Podcasts about Michael Beinhorn

Michael Beinhorn co-founded the New York musical collective Material in 1979 with Bill Laswell. Since then, he has collaborated with and produced a diverse range of recording artists including The Red Hot Chili Peppers, Soundgarden, Soul Asylum, Hole, Aerosmith, Herbie Hancock, Brian Eno, Ozzy Osbourne, Marilyn Manson, Social Distortion, Korn and Mew. Michael's combined worldwide record sales currently total over 45 million. He has received numerous Grammy nominations, including "Producer Of The Year" in 1998. He is one of the only music producers in history to have 2 separate recordings debut in the Billboard Top Ten in the same week (Marilyn Manson- Mechanical Animals- #1; Celebrity Skin- Hole- #9). In 2015, Michael wrote a book called "Unlocking Creativity", which outlines his philosophy regarding the creative process. In 2019, he started the world's first completely remote service for music production and artist development. In this capacity, Michael has worked with artists such as Rivers Cuomo/Weezer on their last 8 recordings, as well as Cuco and Matt Nathanson.IN THIS EPISODE YOU'LL LEARN:What is music production?Pushing back against an artistHelping artists discover their true selvesBeing objective with your musicCreating a vision for a project before you even start recordingThe blurred lines of songwriting and productionThe art of making records feel goodWhy playing in time might not be the right moveEditing tracks for feelingWhy you shouldn't rely on editingTo learn more about Michael Beinhorn, visit: https://michaelbeinhorn.com/Looking for 1-on-1 feedback and training to help you create pro-quality mixes?Check out my coaching program Amplitude and apply to join: https://masteryourmix.com/amplitude/Want additional help with your music productions?For tips on how to improve your mixes, visit https://masteryourmix.com/Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/Get your copy of my Amazon #1 bestselling books:The Recording Mindset: A Step-By-Step Guide to Creating Pro Recordings From Your Home Studio: https://therecordingmindset.comThe Mixing Mindset: The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Check out our Sponsors:Download Waves Plugins here: https://waves.alzt.net/EK3G2KSubscribe to the show:Apple Podcasts: https://podcasts.apple.com/us/podcast/master-your-mix-podcast/id1240842781Spotify: https://open.spotify.com/show/5V4xtrWSnpA5e9L67QcJejYouTube:

Brian Ritchie is our first guest whose primary instrument - the one that helped make his band Violent Femmes a household name - is an acoustic bass. Today we hear how all that came to be, the band's path from busking on the streets of Milwaukee to rocking stadiums, and why their approach really hasn't changed all that much. Along the way he tells some funny stories about early gigs, opens up about a new acoustic bass he's gotten his hands on and even shares what Flea told him about working with producer Michael Beinhorn. Also - and this will make sense after you listen - here are two updates to things I say in this episode: My amazing engineer/mixer Matt Noble pointed me to lutefish.com, a hardware-software set-up that does enable near real-time jamming over distances less than 500 miles. I haven't tried it out, because it requires being hardwired to my modem and that's too far away from my basses. Parquet Courts' (fantastic) bassist Sean Yeaton doesn't play a stock short scale bass - it's a frankenbass made up of the body and pickups of an ‘84 Fender Bullet bass (short scale) and the neck of a '50s P-Bass reissue (standard scale). It also has a weird hole in it. Violent Femmes (https://open.spotify.com/artist/0rpMdBzQXf7aYRnu5fDBJy?si=XfFHPeSkTUyqNHhdWKdAgQ) Brian Ritchie's solo stuff (https://open.spotify.com/artist/5VlujeJlkf1SEspNUbdhq8?si=pREJiCIQQJKztGtRFon1Og) Big Johnson Basses (https://bigjohnsonbass.com/) - Brian Ritchie's next new favorite bass? And here's a video demo (https://www.youtube.com/watch?v=0KeWe0KUznk) by its creator. Guitars For Vets (https://guitars4vets.org) - a very cool charity, check it out This episode is brought to you by "The Bastard Instrument: A Cultural History of the Electric Bass," the essential new book that illuminates the origins and impact of our beloved instrument in all its glory. An amazing read. Buy it at Amazon (https://www.amazon.com/Bastard-Instrument-Cultural-Electric-Tracking/dp/0472056816/) or your favorite book slinger. And check out author Brian F. Wright's website (https://www.brianfwright.com/) for unreleased content from the book and more of his writing.  

Michael Beinhorn in conversation with David Eastaugh https://michaelbeinhorn.com/ Michael Beinhorn started out as a musician in the early 1980's New York downtown scene where he played keyboards and handled electronics and tapes; he is probably best known for being a full member of Bill Laswell's collective Material (as musician, arranger and producer). In the mid 80's, he moved into engineering and producing and has since made himself a name as a big-time, Grammy-winning rock producer. Worked with artists like Red Hot Chili Peppers, Soundgarden, Marilyn Manson, Korn, Hole etc. Began his career in the late 1970s, playing synth and guitar in the new wave band Material. His big mainstream break came in 1989 when he produced the Red Hot Chili Peppers' hit album Mother's Milk, which contained the smash single Higher Ground.

dl has a talk with Michael Beinhorn about his prouction styles, the state of music and what he's trying to do to change it. michaelbeinhorn.com

What makes this mix great? Justin Colletti analyzes the mix, production and arrangement for Soundgarden's "Black Hole Sun". Check out all courses here: ►Mixing Breakthroughs: https://mixingbreakthroughs.com ►EQ Breakthroughs: https://EQBreakthroughs.com ►Compression Breakthroughs: https://compressionbreakthroughs.com ►Mastering Demystified: https://MasteringDemystified.com ►Become a Member! Join this channel for access to perks: https://www.youtube.com/channel/UCqEKv3KIZoZrjv2LymD3iMg/join Soundgarden's Superunknown stands the test of time with some S-Tier rock mixes that sound amazing on any good system. Mixed by Brendan O'Brien and produced with Michael Beinhorn, songs like "Black Hole Sun" and "Fell On Black Days" get just about everything right that a rock mix can get right. There are a ton of lessons to be learned here about relative levels between vocals, kick, snare, tom and guitars in the genre, exactly how to use panning to enhance the stereo filed and a lot more. Big thanks to Soundtoys, Lewitt Audio and Ultimate Support for making this episode possible. ►See free audio tutorial videos with Justin here: https://www.youtube.com/playlist?list=PL3yghKGBjggTkBYyc-1_larMT6K4rGwmr ►Get the free mastering workshop: https://sonicscoop.com/Mastering101

Keywords For This Track: Feel Good, Vacation, Love, Amour, Melody, Buzz, Hype, Feelings, Harp, Synth, Velocity Support Us And Buy Our Merch Here >>>>> T-Shirt https://jeanmotell.com/collections/tee-shirts Hoodies https://jeanmotell.com/collections/sweat-shirts Jackets https://jeanmotell.com/collections/jackets Shoes https://jeanmotell.com/collections/shoes Photo Prints & Books https://jeanmotell.com/collections/art Jean Motell would like to thank (for music), in no particular order: Courtney Taylor-Taylor, Montell Fish, Howard Shore, Alison Statton, Lili M., Alexandra Patsavas and everyone at Chop Shop Music Supervision, Papiti, Veronica Vasicka, Cléo Magda, Gérard Pelletier et Cati Tete, Ryan Wines and everyone at Marmoset Music, Mona Soyoc et Spatsz, Thomas Golubić and everyone at SuperMusicVision, Digitalism, Museau Amical, Michael Beinhorn, Idania Valencia and everyone at Sterling Sound, Zady, Katheryn H., Tommy Hilfiger, James F. Goldstein, Fatima Al Qadiri, Glenn O'Brien Jean Motell would also like to thank (for free Champagne): Maxime Simoens, Thierry Lasry, Tory Burch, Max Mara, Philipp Plein, Balmain, Parosh, Marsèll, Lanvin, Ruiz Musi, Gieves & Hawkes, Issey Miyake, Velsvoir, Imoni, Café de Flore, L'Eclaireur, Colette, Tom Greyhound, Le Meurice, Le Bristol, Ritz Paris, Four Seasons Hotel George V, The Ritz London, Tommy Hilfiger, Diesel, BETC, J&B, Cîroc, Modem, Jean Paul Gaultier, Purple Fashion Magazine, Purple PR, Dior, etc.

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Keywords For This Track: USA, Route 66, Guitar Support Us And Buy Our Merch Here >>>>> T-Shirt https://jeanmotell.com/collections/tee-shirts Hoodies https://jeanmotell.com/collections/sweat-shirts Jackets https://jeanmotell.com/collections/jackets Shoes https://jeanmotell.com/collections/shoes Photo Prints & Books https://jeanmotell.com/collections/art Jean Motell would like to thank (for music), in no particular order: Courtney Taylor-Taylor, Montell Fish, Howard Shore, Alison Statton, Lili M., Alexandra Patsavas and everyone at Chop Shop Music Supervision, Papiti, Veronica Vasicka, Cléo Magda, Gérard Pelletier et Cati Tete, Ryan Wines and everyone at Marmoset Music, Mona Soyoc et Spatsz, Thomas Golubić and everyone at SuperMusicVision, Digitalism, Museau Amical, Michael Beinhorn, Idania Valencia and everyone at Sterling Sound, Zady, Katheryn H., Tommy Hilfiger, James F. Goldstein, Fatima Al Qadiri, Glenn O'Brien Jean Motell would also like to thank (for free Champagne): Maxime Simoens, Thierry Lasry, Tory Burch, Max Mara, Philipp Plein, Balmain, Parosh, Marsèll, Lanvin, Ruiz Musi, Gieves & Hawkes, Issey Miyake, Velsvoir, Imoni, Café de Flore, L'Eclaireur, Colette, Tom Greyhound, Le Meurice, Le Bristol, Ritz Paris, Four Seasons Hotel George V, The Ritz London, Tommy Hilfiger, Diesel, BETC, J&B, Cîroc, Modem, Jean Paul Gaultier, Purple Fashion Magazine, Purple PR, Dior, etc.

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Keywords For This Track: UFO, Aliens, Space Music, Zone 51, Desert, Lights in the sky, Afro House. Support Us And Buy Our Merch Here >>>>> T-Shirt https://jeanmotell.com/collections/tee-shirts Hoodies https://jeanmotell.com/collections/sweat-shirts Jackets https://jeanmotell.com/collections/jackets Shoes https://jeanmotell.com/collections/shoes Photo Prints & Books https://jeanmotell.com/collections/art Jean Motell would like to thank (for music), in no particular order: Courtney Taylor-Taylor, Montell Fish, Howard Shore, Alison Statton, Lili M., Alexandra Patsavas and everyone at Chop Shop Music Supervision, Papiti, Veronica Vasicka, Cléo Magda, Gérard Pelletier et Cati Tete, Ryan Wines and everyone at Marmoset Music, Mona Soyoc et Spatsz, Thomas Golubić and everyone at SuperMusicVision, Digitalism, Museau Amical, Michael Beinhorn, Idania Valencia and everyone at Sterling Sound, Zady, Katheryn H., Tommy Hilfiger, James F. Goldstein, Fatima Al Qadiri, Glenn O'Brien Jean Motell would also like to thank (for free Champagne): Maxime Simoens, Thierry Lasry, Tory Burch, Max Mara, Philipp Plein, Balmain, Parosh, Marsèll, Lanvin, Ruiz Musi, Gieves & Hawkes, Issey Miyake, Velsvoir, Imoni, Café de Flore, L'Eclaireur, Colette, Tom Greyhound, Le Meurice, Le Bristol, Ritz Paris, Four Seasons Hotel George V, The Ritz London, Tommy Hilfiger, Diesel, BETC, J&B, Cîroc, Modem, Jean Paul Gaultier, Purple Fashion Magazine, Purple PR, Dior, etc.

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Keywords For This Track: Rotating Pulsing Beats, 90's, Aphex Twin, Analog, Vintage Bass, Motivation, Electronica, Beat Repeat, Breaks, Ping Pong Beat, Crispy Sound, Fresh Tune Support Us And Buy Our Merch Here >>>>> T-Shirt https://jeanmotell.com/collections/tee-shirts Hoodies https://jeanmotell.com/collections/sweat-shirts Jackets https://jeanmotell.com/collections/jackets Shoes https://jeanmotell.com/collections/shoes Photo Prints & Books https://jeanmotell.com/collections/art Jean Motell would like to thank (for music), in no particular order: Courtney Taylor-Taylor, Montell Fish, Howard Shore, Alison Statton, Lili M., Alexandra Patsavas and everyone at Chop Shop Music Supervision, Papiti, Veronica Vasicka, Cléo Magda, Gérard Pelletier et Cati Tete, Ryan Wines and everyone at Marmoset Music, Mona Soyoc et Spatsz, Thomas Golubić and everyone at SuperMusicVision, Digitalism, Museau Amical, Michael Beinhorn, Idania Valencia and everyone at Sterling Sound, Zady, Katheryn H., Tommy Hilfiger, James F. Goldstein, Fatima Al Qadiri, Glenn O'Brien Jean Motell would also like to thank (for free Champagne): Maxime Simoens, Thierry Lasry, Tory Burch, Max Mara, Philipp Plein, Balmain, Parosh, Marsèll, Lanvin, Ruiz Musi, Gieves & Hawkes, Issey Miyake, Velsvoir, Imoni, Café de Flore, L'Eclaireur, Colette, Tom Greyhound, Le Meurice, Le Bristol, Ritz Paris, Four Seasons Hotel George V, The Ritz London, Tommy Hilfiger, Diesel, BETC, J&B, Cîroc, Modem, Jean Paul Gaultier, Purple Fashion Magazine, Purple PR, Dior, etc.

Keywords For This Track: Vocals, Downtempo, Chill, Vapor, Cloud, Thailand, Video Games, Summer Vibe, Arrangements, Dreams, Melody, Catchy Voice, Summer Tune, By The Pool, Playing Video Games By The Sea, Summer Of Games, Mario Kart Support Us And Buy Our Merch Here >>>>> T-Shirt https://jeanmotell.com/collections/tee-shirts Hoodies https://jeanmotell.com/collections/sweat-shirts Jackets https://jeanmotell.com/collections/jackets Shoes https://jeanmotell.com/collections/shoes Photo Prints & Books https://jeanmotell.com/collections/art Jean Motell would like to thank (for music), in no particular order: Courtney Taylor-Taylor, Montell Fish, Howard Shore, Alison Statton, Lili M., Alexandra Patsavas and everyone at Chop Shop Music Supervision, Papiti, Veronica Vasicka, Cléo Magda, Gérard Pelletier et Cati Tete, Ryan Wines and everyone at Marmoset Music, Mona Soyoc et Spatsz, Thomas Golubić and everyone at SuperMusicVision, Digitalism, Museau Amical, Michael Beinhorn, Idania Valencia and everyone at Sterling Sound, Zady, Katheryn H., Tommy Hilfiger, James F. Goldstein, Fatima Al Qadiri, Glenn O'Brien Jean Motell would also like to thank (for free Champagne): Maxime Simoens, Thierry Lasry, Tory Burch, Max Mara, Philipp Plein, Balmain, Parosh, Marsèll, Lanvin, Ruiz Musi, Gieves & Hawkes, Issey Miyake, Velsvoir, Imoni, Café de Flore, L'Eclaireur, Colette, Tom Greyhound, Le Meurice, Le Bristol, Ritz Paris, Four Seasons Hotel George V, The Ritz London, Tommy Hilfiger, Diesel, BETC, J&B, Cîroc, Modem, Jean Paul Gaultier, Purple Fashion Magazine, Purple PR, Dior, etc.

Keywords For This Track: Asia, Bells, Catchy Bells Melody, Chill At Dusk, Downtempo At Dusk, Chilling With Mates, Smoke Break, Hang Out With Friends, Music For Toyota Hilux With Friends Support Us And Buy Our Merch Here >>>>> T-Shirt https://jeanmotell.com/collections/tee-shirts Hoodies https://jeanmotell.com/collections/sweat-shirts Jackets https://jeanmotell.com/collections/jackets Shoes https://jeanmotell.com/collections/shoes Photo Prints & Books https://jeanmotell.com/collections/art Jean Motell would like to thank (for music), in no particular order: Courtney Taylor-Taylor, Montell Fish, Howard Shore, Alison Statton, Lili M., Alexandra Patsavas and everyone at Chop Shop Music Supervision, Papiti, Veronica Vasicka, Cléo Magda, Gérard Pelletier et Cati Tete, Ryan Wines and everyone at Marmoset Music, Mona Soyoc et Spatsz, Thomas Golubić and everyone at SuperMusicVision, Digitalism, Museau Amical, Michael Beinhorn, Idania Valencia and everyone at Sterling Sound, Zady, Katheryn H., Tommy Hilfiger, James F. Goldstein, Fatima Al Qadiri, Glenn O'Brien Jean Motell would also like to thank (for free Champagne): Maxime Simoens, Thierry Lasry, Tory Burch, Max Mara, Philipp Plein, Balmain, Parosh, Marsèll, Lanvin, Ruiz Musi, Gieves & Hawkes, Issey Miyake, Velsvoir, Imoni, Café de Flore, L'Eclaireur, Colette, Tom Greyhound, Le Meurice, Le Bristol, Ritz Paris, Four Seasons Hotel George V, The Ritz London, Tommy Hilfiger, Diesel, BETC, J&B, Cîroc, Modem, Jean Paul Gaultier, Purple Fashion Magazine, Purple PR, Dior, etc.

Insights In Sound - Michael Beinhorn on the Making of "Rockit" - Season 12, Episode 5 (#115)   In the early 1980s, the music industry was caught in the midst of a cultural upheaval. The slick, heavily-produced sounds of progressive and corporate rock were running headfirst into the raw power of punk and HipHop, with upstart artists creating their own scene in major cities across the globe, and the birth of MTV bringing it to living rooms everywhere. New York was one of the epicenters of this cultural melting pot, with an underground music scene that was rife with experimentation and inspiration. With then-partner Bill Laswell, Michael Beinhorn was one half of the production team Material, whose music was increasingly impacted by the burgeoning cultural shift. In 1982, a chance meeting led to collaborating on Herbie Hancock's epic recording Rockit! and the album Future Shock. We met at the NAMM Show to chat about the birth of that recording and the impact of the music, culture, and the MTV era.

From a young age, Michael has always been an avid music lover. His fascination with music started as early as age 14 with his obsession with synthesizers; This transformed into a career as a synthesist, and later, into a prolific producer and engineer. His passions would lead him to make music with Herbie Hancock, Grandmaster Flash and the Furious Five, The Red Hot Chilli Peppers, Sound Garden and many more musical legends. His most recent work helped Weezer achieve their 2022 Best Rock Song Grammy Nomination for “All My Favorite Songs”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Recorded live at the 2023 #NAMMShow, - We sat down with award-winning producers Michael Beinhorn and Frank Filipetti to talk about how musicians can navigate the changed landscape of today's music industry.  

From a young age, Michael has always been an avid music lover. His fascination with music started as early as age 14 with his obsession with synthesizers; This transformed into a career as a synthesist, and later, into a prolific producer and engineer. His passions would lead him to make music with Herbie Hancock, Grandmaster Flash and the Furious Five, The Red Hot Chilli Peppers, Sound Garden and many more musical legends. His most recent work helped Weezer achieve their 2022 Best Rock Song Grammy Nomination for “All My Favorite Songs”.

En este episodio de El Álbum Esencial, conversamos sobre "Superunknown", uno de los títulos más importantes de Soundgarden, analizando algunos de sus aspectos más relevantes como su sonido, el proceso de creación del disco, sus canciones más exitosas, entre otros temas. 

Mother's Milk is the fourth studio album by Red Hot Chili Peppers. This album is guitarist John Frusciante and drummer Chad Smith's first with the band. Michael Beinhorn produced the album, and it was released by EMI Records in 1989.

Earshot singer Wil Martin called in to talk about the 20th anniversary celebration of their debut album "Letting Go" coming up on Friday, December 9th at the Whisky A Go Go in Hollywood. Here's what we talked about: Michael Beinhorn and getting signed (0-5) 20 Years of "Letting Go" (5-10) "Get Away" song (10-13) Last concert at the Whisky-Fred Durst (13-15) AIC/Breaking Benjamin/Bush at FivePoint Amp 9/2022 (15-18) Mandatory Metallica (18-end)

Throughout his career, Michael has worked with artists like Herbie Hancock, The Violent Femmes, The Red Hot Chili Peppers, Soul Asylum, Hole, Ozzy Osbourne, Courtney Love, Marilyn Manson, Social Distortion, Korn, Golden Palominos, and Mew. Michael is also one of only a few producers to have two albums debut in Billboard's Top Ten in the same week: Marilyn Manson's Mechanical Animals (#1) and Hole's Celebrity Skin (#9). This achievement earned him a 1998 GRAMMY nomination for Producer of the Year. Website: http://www.michaelbeinhorn.com/ Subscribe to the email list and get yourself some free goodies: https://producelikeapro.com  Want to create radio ready mixes from the comfort of your home? Go check out https://promixacademy.com/courses/  Check out all other services here: https://linktr.ee/producelikeapro

Throughout his career, Michael has worked with artists like Herbie Hancock, The Violent Femmes, The Red Hot Chili Peppers, Soul Asylum, Hole, Ozzy Osbourne, Courtney Love, Marilyn Manson, Social Distortion, Korn, Golden Palominos, and Mew. Michael is also one of only a few producers to have two albums debut in Billboard's Top Ten in the same week: Marilyn Manson's Mechanical Animals (#1) and Hole's Celebrity Skin (#9). This achievement earned him a 1998 GRAMMY nomination for Producer of the Year. Website: http://www.michaelbeinhorn.com/ Subscribe to the email list and get yourself some free goodies: https://producelikeapro.com  Want to create radio ready mixes from the comfort of your home? Go check out https://promixacademy.com/courses/  Check out all other services here: https://linktr.ee/producelikeapro

This week we celebrate our 20th installment of an ongoing series called “Grave Mistakes: They Shoulda Been Huge!!!”. We bring you an in-depth exploration of an awesome boogie metal / southern rock n' punk band from the grimy & gritty NYC Lower East Side of the 1980s: RAGING SLAB! This band featured equal parts Skynyrd and Metallica complete with a kick-ass bottleneck slide lead guitar. Touring with a cross-section of bands like Chili Peppers, Ramones, Molly Hatchet, GnR, and Warrant while boasting a southern rock stomp pre-dating The Black Crowes; we think this band Shoulda Been Huge!!! This episode is rooted in our Should Have Been category. This is a band that we featured on the show earlier this year during our exploration of Genres From The Netherworld (Ep. 137). Robert enjoyed them so much, he asked that they be revisited at some point. Unfortunately, their amazing brand of boogie metal was never recognized to the degree that it deserved; partly due to a series of unfortunate incidences and pure bad luck. Songs this week include:Raging Slab – “Mr. Lucky” from Assmaster (1987)Raging Slab – “Get Off My Jollies” from True Death (1988)Raging Slab – “Bent For Silver” from Raging Slab (1989)Raging Slab – “Lord Have Mercy” from Dynamite Monster Boogie Concert (1993)Raging Slab - “C'mon N' On” from Sing Monkey Sing (1996)Raging Slab – “Sir Lord Ford…” from The Dealer (2001)Raging Slab – “Ruby” from (Pronounced Eat-Shit) (2002)Raging Slab – “Bury Me Deep” from (Pronounced Eat-Shit) (2002)Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=uCheck out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/

Episode 78 Strange Synths Little Heard Sounds from Unique Synthesizers Playlist David Behrman, “Pools Of Phase Locked Loops,” from My Dear Siegfried (2005 XI Records). Synthesizers (homemade), David Behrman, Katharine Morton Austin. Recorded live at Radio Bremen in May 1972 and commissioned by Hans Otte. At a time when commercial models of analog synths were widely available, Behrman and other musicians such as Gordon Mumma and David Tudor insisted on creating purpose-built instruments using the same principles. Behrman explains, “The homemade synthesizers had 32 voltage-controlled triangle-wave generators built around a chip utilizing a circuit design called the Phase Locked Loop. The chip made smooth glides possible from one pitch to another. The homemade synthesizers also had voltage-controlled amplifiers, rows of small knobs and frequency counters with the aid of which the performers could retune individual oscillators during a performance.” 14:00 John Ridges, “Fugue In G” (Bach) from Computer Controlled Synthesizer Performances (1977 Tesseract Records). This work was made using a computer-controlled music synthesizer which its makers dubbed Mesmerelda. It was comprised on 200 integrated circuits that could create 96 different pitches assigned to six separate channels. Only one waveform was used, a square wave, and there was no envelope control. Hence, the simple organ-like tone of the piece. 4:49 John Ridges, “Ruffles” (Ridges) from Computer Controlled Synthesizer Performances (1977 Tesseract Records). From the same album comes “Ruffles” performed by composer John Ridges. This track featured a slightly more advanced computer music synthesizer they called the AD8. It featured up to eight synthesis boards each one relating to a single channel. So, eight pitches could be played at a time and there was filtering, waveform generation other than square waves, and simple envelope generation to provide a slightly more advanced sound. As Ridges wrote in the liner notes, with pride, “these pieces are generally free of the bizarre noises usually found on electronic synthesizer albums.” The pieces were recorded in real time without overdubs. 2:36 Patrick Gleeson, “Star Wars Theme (Luke's Theme)” (Williams). (1977 Mercury). Recorded and mixed at Different Fur, San Francisco, July 1977. The piece showcases various beds, rhythms, and sounds made using the E-mu modular synthesizer, also known as an Eµ synthesizer (it's original name). "Selections from the film performed on the world's most advanced synthesizer." Drums, Billy Cobham, Harvey Mason, James Levi, Ronnie Beck; Lyricon, Lenny Picket; Vocals, Sarah Baker; keyboards, performer (Breath Controller), engineered, produced, arranged, and conducted by Patrick Gleeson. 5:36 Bennie Maupin, “Crystals” from Moonscapes (1978 Mercury). Eµ synthesizer (E-mu Modular Synthesizer) programmed by Patrick Gleeson, who owned Different Fur Studios in the San Francisco area and owned an Eµ modular synthesizer (see the earlier Star Wars album which also featured this same synth.) Here, we have a different treatment of the same instrument by jazz woodwind player Maupin, who played Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Flute, Marimba, Glockenspiel, Eµ Synthesizer, and Computone Synthesizer Winddriver on this album. I picked this track because this is most stripped-down arrangement featuring only Maupin playing the Eµ synthesizer and other instruments. 1:19 Sylvester, “You Make Me Feel (Mighty Real)” from Step II (1978 Fantasy). One of the few albums to feature EML (Electronic Music Laboratories) Modular Synthesizers. String synthesizer, Electro-comp 101 synthesizer and 200 expander unit, Oberheim DS-2 Sequencer, Effects , Pat Cowley; organ, Electric piano, Clavinet, Michael C. Finden; Percussion, David Frazier; Producer, Lead Vocals, Piano, Sylvester. EML was a Connecticut-based synth maker that was around from about 1970 to 1984. They were best-known for their Electro-comp modular synths. The 101 was a duophonic semi-modular 44-note synth and the model 200 was an expander unit that added ring modulation, spring reverb, and high and low filters to the setup. It was interesting to hear this Moroder-like pulsating synth sound coming from something other than a Moog. 6:34 Pere Ubu, “I Will Wait” from Dub Housing (1978 Chrysalis). This second album from this Ohio group always figured high on my playlist of favorites. I was mostly fascinated by the synthesizer fills and hijinks by Allen Ravenstine that punctuated much of the group's music with the quirkiest of sounds, all blended and mixed to provide many weird hooks and twists. This is another example of the EML, Electro-comp duphonic modular synthesizer although almost used in a polar opposite way than Sylvester. This is a unique sound from the time. Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Ravenstine is still active and an electronic musician although he has left the EML for other synthesizer frontiers. He remains very much the experimental improviser. 1:45 Pere Ubu, “Navvy” from Dub Housing (1978 Chrysalis). Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Features sounds of the EML Electro-comp modular synthesizer by Allen Ravenstine. 2:40 Pere Ubu, “On the Surface” from Dub Housing (1978 Chrysalis). Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Features sounds of the EML Electro-comp modular synthesizer by Allen Ravenstine. 2:37 Pascal Languirand, “O Nos Omnes” from De Harmonia Universalia (1980 Polydor). I am featuring a track that uses, among other instruments, the Farfisa Synthorchestra, the famous Italian's company entry into the string synthesizer fray. The Syntorchestra was split into two keyboard sections, strings (polyphonic), and mono synth voices. It was a hybrid organ and synthesizer and used much by Klaus Schulze and other German electronic musicians for the short time that it was available from 1975 to 1978. Nine slider controls were positioned next to a 3-octave keyboard and provided some “chaotic” control episodes for this much beloved and rare keyboard. 7:16 Moebius, “Clone Zone” from Moebius (1979 Plastic Poison). Yes, a progressive rock group that utilized the modular synthesizers developed by Serge Tcherepnin, Rich Gold, and Randy Cohen at CalArts in late 1972. By the mid-1970a, Tcherepnin left CalArts and began to manufacture his instruments in Hollywood. Serge modules were designed to bring many elements of the circuits controllable by the performer, patching them in unusual ways beyond what was considered normal for a given module. The model used on this album probably had a 16-stage sequencer introduced by the company, and I think you can hear such patterns in this song. Listen for the bubbling, sequenced sounds that are contrasted to the monophonic solos of the Minimoog and patch sounds of the ARP Odyssey. I think the track opens with the Serge pattern. Drums, Evan Kaplan; Minimoog synthesizer, Bruce Courtois; Roland Sh3a, AP 2600 synthesizers, Steve Roach; Serge modular, Minimoog synthesizer, vocals, written by, Bryce Robbley; Serge modular synthesizer, Doug Lynner. 4:55 Moebius, “Song For Lya,” from Moebius (1979 Plastic Poison). Serge, Oberheim, and Minimoog synthesizers, vocals, written by, Bryce Robbley; Serge, Oberheim synthesizers, written by, Doug Lynner; Violin, John Stubbs. Listen closely to tune-out the parts by the Odyssey and Minimoog and you will experience a lovely bed laid down by the Serge. Moebius had three members, one a violinist, heard in this tune blending with the Serge. Although the group used a Sennheiser vocoder on another track, the vocal distortion on this track may have actually been the voice processed with the Serge. 3:15 Henry Kucharzyk, “Play Dot Sam” from Walk The Line - Three New Works By Henry Kucharzyk (1985 Artifact Music). This work is performed at the Samson Box at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, Palo Alto, California. This track is an escapee from the 1970s but nonetheless fills a void in that period when commercial synthesizers were moving to digital technology and were quite expensive. The Samson Box was a computer-based digital synthesizer created in 1977 by Peter Samson, who worked at the university. Samson stands for the “Systems Concepts Digital Synthesizer. It was a one-off special-purpose dedicated audio computer designed for use by student composers at Center for Computer Research in Musical and Acoustics (CCRMA) at Stanford University. 3:06 Salvatore Martirano, “The SalMar: Part One” from The SalMar Construction (2014 Sub Rosa). Another escapee from the 1970s was this performance at IRCAM in Paris in 1983. Salvatore Martirano, an American composer, invented the one-of-a-kind Sal-Mar Construction designed for real-time performance of electronic music. It was created from 1969 to 1972 at the University of Illinois. The analog synthesizer looked like a large drawing table with an array of 291 touch-sensitive connections to enable the sound generating circuits. Behind it all were some computer circuits salvaged from the Illiac II computer music system and they generated random sequences with which the performer could interact while managing four parallel processes governing the 16 oscillators, applying pitch, timbre, amplitude and envelope parameters to the sound. Martirano toured the world with the performing/composing music machine and described his live performances in the following manner: “The composer, in performance, interacts with the machine as it composes, creating spontaneously four melodic lines which move throughout the concert space via a network of 24 overhead speakers.” This performance was by Martirano while in Paris at IRCAM. 18:59 Herbie Hancock, “Rough” from Future Shock (1983 Columbia). Hancock was well known as an experimenter of new synthesizer technology. During the early stages of the home computer revolution, Hancock used an AlphaSyntauri synthesizer as part of his ensemble of instruments. The AlphaSyntauri was an add-in synth for the Apple II computer, with its own sound-generating circuit board. The company was around from about 1980 to 1985. Its claim to fame what that it was much more affordable than the digital synthesizers made by New England Digital and Fairlight, each of which cost in the $30,000 to $50,000 range. The AlphaSyntauri was $1500. At this price you got 16-voice polyphony, 16 digital oscillators, and envelope generator, keyboard, and a sequencer capable of storing up to 7000 notes. It's affordable sequencing was a major attraction. This was before the Apple Macintosh was introduced, and with that the AlphaSyntauri was made immediately obsolete. But not before Hancock was able to work it into some of his electronic jazz tracks. If you listen carefully you can pick-out the sounds of the AlphaSyntauri because of all of the other synths and instruments on this track. Backing Vocals, Bernard Fowler, Grandmixer D.ST., Nicky Skopelitis, Roger Trilling; Bass, Bill Laswell; Drums, Sly Dunbar; Lead Vocals, Lamar Wright; Fairlight CMI Synthesizer, AlphaSyntauri Synthesizer, Emulator Synthesizer, Herbie Hancock; Prophet-5 Synthesizer, Michael Beinhorn; Turntables, Voice, Grandmixer D.ST. 6:55 Opening background music: P.F.M. (Premiata Forneria Marconi), “Storia In "LA"” from Jet Lag (1977 Asylum Records). Italian progressive rock band founded in 1970. Album recorded at Kendun Recorders, Burbank, California, January, 1977 and Scorpio Sound Studio, London, February, 1977. Mixed at Scorpio Sound Studio, February 1977. Mastered at RCA Studio, London. Bass, Moog B12 Synthesizer, Patrick Djivas; Drums, Percussion, Franz Di Cioccio; Electric Piano, Organ, Moog Synthesizer, Flavio Premoli. 6:28 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 246 (Part 3 of 3): Innovative musician and producer Michael Beinhorn. Since collaborating with experimental bassist-producer Bill Laswell in the late 1970s through the mid-1980s, he has played with or produced an array of diverse and creative artists. Those productions include Material, Brian Eno, Herbie Hancock, Nona Hendryx, Lenny White, the Red Hot Chili Peppers, Soundgarden, Aerosmith, Ozzy Osbourne, Living Colour, Soul Asylum, Black Label Society, Hole, Marilyn Manson and Korn. For the past several years he has focused on helping music artists develop and realize their potential. In 2015 he published the book, “Unlocking Creativity: A Producer's Guide to Making Music & Art.” RECORDED APRIL 2022 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 246 (Part 2 of 3): Innovative musician and producer Michael Beinhorn. Since collaborating with experimental bassist-producer Bill Laswell in the late 1970s through the mid-1980s, he has played with or produced an array of diverse and creative artists. Those productions include Material, Brian Eno, Herbie Hancock, Nona Hendryx, Lenny White, the Red Hot Chili Peppers, Soundgarden, Aerosmith, Ozzy Osbourne, Living Colour, Soul Asylum, Black Label Society, Hole, Marilyn Manson and Korn. For the past several years he has focused on helping music artists develop and realize their potential. In 2015 he published the book, “Unlocking Creativity: A Producer's Guide to Making Music & Art.” RECORDED APRIL 2022 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 246 (Part 1 of 3): Innovative musician and producer Michael Beinhorn. Since collaborating with experimental bassist-producer Bill Laswell in the late 1970s through the mid-1980s, he has played with or produced an array of diverse and creative artists. Those productions include Material, Brian Eno, Herbie Hancock, Nona Hendryx, Lenny White, the Red Hot Chili Peppers, Soundgarden, Aerosmith, Ozzy Osbourne, Living Colour, Soul Asylum, Black Label Society, Hole, Marilyn Manson and Korn. For the past several years he has focused on helping music artists develop and realize their potential. In 2015 he published the book, “Unlocking Creativity: A Producer's Guide to Making Music & Art.” RECORDED APRIL 2022 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

My guest today is Dorian Heartsong an American composer, producer, and multi-instrumentalist based in Los Angeles, California. As an artist, Heartsong is currently playing bass for Jason Bonham's Led Zeppelin Evening.  He is also well known for his Bass work in Powerman 5000 from inception in 1990 until late 2001. Constant touring with bands such as Black Sabbath, Metallica, Kiss, Pantera, and Primus, helped elevate Powerman 5000's album "Tonight The Stars Revolt" to platinum status and landed songs in movie soundtracks including, Zoolander, Scream 3, and Evolution. Dorian has also performed and recorded with other artists and producers including Everlast, Vinnie Moore, Ruby Friedman Orchestra, The Flying Tigers, Dan Rockett, Stevie Salas, Michael Beinhorn, Lior Goldenberg, Sylvia Massey, Joe Barrisi, and Terry Date. He and Stevie Salas scored the indie movie "Live Free or Die" which won Top Jury prize at SXSW film festival in 2006. Heartsong graduated from Berklee College of Music with a degree in songwriting & performance.  Thanks so much to Lior Goldenberg for making our introduction Get access to FREE mixing mini-course: http://MixMasterBundle.com THANKS TO OUR SPONSORS! https://RecordingStudioRockstars.com/Academy Use code ROCKSTAR to get 10% https://JZmic.com Use coupon ROCKSTARS to get 50% off select mics https://www.Spectra1964.com http://MacSales.com/Rockstars http://iZotope.com/Rockstars use code ROCK10 for 10% off https://www.youtube.com/user/adamaudiospeakers http://UltimateMixingMasterclass.com Hear guests discography on Spotify: https://open.spotify.com/playlist/16IcmFoWmpJjA5QnxTi8py?si=6ee6c745935a45b2 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: http://RSRockstars.com/327

Episode 55 Drum Machines: A Recorded History, Part 2: Digital Drum Machines   Playlist Linn Drum Gary Numan, “My Brothers Time” from Dance (1981 Beggar's Banquet). Early use of the Linn LM-1 by John Webb on this track. Note the sound of the claves, played by Numan but not digital. Bass, Saxophone, Mick Karn; Linn LM-1 drum machine, John Webb; Piano, Claves, Gary Numan. 4:37 Rajie, “ストーミー・ナイト (Stormy Night)” from Acoustic Moon (Sony 1981). Early recognition in Japan of the original Linn LM-1 drum machine. Rajie, vocals; Guitar, Mikihiko Matsumiya; Bass, Tsugutoshi Goto ; Chorus,  Hiroshi Koide,  Raji ; Composed By,  Akira Inoue ; Drums,  Tatsuo Hayashi ; Electric Guitar-Tsuyoshi Kon; Flute,  Motoya Hamaguchi ; Lyrics By,  Etsuko Kisugi ; Percussion,  Motoya Hamaguchi ; Prophet-10, Linn LM-1, Electric Piano,  Akira Inoue. Early Linn Drum Computer. 5:08 Herbie Hancock, “The Twilight Clone” from Magic Windows (1981 Columbia). If you want to study the latest in emerging electronic music instruments, just listen to the many albums by Herbie Hancock throughout the 1970s and 1980s. He was an early adopter of the Linn LM-1, heard here and played by Hancock. Bass, Louis Johnson; Linn LM-1 Drum Machine, Herbie Hancock; Ghanian Drums, Moody Perry III; Ghanian Drums, Bells, Kwasi Dzidzornu, Kwawu Ladzekpo; Lead Guitar, Adrian Belew; Percussion, Paulinho Da Costa; Rhythm Guitar, George Johnson; Written by, A. Belew, H. Hancock. 8:16 Don Henley, “The Boys of Summer” Linn Drum demo version (excerpt) (1984 private). Guitar and Linndrum, Mike Campbell; Synthesizer, Steve Porcaro; Synthesizer, Guitar, Danny Kortchmar. Bass, Larry Klein; vocals, lyrics, Don Henley. The instrumental part of the song came first and was put together by Tom Petty bandmate Mike Campbell who had just purchased a LinnDrum machine which was a more affordable model than the original LM-1 released in 1980. Campbell put together a rhythm track and played some guitar. Tom Petty wasn't interested in the song at that time, so it went to Henley, who wrote the lyrics. This demo was close to the final version. The final mix of the song also included some human drumming, as did live performances where a human drummer tried to replicate the sound of the original Linndrum. 0:42 Jean Michel Jarre, “Zoolookologie” from Zoolook (1984 Disques Dreyfus). A fascinating exploration of samples both of voice and drums. This is the later version of the Linn Linndrum machine, just before the introduction of the Linn 9000. There is pure joy in this track as Jarre uses the Linndrum to create many unexpected sounds and atypical rhythms. Bass, Marcus Miller; Composer, Producer, Ethnic Vocals Processing, Keyboards, Electronics, Jean-Michel Jarre; Drums, Yogi Horton; Daniel Lazerus; Guitar Ira Siegel; Guitar, Effects, Adrian Belew; Keyboards, Frederic Rousseau. 4:13 David Van Tieghem, “In-A-Gadda-Da-Vida” from In-A-Gadda-Da-Vida (1986 Wide Angle). Drummer and percussionist Van Tieghem created this version of the Iron Butterfly song using electronic drums (Octapads) and digital drums. Engineer, Programmed By Fairlight Programming Assistance, Eric Liljestrand; Guitar, Larry Saltzman; Vocals, Synthesizer Digital, Analog, Percussion Acoustic, Electronic, Mixed By, Producer, David Van Tieghem; Written-By, Doug Ingle. Basically a one-person performance aside from guitarist Saltzman. Van Tieghem was using both hand played electronic drums (the Octapads) plus some digital drum machines. 5:36 Suzanne Ciani, “Mosaic” from Neverland (1988 Private Music). Composed, Arranged, Performed, Produced by Suzanne Ciani. Among the many electronic instruments used by Ciani were keyboards made by Yamaha, Roland, and Bode (vocoder). For drum programming, she turned to the Linn 9000. This track has some decidedly simple, yet complex rhythms using the Linn 9000 that are truly nuanced and more jazz like. The care with which she programmed this track is in contrast to the typical drum machine beats you hear on records. Ciani also used a Roland TR-707 on this album, which you may also detect on this track. 4:37 Oberheim DMX Todd McKinney, “Kimberlite” from The Sound Of The System (1982 Oberheim). This 7-inch demo disc includes music created by Todd McKinney and Daniel Soger, two Oberheim employees. “Kimberlite” was composed and performed by McKinney using the DMX Programmable Digital Drum Machine, the DSX Digital Polyphonic Sequencer, and the OB-Xa Polyphonic Synthesizer. 2:28 Tangerine Dream, “Poland” from Poland (The Warsaw Concert) (1984 Jive Electro). You can hear the Bohn Digital Drums in the first half of the song and the Oberheim DMX in the second half. But that's a bit of a guess. Dr. Böhm DIGITAL DRUMS was a rhythm machine made in Germany from 1982-83, also known as ''the German Linndrum.'' Composed, performed, and produced by Tangerine Dream. Jupiter 8, PPG Wave 2.3 Waveterm, Minimoog, Korg Monopoly, Sequenced by EEH CM 4 Digital Sequencer, Bohm Digital Drums, Roland Tr 808 Drums, Roland SDE 3000 Delay, MXR 01 Digital Reverb, MXR Digital Delay, Johannes Schmoelling; Prophet 5, Prophet 600, Prophet 1, E-mu Custom Programmable Synth, Moog Custom Programmable Modular Synth, MTI Synergy, Sequenced by the PE Polyrhythmic Sequencer, Compulab Digital Sequencer, Syntec Custom Digital Drum Computer, Electronic Drums Simmons Drum Modules, Effects Quantec Room Simulator, Roland SDE 3000, Electronics Hill Multi-mixer, Chris Franke; Yamaha DX 7, Yamaha YP 30, Jupiter 8, Jupiter 6, Prophet 5, PPG Wave 2.2, Sequenced By Pe Polyrhythmic Sequencer, EEH Cm 4 Digital Sequencer, PE Custom Trigger Selector, DMX Oberheim Digital Drum machine, Edgar Froese. 8:43 Herbie Hancock, “Earth Beat” from Future Shock (1983 Columbia). In addition to the DMX, this track includes evidence that Garfield Electronics Dr. Click Rhythm Controller was a much-needed rhythm device for wrangling the otherwise incompatible signals prior to the introduction of MIDI a few years later. Craig Anderton wrote the following about Doctor Click in an article in Keyboard from 1983: "Doctor Click is not a keyboard instrument, not a drum machine, and not a signal processor: What it does is synchronize and interface these three families of devices together. Not only can it interface to existing sync tracks, it can build up click tracks from incomplete click tracks, and even create sync and/or click tracks which are referenced to a live musician." Hancock masters Dr. Click on this album. Fairlight CMI, Yamaha GS-1, Yamaha CE-20, Dr. Click Rhythm Controller, Herbie Hancock; DMX Drum Machine, Synare Electronic Drums, Memory Moog Programming, Michael Beinhorn; Bass, Bill Laswell; Bata, Daniel Ponce; Turntables – Grandmixer D. ST. 5:09 Herbie Hancock, “Hardrock” from Sound System (1984 Columbia). The sound of the Oberheim DMX digital drum machine as used by Herbie Hancock. This album was his follow-up to the album Future Shock on the DMX made a famous appearance in the song Rockit, which was unusually a top-selling hit for Hancock. The DMX is played here by non-other than Bill Laswell. Note that Simmons electronic drums are also being played on this track by Anton Fier, but I think you can tell the difference. Bass, Drum Machine DMX, Tape, Bill Laswell; Bata, Daniel Ponce; Simmons electronic drums, Sound Plates, Cuica, Anton Fier; Guitar, Henry Kaiser, Nicky Skopelitis; Fairlight CMI Programming, Will Alexander; Fairlight CMI, Rhodes Chroma, Apple IIe, Yamaha DX7, Emu 4060 Digital Keyboard, Herbie Hancock; Synthesizer (XMD), Rob Stevens; Turntables, D. St; Written-By, B. Laswell, D. Showard, Herbie Hancock. 6:10 Davy DMX, “Bonus Beats” from One For The Treble (Fresh) (1984 Tuff City). Davy DMX when he first met the Oberhheim DMX digital sampling drum machine. He is also known as David Franklin Reeves, Jr. Here is a bonus track of only drum machine and turntable. 1:47 Davy DMX, “One For The Treble (Fresh) (Instrumental)” from One For The Treble (Fresh) (1984 Tuff City). Davy DMX when he first met the Oberheim DMX digital sampling drum machine. Another track from that same 12-inch. 7:31 Movement MCS Drum Computer John Foxx, “Pater Noster” from The Garden (Virgin 1981). This album was produced after Foxx left Ultravox. It is another example of the MCS Drum Computer. This track only features Foxx on synthesizers, voice, drum programming, and a manually struck Tom Tom. 2:30 Roland El Escuadrón Del Ritmo, “Las Cucarachas” from Back Up: Mexican Tecno Pop 1980-1989 (2021 Dark Entries). I discovered this wonderful collection of Mexican synth-pop tracks, some never before heard, and immediately dug-out a track using a drum machine. This track is from 1982. In this case, the drum machine is the Roland Compu-Rhythm CR-78, which was a transitional analog device with analog drum sounds and digital control for programming patterns. 3:44 Nahtabisk, “La Dama De Probeta” from Back Up: Mexican Tecno Pop 1980-1989 (2021 Dark Entries). Another hidden gem from Mexico. This track is from 1984 and features the Roland drumTR-606 Drumatix. The TR-606 featured PCM-encoded sounds of real drums. This small device, that ran on batteries, helped define the sound of early techno. 3:20 E-mu Joe Mansfield, “Drumulator (Instrumental)” from Drumulator (2014 Get On Down). This is a track featuring the sounds of the E-mu Drumulator that was sold from 1983 to 1985. It had twelve, 8-bit sampled sounds of real drums and at about $1000 was more affordable that drum machines like the Linndrum and Oberheim DMX. It was created on the heels of the sample synthesizers they made under the Emulator name. It also had a relatively short life so few recordings from the time were made. This demo is an example of what could be done with the Drumulator and Herbie Hancock took a liking to it prior to switching to the Oberheim DMX. 2:02 Richard Souther, “Uncharted Waters” from Innermission (1986 Meadowlark Records). Music and realization by Richard Souther. Includes synthesizers from Roland, PPG, Sequential Circuits, and Casio. He also used both the Linn 9000 and E-mu SP-12 drum machines, which are both heard on this track. You can clearly hear the Linn 900 and its distinctive snare and bass sounds, while the E-mu, which was built around the circuits in the company's popular keyboard samplers, provided some of the more unusual, even exotic, percussion sounds. 3:23 Alesis Slant, “Sheep” and “Ducks” from Hive (1989 These Records). This amazing group, although short-lived, was a British experiment in rock with noise elements that included Cris Cheek, Philip Jeck, Sianed Jones, and Osian Tam. Cross used an Alesis HR-16, which is showcased in the second of two tracks, “Ducks.” I think that is probably the same drum machine in the first track, “Sheep” so I thought this represented some good contrast in the way that the sound could be treated. This had 49 digital samples of drums that could be programmed in real-time by playing the velocity sensitive drum buttons. Double Bass Julia Doyle; Guitar, Cabasa, Engineer, Co-producer Maciek Hrybowicz; Keyboards, Accordion, Synthesizer DX7; Piano, Clarinet, Voice, Marimba, Goblet Drum Darabouka, Tambourine, Bells Agogo Bells, Sampler Cassette Samples, Flute Souffara, Rattle Seed Pod Rattles, Performer Emax, Alesis HR-16, Breath Rhythms, Face Slap, Mixed By, Co-producer Cris Cheek; Turntables, Radio Philip Jeck; Violin, Piano, Vocals, Organ, Fife, Viol Viola Da Gamba, Harmonium, Claves, Performer Emax, Breath Rhythms, Mixed By, Co-producer Sianed Jones; Voice Osian Tam. 4:31 Closing, Linn LinnDrum Mikel Rouse, “Quorum part 2” from Quorum (1984 Club Soda Music). It was inevitable that a composer would create an extended piece of music using only the Linn Linndrum. Mikel Rouse was that person. Listen to the hypnotic patterns of this work. From the composer's notes: “Quorom is a piece for LinnDrum machine (or 18 percussion players) in 9 parts running approximately 1 hour and 45 minutes in length. Though the sequence of parts 1 through 9 must be maintained, the parts may be divided into sections, or run continuously. Themes are produced through the synchronization of the 3 generators, 3-5-8, and their complimentary factors yield counterthemes. Power series are then applied to produce harmonic contrasts from the original themes. Thematic material is developed through multiple variation techniques (circular permutations, accents through superimposition of an additional component, natural growth through the summation series). I decided to undertake the programming myself and, with the aid of Jim Bergman, successfully completed the programming in about 5 hours. I would like to stress that all programming was done through the step-by-step process provided in the operator's manual for construction “songs” from “patterns”. No special treatments or extensions (including cassette interfaces) were required.” Such was the versatility of the Linn Linndrum. 11:16   Background Sounds Volti, “Corazón” from Back Up: Mexican Tecno Pop 1980-1989 (2021 Dark Entries). Mexican electro-pop group. This track is from 1986 and features unknown drum programming. vocals, synthesizer, Lyndell Brookhouse; bass, synthesizers, drum programming percussion, Eddie Rubello; Backing Vocals, Katie Taylor; Congas, Edgar Herrera; Piano, Vincent Kenis; Timbales, Pedro Ortiz. 3:45. Adams and Fleisner, tracks “a1, a2, b1, b2, b3” from Modern Digital Recorded Drumcomputer Rhythm Tracks (1983 Break Records). I think this track of library digital drum samples from the Netherlands was made with the Drum Computer MCS II (or Percussion Computer) from Movement Computer Systems, a rare British made-drum machine circa 1983. It had an integrated CRT monitor and had an orange (or black) case. It used 8-bit samples of drums and featured 14 voices and programmable patterns. Opening: Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations. There are dozens of drum machines that dot the history of electronic music. For an encyclopedic list of almost every drum machines ever made, and there were dozens of variations and models up until around 1985, check-out the excellent books by Alex Graham, a UK-based drum machine collector and specialist.

Michael Beinhorn joins the podcast. We talk production and working with some of the most notorious musicians and his take on musical creativity. Michael has a legendary career working with superstar acts and has achieved a combined worldwide sales of over 45 million albums. He is one of only a handful of producers to debut two separate recordings on Billboard's Top Ten in the same week. He wrote Rock It with Jazz Pianist Herbie Hancock, which became one of the most influential hip-hop songs of all time, and later on, played a massive role in the grunge sound. He has worked with Brian Eno, Herbie Hancock, Hole, Marilyn Manson, Red Hot Chili Peppers, Ozzy Osbourne, Soul Asylum, Soundgarden, Korn… to name a few. You learn more you can visit his website: https://www.michaelbeinhorn.com And pick up his book Unlocking Creativity: A Producer's Guide to Making Music & Art here: https://www.amazon.com/Unlocking-Creativity-Producers-Making-Guides/dp/1480355135 This episode was edited by Bob Guido. Check him out here: https://www.bobguido.com

I am joined this week by original Violent Femmes drummer Victor DeLorenzo to talk about the making of the bands album Why Do Birds Sing for it's 30th anniversary, acting and writing outside of drumming, writing music with his new band NINETEEN THIRTEEN, being possibly the only band to open for both the Grateful Dead and Ramones, playing drums in Moe Tuckers band and a whole lot more  FOLLOW VICTOR DELORENZO - https://victordelorenzo.weebly.comhttp://www.nineteenthirteen.comhttps://nineteenthirteen.bandcamp.comTwitter - https://twitter.com/VicDeLorenzohttps://twitter.com/1913mkeInsta -https://www.instagram.com/vjd/https://www.instagram.com/1913mke/Facebook -https://www.facebook.com/Nineteen13Check out the Power Chord Hour radio show every Friday night at 10 est on 107.9 WRFA in Jamestown, NY, stream the station online at wrfalp.com/streaming/ or listen on the WRFA mobile appemail me for FREE Power Chord Hour stickers - powerchordhour@gmail.comFacebook - www.facebook.com/powerchordhourInstagram - www.instagram.com/powerchordhour/Twitter - www.twitter.com/powerchordhour/Youtube - www.youtube.com/channel/UC6jTfzjB3-mzmWM-51c8LggSpotify - https://open.spotify.com/user/kzavhk5ghelpnthfby9o41gnr?si=4WvOdgAmSsKoswf_HTh_Mg 

On this in-depth Michael Beinhorn interview, Michael explains how he went from being a synth player in Material, a local Manhattan band… to co-writing, playing and producing Herbie Hancock's smash hit, Rockit! Dealing with divorce, moving cross country, getting fired from his band, the unethical aspect of the music business… his reputation for firing drummers, working with Herbie Hancock, Red Hot Chili Peppers Soul Asylum, Ozzy Osbourne (and why Ozzy hated being in the studio), Mike Ness (Social Distortion), Chris Cornell, Soundgarden, Marilyn Manson, Twiggy (from Manson's band), Hole… the challenge about being creative that many artists face once they become successful (VERY interesting), an incredibly helpful discussion about faulty belief systems and how they, unfortunately, rule and ruin, so many of our lives, and LOADS more. INCREDIBLY inspirational, great conversation, this one's a MUST: If you'd like to support this show: http://www.everyonelovesguitar.com/support Michael Beinhorn is a successful record producer, composer, author, and musician, who's worked with: Brian Eno, Nile Rodgers, David Byrne, Whitney Houston, Herbie Hancock, Fab Five Freddy, Nona Hendryx, Lenny White, Violent Femmes, Red Hot Chili Peppers, Ozzy Osbourne, Aerosmith, Soundgarden, Soul Asylum, Marilyn Manson, Living Colour, Social Distortion, Hole, Korn (#2 Billboard LP, Untouchables, platinum), Fuel, The Bronx,  Afrika Bambaataa, Pet Shop Boys, Janet Jackson, The Cult, Black Label Society and hundreds of others His projects have combined record sales at over 45 million copies worldwide, and he's the only record producer in history to have 2 separate recordings debut in the Billboard Top Ten in the same week (Marilyn Manson's Mechanical Animals @ #1 & Hole's Celebrity Skin @ #9) Subscribe YT: https://www.youtube.com/c/EveryoneLovesGuitar?sub_confirmation=1 Website:  https://www.everyonelovesguitar.com/subscribe

Comin' in hot (AKA 4 days late) with a particularly THICK and monolithic episode of OMYAC, taking on Soundgarden's 1994 magnum opus "Superunknown". We are joined once again by Tyler Kent (of GEPH) as we navigate the massive and murky waters of this 90s classic, with plenty of detours into attempted Michael Beinhorn impressions and Jim's trademark clown stories.

Pat welcomes Dave Pirner of Soul Asylum into the Zoom Room to discuss his career in music and promote the band's excellent new album "Hurry Up And Wait."

The Red Hot Chili Peppers. Soundgarden. Herbie Hancock. Their records all have one thing in common: the fantastic production skills of Michael Beinhorn. Starting out as a founder of the legendary post-punk band Material, Michael eventually realized that his destiny lay behind the mixing console, not the microphone. Almost winning a Grammy started Michael on a career filled with both seminal albums and creative revelations. Join long-time friends Nick and Michael for an incredibly revealing conversation, as they discuss the ethereal workings of the creative process, the pros and cons of being a record producer, and the long road Michael traveled from music prodigy to creative philanthropist. HIGHLIGHTS: [01:50] Michael marvels at how modern technology has changed how music is made [05:42] Michael reminisces about playing in Material and producing other artists at the same time [08:14] Michael realized early on that producing, not performing, was his passion [10:07] Michael and Nick pay their respects to the legends of the Seattle scene that are no longer with us [12:12] Producing a hit record was not Michael's "golden ticket" to the music biz [14:25] Michael landed a gig that changed everything: producing the Red Hot Chili Peppers [20:11] Michael explains his philosophy of what it takes to be a great producer [25:40] Michael's reputation as a "taskmaster" with Soundgarden scared other artists away [29:10] Michael examines the tricky balancing act of being a producer versus befriending the artists [32:18] Michael discusses his book "Unlocking Creativity", and his theories about being creative [33:52] Feelings and intuition play an important part in both producing and enjoying music [36:38] Staying busy and engaged with other peoples' music keeps Michael's creative energy flowing [38:59] Michael relates to Bob Fosse when it comes to working with inexperienced talent [40:57] Michael learned to put aside the ego-boosting of his past work and embrace what he can bring to artists today [43:45] Michael finds the time to participate in an entertainment-based philanthropic endeavor to help with Covid relief   Thanks for listening! Tune in next week and don't forget to take a minute to review the podcast. In this incredibly competitive podcasting world, every piece of feedback helps. Follow our social media channels for last-minute announcements and guest reveals @theradicalpod on Instagram and Facebook. Find out more about today's guest, Michael Beinhorn Find out more about your host, Nick Terzo MENTIONED IN THIS EPISODE: @ChiliPeppers @kiedis @flea_official @johnfrusciante @itspetergabriel @soundgarden @chriscornell @soulasylum @herbiehancock @TheClash @nagualsite @holerock @marilynmanson  

I know 2020 hasn’t exactly been a “best of” year, however, I thought it would be fun to go back and look at some of the highlights from this year’s interviews.We will delve into interviews with guests such as Joe Satriani, Leland Sklar, Nathan East, Tomo Fujita, Anders Osborne, Aaron Beam, Oz Noy, Michael Beinhorn and more!Thanks to all the listeners and the awesome guests who took their time to talk with me and share their expertise with the listeners!To you, the listener/watcher, please let me know in the comments which have been your favorite moment on the podcast and what you like to see more of in the next year.►► Join The Audio Tribe To Get Exclusive Access To Interviews, Private Q&A’s And Live Streams: https://www.youraudiosolutions.com/exclusive-access

In this episode of Insights In Sound we welcome Grammy award winning producer Michael Beinhorn. His credits include Soundgarden, Herbie Hancock, Red Hot Chili Peppers, Hole, Soul Asylum, Marilyn Manson, Korn, and many more. Want to hear about the interesting tricks he used to coax an amazing vocal from Chris Cornell on “Black Hole Sun” or Herbie's first reaction to the track for “Rockit”? Join us for Episode 2 of Insights in Sound. 

As bonus coverage this week we have an interview with Michael Beinhorn, producer of Soundgarden's "Superunknown". Michael shares stories from the making and recording of Soundgarden's most successful record.

Coming in at Number 9 on Rolling Stone's greatest Grunge Albums is Soundgarden's 1994 release "Superunknown" featuring guest host, from the Pods & Sods Podcast, Eric Miller. Eric and Bakko talk about the making of the record, the genius of Chris Cornell and go track by track. Superunknown is the fourth studio album by American rock band Soundgarden, released on March 8, 1994, through A&M Records. It is the band's second album with bassist Ben Shepherd, and features new producer Michael Beinhorn. Soundgarden began work on the album after touring in support of its previous album, Badmotorfinger (1991). Superunknown captured the heaviness of the band's earlier releases while displaying a more diverse range of influences. Superunknown was a critical and commercial success and became the band's breakthrough album. It debuted at number one on the Billboard 200, selling 310,000 copies in its opening week. The album also topped the Australian, Canadian, and New Zealand charts. Five singles were released from the album: "The Day I Tried to Live", "My Wave", "Fell on Black Days", "Spoonman", and "Black Hole Sun", the latter two of which won Grammy Awards and helped Soundgarden reach mainstream popularity. In 1995, the album was nominated for the Grammy Award for Best Rock Album. The album has been certified five times platinum by the RIAA in the United States, has sold 9 million copies worldwide and remains Soundgarden's most successful album. In April 2019, Superunknown was ranked No. 9 on Rolling Stone's "50 Greatest Grunge Albums" list.

My guest today is Michael Beinhorn who has lived his life in the pursuit of artistic expression, first as a visual artist, then as a performer, and finally as a record producer.  Michael began in 1979 as co-founder of the seminal New York musical collective Material and has since produced and or recorded a long list of artists including Brian Eno’s “Lizard Point” from “Ambient 4: On Land.”, Herbie Hancock’s Future Shock, which included the groundbreaking cut “Rockit.”,  the Red Hot Chili Peppers’ breakthrough albums “The Uplift Mofo Party Plan” and “Mother’s Milk”. Michael’s recordings have achieved combined worldwide sales of more than 45 million albums helping to define the careers of a diverse range of artists, including Soul Asylum, Hole, Soundgarden, Ozzy Osbourne, Courtney Love, Marilyn Manson, Social Distortion, Korn, and Mew.  Over the past 20 years, Michael has become increasingly aware of the concerns facing artists and producers alike who are trying to maintain their creative ethics, personal expression and focus in the recording process. He has increasingly devoted his attention to artist development, the changing music industry and various ways to improve the quality of contemporary popular music.  For this reason, he has been increasingly active in mentoring fellow artists and aspiring record producers. He has extensively addressed these (and other pertinent) issues in his book, “Unlocking Creativity” published by Hal Leonard. He has also started an innovative online consulting service (Beinhorn Creative) that remotely provides all the functionality of music production to artists who would otherwise, be unable to afford these services.  Thanks to our sponsors! OWC: Other World Computing: https://www.OWC.com JZ Microphones: https://usashop.jzmic.com Spectra1964: https://www.spectra1964.com Presonus Studio One: https://www.presonus.com API Audio: http://www.apiaudio.com/ RSR Academy: http://RSRockstars.com/Academy Want to learn more about mixing? Get Free mix training with Lij at: http://MixMasterBundle.com Hear more on Youtube If you love the podcast, then please Leave a review on iTunes here CLICK HERE FOR SHOW NOTES AT: http://RSRockstars.com/258

Joe & Mike talk with legendary Grammy Award winning rock producer Michael Beinhorn! Topics include; The making of Soundgarden's “Superunknown”, Soundgarden thinking that “Black Hole Sun” was not all that great of a song, the ground loop story at Right Track recording studio in NYC, Hole's “Celebrity Skin” guitar tones, the importance of preproduction, evolving as a producer in an ever-changing music business.  + Much more!! "From The West Barn" is a weekly podcast hosted by Joe West & Mike Shimshack shot at The West Barn in Nashville, TN. It's available anywhere podcasts are available.  West/Shimshack are both music industry veterans that have seen the peaks and valleys of the business over the past 30 years. Their careers have been punctuated with Grammy wins, hit songs, platinum records, tens of millions of units sold and more than their share of failure.  Tune into "From The West Barn" for their take on the lifestyle and engaging conversations with some of the industries most interesting people! Nothing is off the table ~ FTWB    MICHAEL BEINHORN —}  Website: https://www.michaelbeinhorn.com/ Book: http://www.michaelbeinhorn.com/media/#bookPanel   MIKE SHIMSHACK ---}  Instagram: @shackjonz    JOE WEST ---}  Website: https://joe-west.com  School: https://www.apprenticeacademy.net  Instagram: @west_joe  Facebook: https://facebook.com/westjoe    SPONSORS ---}  HERCULES STANDS:  http://herculesstands.com/us/  SLINGSTUDIO:  https://www.myslingstudio.com/  APPRENTICE ACADEMY:  http://www.apprenticeacademy.net    FROM THE WEST BARN copyright 2020

Michael Beinhorn takes being a producer very seriously. This singularity of purpose shows in the ground-breaking albums he’s produced, including Soundgarden’s “Superunknown,” The Red Hot Chili Peppers’ “Mothers Milk” and “Uplift Mofo Party Plan,” Herbie Hancock’s “Future Shock,” and many more. Michael has worked with such artists as Ozzy Osbourne, Aerosmith, Marilyn Manson, Hole, Violent Femmes, and Soul Asylum. Michael was also a member of the legendary genre-defying New York band Material in the late ‘70s and early ‘80s.In this interview, Michael discusses his “alternate reality” approach to producing Herbie Hancock, why “Superunknown” shouldn’t be thought of as a “grunge” record, and what drew him to work with the Red Hot Chili Peppers at the time of their commercial and creative breakout period. He also discusses his latest project, Beinhorn Creative - the world’s first production-based online music company (at BeinhornCreative.com), which allows him to produce artists across the globe remotely and in real time. Michael also talks about the inspiration for his fascinating book “Unlocking Creativity: A Producer's Guide to Making Music & Art.”

Michael Beinhorn is a music producer who has done records for bands such as Red Hot Chili Peppers, Soundgarden, Herbie Hancock, Marilyn Manson to just name a few.Michael is a very passionate man and this interview took quite a different direction than I expected. We spent quite a lot of time talking about:• Everything that’s wrong with the music business and record labels• Why artists need to continue to innovate and take music to the next level• Why we need to demand more excellence in music and art• Why Michael is mad about that we are still referring to The Beatles as something to inspire toThis is something that Michael is very passionate about and I found his ideas and viewpoints very interestingWe also touched on:• What it takes to make a great rock record• Growing up in New York in the ‘70s• Gentrification and how it kills the art sceneAnd much moreGet Exclusive Access by joining the email list here: https://www.youraudiosolutions.com/exclusive-accessConnect with Michael on:https://beinhorncreative.com/https://www.facebook.com/michael.beinhornhttps://www.instagram.com/michaelbeinhorn/?hl=enMixing & Mastering - https://www.niclasjeppsson.com/

Patty Schemel special talking about her life in music with David Eastaugh Patricia Schemel is an American drummer and musician who rose to prominence as the drummer of alternative rock band Hole from 1992 until 1998. Born in Los Angeles, Schemel was raised in rural Marysville, Washington, where she developed an interest in punk rock music as a teenager. She began drumming at age eleven, and while in high school, formed several bands with her brother, Larry. Schemel was recommended as a drummer to Hole frontwoman Courtney Love by her husband, Kurt Cobain, a friend of Schemel's. She formally joined the band in 1992, and performed on their critically acclaimed second album, Live Through This (1994). On the band's third release, Celebrity Skin (1998), Schemel was replaced by a session drummer after its producer, Michael Beinhorn, convinced Love that Schemel was unable to adequately perform during their recording sessions. Though she receives credit on the album, her drumming does not appear on the final tracks, and the event marked her departure from the band. For the band's subsequent tour, Schemel was replaced by Samantha Maloney. After leaving Hole, Schemel developed a significant crack cocaine addiction, and was homeless for a time. In the early 2000s, she became sober and reunited with Love, joining the short-lived group Bastard before drumming on Love's debut solo album, America's Sweetheart (2004). Schemel subsequently drummed for Juliette and the Licks, appearing on their EP ...Like a Bolt of Lightning (2004). In 2010, using concert and video diary footage from Hole's 1994–1995 Live Through This world tour, Schemel co-created Hit So Hard, a documentary chronicling her time in Hole, her overcoming substance abuse, as well her subsequent business operating a dog boarding business. In 2013, she joined the indie rock group Upset, formed by Ali Koehler, previously of Vivian Girls and Best Coast, and formed the band Death Valley Girls with her brother, Larry, the same year.

Take a look back at the world of music in March 2020 with me on this weeks episode of the podcast! Talking new releases, music news, this months guests, record collections, coronavirus effect on the music industry and more.Also have some new music from The Bombpops, Alkaline Trio, Chief State and Joe Normal and the Anytown'rs.Check out the Power Chord Hour radio show every Friday night at 10 est on 107.9 WRFA in Jamestown, NY, stream the station online at wrfalp.com/streaming/ or listen on the WRFA mobile app  Stay connected with the show!  email me for FREE Power Chord Hour pins - powerchordhour@gmail.com  Facebook - https://www.facebook.com/powerchordhour  Instagram - https://www.instagram.com/powerchordhour/  Twitter - https://twitter.com/powerchordhour/ Youtube - https://www.youtube.com/channel/UC6jTfzjB3-mzmWM-51c8Lgg Spotify - https://open.spotify.com/user/kzavhk5ghelpnthfby9o41gnr?si=4WvOdgAmSsKoswf_HTh_Mg 

Heres a throwback to a pre-podcast interview we did with legendary multi-platinum producer and Grammy award winner Michael Beinhorn from 2019! Michael has worked on some of the biggest albums by Hole, Soul Asylum, Social Distortion, Violent Femmes, Herbie Hancock, Red Hot Chili Peppers, Korn, Ozzy Osbourne, Marilyn Manson and many more.  Check out the Power Chord Hour radio show every Friday night at 10 est on 107.9 WRFA in Jamestown, NY, stream the station online at wrfalp.com/streaming/ or listen on the WRFA mobile app
 Stay connected with the show!email me for FREE Power Chord Hour pins - powerchordhour@gmail.com
Facebook - https://www.facebook.com/powerchordhourInstagram - https://www.instagram.com/powerchordhour/Twitter - https://twitter.com/powerchordhour/
 Youtube - https://www.youtube.com/channel/UC6jTfzjB3-mzmWM-51c8LggSpotify - https://open.spotify.com/user/kzavhk5ghelpnthfby9o41gnr?si=4WvOdgAmSsKoswf_HTh_Mg Stay Connected With Michael Beinhorn https://www.michaelbeinhorn.comTwitter - https://twitter.com/michaelbeinhornFacebook - https://www.facebook.com/michael.beinhornInstagram - https://www.instagram.com/michaelbeinhorn/Youtube - https://www.youtube.com/channel/UCag2yZ2MdFt2SeyAxUF1Avg  

Join Deon and Jay as they say the word "jellyfish" more than 65 times in less than an hour. Episode 3 focuses on bands and artists the Lickers feel had serious commercial appeal and potential, but for numerous reasons could not achieve mainstream success. Featured artists include Jellyfish (duh), Terry Reid, The Buck Pets, Shoes, Green on Red, King's X, and The Dollrots. So...who's your Jellyfish? Is it cool to like the Black Crowes? How do Michael Beinhorn and Chris Cacavas pronounce theri names? Answers to these questions and more are found in episode 3 of Lightnin' Licks Radio. Enjoy! (1) Jellyfish - Joining a Fan Club (2) Terry Reid - Faith to Arise (3) The Buck Pets - Pearls (4) Shoes - Your Imagination (5) Green on Red - Keep on Moving (6) King's X - Far Far Away (7) The Dollyrots - In Your Face recorded October 13, 2019 mixed by M.M. Knapps of Lightnin' Licks Vinyl Preservation Society COVER IMAGE DESIGN BY: Bryan Koniesczka --- Send in a voice message: https://anchor.fm/llradio/message

Steve Albini. Nigel Godrich. Butch Vig. Bob Rock. Jack Endino. Michael Beinhorn. J Robbins. Sean Slade. Paul Kolderie. Youth. Ric Ocasek. Dave Fridmann. Ken Andrews. Brendan O'Brien. Brad Wood. Rick Rubin. Ted Niceley. Stephen Street. Flood. Terry Date. Dave Jerden. Alan Moulder. Dave Ogilvie. Chances are, if you purchased a CD in the 1990s and read through the liner notes, whether it was a major label release or a regional indie label, there is a possibility their name, or someone else you may recognize, is listed as the producer. But what does a producer do, and how do they influence the sound of a record? We often talk about liking or not liking some aspect of the production, and on this roundtable, we dig into what exactly that means, who does what in the studio, and some traits, commonalities, and differences of producers who worked in the 1990s.   Songs In This Episode:   Intro - Stuck On You by Failure (Ken Andrews) 8:04 - Rusty Cage by Johnny Cash (Rick Rubin) 17:36 - Pull The Cup by Shellac (Steve Albini) 41:56 - Holes by Mercury Rev (Dave Fridmann) 49:04 - Buddy Holly by Weezer (Ric Ocasek) 1:08:59 - Girls And Boys by Blur (Stephen Street) Outro - Never Said by Liz Phair (Brad Wood)   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.  

Steve Albini. Nigel Godrich. Butch Vig. Bob Rock. Jack Endino. Michael Beinhorn. J Robbins. Sean Slade. Paul Kolderie. Youth. Ric Ocasek. Dave Fridmann. Ken Andrews. Brendan O'Brien. Brad Wood. Rick Rubin. Ted Niceley. Stephen Street. Flood. Terry Date. Dave Jerden. Alan Moulder. Dave Ogilvie. Chances are, if you purchased a CD in the 1990s and read through the liner notes, whether it was a major label release or a regional indie label, there is a possibility their name, or someone else you may recognize, is listed as the producer. But what does a producer do, and how do they influence the sound of a record? We often talk about liking or not liking some aspect of the production, and on this roundtable, we dig into what exactly that means, who does what in the studio, and some traits, commonalities, and differences of producers who worked in the 1990s.   Songs In This Episode:   Intro - Stuck On You by Failure (Ken Andrews) 8:04 - Rusty Cage by Johnny Cash (Rick Rubin) 17:36 - Pull The Cup by Shellac (Steve Albini) 41:56 - Holes by Mercury Rev (Dave Fridmann) 49:04 - Buddy Holly by Weezer (Ric Ocasek) 1:08:59 - Girls And Boys by Blur (Stephen Street) Outro - Never Said by Liz Phair (Brad Wood)   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.  

Casi un año antes del lanzamiento del disco, el guitarrista Hillel Slovak murió de sobredosis, lo que causó que el batería Jack Irons abandonase la banda. John Frusciante y Chad Smith los reemplazaron respectivamente. Frusciante alteraría en gran medida el sonido de la banda, poniendo más énfasis en sonidos melódicos que en los rítmicos, que hasta entonces dominaban el estilo del grupo californiano. Michael Beinhorn quiso dotar al álbum de un sonido más contundente, con riffs de guitarra heavy metal así como un excesivo overdubbing, lo que no era del agrado de Frusciante, y aquello provocó enfrentamientos entre ambos.

Casi un año antes del lanzamiento del disco, el guitarrista Hillel Slovak murió de sobredosis, lo que causó que el batería Jack Irons abandonase la banda. John Frusciante y Chad Smith los reemplazaron respectivamente. Frusciante alteraría en gran medida el sonido de la banda, poniendo más énfasis en sonidos melódicos que en los rítmicos, que hasta entonces dominaban el estilo del grupo californiano. Michael Beinhorn quiso dotar al álbum de un sonido más contundente, con riffs de guitarra heavy metal así como un excesivo overdubbing, lo que no era del agrado de Frusciante, y aquello provocó enfrentamientos entre ambos.

Legendary Record Producer called in to talk about all of the services offered on his website: www.michaelbeinhorn.com and to talk about some of the albums he has worked on over the years. Here's what we talked about: www.michaelbeinhorn.com (0-12) Red Hot Chili Peppers "Mother's Milk" (12-16:30) Soundgarden "Superunknown" (16:30-22:00) Ozzy Osbourne "Ozzmosis" (22:33-23:47) Marilyn Manson "Mechanical Animals" (23:47-28:15) Korn "Untouchables" (28:15-32) Hit or Not A Hit (32-til end)

On this episode of the Brutally Delicious Podcast Bruce and Kris with legendary producer Michael Beinhorn. He is responsible for some of the greatest records of the last few decades including records by The Red Hot Chili Peppers, Soundgarden, Ozzy, Marilyn Manson and so many more. --- Send in a voice message: https://anchor.fm/brutally-delicious/message

Michael Beinhorn has produced a wide range of artists including Herbie Hancock, The Red Hot Chili Peppers, Ozzy Osbourne, Aerosmith and Soundgarden, among many others. He is the author of Unlocking Creativity, and an outspoken advocate of the importance of artist development and pre-production within the creative process. To that end, Michael has begun consulting with artists […]

Michael Beinhorn has produced a wide range of artists including Herbie Hancock, The Red Hot Chili Peppers, Ozzy Osbourne, Aerosmith and Soundgarden, among many others. He is the author of Unlocking Creativity, and an outspoken advocate of the importance of artist development and pre-production within the creative process. To that end, Michael has begun consulting with artists specifically about their pre-production, and we had a lively discussion that delved deep into the subject. In the interview we talked about why pre-production is so important, how it can be done remotely, the psychology of production, and much more. On the intro I look at CD Baby's sale to Downtown Music, and the latest survey on audio interfaces.

Producer Michael Beinhorn has worked the boards for some of the biggest albums of the last 30 years. Just look at this list - the Red Hot Chili Pepper's Mother's Milk, Soul Asylum's Grave Dancer's Union, Soundgarden's Superunknown (which just turned 25 last week), Marilyn Manson's Mechanical Animals, and Hole's Celebrity Skin. And there are many others where that came from (the Violent Femmes, Ozzy Osbourne, Social Distortion, and the Verve Pipe are some of the others we talk about). But, did you know his first major work was writing and producing the game-changing "Rockit" by Herbie Hancock?! Can you believe the same guy did all of this? These days he's entered a new phase of his career which focuses on the pre and post production process and one of the first fruits of this is Weezer's brand new Black Album. Hear Michael tell stories about all these artists, like when he had to fire Anthony Kiedis and what the late-great Chris Cornell was like to work with, as well as many others. Enjoy!     http://www.michaelbeinhorn.com/

http://michaelbeinhorn.com Michael Beinhorn, Grammy award-winning writer and producer (Herbie Hancock’s “Rockit”), as well as a Grammy nom for Producer of the Year (Hole, “Celebrity Skin”, Marilyn Manson, “Mechanical Animals”), is responsible for wrangling and producing the Red Hot Chili Peppers’ first two breakthrough albums, producing and collaborating on seminal albums by Soundgarden, Social Distortion, Korn, … Continue reading "Ep. 55: The Essential Ingredients of Music Alchemy with Michael Beinhorn"

Legendary producer Michael Beinhorn is the guest on this episode of the BREWtally Speaking Podcast!! Michael joins podcast co host Jon to talk about his new business venture of helping bands with their pre production/song writing. We talk about some of the classic albums that Michael has worked on over his illustrious career. From the importance of having Geezer Butler play on the "OZZmosis" record, to some of the lineup issues he faced when working with HOLE on "Celebrity Skin". We also touch on working with Marilyn Manson on one of his most diverse albums, "Mechnical Animals" to Beinhorn's memories working on Korn's "Untouchables" album and MUCH MORE. Intro Music: "Here To Stay" by Korn "Pretty Lights" by Heartsick Show Sponsor: The Bean Bastard (www.thebeanbastard.com) Links: Facebook: www.facebook.com/thebeanbastard www.facebook.com/metalnexus www.facebook.com/brewtallyspeaking Instagram: @michaelbeinhorn, @thebeanbastard, @metal.nexus, @brewspeakpod, @jbeatty616 Twitter: @michaelbeinhorn, @metal_nexus, @brewspeakpod, @discussmetaldan, @jbeatty616 Website: www.michaelbeinhorn.com www.metalnexus.net Email: Brewtallyspeaking@gmail.com RATE/REVIEW/SUBSCRIBE!!

Michael Beinhorn is one of the biggest producers in the World. We chat with him about his history and what it was like working with Whitney Houston, Herbie Hancock, Red Hot Chili Peppers, Hole, Soul Asylum, Soundgarden, Marilyn Manson, Ozzy Osbourne and Weezer. 

Michael Beinhorn has lived his life in the pursuit of artistic expression, first as a visual artist, then as a performer, and finally as a record producer. Forgoing a promising career in medical illustration, Beinhorn began his musical endeavors in 1979 as co-founder of the seminal New York musical collective Material. The group’s singular style and strong artistic personalities led to their producing their own recordings out of necessity. As the band rose to prominence, in 1980 they were approached by Brian Eno, collaborating on the track “Lizard Point” from Eno’s acclaimed recording “Ambient 4: On Land.” In 1983, Beinhorn co-produced Herbie Hancock’s landmark recording, Future Shock, which included the groundbreaking cut “Rockit.” The song, co-written and co-produced by Beinhorn, would become Columbia Records’ most successful 12-inch single ever, selling over three million copies and winning a Grammy in 1984 for Best R&B Instrumental Recording. After departing Material in 1984, Beinhorn’s production career began to reach new heights. His work on the Red Hot Chili Peppers’ breakthrough albums “The Uplift Mofo Party Plan” and “Mother’s Milk” was instrumental in propelling the band to stardom. Beinhorn gained a reputation for producing a number of “high watermark” albums that have helped to define the careers of a diverse range of artists, including Soul Asylum, Hole, Soundgarden, Ozzy Osbourne, Courtney Love, Marilyn Manson, Social Distortion, Korn, Golden Palominos, and Mew. His recordings have achieved combined worldwide sales of more than 45 million albums, and he is one of only a handful of producers to have two separate recordings debut in Billboard’s Top Ten in the same week, with Marilyn Manson’s “Mechanical Animals” (#1) and Hole’s “Celebrity Skin” (#9) also earning him a 1998 Grammy nomination for Producer of the Year. In addition to producing, arranging, engineering, co-writing, and performing on many of his projects, Beinhorn’s attention to detail and tireless pursuit of sonic excellence led him to develop and commission the first two-inch eight-track Ultra-Analog multitrack tape recording format. In recent years, Beinhorn has turned his attention to the concerns facing today’s artists and producers attempting to maintain their creative ethics and focus on the recording process. He has been increasingly active in mentoring fellow artists and aspiring record producers. He addresses these and other pertinent issues in his book “Unlocking Creativity”, published by Hal Leonard. He continues to inspire the artists he works with to excel to greater heights, with an unwavering commitment to sonic exploration and creative excellence. Resources: Michael Beinhorn official website Michael's book: Unlocking Creativity: A Producer's Guide to Making Music and Art Other books we discuss: Bhagavad Gita Sculpting in Time

Here's our interview with Grammy-nominated producer Michael Beinhorn.  Michael has created a new service in which he's making pre-production services available to artists through his website www.michaelbeinhorn.com.   Michael has produced many top tier musicians, such as Red Hot Chili Peppers, Korn, Ozzy, Manson, Hole, Soundgarden and so many more.   Follow us on Twitter and Instagram @musicfrenzy_net, on Facebook @musicfrenzynet, and of course our website www.musicfrenzy.net. 

Michael Beinhorn. Michael is a world class producer who has worked with Ozzy Osbourne, Korn, Marilyn Manson and a host of other bands. Michael offers a suite of services to the musician in order to get prepared for the studio and he shares his thoughts throughout the conversation.

Michael Beinhorn's name has graced some of popular music's seminal recordings including Herbie Hancock's Future Shock and Soundgarden's Superunknown. He is a musician and producer, author of Unlocking Creativity: A Producer's Guide to Making Music & Art, and most recently has launched a service for artists and bands that focuses solely on pre-production. Online publisher Geoff Stanfield caught up with Michael from his home in Los Angeles to learn more. Enjoy! Sponsored by Yamaha/Steinberg www.steinberg.net

Michael Beinhorn (Red Hot Chili Peppers, Korn, Soundgarden) brings his immense experience to the topics of leaving your mark, building a career, pre-production, and much more. If we listed all of the important records Michael has worked on this page would be way too long. He’s made his mark at the upper echelon of multiple genres. There’s a lot to ... Read More The post EP203 | Michael Beinhorn appeared first on Unstoppable Recording Machine.

If you've spent any time reading the liner notes of classic '90s rock albums, there's a very good chance you know the name Michael Beinhorn. As one of the era's top record producers, his credits include some of the best and most popular records of the decade: Soundgarden's Superunknown, Hole's Celebrity Skin, Marilyn Manson's Mechanical Animals, Soul Asylum's Grave Dancers Union, and many more. In a way, it was all a happy accident for Beinhorn, who got his start in New York City's avant-garde music scene in the early '80s. But after he co-wrote Herbie Hancock's electro-jazz smash hit "Rockit," Beinhorn became an in-demand producer, getting his big break in rock by working with the Red Hot Chili Peppers on their commercial breakthrough, 1989's Mother's Milk.  From there, he worked with some of the biggest personalities in alt-rock. Beinhorn is a warm conversationalist, and he was happy to tell stories about the making of some of his biggest projects. He discussed the struggles of making Superunknown, the awkwardness of dealing with drummer-related drama on Celebrity Skin, and whether the chaotic party atmosphere of Mechanical Animals ever got in the way of work. 

In this episode I talk to Michael Beinhorn who has worked with Soundgarden, Hole, Korn, Mew, Red Hot Chilli Peppers, Ozzy Osbourne and a ton more! He has a new service where he helps bands with preproduction and we discuss why that's so important. Head here to find out more http://www.michaelbeinhorn.com/services/ Go To NoiseCreators To Get To Know The Producers Behind Your Favorite Records: NoiseCreators.com Hosted by Jesse Cannon: jessecannon.com Show Notes: http://bit.ly/1m8hoBG Subscribe on iTunes: http://apple.co/1Yluk3v and review us there! Overcast.FM http://bit.ly/1I9OPhE and recommend us there! Noise Creators on Twitter: @noisecreators Jesse Cannon on Twitter: @jessecannon

Michael Beinhorn is a music producer that has worked with bands like The Red Hot Chili Peppers, Soundgarden, Hole and tons more. He's the type of producer that is into collaboration over meeting his personal agenda. Michael is offering a service that works as a pre-production service to musicians, a crucial part of the recording process that gets overlooked. We talk about the record industry, how it works, music and how it all fits together Website: http://www.michaelbeinhorn.com/ Brought to you by http://www.betterhelp.com/apologue Affordable, private online counselling anytime, anywhere Shop with amazon.ca, amazon.com and amazon.co.uk  Bookmark the link and support the show!! Pledge monthly with Patreon https://www.patreon.com/apologue Shop Apologue products at http://apologue.ca/shop/ Like the show on FaceBook and subscribe on iTunes Check out my new 3D printing store. Go to www.insightrecorders.com/3dprints  

We talked about working with Michael Beinhorn, Rick Rubin, and how to make a great record! He also shares advice on how to be a successful intern. My guest today is Lior Goldenberg a producer and mixer based in Los Angeles. He has been making records in LA since the early 90s starting out as a runner at the Record Plant and then as s second engineer for producers like Rick Rubin, Michael Beinhorn, Robert Margouleff and Manny Marroquin. Lior’s clients include Stone Temple Pilots, Ziggy Marley, Rancid, Fuel, Macy Gray, Sheryl Crow, Vanessa Carlton, Marilyn Manson, Andrew W.K., Crosby, Stills, Nash & Young, Alanis Morissette, MxPx, Allen Stone, and many more. Thanks to our sponsors: Chris Graham Mastering: http://RSRockstars.com/FreeMasteringSample Roswell Pro Audio: https://RoswellProAudio.com Watch Mike’s videos on Youtube: https://www.youtube.com/playlist?list=PLbJhbD1bWQsyXvtuLdK9DNemVig5YFy3F If you love the podcast then please Leave a review on iTunes here And if you want to learn more about mixing you can get Free mix training with Lij at: http://MixMasterBundle.com CLICK HERE FOR SHOW NOTES AT: http://RSRockstars.com/125

In episode 6, Producer Michael Beinhorn Producer Michael Beinhorn (Soundgarden, MEW, RHCP, The Bronx) discusses his new book, his approach to art and music, some past experiences, and supporting creativity. Additional guest Dan Bailey (Drummer, Father John Misty). Recorded the The Village in Los Angeles: http://villagestudios.com/  Some other artists and projects Michael Beinhorn has worked with include Hole, Marilyn Manson,  Violent Femmes, Black Label Society, Social Distortion, and Ozzy Osborne. 

Ann Wilson of Heart, Superunkown producer Michael Beinhorn, Bhi Bhiman, Kevin Martin of Candlebox, and Gary Lucas join Eric in conversation to share memories and pay tribute to the life and work of Chris Cornell. Did Chris ever write or record with Heart? What was it like when Black Hole Sun first arrived in the studio? How was it coming up, sharing the stage and working in the studio with Chris? Lots of funny stories, behind the scenes memories, praise, kind words, laughter and tears in homage to one of the world's greatest, gone too soon. Part 1 of 2.

Sterke anekdoter om William Styron, Chris Cornell og Michael Beinhorn, en lystig samtale om selvmord OG logge av-mentaliteten. Telefonpodcast til nye høyder!

Mød produceren bag "Black Hole Sun". Han hedder Michael Beinhorn - og har udover Soundgarden også arbejdet med Ozzy Osbourne, Red Hot Chili Peppers, Hole og danske Mew. Du får også ugens nyheder, et heads-up på næste uges Volbeat-konkurrence og et smugkig på ugens nye sange på myROCK.?

My guest today is Matt Boudreau, a producer, recording, mixing, and mastering engineer from San Francisco. Matt is also the host of a fantastic podcast, Working Class Audio where he interviews many top studio professionals. He has worked with a great number of artists in the studio including: Steve Earl, Matchbox 20, Shawn Colvin, The Shins, Death Cab for Cutie, Tori Amos, Florence + The Machine, Thomas Dolby, The Jayhawks, Ziggy Marley, Civil Wars, Sarah Bareilles, and George Thorogood to name a few.  Matt's podcast Working Class Audio includes great episodes with stellar guests like: Dave Fridmann, Niko Bolas, Al Schmitt, Brian McTear, Jim Scott, Larry Crane, F Reid Shippen, Eric Valentine, Kim Rosen, Warren Huart, Joe Barresi, Michael Beinhorn, Sylvia Massey, and Vance Powell. And those are just some of the past guests. Though we’ve only just met, I am psyched to have my “brother from another podcast” on the show today. Get full show notes at RecordingStudioRockstars.com Get over two hours of FREE Mix Training, Multitracks, and eBook at... MixMasterBundle.com  

Super producer and nice guy Michael Beinhorn was our guest on this podcast. topics included: We lost a couple of amazing people recently, Natalie Cole and how special she was, David Bowie and what he meant to not only music but to our culture, someone said that they wished the Beatles would be forgotten and […]

Pensado's Place - Audio 1:06:37 info@pensadosplace.tv (Pensado's Place)noPensado's Place Audio PodcastGrammy winning mix engineer Dave Pensado and veteran manager/executive producer Herb Trawick are the host and co-host of Pensado’s Place. A weekly talk show covering the audio and music spectrum, its craftsman and the business of. Pensado’s Place has been called the “Charlie Rose of audio”, a description that sits fine with both Herb and Dave. Pensado’s Place segments cover include interviews, technique application, interactive audience participation, speed rounds and more. Along with location shoots, sweepstakes, gear and career opportunities, thought leader analysis of the challenges and evolution in the audio and music space, Pensado’s place is the tv show for the casual enthusiast up to the long term professional. With mix credits including Michael Jackson, Kelly Clarkson, AfroJack, Beyonce, Elton John, Christina Aguilera and Jill Scott, Dave is acknowledged as one of the leading online educators for all things audio. Trawicks experience as a successful manager makes him the resident expert on intellectual property, business affairs, career consultation, digital media and more. There is a reaso

Pensado's Place - Video 1:06:37 info@pensadosplace.tv (Pensado's Place)noPensado's Place - VideoGrammy winning mix engineer Dave Pensado and veteran manager/executive producer Herb Trawick are the host and co-host of Pensado’s Place. A weekly talk show covering the audio and music spectrum, its craftsman and the business of. Pensado’s Place has been called the “Charlie Rose of audio”, a description that sits fine with both Herb and Dave. Pensado’s Place segments cover include interviews, technique application, interactive audience participation, speed rounds and more. Along with location shoots, sweepstakes, gear and career opportunities, thought leader analysis of the challenges and evolution in the audio and music space, Pensado’s place is the tv show for the casual enthusiast up to the long term professional. With mix credits including Michael Jackson, Kelly Clarkson, AfroJack, Beyonce, Elton John, Christina Aguilera and Jill Scott, Dave is acknowledged as one of the leading online educators for all things audio. Trawicks experience as a successful manager makes him the resident expert on intellectual property, business affairs, career consultation, digital media and more. There i

News: - CD Extras that entice people to buy - First vinyl record press manufactured in 30 years Interview: - Producer Michael Beinhorn Check out his book Unlocking Creativity: A Producer's Guide To Making Music And Art

News: – CD Extras that entice people to buy – First vinyl record press manufactured in 30 years Interview: – Producer Michael Beinhorn Check out his book Unlocking Creativity: A Producer’s Guide To Making Music And Art The post Episode #88 – CD Extras, New Vinyl Record Press, and Producer Michael Beinhorn appeared first on Bobby Owsinski's Inner Circle Podcast.

Get FREE Mix Training Videos at MixMasterBundle.com RecordingStudioRockstars.com/9 My guest today is the extraordinary producer, programmer, performer, songwriter, arranger, mixer, engineer, and author, Michael Beinhorn. He began his career as a keyboard player with Bill Laswell in the band Material and had a major breakthrough in the 80s as co writer of the seminal hip hop classic “Rockit” with Herbie Hancock. He went on to produce an impressive discography that includes Soundgarden Superunknown, The Red Hot Chili Peppers Uplift Mofo Party Plan & Mother’s Milk , Soul Asylum Grave Dancer’s Union, and Korn Untouchables among many others.  Michael developed a reputation for producing artists’ “career records” and was ultimately Nominated for a Grammy in 1998 as Producer of the year for his work with Celebrity Skin by Hole and Mechanical Animals by Marilyn Manson.   And finally Michael is a prolific author. He has an ongoing blog called How To Save Popular Music where he comments on the state of music today. And In 2015, Beinhorn wrote a book called "Unlocking Creativity" which outlines his personal experience with the creative process as a record producer. Order his book Unlocking Creativity here! For complete show notes go to http://recordingstudiorockstars.com/9 PLEASE LEAVE A REVIEW IN ITUNES!