![]() ![]() Over the years we’ve worked with a lot of brands like Google, Kate Spade, Ford, Volkswagen, BMW, Budweiser, Pepsi, Puma, Kettle One, and Maybelline, to name a few. But I said, “Sure, if you can get us in, I'll try.” Well, we won a commercial against music houses that had been in the business for decades, and then we won another and another, and over time started to get much more involved in what we call the music-for-picture side of our business. We started out making records, working with major labels like Columbia, Capitol, etc., and Rob Niederpruem-who was my studio assistant then, and is my partner at Hyperballad now-said, “Why don't we write some music for a commercial?” I was not good at deadlines so I didn’t think it was going to go well. ![]() It took many years of buying a piece here, a piece there, and waiting for my moment, but then I went independent, full-time, as a producer, and started to attract some other folks to the studio. All the while I was writing songs and tracking artists at my personal space in Boerum Hill, Brooklyn.ĭuring this time, I would invest my paycheck in equipment because my goal was to build a classic New York facility. I got the chance to go to South Beach Studios and sit alongside Tom Lord-Alge while he was mixing a record Tony Maserati would talk to me for hours about Neve consoles Phil Tan and I discussed things like mixing in the box versus mixing on a console-it was an incredible education. What was your vision for your studio when you set it up and how has it evolved?Įarly in my career, when I was working at Island Def Jam Records, I got to meet a lot of incredible artists, as well as the phenomenal people making the records in these legendary studios. We caught up with Jonathan to learn about his studio setup, favorite pieces of gear, relationship with Vintage King, and his vision for Hyperballad Music. His credits include chart-topping remixes for Rihanna, The Killers, Fall Out Boy, and Yoko Ono, as well as production and mixing work with Azealia Banks, Ruth B, and Grant, and Super Bowl spots for Google and Pepsi. Jonathan and his team work on original music for commercials, sound design, music supervision, and record-making, all while fostering a studio culture that nurtures creative expression for a diverse community of artists. Spread over 2500 square feet, with pristinely designed acoustics, lots of natural light, and an enviable collection of vintage and modern gear, Brooklyn’s Hyperballad Music has become the kind of space that producer/songwriter Jonathan “JB” Benedict always envisioned setting up-a classic New York studio from which great music emanates.
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