Daniel Weidlein/BioSoul Music

Producer/Recording Studio

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9 Reviews
Daniel Weidlein/BioSoul Music on SoundBetter

Run by producer/songwriter/instrumentalist Daniel Weidlein, BioSoul Music is a multi-functional, hybrid studio geared toward recording live instruments and integrating them into a modern production landscape. Aside from music production services, this studio is also available for video shoots, listening & mixing sessions, and voice-over recording.

Daniel's production experience covers a wide range of genres including jazz, soul, and indie/electronic pop. But his background as a performing musician, orchestrator and arranger allows him to offer clients the unique skillset of producing symphony orchestra recordings (see Julie Craig's FROM HERE), producing jazz records (Greg Johnson), and lend a more lush instrumental vibe to the music of singer-songwriters (Ryan Amador, Blake McGrath) who're looking for more than just a guitar/keyboard-centric track.

BioSoul Music studio is Daniel's workspace, and his services come with Biosoul's extensive gear list, in-home instrument collection, and a beautifully unique space to make music in. Working with master acoustician & studio designer Chris Owens, Daniel had two primary goals in mind:

- To build a beautiful tracking room with a vaulted ceiling that can both do justice to the Yamaha C7 grand piano that lives there, as well as any live drums recorded under it's perfectly soundproofed ceiling

- To create a recording studio that is bright, spacious, and actually has some daylight! We purposefully chose lighter color schemes in our design to create a space that makes long music sessions indoors feel sustainable, rejuvenating, and inspiring.

For more photos and a full gear and instrument list, visit our website www.biosoulmusic.com

Contact me through the green button above and let's get to work.

Credits

AllMusic verified credits for Daniel Weidlein
  • Gurrisonic Orchestra
  • Gurrisonic Orchestra
  • Gurrisonic Orchestra
  • Kidz Bop Kids
  • Kidz Bop Kids
  • Dominant Seven
  • The Jazz Arts Messengers
  • Dominant Seven
  • The Jazz Arts Messengers
  • Dominant Seven
  • The Jazz Arts Messengers
  • Dominant Seven
  • The Jazz Arts Messengers
  • Dominant Seven
  • The Jazz Arts Messengers
  • Dominant Seven
  • The Jazz Arts Messengers
  • Peppermint
  • Peppermint
  • Greg Johnson
  • Greg Johnson

9 Reviews

Endorse Daniel Weidlein/BioSoul Music
  1. Review by Sam Hirsh
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    Daniel has all the skills to make any project come to life. His knowledge of every genre of music baffles me. As a jazz pianist, I love a producer who has the ability to have in-depth conversation about harmony. Daniel checks this box without a doubt. His studio is world class and has every instrument available for use in stretching the imagination and creating music on the highest level. Highly recommended.

  2. Review by Ryan Aceto
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    Daniel is an immaculate professional and a highly skilled musician. Combined with his wonderful personality he's at the top of my list as someone I go to for music production and artist development. I run an indie record label and work with artists of all genres and recording experience.

  3. Review by Gary Palmquist
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    I've had the good fortune to work with Daniel on several music projects. He's world composer, arranger, and pianist. He's always delivered exceptional quality work and is responsive, helpful, professional, all just around amazing!! His musicianship shines in everything he does. Integrating Daniel in my musical projects has been incredibly beneficial. If you're looking for a rock star composer, performer, producer...look no further! Daniel is the best!!!

  4. Review by Ryan A.
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    You want a PRODUCER who really understands how to craft a great vocal or instrumental performance on the mic? Dan is your man.
    You want an ARTIST who is completely dedicated to innovation, but also musically-gifted enough to emulate any reference you pitch? Dan is your man.
    You want a COLLABORATOR who will tell you their strong opinions, while creating space to disagree or find middle ground? Dan is your man.
    You want a true MUSICIAN: instrumentalist, arranger, composer, songwriter, vocalist, mixer, producer, engineer, and kind soul? Go with Dan!!
    You won't be disappointed.

  5. Review by Mak Grgic
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    Daniel is an exceptional engineer, patient and detailed, who executes with precision always relying on the natural affinity of the ear. Being a world-class musician along with 'working the mics' makes collaborating with him exceptionally effortless. If there were 6 stars available, I'd choose that!

  6. Review by Sean C.
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    Daniel brings his many and varied talents as a songwriter, arranger, vocalist, producer and engineer to every session I've had the honor of sharing with him. His peerless skill set allows him to strengthen any song from multiple angles with his sharp fundamentals and artistry. + He's a generous human being and a consummate professional. Did I mention his studio? It's an immaculate creative space to work in. I'm honored to collaborate with him.

  7. Review by Pepper Mint
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    I love working with Bio Soul Music! Daniel is So passionate. he is Music. I have worked with him remotely and he is so patient and takes good care of singers. But finally, I had a chance to visit the studio and it was LOVELY! so professional.I can't wait to come back and record!!

  8. Review by Blake McGrath
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    He’s an icon. Best producer/engineer I’ve ever worked with. Fast, quick, passionate and pulls on the heart strings of every sound, song and project.

  9. Review by Kenton Chen
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    Working with Daniel is a dream. He's efficient, proficient, but above all, he is musical. He lays back when needed, and chimes in when asked. It's truly a wonderful collaboration. Plus, the studio is spacious and beautiful, very conducive to creativity. I've tracked piano, strings, and vocals, and they all sound pristine and luscious. Highly recommend.

Interview with Daniel Weidlein/BioSoul Music

  1. Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

  2. A: I produced, arranged, and orchestrated an album for Julie Craig and got to fly out and conduct a symphonic orchestra Budapest for the project. I’m extremely proud of the orchestrations on that album, and it was a thrill to watch them come to life under my baton.

  3. Q: What are you working on at the moment?

  4. A: I’m currently composing two “chamber” projects of my own—one is a multi-movement piece for chamber choir, rhythm section, and soprano saxophone that equates my own emotional lows with those of my injured and currently crate-ridden dog…, the other is an album for jazz quintet, string quartet, and drum machine about the life cycle of a forest, inspired by the Creek Fire in California last year. I’m currently producing an EP for Sam Hirsh that celebrates and pays respects to both our lineages from Black American music, and superimposes Sam’s uniquely beautiful spirit on the piano. I always have new songs in the pipeline for singer/dancer Blake McGrath. I’m very excited to be releasing the soundtrack to my score for the upcoming film, “Sleepwalk.” I’m currently producing a series of EPs for my fiancée, Divya Maus, that explore a wide variety of genres and vocal stylings that is really expanding my musical universe.

  5. Q: Is there anyone on SoundBetter you know and would recommend to your clients?

  6. A: I have personally spent time at Blue Dream Studios and worked with Sam Brawner and Raquel Rodriguez and highly recommend them both. Alex DeYoung is my go to mastering engineer in Los Angeles and I highly, highly recommend him. Brent Somermeyer of Catadawn Studios in Denver is also an amazing mastering engineer and I highly recommend him as well!

  7. Q: Analog or digital and why?

  8. A: Both. Together. I love analog sounds and warmth and distortion and unpredictability. I love a real piano. Midi saxophone is the WOrST. But I also love the ability to edit digitally. I love the sound of digital synthesis. I love being able to program digital delays and then throw tape emulation on something and sum it back through an analog summing box. It’s the 21st century and we have 64 bit programs and cheap 192 conversion. Why do we have to choose?

  9. Q: What's your 'promise' to your clients?

  10. A: We’re going to love what we create, both of us!

  11. Q: What do you like most about your job?

  12. A: The people and the camaraderie. I make my best music in collaboration. I love helping people tell their stories and love making friends in the process. The quarantine was a wonderful reminder of how important this is to me.

  13. Q: What's the biggest misconception about what you do?

  14. A: I do a lot of different things musically, and for better and for worse get branded as a jack of all trades. I know this is common in the music community, but I think the great misconception is that immediately makes you a “master of none.” So many of the skills I have in any one role are transferable to the other roles, and ultimately end up informing and enriching those other skills. For example, my intimate understanding of the frequency spectrum as an engineer and how I utilize EQ directly informs the voicings I play on piano and how they’ll best fit into a mix. Similarly, my background as a jazz musician directly informs the choices I make as an engineer because I have an affinity toward warm, analog to tonalities.

  15. Q: What questions do you ask prospective clients?

  16. A: -What are your goals with this project? -What drew you to me as a potential contributor? -What references can you provide to music that makes you feel the way you want your music to feel? -Are you open to thoughts/suggestions/queries outside of the scope of what I’m being hired for?

  17. Q: What advice do you have for a customer looking to hire a provider like you?

  18. A: There are so many good people doing good work in music these days. I know how overwhelming it can be to find the right fit. But take the time and ask as many questions as you need to find somebody you can trust, and someone you vibe with. No matter how talented the provider, the quality of the product is always going to be best when the human component clicks first.

  19. Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

  20. A: Phew…this is a fun/tough one. It changes constantly. I would have to bring my saxophone because it’s the way I express myself most authentically. But now we’re down to four pieces for a signal chain… I think a 251 for the mic, a really nice clean pre (for a nice colored tube mic, I LOVE my Focusrite Red One 500 series preamps), an LA-2A (the no brainer desert island compressor), and my Big Sky reverb pedal (I use this constantly for verb sends, delays, and have even printed full mixes through it to create some live, gentle evolution to my mixes…check out Kenton Chen’s “Broken” and Ryan Amador’s “Lost Friends,” both of which were mixed down through the Big Sky (apologies to Alex, my dear mastering engineer! Haha).

  21. Q: What was your career path? How long have you been doing this?

  22. A: I started playing piano at 5. I started playing saxophone at 9 and have a degree in jazz saxophone performance and composition from USC’s Thornton School of Music. Even before college I was already starting to hone my craft as a producer and engineer, and I opened my first (albeit modest and DIY) recording studio straight out of college. So you could say I’ve been doing this for 25 years maybe…and professionally for 12+.

  23. Q: How would you describe your style?

  24. A: The term “BioSoul” originated in me trying to describe my sound and my style. I am humbled to be a biproduct, student, and beneficiary of Black American music from jazz to Neo Soul to R&B, and the inclusion of “soul” is both a nod to this lineage, as well as a recognition of the vital role that human plays in music. The soul is what transcends through the speakers and connects me most to music. The “bio” part is a nod to my affinity toward organic, live, acoustic, analog sounds. Even in electronic music and pop music, I love to interlace these bio moments and feelings :)

  25. Q: Which artist would you like to work with and why?

  26. A: I would so dearly love to work with Kimbra. I love her aesthetic, I LOVE her voice, and I love her passion. The way in which she hybridizes genres and makes them her own is so inspiring, and I love the raw passion that comes through in every corner of her music. I got the rare treat of seeing her acoustic trio a couple years ago, and all of those things came through just as clearly in the stripped intimacy of that show, and it blew me away that she matched the intensity that comes with her electronic, larger band performances.

  27. Q: Can you share one music production tip?

  28. A: Close your eyes and use your ears. There are so many incredible visual tools in the mixing/producing toolbox now, but I think we’re all too quick to lean on them. At the end of the day, it’s about LISTENING. This is a reminder for myself too. I constantly have to recommit to taking my hands off the controls and closing my eyes and letting my ears guide the process.

  29. Q: What type of music do you usually work on?

  30. A: I typically work with music that has an acoustic component, even if it’s in the modern pop/r&b landscape. My background is in jazz and classical music and I love to bring elements of both into whatever I do. A lot of the work I do involves acoustic pianos, and also a lot of horn work (I’m trained primarily as a saxophonist).

  31. Q: Tell us about your studio setup.

  32. A: BioSoul is a beautifully hybridized flow between analog and digital spaces. We have a large tracking room that houses our Yamaha C7 piano and has fit as many as 16 singers for studio sessions as well as a jazz sextet (piano, bass, drums, three horns), a large iso booth (with natural light!!), and a huge control room that is tuned for immaculate listening but also has side areas for additional tracking. The control room also houses many additional keyboards, a Hammond A101 organ with matching Leslie, a Rhodes Stage 73 MkII, a Wurlitzer 200A, and many synths. Everything is patchable into a variety of preamps and hardware EQs and compressors, with the centerpiece of the studio being an 8 channel Tree Audio Roots Sr. sidecar. Everything then passes through the incredible conversion of JCF audio A/D into a Pro Tools HDX system (there is also a UA x8p for use in Logic/Ableton/etc). In lieu of a console, the controls are centered around a Raven MTZ touch screen workstation, with hardware effects ready to patch in within an arm’s reach. While most of the mixing is done digitally in Pro Tools (again, with lots of analog hardware compression/EQ/effects options), there are 24 channels of D/A that get summed through a custom summing box made by Josh Florian (JCF Audio) that gives an analog, big console sound to everything that gets mixed down at BioSoul. The studio also has cameras/screens in every room for visual communication between rooms, and all of these can be patched in with low-latency into a zoom session for remote recording!!

  33. Q: What other musicians or music production professionals inspire you?

  34. A: As a musician and composer, the voices that stir my soul the most are Brad Mehldau, Donny McCaslin, James Blake, Bon Iver (amongst many others). What they all have in common is a sense of “chamber music” regardless of genre that is both heightened and immediate at the same time. David Bowie’s “Blackstar” (in which Donny McCaslin had an integral role) is a prime example of this aesthetic. My personal hero and biggest career inspiration has always been Quincy Jones. He came at producing/composing as an instrumentalist, first, and the way in which that informed his musical journey regardless of genre is everything that I have ever aspired to!

  35. Q: Describe the most common type of work you do for your clients.

  36. A: While I end up wearing a number of different hats in the music making process, my greatest joy (and, hopefully, greatest strength) is in developing a sound for artists or projects. I care deeply about bringing heart and authenticity to music in any context, whether that’s at the piano or in the mix. I often am involved in the process from start to finish—writing, producing, engineering, editing, and mixing. I also do mastering but prefer to have other engineers master a project that I’ve been involved in from the start so we can have some fresh ears on it. Throughout the quarantine I developed a really streamlined remote workflow that allows for production, zoom songwriting sessions, live remote vocal producing, and mix sessions thanks to our wonderful friends at AudioMovers! At the end of the day, I care deeply about tailoring the experience of creating a song or an album to your personal journey and don’t want to simply replicate a process that worked for a previous client.

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Let Me Go by Blake McGrath

I was the Songwriter, Producer, Piano Player, Engineer, Mixing Engineer in this production

Terms Of Service

Turnaround is 5 business days (can turn around faster for a small price bump!). 2 round of revisions included in price. Contracts are individualized per session.

GenresSounds Like
  • Stan Taylor
  • Perta
  • James Blake
Gear Highlights
  • Tree Audio Roots Sr.
  • ATC SCM110s
  • JCF Custom Summing
  • Yamaha C7 Piano
  • Hammond A101 with Leslie
  • Fender Rhodes
  • Wurlitzer 200A
  • Monheim Créme
  • Monheim Omnis
  • Neumann U87
  • Blue Bottle Locker
  • AKG C414
  • AudioScape LA-2A/1176/SSL GComp
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