Bobby Owsinski's Inner Circle Podcast Bobby Owsinski

My guest this week is Morgan Hayduk, who’s the co-founder and co-CEO of Beatdapp, a company that helps artists, labels, performance rights organizations, and streaming platforms detect fraudulent streams. 







Morgan started his career in music as a lobbyist for the Canadian music industry in the area of copyright protection before starting Beatdapp, although the company’s original mission was as a streaming auditing tool for record labels. After many conversations with record execs, it became clear that just about everyone in the industry was having a problem with streaming manipulation, which led to inconsistencies between sales reports and streaming services’ server logs.







As a result, Beatdapp developed a tool to detect fraudulent streams and prevent them from impacting royalty payouts. Industry estimates that anywhere from 10% to 20% of all streams are fraudulent, so Beatdapp’s tool is critical to restoring full payouts to artists everywhere.







During our interview, Morgan spoke about the two goals of streaming fraud, why fraud can’t be detected in a royalty statement, why even AI music companies are worried about streaming fraud, the various different types of streaming fraud, and much more.







I spoke with Morgan via zoom from his office in Los Angeles. 







On the intro we look at potential new music delivery format, and some facts about vinyl records.













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My guest this week is mastering engineer Maor Appelbaum, who’s worked with the likes of Faith No More, Yes, Meatloaf, Eric Gales, Walter Trout,  Dream Theater, Sepultura, Halford, and many more. 







Maor has written presets and collaborated with various plugin companies such as Waves, Brainworx/Plugin Alliance, Softube, Arturia, Leapwing Audio, Pulsar Audio and others. 







He's also guested and lectured at various trade shows and recording schools, and is co-creator of the THE OVEN line of analog hardware which is modeled and emulated by Brainworx.







During our interview, Maor spoke about the different mastering requirements for different genres, common mixing problems that he sees, what he asks clients to supply for mastering, the audio gear he’s developed, and so much more.







I spoke with Maor via zoom from his studio outside of Los Angeles. 







On the intro we look at song melodies getting simpler and production more complex, and the quietest places in the U.S.













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My guest this week is mastering engineer Howie Weinberg, who has 20 Grammy Awards and 76 Grammy nominations, 4 TEC awards, 2 Juno awards, 1 Mercury Prize award, 200+ gold and platinum records, an unbelievable 19,000 total credits, and 91 billion streams.







Howie started working in the mail room at Masterdisk in New York City but soon became the apprentice of mastering legend Bob Ludwig.







Within a few months Howie began mastering tracks for hip hop stars like Kurtis Blow, Run DMC, Grandmaster Flash and Public Enemy. Since then he’s mastered projects for legends like U2, Nirvana, Sheryl Crow, The Clash, Madonna, Alice Cooper, Aerosmith, John Mellencamp, Ozzy Osbourne - the list goes on.







During our interview Howie talked about mastering at the beginning of hip hop, the tremendous volume of work that he does, why he thinks vinyl is a fad, why he creates both an analog and digital master, and so much more.







I spoke with Howie via zoom from his home in Santa Monica. 







On the intro we look at Universal Music’s patent to be able to embed binaural beats in label songs, and a look at the different eras of modern music that show when rock died.













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You've probably wondered how musicians get hired to play on film and television sessions. My guest this week is Deb Chase, who’s a contractor for musicians playing on movies and television scores, and even acting in them as well, and she'll tell us how it all works.







Deb came into the business almost accidentally but she found she really had a knack for it as she learned under an old-school mentor before going out on her own.







During her time in Hollywood she has contracted musicians for everything from American Idol to the Soul Train Awards to the Grammy telecasts, to orchestral players for live performances with Aretha Franklin and James Brown, among many others.







In our interview Deb talked about how she became a contractor, the importance of contractors to professional musicians, how shows sometimes hire based on the look of the musicians, the paperwork required by the Musician’s Union, and so much more.







Get ready to learn about a whole musical world that you probably weren’t aware of.







I spoke with Deb via zoom from her office in Los Angeles. 







On the intro we look at the 3 most prevalent lyric themes, and the Moog factory store closes for good.













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My guest this week is Marek Stycos, who’s company Audio Alchemist acts as a brand manager for a wide range of pro audio manufacturers. He’s also the president of high end pro audio creators Dangerous Music and Chameleon Labs.







Prior to starting Audio Alchemist Marek worked as director of Pro Audio at Guitar Center corporate, where he was responsible for recording, live sound, dj, and lighting curriculum creation, chainwide merchandising and department design for all 213 locations, vendor product line and relationship expansion, and more.







During our interview Marek talked about behind the scenes at Guitar Center, the concept behind Audio Alchemist, how brand management for pro audio has changed, gear that feels like making music instead of engineering, and so much more.







I spoke with Marek via zoom from his studio outside of NYC. 







On the intro we look at how artists are releasing in more formats, and tape isn’t dead yet.













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My guest this week is 5 time MPG mastering engineer of the year Katie Tavini, who’s work includes Rudimental, Bloc Party, Ash, We Are Scientists, Nadine Shah, Arlo Parks, Los Bitchos and many more.







Since starting in 2014, Katie has grown to become one of the mostin-demand mastering engineers in the UK, who’s at home with everything from the heaviest metal to the lushest orchestral works and everything in between.







Katie is also a founding member of Weird Jungle, a collective of independent mastering engineers in the UK dedicated to helping bands, artists and labels release the best possible version of their work.







During our interview Katie talked about becoming a mastering engineer, how mastering has changed in the last few years, things that mixers sometimes overlook, starting Weird Jungle, and so much more.







I spoke with Katie via zoom from her studio in Liverpool. 







On the intro we look at how mainstream success isn’t as big as it used to be, and in honor of Fathers Day, ultimate Dad Rock bands.













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