Michael Beinhorn Featured at ChandlerLimited.com
Record producer Michael Beinhorn, author of the new book from Hal Leonard, Unlocking Creativity: A Producer’s Guide to Making Music and Art, is the subject of a three-part interview at chandlerlimited.com. Here’s Part One 1!
Shell Rock, IA – JUNE 2015 … It’s been just over three decades since a young keyboard player in Bill Laswell’s group, Material, made the jump to production as co-producer for Herbie Hancock’s Grammy® award-winning album, Future Shock. Many of the tracks on Future Shock including the hit “Rockit” were co-composed by Michael Beinhorn.
Future Shock was hailed as groundbreaking, and it’s only fitting that Michael Beinhorn’s production aesthetic and career have continued on an exciting arc of energetic, boundary-pushing records.
Michael’s artistic journey has seen him play many roles: producer, engineer, composer, arranger, performer, technical innovator, and shepherd to some incredibly rocking recordings of the modern era. A review of Beinhron’s discography is eye-popping, including, Red Hot Chili Peppers, Soul Asylum, Sound Garden, Aerosmith, Hole, Marilyn Manson, Ozzy Osbourne, Korn, and a host of other artists. With Michael’s place in music production lore firmly in place, he can now add Author to his resume with the release of his book Unlocking Creativity: A Producer’s Guide to Making Music and Art.
Beinhorn’s seasoned audio palate, and strong desire to bring to fruition the sounds only he hears, has led him to not only stretch the limits of pro-audio gear, but literally create a new audio format along the way.
Michael has been a longtime Chandler Limited user, and we were fortunate to catch up with the ever-busy producer when we provided additional gear for his Courtney Love session (Wedding Day EP) at Tommy Lee’s studio, The Atrium, in early 2014.
In this three-part interview, we’ll cover Michael’s thoughts on today’s music industry, his production methods and gear, and a dissection of the Courtney Love ‘Wedding Day EP’ sessions, which used a lot of Chandler Limited gear.
CL: Okay, we’re convinced you’re not only a music producer, but a time traveler too. When we were coordinating with you seemingly across multiple time zones and airports for the Courtney Love session, you were in the middle of another production in Europe, and jetting back and forth. So many records in now, what keeps the creative flame burning for you?
MB: I’ve always believed it was an unquenchable lake of fire located near the Islets of Langerhans. Seriously, the one thing that gets me going is this crazy idea that a recording project can still be an exposition of creative ideas. That all of us together, the artist, engineers, producers, etc can become a team of artists working toward a unified common goal which is potentially so much greater than what would be accomplished by just one artist alone. That fusion, when it’s present, is the most addictive substance and the most potent source of energy I have ever encountered. I suspect it also might be the fountain of youth.
CL: You were stationed in Europe for a lengthy session, and relocated most of your gear there too, including your Chandler Limited Mini Rack Mixer. Can you tell us more about that project?
MB: I was working in Copenhagen with Mew, who I also worked with in 2004. We cut tracks in a recording studio (STC), but all the overdubbing was done at the band’s rehearsal space (which had been an auto repair shop in a previous incarnation) and the singer’s apartment. It was a real undertaking just to get these places acoustically sound for recording and playback. The band’s rehearsal space had plaster walls, a front and back room and, having been a car repair shop, there were two holes cut in the wall which separated the rooms, presumably to accommodate cars being fixed. The band were initially skeptical about improving separation between the two rooms until the guitarist set up an amplifier in one room, ran a cable to the other and began playing, whereupon, he realized that the amplified guitar was nearly as loud in the room he was in as it was in the room where the amplifier sat. Needless to say, a lot of similar adventures took place. Since I knew the singer’s apartment and the band’s rehearsal space were immutable parts of the recording equation, I brought along some gear I knew we’d need. All I can say is, thank goodness for the Chandler Mini Rack Mixer.
Read the rest of Part 1 here!