Finn McKenty, Author at Unstoppable Recording Machine

AARON PAULEY: Self-Producing Of Mice & Men, Breaking Old Rules, and Mixing the Song Not the Audio

Aaron Pauley is the vocalist, producer, and mixer for the metalcore band Of Mice & Men. Stepping into the producer role for the band’s recent material, he has overseen the creation of their self-produced EPs, including 2021’s Timeless and Bloom, followed by the full-length album Echo. His work showcases a modern, in-the-box approach that has allowed the band to maintain a completely self-contained workflow without sacrificing commercial quality.

In This Episode

Aaron Pauley joins the podcast for a super chill chat about the modern musician’s workflow and why old-school rules don’t apply anymore. He gets into the blurred lines between pre-production and final tracks when you’re producing your own band, and shares a killer story about Howard Benson’s advice to just use a bounced MP3 from a demo because it simply sounded cool. Aaron talks about how your mindset is your most important tool, emphasizing the need to mix the *song* and not just the audio—a lesson learned from watching David Bendeth mix. He also covers the value of limiting your options to make better decisions, how to get the most out of a struggling computer by committing to sounds, and the crucial importance of timing. This episode is packed with practical insights on trusting your ears, developing your taste, and focusing on the creative vibe over pointless technical debates.

Products Mentioned

Timestamps

[3:19] How to keep from blowing your creative load on pre-production
[6:07] The Howard Benson “just bounce the MP3” philosophy on using demo parts
[8:14] Why making music in-the-box doesn’t cheapen the final product
[10:30] Do most listeners really care how a record was made?
[15:09] Getting ripped off by a local studio and the motivation to learn recording
[17:25] Does having unlimited options actually hurt your development?
[19:51] Why it’s a great idea to periodically delete most of your plugins
[25:16] Shifting your focus from “mixing audio” to “mixing a song”
[28:31] Learning about performance-based mixing from watching David Bendeth
[33:52] The Nolly trick of using distortion on a snare to make it pop
[36:29] Debunking old forum myths from the Gearslutz days
[43:22] A simple, manual way to tame harsh cymbal frequencies with a multiband EQ
[51:52] The story of mixing Of Mice & Men’s “Timeless” EP on a 2012 MacBook Pro
[56:14] Making the most of a struggling computer by committing to sounds and printing tracks
[1:00:24] The ability to make good decisions is what allows great mixers to work anywhere
[1:05:05] Aaron’s top-down approach to mixing
[1:24:42] David Bendeth’s insane ability to hear millisecond timing differences
[1:25:51] A mind-blowing trick: fix a slightly out-of-tune vocal by dragging it behind the beat

EYAL LEVI & FINN MCKENTY: Getting Clients, Networking Without Being Sleazy, Modern Band Strategies

This episode features URM founders Eyal Levi and Finn McKenty. Before launching URM Academy, the duo pioneered live-streamed music production education as the driving force behind the audio channel at Creative Live. Eyal is also a producer (The Black Dahlia Murder, August Burns Red) and founding member of the band Dååth. Finn is the host of the popular YouTube channel and podcast, The Punk Rock MBA, and serves as URM’s director of operations and marketing.

In This Episode

Hosts Eyal Levi and Finn McKenty kick things off by recounting how they pioneered the world of online metal production education before jumping into a live Q&A with the URM Discord community. This one is packed with candid, actionable advice for anyone trying to build a career in music. They tackle the essential-but-often-overlooked topic of generating work, explaining why getting clients should come before obsessing over perfecting your craft in a vacuum. They also break down modern strategies for new bands, the key to being “unique” without reinventing the wheel, and how to approach networking without feeling like a sleazy opportunist. Other topics include their thoughts on NFTs in the music industry, effective goal-setting, and the single most important lesson they learned from their time at Creative Live: the power of persuasion and being the “master of the moment.”

Timestamps

[3:32] The origins of their pioneering work in live-streamed production education
[5:50] Why you need to learn metal production from people who actually make metal records
[9:27] The biggest mistake aspiring producers make: not focusing on generating work
[12:52] The importance of being “top of mind” for potential clients
[15:42] Why artists are in the entertainment industry, not just the music industry
[17:30] Why would someone even choose to listen to your band in the first place?
[19:37] Eyal’s old-school strategy for getting his band signed
[22:53] How to figure out the modern path for getting your music discovered
[28:10] The concept of “classic with a twist” and why you don’t need to reinvent music
[32:38] Why inspiration comes from action (and why your first 49 attempts might suck)
[35:09] Paul McCartney’s advice on getting your first 100 bad songs out of the way
[37:37] Finn’s take on NFTs in the music industry
[42:09] How to network without feeling sleazy or transactional
[46:20] The difference between “targeted” and “open-ended” networking
[49:32] How to plan for your next goal without getting lost in the details
[51:53] Using the “cone of uncertainty” to balance long-term and short-term goals
[58:41] The biggest lesson from Creative Live: the power of persuasion and leadership
[59:43] The Ross Robinson effect: becoming a “master of the moment” in the studio

MISHA MANSOOR & MARK HOLCOMB: Subverting Black Metal, The Riff Graveyard, Creative Burnout

Misha Mansoor and Mark Holcomb are the guitarists behind the influential progressive metal band Periphery. Known for their intricate rhythms, complex arrangements, and forward-thinking production, they’ve been at the forefront of the modern metal scene for over a decade. In addition to their work with Periphery, they collaborate on a side project called Haunted Shores, which explores their shared love for darker, more extreme forms of metal.

In This Episode

Misha and Mark hang out to chat about their side project, Haunted Shores, and how it serves as a vehicle for their shared love of black metal. They get into the production philosophy behind the project, which involves subverting black metal tropes by giving the dark, tremolo-picked riffs a modern, powerful, and intentionally tight production. They discuss the unique challenge of “unlearning” their ultra-precise Periphery habits to capture a more organic, human feel without sacrificing clarity or impact. The conversation also explores their creative process, including raiding the “riff graveyard” for old, forgotten ideas and the puzzle-solving satisfaction of transforming a “riff salad” into a killer song. Things get real as they open up about the brutal reality of creative burnout from juggling multiple projects, the double-edged sword of a relentless work ethic, and why sometimes the fear of not trying is way scarier than the fear of failure.

Timestamps

[2:01] Misha and Mark’s side project, Haunted Shores, and its black metal influence
[3:50] Why they prefer well-produced black metal over lo-fi recordings
[5:20] How they programmed the drums to sound intentionally “messy”
[10:02] The challenge of getting into poorly produced, avant-garde black metal
[17:22] What Misha finds appealing about the black metal aesthetic
[20:55] Subverting black metal tropes by applying high production standards
[22:12] The challenge of unlearning ultra-tight recording habits from Periphery
[24:20] Retaining “character” and a live feel vs. making everything sterile
[28:12] Drawing the line when sloppiness starts to obscure the musical idea
[32:19] Using creative boundaries to define your sound
[34:25] Reworking a 7-year-old song from a “riff salad” into a cohesive track
[37:53] Raiding the “riff graveyard” of old demos for new material
[41:53] How small changes can transform a song from “useless” to “sick”
[53:29] Why they don’t listen to their own music after it’s released
[57:18] Juggling five different writing projects at once
[1:01:34] Dealing with creative burnout and learning to say no
[1:13:23] Why young producers should probably say “yes” to everything
[1:17:27] The danger of mistaking productivity for progress
[1:22:23] Why you have to be naive to start a band
[1:25:35] Why a project falling on its face isn’t that bad

Lawrence Mackrory: Mixing Bloodbath, Voicing Jack Black & Tony Stark, Building a Career in Metal

From his start as an intern for the iconic Daniel Bergstrand to building his own name in the scene, Swedish producer, mixer, and mastering engineer Lawrence Mackrory has worked on killer records for bands like Bloodbath, Katatonia, Decapitated, and Meshuggah. After stepping away from music to work in TV audio for over a decade, he reconnected with Bergstrand, eventually moving on to establish his own studio and take on major projects, including producing and mixing Bloodbath’s acclaimed 2022 album, *Survival of the Sickest*.

In This Episode

Lawrence Mackrory hangs out with Eyal to talk about the winding path of a production career. He gets into his early days assisting Daniel Bergstrand, the importance of knowing when to step out from an mentor’s shadow to build your own brand, and why having a clear vision for your goals is key to navigating the industry. Lawrence breaks down the production of the latest Bloodbath record, detailing the challenge of creating a fresh guitar sound inspired by Florida death metal rather than the classic Swedish HM-2 tone. He also shares the wild story of his other career as a successful voice actor, where he’s become the official Swedish voice for Jack Black’s characters in films like *Kung Fu Panda* and even Tony Stark in the Marvel universe. This one’s packed with great stories and solid career advice for anyone trying to find their own lane.

Timestamps

[3:27] From assisting Daniel Bergstrand to building his own client list
[4:24] How dropping out of a music production course led to his first big break
[6:16] The three main paths to a successful production career
[8:18] Why he left the music industry to work in TV audio dubbing for 15 years
[9:48] Reconnecting with Daniel Bergstrand and being each other’s “therapists”
[12:31] The cycle of frustration and mastery when learning new skills
[16:03] Why even the biggest productions have flawed source tracks
[17:16] Why you eventually need to stop assisting and build your own name
[19:26] The pressure of working on the Bloodbath album after producers like Jens Bogren
[20:15] The importance of “seeing a path” to your career goals
[23:12] You can’t just build a website and expect clients to find you
[28:41] The story behind the Bloodbath “Survival of the Sickest” production
[30:25] Crafting a new guitar tone for Bloodbath inspired by Florida death metal
[34:05] Tracking guitars and bass for the new Katatonia album
[35:32] The nerve-wracking feeling of sending your tracks to a legendary mixer
[37:41] Lawrence’s successful side career as a voice actor
[39:45] How he became the official Swedish voice for Jack Black in “Kung Fu Panda”
[42:30] Being the Swedish voice of Tony Stark in the Marvel universe

KURT BALLOU & SAMMY DUET: Producing modern metal, guitar rig deep dives, the art of mastering

Kurt Ballou is a producer, engineer, and guitarist for the band Converge. Known for his work at God City Studio and his own God City Instruments, he has produced a massive catalog of heavy and aggressive music. Sammy Duet is the guitarist for the New Orleans-based metal band Goatwhore and was previously a member of Acid Bath. The two recently collaborated on Goatwhore’s album Angels Hung from the Arches of Heaven, with Kurt Ballou handling the mix.

In This Episode

This episode brings together producer Kurt Ballou and Goatwhore guitarist Sammy Duet to break down their collaboration on the band’s latest album, Angels Hung from the Arches of Heaven. They get into the challenge of translating a band’s raw live energy into a polished, modern-sounding record—a paradox Kurt has built his career on by finding the “space between” genres. The guys discuss the crucial role of aesthetic alignment between an artist and producer, the clumsiness of using words to describe sound, and how to navigate conflicting mix notes from a band versus their label. They also share their experiences with big-name mastering engineers and the reasons so many mixers now master their own work. For the gear nerds, there’s a ton of great stuff here, including a deep dive into Sammy’s quad-tracked Randall Vmax rig, Kurt’s ridiculously detailed explanation of his touring Helix setup for Converge, and their thoughts on the current state of amp sims. It’s a killer conversation about the creative push-and-pull and technical decisions that go into making a unique metal record.

Products Mentioned

Timestamps

[4:45] Kurt’s philosophy of producing in the “space between” genres
[6:37] When the mix for the new Goatwhore record finally “clicked”
[7:57] Why fellow producers can be the most frustrating clients
[10:26] The importance of having compatible aesthetics with a producer
[12:50] Kurt’s protocol for handling conflicting mix notes from the band and label
[18:10] The pros and cons of using big-name mastering engineers
[19:30] Why so many mixers started mastering their own work
[25:22] Is Dolby Atmos just a multi-level marketing scheme for gear?
[29:28] Why interactive mixing can ruin the “storytelling” of a mix
[37:38] A deep dive into Sammy Duet’s live and studio guitar rig
[39:37] How they quad-tracked guitars using different pickups for added texture
[43:44] Kurt on why he’s been using a Line 6 Helix for touring
[45:31] Discovering the power and durability of Quilter amps for live use
[48:06] A ridiculously detailed breakdown of Kurt’s stereo Helix patches for Converge
[52:09] Using Helix “snapshots” to manage complex tones for the Converge Blood Moon shows
[56:43] Sammy’s go-to amp sim plugin for demoing at home
[58:17] Using the Two notes Reload to capture DI’s from a real amp head
[1:00:38] Has gear obsession and tone chasing hurt their actual guitar playing?