"In the early days of Def Jam, I was pretty dictatorial, and I think that's one of the reasons the Beastie Boys left the label. They wanted to have more of a voice in their records, and they were right."

Today, he takes his belief in democracy in the studio so far that he and a band will sometimes hire several engineers to do the final mix on a recording and listen to the results without knowing which engineer did which track.

"If you know the greatest mixer in the world mixed one track and the guy who is making coffee on the project mixed that one, you're liable, psychologically, to think the famous engineer's mix is bound to be the best," Rubin explains. "But if you don't know who did what, the playing field is clear and even, and you are really picking based on what sounds good. And very often we're surprised. Very often."

There are lots of books on the shelves of Rubin's other home — the one overlooking the Sunset Strip just west of the House of Blues — mostly spiritual and self-help volumes. Though born Jewish, Rubin says he draws spiritual ideas from many sources.

"I got into meditation when I was 14," says Rubin, who sometimes meditates on the beach. "My neck always hurt and my childhood pediatrician said I needed to learn how to meditate, and I've found it benefits all aspects of life."

Specifically, he says, it allows him to focus deeply for a long period of time, which is helpful in producing a record because you sometimes have to listen to a track endlessly before you are finished.

Rubin has meditated with members of the Chili Peppers, Tom Petty, Donovan and others over the years.

He feels tension is a major enemy of the songwriting process, which he identifies as the most important period in the making of a record. That's why he urges artists to take as much time as possible to make sure they have strong material before going into the studio.

That approach doesn't always please managers or record companies who prefer to see artists record an album quickly so they can get back out on the promotional and touring trail.

Meditation also gives him the patience to overcome an occasional studio problem. "If there is a problem with a song, I may start by pointing to one line and suggesting it's not as good as the rest, and the artist may say something like, 'I think it's the best line in the song.'

"So, I'll just keep gently pressing the point until I get to where I can see the artist isn't going to change. In this case, I might say, 'It doesn't resonate with me. What is it you like about it, how does it fit the song?' and so forth. You're not always successful. Ultimately, it's their album, not mine."

The Cash connection

Rubin has produced more than 80 albums, from Mick Jagger (oops!) to Neil Diamond, generating some 150 million units sold. But he's probably associated most these days with his work with Cash and the Chili Peppers, and both projects underscore the value of patience in Rubin's approach.

Cash represented all the maverick qualities that Rubin admired in artists, so he went to a Cash concert in 1993 in Santa Ana, hoping to strike up a relationship.

The Man in Black was just turning 60 and his morale was low because country radio had stopped playing his music. So he was intrigued when Rubin said he wasn't necessarily interested in recording "hits." He just wanted to make a great record.