Veteran producer and engineer Wesley Seidman has worked with an array of the world’s top musicians, including Brian Wilson, Susanna Hoffs, Mandy Moore, Weezer and many others. Now based out of Malibu’s Lonely Feather Studios, Seidman continues to implement new approaches to studio recording and live sound setup, as well. In the interview that follows, Seidman talks to us about his career (including a treasured memory from a Beach Boys session), some of the technological advancements that have expanded the possibilities of recording, his favorite A-T gear, and more.


How did you get your start as an audio engineer? Do you have a philosophy that guides your work?

My interest in audio engineering began in my teenage years, where I found myself drawn to tinkering with audio equipment and trying to get the best possible sound. As I gained more experience, I found that my guiding philosophy is to always capture the artist in the best possible way. This involves adapting my approach and tools depending on the project's sonic goals, whether it's jazz, R&B, rock, or any other genre.


You're currently at Lonely Feather Studios in Malibu, which was one of the first studios to utilize Dante. Can you tell us how Lonely Feather came into being, and what the Dante and other technologies in the studio allow you to do?

Lonely Feather Studios was created as a home base for producer Uhlone. He wanted a fully functioning studio where he could be creative and develop artists away from the limitations of only using designated recording spaces. To achieve this, Nathaniel Kunkel of Studio Without Walls was enlisted to design a great recording and listening environment with technology that would enable flexibility and expansion. With Dante, we can interface any Dante-enabled device with the studio from anywhere on the property by patching into the expansive network that was installed.


You've worked with many musicians from different genres. Do you have a favorite memory from any of these sessions?

Countless memories for sure. One that comes to mind was during the Beach Boys sessions we did at Ocean Way [Studios] for their 50th anniversary. On a few songs we had them all harmonize on one mic together. A special thing to experience in person.


We’re proud to have shared such a long working relationship with you. Are there any specific A-T mics that you turn to regularly in the studio or live?

I've been a fan of Audio-Technica microphones for more than 25 years. The ATM25, AT4047/SV, and AT4050 have been my go-to mics for many sessions. For live, I'm currently using the ATM25, ATM230, AT4040, AT4047/SV, AT4047MP, AE4100, and the ATM450, which has quickly become a favorite of mine.

Audio-Technica AT4050 and AT4047/SV MicrophonesAT4050 and AT4047S/V


You're currently working with pop/R&B singer Liam Horne, who uses the 3000 Series IEM. What do you and Liam like about this in-ear monitor system?

Using the 3000 Series IEM has been a game-changer for this project. The ability to transmit monitor mixes that accurately reproduce what is being sent has been invaluable. It also eliminates all stage bleed due to monitoring, which allows Liam and the Lonely Feather Band to monitor each other without compromise.

3000 Series IEM components on white background

3000 Series IEM


Lastly, do you have any current or upcoming projects you'd like to share with us?

I'm currently working on a project that's under wraps for now, but I can say that Audio-Technica microphones have been used extensively throughout the recording. Stay tuned for more information on that!