Vocal Production for Singers: Tuning Out-of-Tune Voices with Melodyne | Autotune

Uploaded September 2024 | Updated September 2026, 2 weeks ago

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In this video from Berklee Online’s Vocal Production Techniques for Singers course, instructor Stephen Kowalczyk Santoro shows you how to use Melodyne, a tool inside Digital Audio Workstations (DAW) that allows users to edit sounds for tuning. To effectively tune a track you’ll need to ensure that its volume is 0 and insert the Melodyne plug-in by clicking “Insert,” selecting “Audio Units,” and then clicking on “Celemony.” Once the plug-in is selected, users should import the audio on the track by clicking “Transfer,” pressing the spacebar, selecting the section of the track that must be edited, and then pressing on the spacebar again. Once inside the Melodyne plug-in, Kowalczyk Santoro recommends students to click options, “Pitch Grid,” and select “No Snap,” which allows users to move the notes whichever way they like. He also recommends users to leave the “Time Grid” under “Options” in “Active” mode, which will allow the changes to be as smooth as possible. All the tools you need can be found in the toolbar at the top (which you can also get by right-clicking into an empty space). When using the selection tool, a specific note will be highlighted and the tool grid will tell you which lane the note is covering. The different lanes are shown at the left side and they refer to the different pitches displayed chromatically. By moving the selected note up and down, users are able to easily change the pitch of the selected audio. When working with pitch correction, make sure the algorithm is in “Melodic (Standard).” Finally, Kowalczyk Santoro reminds you that inside of your DAW, Melodyne must be placed above any other plug-ins in case you want to bypass them, and to turn off any automation. Once the selected piece of audio has been edited in Melodyne, users will need to turn off any other plug-ins, ensure the volume of the track equals 0, and then import the new audio from Melodyne into the DAW.

Learn more about this course: berkonl.in/3JOVcLm

ABOUT STEVEN KOWALCZYK SANTORO:
Steven Kowalczyk Santoro is a singer, composer, producer, and arranger from Massachusetts. Having grown up in a musical family, he started playing the horn, transitioning later to the piano, and writing songs. He became interested in Afro-American music and Jazz, which led him to the University of Massachusetts. He has toured the US and Europe extensively, playing and recording with artists such as Sting, Clarence Penn, Lee Ritenour, Joe Porcaro, John Patitucci, Paula Cole, Chris Botti, among others. Steven is an associate professor at Berklee College of Music, in the Voice Department.

About Berklee Online:
Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today:
1-866-BERKLEE (US)
1-617-747-2146 (international callers)
advisors@online.berklee.edu

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Vocal Production for Singers | Pro Tools | DAW | Melodyne | Autotune | Auto-Tune | Pitch Correction | Mics | Mic Techniques | Steven Kowalczyk Santoro | Sting | Clarence Penn | Lee Ritenour | Joe Porcaro | John Patitucci | Paula Cole | Chris Botti | Berklee Online

$Vocal Production for Singers: Tuning Out-of-Tune Voices with Melodyne | Autotune | Pitch Correction Download Your Free Voice Handbook: https://berkonl.in/3wQXG4d Study Voice Online with Berklee: https://berkonl.in/3DEohWa In this video from Berklee Online’s Vocal Production Techniques for Singers course, instructor Stephen Kowalczyk Santoro shows you how to use Melodyne, a tool inside Digital Audio Workstations (DAW) that allows users to edit sounds for tuning. To effectively tune a track you’ll need to ensure that its volume is 0 and insert the Melodyne plug-in by clicking “Insert,” selecting “Audio Units,” and then clicking on “Celemony.” Once the plug-in is selected, users should import the audio on the track by clicking “Transfer,” pressing the spacebar, selecting the section of the track that must be edited, and then pressing on the spacebar again. Once inside the Melodyne plug-in, Kowalczyk Santoro recommends students to click options, “Pitch Grid,” and select “No Snap,” which allows users to move the notes whichever way they like. He also recommends users to leave the “Time Grid” under “Options” in “Active” mode, which will allow the changes to be as smooth as possible. All the tools you need can be found in the toolbar at the top (which you can also get by right-clicking into an empty space). When using the selection tool, a specific note will be highlighted and the tool grid will tell you which lane the note is covering. The different lanes are shown at the left side and they refer to the different pitches displayed chromatically. By moving the selected note up and down, users are able to easily change the pitch of the selected audio. When working with pitch correction, make sure the algorithm is in “Melodic (Standard).” Finally, Kowalczyk Santoro reminds you that inside of your DAW, Melodyne must be placed above any other plug-ins in case you want to bypass them, and to turn off any automation. Once the selected piece of audio has been edited in Melodyne, users will need to turn off any other plug-ins, ensure the volume of the track equals 0, and then import the new audio from Melodyne into the DAW. Learn more about this course: https://berkonl.in/3JOVcLm ABOUT STEVEN KOWALCZYK SANTORO: Steven Kowalczyk Santoro is a singer, composer, producer, and arranger from Massachusetts. Having grown up in a musical family, he started playing the horn, transitioning later to the piano, and writing songs. He became interested in Afro-American music and Jazz, which led him to the University of Massachusetts. He has toured the US and Europe extensively, playing and recording with artists such as Sting, Clarence Penn, Lee Ritenour, Joe Porcaro, John Patitucci, Paula Cole, Chris Botti, among others. Steven is an associate professor at Berklee College of Music, in the Voice Department. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Vocal Production for Singers | Pro Tools | DAW | Melodyne | Autotune | Auto-Tune | Pitch Correction | Mics | Mic Techniques | Steven Kowalczyk Santoro | Sting | Clarence Penn | Lee Ritenour | Joe Porcaro | John Patitucci | Paula Cole | Chris Botti | Berklee Online$ $Music & Neuroscience: The Brain’s Song & Dance Connection (Lesson 1) | Susan Rogers | Berklee 6/26 Access Free Music Resources: https://berkonl.in/3HPNkYL In these lessons from Berklee Online’s Music and Neuroscience course, Susan Rogers explores how your brain processes music—and why it sparks powerful emotional responses. By understanding how music evokes emotion, musicians can connect more meaningfully with their audience while also enriching their own appreciation of the craft. Our brains have different structures that receive signals from the nervous system, identifying speech, sound, and rhythm. Rogers explains how when we sing or listen to a song we like, the chemical reactions in our brain release dopamine, encouraging us to keep listening. The 26 videos of this course reveal why we like certain songs by analyzing perception across musicians and non-musicians, cultural influences, metrical structures, and tonality. All of these factors show that every emotional response is unique, as it also depends on internal and external conditions such as when (and with whom!) you are listening. Rogers tells musicians that our nervous system enjoys a balance between familiarity and novelty, explaining that pop music and hit songs tend to be liked the most because they generally contain a familiar aspect along with an innovative element. Music not only causes emotional reactions, but also automatic physiological responses such as chills, which are often correlated with unexpected elements inside a song. Rogers says that we are most likely to like a song when it meets our expectations, as our brains like to anticipate melodies or rhythms based on our memory of past songs. When we like a song, our brain creates a template of the type of music we tend to like, which we remember each time we listen to something new. This course emphasizes that music is used for bonding and can be an identification of culture and identity, providing a sense of belonging. With these teachings, Rogers hopes to help musicians deepen their appreciation for music and inspire them to innovate. Watch All of the Videos in This Series: https://berkonl.in/3UBLBMh ABOUT SUSAN ROGERS: Susan Rogers holds a Doctorate in Psychology from McGill University (2010), where she studied music cognition and psychoacoustics under researchers Daniel Levitin and Stephen McAdams. Her research focuses on auditory memory, the perception of musical signals, and the influence of musical training on auditory development. For two decades prior to her science career, Susan was one of the world’s few women known for her work as a record producer, engineer, mixer, and audio electronics technician. Career highlights include five years (1983-1987) as staff engineer for Prince, producing hit singles for diverse artists such as Barenaked Ladies, David Byrne, Robben Ford, Jeff Black, and Rusted Root, mixing hit singles for an equally eclectic list including Tricky, Michael Penn, Toad the Wet Sprocket, and Tevin Campbell, and engineering for a host more. Susan is a professor at Berklee College of Music in the departments of Music Production & Engineering and Liberal Arts, and is the director of the Berklee Music Perception and Cognition Laboratory. In 2012, she was awarded the Distinguished Faculty Award, Professional Writing and Music Technology Division. In tandem with business partner and former student Matthew McArthur (Berklee ’10), Susan launched Boston’s first not-for-profit recording studio, The Record Company, to offer low-cost recording facilities to area musicians and free music technology instruction to area teens. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Music and Neuroscience | Musical Taste | Dopamine Reward System | Anhedonia | Emotional Responses to Music | Listener Profile | Cultural Differences in Music | Tonality | Metrical Structure | Rhythm and Groove | Prediction and Anticipation | Expectancy Violation | Sad Songs | Reminiscence Bump | Mind Wandering | Default Network | Emotional Contagion | Chills Response | Musical Memory | Familiarity and Novelty | Authenticity in Music | Realism vs. Abstraction | Consonance and Dissonance | Susan Rogers | Berklee Online | Berklee College of Music | Music Perception and Cognition Laboratory | Daniel Levitin | Stephen McAdams | Prince | Barenaked Ladies | David Byrne | Robben Ford | Jeff Black | Rusted Root | Tricky | Michael Penn | Toad the Wet Sprocket | Tevin Campbell | The Record Company | Matthew McArthur$ $Artist Management: Marjorie Garcia on What to Look for in an Entertainment Lawyer | Ardie Farhadieh Download Your Free Music Business Handbook Now: https://berkonl.in/3XRrl9n Earn Your Music Business Degree Online with Berklee: https://berkonl.in/3JyAdwb In this video from Berklee Online’s Artist Management course, authored by Ardie Farhadieh, music attorney Marjorie Garcia provides advice on how to find a lawyer that aligns with your music, goals, and personality. The first question to ask: Does this lawyer have the capacity to take you on as a client? If not, the relationship likely won’t work, especially if you’re just starting out in the music industry. It is also important for the lawyer to be familiar with the type of music you make, says Garcia. That way, they will have an appropriate frame of reference and be able to help you with the type of legal issues you might experience. Learn more about this course: https://berkonl.in/3LIroDL ABOUT ARDIE FARHADIEH: Ardie Farhadieh began at the Windish Agency, overseeing logistics for 100+ DJs/artists. He then led marketing at The Billions Corporation, handling corporate/branding/sponsorships for Arcade Fire, Mumford & Sons, Bon Iver, St. Vincent, and more, and helped build Spotify’s Fans First presale. He founded Wick Management, developing Marian Hill to platinum success, earning Billboard’s 40 Under 40. Now at Split Second Management, he represents Marian Hill, slenderbodies, the Kilians, and Michael Brun. For Berklee Online he wrote and teaches Artist Management. Ardie is currently a manager at Split Second Management, where he continues to represent Marian Hill, as well as Slenderbodies, the Kilans, and DJ/producer Michaël Brun. ABOUT MARJORIE GARCIA: Marjorie Garcia is a partner in the Entertainment Transactions department of King, Holmes, Paterno & Soriano in California. With more than 20 years of experience in entertainment law, her practice focuses on negotiating and drafting complex agreements spanning recording, publishing, branding, sponsorships, merchandising, and live performance. She advises artists, songwriters, producers, labels, and entertainment companies on navigating both domestic and international markets. Prior to joining the firm, Garcia served as legal counsel at Universal Music Group, supporting operations across the Americas and Europe. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Artist management | Marjorie Garcia | King, Holmes, Paterno & Soriano | Entertainment Law | Entertainment Lawyer | Split Second Management | Arcade Fire | Mumford & Sons | Bon Iver | St. Vincent | Berklee Online$ $Piano Chords for Modern Music: Voice Leading | Major & Minor Triads | Inversions | Dave Limina 6/22 Download Your Free Piano Handbook Now: https://berkonl.in/3tiaiQg Study Piano Online with Berklee: https://berkonl.in/2xqRbq3 In these video lessons from Berklee Online’s Piano Chords for Modern Music course, instructor Dave Limina explores the basic concepts of building chords on the piano. Whether you are new to piano or have been playing for years, these 22 videos will provide you with new insight on how to use chords in new ways. By focusing on the four pillars of learning: intellectual learning, drilling, grooving, and phrasing, Limina teaches you the theory behind chord construction and how to practice chords effectively. The first pillar (intellectual learning) demonstrates that all types of chords are formed from a specific scale. The second pillar (drilling) encourages you to repeat chord shapes and positions on the piano through several octaves, so you can memorize each chord and commit it to muscle memory. The third pillar (grooving), gets you locked in with a metronome and emphasizes how to play chords in time. Lastly, the fourth pillar (phrasing), shows you how to apply your knowledge of chord positions to a specific phrase of a tune, changing positions by following a specific tempo and style. Limina instructs you how to form major and minor triads, major and minor 7th chords, and dominant chords by following these four pillars. Across all 22 videos, you will also train your muscle memory, which is beneficial when reading music notation, sheet music, and creating your own music. ABOUT DAVE LIMINA: Dave Limina is the Chair of the Piano department at Berklee College of Music. He is also the Director of the Bachelor of Arts in Piano Performance degree program for Berklee Online. In 2001 he received the Most Valuable Contribution to the Performance Curriculum Award for his work in developing the Hammond organ program at Berklee. An experienced session keyboardist, composer, and arranger, Dave has performed with Ronnie Earl and the Broadcasters, Lori McKenna, Duke Robillard, Gloria Estefan, Mark Murphy, Scott Hamilton, and more. He also performed as part of the first national touring company of the Broadway musical “Rent.” He received Boston Music Award nominations for his work with Courage Brothers, Ronnie Earl, and Mighty Sam McClain, and has played on several Grammy-nominated recordings. He played keyboards on Michelle Willson’s “Wake Up Call” album, which won a Boston Music Award in 2001. Dave does extensive session work in Boston, New York, and LA. He is the author of “Hammond Organ Complete” (Berklee Press). His playing is also featured on many TV and film soundtracks. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Piano | Keyboard | Piano Chords | Chord Construction | Chord Theory | Major Triads | Minor Triads | Major 7th Chords | Minor 7th Chords | Dominant 7th Chords | Chord Inversions | Arpeggios | Voice Leading | Lead Sheets | Comping | Contemporary Piano | Improvisation | Music Theory | Berklee Online | Dave Limina | Stevie Wonder | Elton John | Ronnie Earl and the Broadcasters | Lori McKenna | Duke Robillard | Gloria Estefan | Mark Murphy | Scott Hamilton$ $Gospel Music for Keyboard: How Blues Form Plays into Gospel Songwriting | Piano | Berklee Online Download Your Free Piano Handbook Now: https://berkonl.in/3DBqBNx Study Piano Online with Berklee: https://berkonl.in/3JCFsLy In this video from Berklee Online’s Gospel Music for Keyboard course, instructor Mark Copeland introduces the blues sound and form, illustrating its role in gospel music. Copeland—who wrote this course with Dennis Montgomery—demonstrates the blues on the keyboard and explains its structure, form, and scale. The blues has its own scale, consisting of degrees 1, b3, 4, b5, 5, b7, and usually features chord progressions using a 12-bar format. To teach the difference between simple blues and jazz blues, Copeland starts by playing different chord progressions. He begins with a simple 12-bar blues progression: C7 (4 bars), F7 (2 bars), C7 (2 bars), G7 (2 bars), and back to C7 (2 bars). Then, he contrasts it with a more complex jazz blues progression: C7, F7, C7, C7, F7, F7, C7, A7, Dm7, G7, which repeats. To illustrate these concepts further, Copeland performs three songs: a 12/8 gospel blues, a jazz blues tune, and a traditional gospel song, “I Don’t Know What I Would Do Without the Lord.” To refresh, the chords are listed in further detail below: For the Jazz Blues progression: Phrase 1 (measures 1–4) C7–F7–C7–C7 Phrase 2 (measures 5–8) F7–F7–C7–A7 Phrase 3 (measures 9–12) Dm–G7–C–A7–Dm–G7 For the 12-bar blues with Dom 7th Chords: Phrase 1 (measures 1–4) C7–C7–C7–C7 Phrase 2 (measures 5–8) F7–F7–C7–C7 Phrase 3 (measures 9–12) G7–G7–C7–C7 Learn more about this course: https://berkonl.in/3PdL7ZP ABOUT MARK COPELAND: Mark Copeland is a pianist, organist, keyboardist, music producer, composer, arranger, songwriter, and educator. Versatile in all forms of contemporary music, he is a graduate of the Baltimore School for the Arts and a graduate of Berklee College of Music, where he is currently a professor in the Ensemble department. Mark has played for and shared the stage with numerous artists, such as Yolanda Adams, Brian McKnight, Jeffrey Osborne, Kenny Lattimore, Michelle Brooks-Thompson, Walter Beasley, Gerald Albright, Kirk Whalum, and Elan Trotman, and more. ABOUT DENNIS MONTGOMERY: By the time Dennis Montgomery III was nine, he was playing B3 organ in Baptist churches in his hometown of Shreveport, Louisiana. He began his time at Berklee as a student in 1983, and is currently a full professor as well as the director of Berklee’s Reverence Gospel Choir, which has included students from Japan, Greece, Israel, Lebanon, Taiwan, Australia, Canada, and a number of European and Scandinavian nations among its members. Having worked with the choir for more than three decades, Montgomery has directed such students as Paula Cole, Lalah Hathaway, and Susan Tedeschi. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Mark Copeland | Dennis Montgomery | Gospel Music for Keyboard | Berklee Online |Blues Music in Gospel | Blues | Piano Techniques | I Don’t Know What I Would Do Without the Lord | Yolanda Adams | Brian McKnight | Jeffrey Osborne | Kenny Lattimore | Michelle Brooks-Thompson | Walter Beasley | Gerald Albright | Kirk Whalum | Elan Trotman | Paula Cole | Lalah Hathaway | Susan Tedeschi | Blues scale | 12- bar Blues | Simple Blues | Jazz Blues | Berklee’s Reverence Gospel Choir$ $Music Production 101: Drum Programming & Patterns in Ableton Live | Berklee Online Download Your Free Music Production Handbook Now: https://berkonl.in/3JBxeTK Earn Your Music Production Degree Online with Berklee: https://berkonl.in/3DEnKDE In this video from the Berklee Online course, Music Production 101, instructor Michael Bierylo shows you how to develop different rhythm patterns using Ableton Live. Bierylo, who wrote this course with David Mash, selects a drum kit and sets the grid to a sixteenth-note pattern. Then he uses the drawing tool and presses playback to start creating a drum pattern in the grid, starting by placing some hi-hats. Eventually, Bierylo adds other drum elements, such as open hi-hats, kick drums, and snares on different beats, depending on the desired drum pattern. With the drawing tool, it is always possible to click and drag the notes to speed up the process or move notes along the pad. Finally, once the pattern is created, you can name it by clicking on the clip title bar and choosing “rename.” Learn more about this course: https://berkonl.in/3EItS0P ABOUT MICHAEL BIERYLO: Michael Bierylo is an electronic musician, guitarist, composer, and sound designer. He has been a faculty member at Berklee College of Music since 1995 and is currently Chair of the Electronic Production and Design department, where he led the development of Berklee’s Electronic Digital Instrument program, the Electronic Performance Minor, and the Creative Coding Minor. Major projects include artist residencies with Suzanne Ciani, Nona Hendryx, Hank Shocklee, Richard Devine, Chagall, Robert Rich, and Kaitlyn Aurelia Smith. With Berklee Online, he has written and teaches music production and music technology courses. ABOUT DAVID MASH: David Mash is a guitarist, composer, producer, synthesist, author, educator, and futurist. He retired in 2017 as Senior Vice President for Innovation, Strategy, and Technology at Berklee College of Music in Boston, where he had worked for more than 40 years. David was the founding chair of Berklee’s Music Synthesis department (now known as Electronic Production and Design). David has collaborated on development and artistic projects with leaders in the multimedia and music industries such as Kodak, Adobe Systems, Digidesign/Avid, Opcode, Kurzweil, Yamaha, Roland, Korg, Softube, Fishman Transducers, Godin Guitars, and many others. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Drum Patterns | Ableton Live | Rhythm Patterns | Rhythm Techniques | Production Techniques | Drum Pads | Nona Hendryx | Hank Shocklee | Music Production | Studio Setup | Michael Bierylo | David Mash | Berklee Online | Electronic Production and Design | Electronic Digital Instrument | Electronic Performance | Creative Coding | Music Synthesis | MIDI$ $Audio Mastering: Removing Clicks & Transient Noise with iZotope RX | Music Production & Engineering Download Your Free Music Production Handbook Now: https://berkonl.in/3JBxeTK Earn Your Music Production Degree Online with Berklee: https://berkonl.in/3DEnKDE In this video from Berklee Online’s Audio Mastering Techniques course, course co-author Jonathan Wyner explains how to use iZotope RX to eliminate clicks, which—along with hum—is one of the most prevalent sources of unwanted noise in recording. A click is what is called a transient noise, which means they are typically very brief in duration. The source can be either an acoustic event, mechanical or electronic. A click could be a key click from an oboe or the “snapping’ of an upright bass played pizzicato, it could be from a pencil falling from a music stand and hitting a wooden floor, or it could even be a click generated when a vocalist opens their mouth very close to a microphone during a vocal performance. Transient noises are among the easiest to detect visually in a standard waveform display. They appear as jagged-edged, nonperiodic waveforms that interrupt the contour of the musical content. It is usually easy to distinguish them even from a kick or snare drum given the quick transient and lack of resonance or tone in these sorts of noises. Learn more about this course, which Jonathan Wyner co-authored with Marc-Dieter Einstmann: https://berkonl.in/3Xo9uJL ABOUT JONATHAN WYNER: Jonathan Wyner is an associate professor in the Music Production and Engineering department at Berklee College of Music and owner of M Works Mastering Studios in Cambridge, Massachusetts. Throughout his career, he has worked with artists both well-known and more esoteric, including James Taylor, David Bowie, Aerosmith, Kiri Te Kanawa, Pink Floyd, Cream, Richard Stoltzman, Miles Davis, Nirvana, Aimee Mann, Juliana Hatfield, Tiny Tim, Snakefinger, John Cage, and Rahsaan Roland Kirk. ABOUT MARC-DIETER EINSTMANN Marc-Dieter Einstmann is the chief mastering engineer at Einstmann Mastering Studios, based in Hamburg and New York. Since 1987 he has worked for artists and producers, such as Dave Stewart, Annie Lennox, Chrissie Hynde, Mick Jagger, Mary J. Blige, David Lee Roth, Notorious B.I.G., Dru Hill, Doug E. Fresh, D’Angelo, Tricky, Depeche Mode, KD Lang, Yo-Yo Ma, Elvis Costello, The Neptunes, Frankie Knuckles, Flood (U2), David Kahne (Paul McCartney), Rodney Jerkins (Michael Jackson), Alan Moulder (Nine Inch Nails), Imogen Heap and Cyndi Lauper, among others. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Audio Mastering | Clicks | Transient Noise | Hum | Berklee Online | Music Production | Music Engineering | iZotope RX | Jonathan Wyner | Marc-Dieter Einstmann | James Taylor | David Bowie | Aerosmith | Kiri Te Kanawa | Pink Floyd | Cream | Richard Stoltzman | Miles Davis | Nirvana | Aimee Mann | Juliana Hatfield | Tiny Tim | Snakefinger | John Cage | Rahsaan Roland Kirk | Einstmann Mastering Studios | Dave Stewart | Annie Lennox | Chrissie Hynde | Mick Jagger | Mary J. Blige | David Lee Roth | Notorious B.I.G. | Depeche Mode | The Neptunes | Imogen Heap | Cyndi Lauper$ $Introducing BOB, Berklee Online’s Brand New AI Music Theory Chatbot Tutor Music education and technology are constantly evolving together, and Berklee Online’s newest development, a chatbot named BOB, is a testament to that. And before you ask, BOB stands for Berklee Online Bot. This innovative tool integrates the latest AI technology into the curriculum, providing students with a personalized, interactive learning experience that encourages deeper engagement with their studies that complements the teachings of Berklee Online’s world-renowned instructors. But what makes this chatbot unique is an approach that helps guide students through challenging concepts, ensuring they not only get answers, but truly understand the material, helping them help themselves. Discover the Future of Personalized Learning: https://berkonl.in/3YmdcCx About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Berklee Online | Chatbot | Artificial Intelligence | AI | Berklee Online Bot | Music Theory$ $Lyric Writing: Intro to Central Metaphors in Your Songs | Berklee Online | Songwriting Download Your Free Songwriting Handbook Now: https://berkonl.in/3wSocKI Earn Your Songwriting Degree Online with Berklee: https://berkonl.in/3wNQbv0 In this video from Berklee Online’s Lyric Writing 2 course, course author Erin Chase discusses the importance of writing lyrics that connect to a central metaphor to enhance the message of your song. Chase explains how many successful songs begin with a striking image or comparison, using figurative language to create a vivid lyrical world. Sometimes songwriters begin with a clear metaphor, while other times the imagery emerges more subtly through the writing process. Chase also highlights how focusing on one central metaphor allows songwriters to build a cohesive world of meaning, using sensory detail and figurative expression to communicate more than words alone. Learn more about this course: https://berkonl.in/4cur5qq ABOUT ERIN CHASE: Erin Chase has been playing fiddle and violin for 25 years, studying both classical and traditional folk music, and has spent the past 10 years writing and co-writing original songs. She earned her degree in Songwriting and Fiddle from Berklee College of Music in 2014. Her songwriting mentors include Berklee faculty Pat Pattison, Mark Simos, and Caroline Harvey. Chase is also a member of Elisa Smith & the Tiny Little Lies and appears on the “Hitch a Ride” EP, produced by Johnny Duke, a producer and guitarist who has worked with Little Big Town, Miranda Lambert, and Chris Stapleton, and more. In addition, she performs as a singer-songwriter in Boston under the artist name Erin Bonnie, bringing her distinctive blend of fiddle and original folk-blues to audiences across New England. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Songwriting | Lyric Writing | Metaphors | Erin Chase | Erin Bonnie | Elisa Smith & the Tiny Little Lies | Pat Pattison | Mark Simos | Caroline Harvey | Johnny Duke | Little Big Town | Miranda Lambert | Chris Stapleton | Berklee Online$ $Music Marketing 101: Social Media Content Strategy for Musicians | Audience Engagement | Berklee Download Your Free Music Business Handbook Now: https://berkonl.in/3XRrl9n Earn Your Music Business Degree Online with Berklee: https://berkonl.in/3JyAdwb In this video from Berklee Online’s Music Marketing 101 course, instructor Christopher Wares advises you on how to incorporate social media content strategies to expand your fanbase and keep your audience engaged. Once you have defined your target audience and defined the themes and topics that align with your brand, Wares encourages you to follow three pillars of content creation: music, interests, and values. In this video, you will learn content creation strategies such as the implementation of hooks, captions, visuals, vlogs, relatable posts, and more to engage your audience in the best way possible. Learn more about this course: https://berkonl.in/3WvdeYw ABOUT CHRISTOPHER WARES: Chris Wares is the assistant chair of the Music Business/Management department at Berklee College of Music, where he leverages his extensive industry experience to empower artists and music professionals to elevate their careers. Chris has held roles such as marketing director, grant writer, artist manager, copyright administrator, and distribution specialist, working with some of North America’s largest independent record labels, publishing companies, entertainment law firms, and management companies. He has led marketing campaigns for Grammy and Juno award-winning artists and secured substantial funding for artists and businesses. A sought-after speaker and industry expert, his insights have been featured by Harvard Business School, NPR, Billboard, CBC, and more. Chris is also an active member of the Recording Academy, the Canadian Academy of Recording Arts and Sciences (CARAS), and the Music and Entertainment Industry Educators Association (MEIEA). About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Christopher Wares | Berklee Online | Music Business | Management | Marketing | Record Labels | Harvard Business School | Grammy Awards | Artist Manager | Target Audience | Fanbase | Fan Profile | Artists | Social Media Content Creation Strategies | Music | Interests | Passions | Audience Engagement$ $What Is Batuku? | Black Creative Expression: Introduction to Africana Studies | Marisa Correia Access Free Music Resources: https://berkonl.in/3HPNkYL This video from the Berklee Online course Black Creative Expression: An Introduction to Africana Studies features musician Marisa Correia, who was born and raised in Tarrafal, Cape Verde. Correia plays Batuku, a traditional African music genre that dates back to the pre-colonial period and was especially important as a form of expression for women. Historically performed at weddings and baptisms that would last through the night, Batuku has deep cultural roots in community celebration and storytelling. Correia shares with course author Emmett Price III how Batuku was once banned due to harmful stereotypes linking it to women accused of infidelity. Despite these efforts to suppress it, the genre endured and became more powerful over time. While modern performances may feature a range of instruments, Correia emphasizes that Batuku must include traditional elements such as the chabeta and cloth-based percussion—tools originally used to create its distinctive rhythms. Today, Batuku faces challenges from government officials and producers who view performances within this genre as expensive or logistically difficult to organize. Still, the community continues to come together to perform it at major events, preserving its legacy. Correia sees Batuku as a way for people to feel free, express themselves, and share African culture with others. She notes that tourists often request Batuku performances, which helps keep the tradition alive for future generations. Learn more about this course: https://berkonl.in/4jkYS61 ABOUT EMMETT G. PRICE III: Emmett G. Price III, PhD, is the founding dean of Africana Studies at Berklee College of Music and an internationally recognized expert on Black music, Afro-diasporic expression, and Christian worship. He is the author of “Hip Hop Culture,” executive editor of “The Encyclopedia of African American Music,” and editor of “The Black Church and Hip Hop Culture: Toward Bridging the Generational Divide.” A former editor-in-chief of “The Journal of Popular Music Studies,” his scholarship has appeared in leading journals such as “American Music,” “Ethnomusicology,” and “The Yale Journal of Music and Religion.” A celebrated speaker, he has addressed audiences at Nike, the Rock and Roll Hall of Fame, and NPR’s “All Things Considered,” and is co-host of the “All Rev’d Up” podcast. A trained musician, Price has performed globally with sacred music ensembles, gospel choirs, and jazz bands. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Black Creative Expression | Africana Studies | Emmett G. Price III | Berklee Online | African Culture | Batuku | Gospel | Culture and Music | Marisa Correia$ $Music Business Law: Accounting Basics, Splitting Royalty Money Between Songwriters & Publishers Download Your Free Music Business Handbook Now: https://berkonl.in/3XRrl9n Earn Your Music Business Degree Online with Berklee: https://berkonl.in/3JyAdwb Licensing a song for a movie or a TV show is a good way of earning revenue as a musician. But how should that money be divided? That’s the question that’s answered in this video from Music Business Law for Artists, a 12-week Berklee Online course by Valerie Lovely. If the artist in question is a band, with some of the members being writers and others not, this is where accounting really comes into play. The division of revenue can also depend on the band’s internal contracts. For example, let’s say your band is licensing a song for $1,000. That sum will be divided into two categories: $500 for the use of your band’s sound recording, and $500 for the use of your writer’s composition. The composition revenue will be divided once again in two, one half being the writer’s share, and the other half being the publisher’s share. Assuming that the producer gets 20 percent (or $50) of each share, the rest of the writers share will be divided equally between the two songwriters, and the rest of the publishing share will be divided equally by the whole band. Now for the remaining $500 in the sound recording license, the money will be divided equally between the band members. But depending on the internal agreements and contracts, the band might have to give part of their share to the producer. Learn more about this course: https://berkonl.in/3KKBGz0 ABOUT VALERIE LOVELY: Valerie Lovely is Assistant Professor of Music Business/Management at Berklee College of Music and a practicing transactional music attorney. Her clientele is limited exclusively to musicians, songwriters, publishers, record labels, and others with music law needs. The firm provides various transactional music law services, such as contract drafting, negotiation and explanations, copyrights, trademarks, band business evaluation reports, and other music business and legal services. Attorney Lovely also hosts a free informational website, MusicLawInfo, that provides numerous music law articles of interest to todays musicians. Valerie has been a guest speaker, panelist, and lecturer at a variety of events sponsored by legal- and music-based organizations (American Bar Association, Massachusetts Bar Association, Berklee College of Music, Blacksun Festival, etc.). She has taught copyright law to attorneys as a member of the Volunteer Lawyers for the Arts faculty. Valerie has also been a musician for most of her life. She plays several instruments, has performed in rock bands, chamber groups, wind ensembles, and studio projects, and has composed music in various styles and for use in a variety of media. About Berklee Online: Founded in 2002, Berklee Online is the premier innovator and largest provider of worldwide music education, offering the renowned curriculum of Berklee College of Music at a fraction of the cost through award-winning programming and instruction. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnline http://www.instagram.com/berkleeonline/ https://www.linkedin.com/company/berkleeonline https://www.tiktok.com/@berkleeonline Music Business Law | Accounting Basics | Splitting Royalty Money Between Songwriters | Music Publishing | Sync Licensing | Berklee Online | Online Course | Course Overview | Berklee College of Music | Music Business | Valerie Lovely$