Get a closer look at some of Hollywood's perfect pairs.

Hollywood Power Couples

Get a closer look at some of Hollywood&#39;s perfect pairs.

See which big screen releases you can watch from the comfort of your couch.

Theatrical Releases Coming to Streaming

See who dazzled on the red carpet and took home gold at the 78th Primetime Creative Emmy Awards.

Primetime Creative Arts Emmys: Photos We Love

Grammy award-winning producer & engineer Marc Whitmore Whitmore's journey began in Nashville, TN, where he contributed his talents to Blackbird Studios, Alex the Great Recording (under producer Brad Jones [Hayes Carll, Jill Sobule]), and Club Roar (under producer Robin Eaton [Jill Sobule, The Spinto Band]). His immersion in the Nashville scene gained momentum when he caught the attention of Patrick Carney[The Black Keys], leading to his role as Chief Engineer and Mixer at Audio Eagle Studio from 2016-2021. During this era, he recorded albums with musicians such as The Black Keys, Michelle Branch, Faux Ferocious, Jessy Wilson, Calvin Johnson, *Repeat Repeat* and more.

A pivotal moment in his career occurred at Haptown Studio in 2015, when ,guided by Roger Moutenot, [Yo La Tengo, Paula Cole] he was introduced to the legendary T. Bone Burnett, and his future collaborator, Jon Batiste. He went on to record three of Jon Batiste's albums ('Hollywood African's', 'We Are', and 'World Music Radio').

In 2021, Whitmore realized his dream of opening his own studio in Santa Fe, NM, a locale that gives clients the opportunity for a scenic high desert getaway to accompany the serene sessions he provides. Inspired by Rick Rubin and equipped with his Stevenson Series 104, Whitmore's focus is on capturing artists in their truest form. The studio's environment promotes comfort and safety for artists in their most vulnerable state, as Whitmore believes, "With most artists I've worked with, once I've cultivated the right energy in the studio, the music follows almost effortlessly."

Whitmore continues: "I also have a great appreciation for the skill and intention it took to record a good song before 1975. You were limited on time in the studio, the amount of tracks you could record, how many takes you could do, and how much you could manipulate your sound in mixing. I describe the sound that I go for as "early 1970's." I love the sound of most recordings from this era, regardless of what kind of music it is. To me, it is because there was just the right amount of technology and fidelity to get the perfect result.By the late 70's, things got a little more sterile in the studio. I've observed that most engineers today work in a much more post-1980 mindset. They may put something like 20 microphones on the drum kit to have every possible option later, while I believe you should be able to record a band with 8-12 microphones total and commit to what you want while everyone is in the studio digging it. It comes down to personal preference, and what the band wants, but I've found that the artists that I connect with have a similar vision and love for classic records like me. There is definitely a "by-the-book" way to do everything in the studio, but I think if you go that route, your music is going to sound unoriginal. I personally prefer to work with vintage consoles, analog tape, and vintage gear to get a more authentic sound, but am proficient in pro tools as well."

"When possible, I prefer to work in a traditional studio with a large mixing console. I've found that avoiding the computer screen and being limited to just the knobs and faders in front of me always cultivates a better and more natural vibe in the studio, and it comes through in the final product. I've done a handful of sessions producer/engineers who just plug in a laptop and ignore all of the equipment in a studio that is crucial to getting a rich sound."

Whitmore won an Album of the Year Grammy in 2022 for his engineering/mixing work on Jon Batiste's 'We Are' album. He was nominated again in the Album of the Year category in 2024, this time for his engineering on Jon Batiste's 'World Music Radio'. He also recorded and mixed "Jon Batiste Interlude", which appears on Lana Del Rey's 'Did you know that there's a tunnel under ocean blvd" which was nominated for album of the year as well.

Apart from his collaborative endeavors, Whitmore, a multi-instrumentalist, has ventured into experimental musical projects such as experimental groups Disco Dial and Cat Cult, as well as his solo work. His first instrumental album, Analytic Inverter, showcases his proficiency on drums, bass, percussion, guitar, and organ, which also featured a guest appearance by Jon Batiste. His second offering, Mirages, released in early in 2024, draws inspiration from the surreal, psychedelic beauty of the high desert. .

In 2023, Marc was appointed to the New Mexico Music Commission by Governor Michelle Lujan Grisham. He is also a member of the LA Chapter of the Recording Academy, and is involved with Grammy advocacy work, collaborating with lawmakers, musicians, and organizations to improve regulations in the music industry. In 2024 Marc became a member of The Society of Composers and Lyricists.

Awards

Marc Whitmore

Grammy Awards

Contribute to this page

More from this person

More to explore

Recently viewed