Unlocking Creativity
Creativity Book

Unlocking Creativity

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Author: Michael Beinhorn

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Table of Contents

The Record Producer
The Production Process Before Recording
And What Happens After You're In The Studio?
Dialogue In The Studio
Prep Work
The Interview Process
Preliminary Pre-Production
Process During Preliminary Pre-Production
Song Orchestration
Dialogue Regarding Song Modification
Dialogue Regarding Preliminary Pre-Production
Process During Pre-Production
Who, and What, Is an Artist?
Some General Questions About The Artist
You're Working With
Artists Are People, Too
Behavioral Issues—watch Out!
Signs That An Artist Is Potentially Self-Destructive
How To Deal With Artists Who Are "unhinged"
When It's Time To Stop Rescuing An Artist
Body/sensory Awareness And How It Relates To Creative Work
Meditation and Relaxation
Using Your Body As A Mechanism
to Judge Creative Work
Shared Listening
Artist Manipulation
What Is This Song About?
Dialogue Regarding What The Song
Is Really About
Deconstructing Feel
The Physiology of Feel
Dialogue Regarding Feel And Downbeats
Drums and Drummers
Some Guidelines for Vocalists
And A Few More Guidelines For The Vocalist
Dialogue Regarding Vocal Work
The Significance of Creative Work
Creative Expression as Communication
Communication in the Creative Environment
The Dynamics Of Who's On The Top
and Who's On The Bottom
When The Guitarist Met The Producer
(a Cautionary Tale)
Delusional Thinking From the Depths of the Music Business and Beyond
Harmonic Layering and the Creative Use of Distortion
The Contract
The Inner Voice and the First Step
How Do You Perceive Sound?
Supplemental Activities
Free Yourself From the Need for an Expected Outcome
What Inspires You?
Idling Down
Getting Into Character, Role-Playing
Mentoring, Or "i Got Mine, You Get Yours"
Is It Really Worth The Effort To Become Great?
The Blind Terror of Performance
What Is Artist Development?
The Other Creativity Crisis
The Three Forms of Creativity
An Idea Is a Start Point, Not an End Point
Objectivity, Incentive, and Ownership
Abridged Discography

Here, record producer Beinhorn reveals how to deal with interpersonal issues record producers face when they work with artists one on one or in small groups.

The situations and solutions are based upon the author's personal and professional experience working with a variety of different artists, such as Herbie Hancock, the Red Hot Chili Peppers, Soul Asylum, Hole, Soundgarden, Ozzy Osbourne, Courtney Love, Marilyn Manson, Social Distortion, Korn, and Mew.

Beinhorn's unique methods and perspective, applied to record producing and music making in the studio, opens the door to successful collaborative efforts. The author shows you how to find what he calls your sensory connection to the creativity process, which ultimately helps you find the intent behind your creative choices.

You can read dozens of articles and books that feature a hundred different people talking about what microphones they used when they recorded Record X or how they set their stereo buss compressor, but you will never find out what prompted them to make these choices. Beinhorn's focus on collaborative effort enables record producers and artists to find solutions while working as a creative team.

This perspective is especially valuable as it is transdisciplinary and can be applied to many occupations and modes of creativity outside of record production.

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