Hole, Marilyn Manson Over the next three years, Beinhorn produced records for Aerosmith, Ozzy Osbourne, Living Colour and Social Distortion. In 1994, he conceived of a new multitrack recording format- an analog 8 track tape recorder with a 2-inch head block that also included a time code reader so it could sync with other tape machines, consoles, etc. The system was dubbed "Ultra-Analog" by CN Fletcher of Mercenary Audio and had its maiden voyage on the 1995 Ozzy Osbourne record Ozzmosis. In 1997, Beinhorn was approached by the group Hole to produce their next recording. The resulting project was called Celebrity Skin, which took nearly a year to finish, and spawned 2 singles ("Celebrity Skin", "Malibu") and sold nearly 4 million records worldwide. As well as receiving two Grammy Nominations in 1999, it is number 871 in the book "1001 Records To Hear Before You Die". Celebrity Skin was still being mixed when Beinhorn moved on to his next project- Marilyn Manson iconic Mechanical Animals. Coincidentally, both records were finished and released at the same time, giving Beinhorn the distinction of being the first record producer in history to have two records debut in the Top Ten positions of the Billboard album charts, (with Manson at number 1 and Hole at number 9) in the same week (September 15, 1998). As a result, Beinhorn was nominated for Producer of the Year at the 1999 Grammy Awards. 2000-2002: Atlantic Records, Korn Seeking an opportunity to make artist development an industry standard once again, he gladly accepted when Atlantic Records offered him an Executive Vice President A&R position in 1999. While working at Atlantic, Beinhorn had the opportunity to collaborate with such diverse artists as Pharrell Williams, André 3000 and Chad Hugo as well as the director Oliver Stone on his film, "Any Given Sunday". However, Beinhorn found that Atlantic wasn't the place to initiate an artist development agenda and in 2002, he returned to independent record production with Korn's groundbreaking recording, Untouchables. Untouchables was a sprawling, ambitious work which mirrored the raw creativity, excess, frantic excitement and stress that went into making it. It was also one of the first rock albums to be recorded in 96 kHz/24 bit high-resolution digital audio and mixed in the Direct Stream Digital format. Entering the Billboard Top 200 Album Chart at number two, (right under Eminem’s The Eminem Show) and selling 434,000 copies in