warren huart @warrenhuart

Grammy Nominated Producer, Songwriter, Multi-Instrumentalist, Mixer. Spitfire Music Group President from Crookham Village England living in Los Angeles. warrenhuart.com Los Angeles Joined August 2009

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warren huart @warrenhuart

a month ago

Celebrating Bon Scott’s 80th Birthday With The Neumann U 47 fet Bon Scot... youtu.be/ISTQq7Xlkb0?si… via @YouTube

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Produce Like A Pro @ProduceLikeAPro

a month ago

Happy 4th of July from all of us at Produce Like A Pro! 🇺🇸 Music is always better when we learn, share and grow together. Join our incredible community during the Summer Sale for just $99 for a full year: producelikeapro.com/academy/

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warren huart @warrenhuart

2 months ago

Dan Malsch opens the real mix session for Monolith’s “Mother Martyr,” featuring Mike Mangini on drums. Huge drums, aggressive bass, wide guitars, powerful vocals, automation and hybrid mix bus processing. Multitracks included so you can mix it yourself: promixacademy.com/course/dan-mal…

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warren huart @warrenhuart

2 months ago

Dan Malsch has worked with Ghost Gojira & Avenged Sevenfold. In his course he opens the actual mix session for Monolith’s “Mother Martyr,” featuring Mike Mangini on drums. Huge drums, aggressive bass, wide guitars, powerful vocals, hybrid mix bus. promixacademy.com/course/dan-mal…

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Produce Like A Pro @ProduceLikeAPro

2 months ago

Dan Malsch has worked on massive modern rock and metal records with Ghost, Gojira and Avenged Sevenfold, including Ghost’s Skeletá, which debuted at No. 1 on the Billboard 200. In this new Pro Mix Academy course, Dan opens the actual mix session for Monolith’s “Mother Martyr,” featuring Mike Mangini on drums, and shows how he builds huge drums, aggressive bass, wide guitars, powerful vocals and a hybrid analogue mix bus. All of the multitracks are included, so you can follow along and mix the song yourself. @ProMixAcademy promixacademy.com/course/dan-mal…

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Produce Like A Pro @ProduceLikeAPro

2 months ago

I found these old ticket stubs recently and they reminded me why live music is still the future. Neil Young. Buddy Guy and Junior Wells. The Stones. Miles Davis. Tower of Power. Albert King. Clapton at the Royal Albert Hall. As a kid, those shows were not just entertainment. They were education. They taught me feel, phrasing, tone, dynamics and the power of being in a room with people making music in real time. So much of the music conversation now is about streams, playlists, algorithms, catalogue value and short-form content. All of that matters. I have spent my life making records. However, the record is the invitation. The live show is the communion. Every performance is unique. The room is different. The audience is different. The band is different. The moment can never be repeated in quite the same way. That is why live music matters even more in the age of AI. AI can imitate sound. It can generate endless recorded material. However, it cannot stand in a room with you. It cannot feel the audience inhale before the first note. It cannot create that one night where something happens that nobody planned. Artists also need to understand scale. Not every tour is going to make hundreds of millions. Not every artist should be chasing arenas. A 150-cap room can be a triumph. A 500-cap theatre can be life changing. The future is not just bigger shows. It is smarter, more human experiences. Because when people get together with music, something happens.

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warren huart @warrenhuart

2 months ago

Want to see exactly how Dan Malsch builds a massive modern rock mix from the inside? Check out his @ProMixAcademy course for Monolith’s “Mother Martyr,” featuring Mike Mangini on drums, and breaks down the drums, bass, guitars, vocals Check out the course promixacademy.com/course/dan-mal…