my background, I have empathy for performers and producers having spent a lot of time on both sides of the glass. I work with software developers and bring insight into the working of our modern production tools."

"I try to get students to remember what excites them about music and to tap into it. If they can connect with that, it provokes interesting questions and inspires interesting thoughts. They'll understand all these little bits of technical minutiae that we teach them since then it's in the context of this thing that they really do care about. It's hard to always be mindful of what is meaningful in your world. If you can meditate every day for half an hour—10 minutes even—about what you're grateful for, it changes your perspective on everything that you do in the course of the day."

"I'd love for students to come away from my classes with a sense that their role as shepherds and caretakers of music has expanded. I want them to understand how to take better care of the music and how to improve on the communication that is supposed to be taking place. I'd like them to tap into their enthusiasm, I'd like their skill level to increase, and I'd like them to come away with a feeling of satisfaction, so that even if they're not continuing in the discipline of mastering per se, they've got something they could use in some other aspect of production work or simply as well-informed artists/performers, if that's the context in which they find themselves thinking about mastering."

"Our students are encouraged to explore something as abstract, slippery, and hard to define as art and approach it from the standpoint of the aesthetic and the technical. They go fairly deep in both directions, and that is unusual. Berklee's not just an art school, and it's not just a trade school."