Revered for his inspirational work in industrial and metal, he has worked with some of its most influential juggernauts – such as NINE INCH NAILS, MARILYN MANSON, SLAYER, PUSCIFER, FEOTUS and GUNS N ROSES.
His creative pursuit of perfection is matched only by his charming studio-side manner that incubates career defining performances. These unique qualities attract artists from other genres, who value depth of emotion and textured balance in their recordings and mixes – artists like NO DOUBT (where he gave grind to their groove) , CHURCHILL and JILL HENNESSY, to name a few.
With his own band 8mm being one of the most licensed in the business, it was only a matter of time for pioneering film directors to discover and embrace Beavan’s diversely visceral ways. For more info on his powerful FILM SCORING, COMPOSITION and SOUND DESIGN, click HERE
Producer/Engineer Sean Beavan on Mixing Metal, Industrial & Indie Films “As a producer, mixer, and audio engineer, Sean Beavan has worked with Nine Inch Nails, Marilyn Manson, Slayer, Guns N’ Roses, and No Doubt. He uses distressed gear, sampling, and innovative recording techniques to create sounds that haven’t been heard before.”| SonicScoop
Just during the morning after his birthday party in the middle of mixing the new Marilyn Manson record Sean Beavan was so kind to share his first impressions with the Kemper Profiling Amplifier with Thomas Wendt.
AUTOMATIC EDEN “Madland” – produced and mixed by Sean Beavan
#12 on Billboard Single Charts
NINE INCH NAILS “Closer” (director’s cut/viewer discretion advised)
Co-produced, Engineered and mixed by Sean Beavan
Sean Beavan South By Southwest interview
‘Drive Time’ produced and hosted by Juliette Beavan
SHINING “House Of Control”
Co-Produced and mixed by Sean Beavan
NINE INCH NAILS “Hurt”
“It was just the two of us in the room, sitting side by side. We did three takes, each one was incredible, I remember being in tears most of the time, and I think we just used the third take in it’s entirety. Trent never wanted to do much comping, no single word edits. We always had to use whole phrases so the emotion came through. He believed the voice and the guitars were the human aspects, the emotional touchstones and that they shouldn’t be perfect, they should be honest, to provide a counterpoint to the relentless machinery of the rhythm section.”