Finn McKenty, Author at Unstoppable Recording Machine

RICK CARSON: The Les Paul vs. Strat Gear Analogy, Why Monitors Trump Preamps, Ending the Loudness War

Rick Carson is a multi-Grammy-nominated engineer and the founder of Make Believe Studios and Make Believe Plugins. Known for his encyclopedic knowledge of audio gear, Rick has established himself as a go-to pro for both his engineering chops and his innovative plugin designs, which he develops in partnership with Metric Halo.

In This Episode

Rick Carson drops by to get into the nitty-gritty of what really makes a difference in the studio. He breaks down his philosophy of mastering one analog and one digital tool (like an SSL and Metric Halo Channel Strip) to create a baseline for judging all other gear. Rick offers a killer analogy for understanding equipment tone: is it a Les Paul (darker) or a Stratocaster (brighter)? This simple concept applies to everything from mics to EQs. He also digs into the subtle nature of preamp distortion, explaining why it’s more like seasoning than the main course and how its role is often misunderstood. We also get a deep dive into the proper order of operations for investing in your setup, emphasizing that your monitoring chain and room are far more critical than fancy preamps when you’re starting out. Rick also shares his brilliant, recall-free SSL workflow and gives a mind-blowing preview of a new Make Believe plugin designed to finally end the loudness war.

Products Mentioned

Timestamps

[8:38] How Rick first got into Metric Halo software
[15:11] Why he focuses on just one analog (SSL) and one digital (Metric Halo) channel strip
[20:24] Using a familiar piece of gear as a scientific “control” to learn other gear
[24:38] The ultimate gear analogy: Is it a Les Paul or a Stratocaster?
[30:08] The subtle role of preamp distortion and why beginners misunderstand it
[34:00] Why vintage gear was designed to be clean (to compensate for dirty tape)
[41:20] The proper order of operations for studio investment (start with monitoring)
[42:39] An engineer’s career is a 30-year journey with their monitors
[44:28] Why Joey Sturgis is a perfect example of learning your monitors
[47:21] Why a good D/A converter is like taking a blanket off your speakers
[53:13] Why microphones are far more important than preamps
[57:26] The source is king: the hierarchy from player to preamp
[58:15] A tip for learning to hear the difference between preamps
[1:01:56] A teaser for a new Make Believe plugin that might just end the loudness war
[1:08:15] A live, unscripted first impression of the new plugin
[1:13:45] Why SM57s can be the best room mics (and how to use them)
[1:15:09] The power of true parallel processing (not just wet/dry knobs)
[1:16:29] The most important thing for new engineers: figure out what you like
[1:17:14] Rick’s unique, no-recall SSL console workflow explained

JARRETT PRITCHARD: Vintage Analog Consoles, Why Metal Needs Originality, Recording 1349

Jarrett Pritchard is a Florida-based producer, engineer, and live sound tech who has truly done it all. He’s a gear wizard who builds, mods, and restores classic equipment, including his own vintage Trident 80B console. In the studio, he’s known for his work with a host of killer extreme metal bands, notably tracking and mixing several albums for Norwegian black metal legends 1349, as well as working with titans like Goatwhore and Gruesome.

In This Episode

Jarrett Pritchard drops in for a killer conversation that starts with a deep dive into the joys and challenges of working on large-format analog consoles. He and the guys trade notes on the SSL Origin and Jarrett’s Trident 80B, discussing everything from creative recall solutions to the undeniable vibe of using vintage outboard reverbs and delays. From there, the discussion shifts to a more philosophical, but crucial, topic: the importance of originality in metal production. Jarrett makes a compelling case for why producers need to take risks and cultivate unique sounds to prevent the scene from becoming homogenous. He shares stories from recording the new 1349 album in Norway, explains how he adapts his vocal production style to fit different artists, and reflects on the ’90s death metal scene, where legendary bands broke through by being unapologetically different. It’s a great mix of gear talk, production philosophy, and practical advice.

Products Mentioned

Timestamps

[1:31] Jarrett’s 1983 Trident 80B console and the story of how he got it
[2:33] The SSL Origin and its completely recall-free workflow
[3:58] Jarrett’s modern approach to analog recall using an iPad
[5:13] A cool trick for instant recall on an SSL Origin using small faders
[10:14] The connection between hand, ear, and fader in analog mixing
[12:19] The surprising depth and life of old outboard digital effects units
[13:48] Fun outboard tricks: crushing a PCM 42 and symphonic bass with a 990
[15:15] Fixing and modding old gear, like adding Jensen transformers to DBX 160s
[17:49] The importance of producers having different workflows to keep metal interesting
[20:12] Why it’s harder to develop a unique sound with so many available shortcuts
[24:55] Why hoarding production secrets is “utter foolishness”
[27:25] The physics problem of producing extreme metal: making a wall of harmonic distortion coherent
[32:55] Adapting the vocal production process to different artists (Goatwhore vs. Gruesome)
[37:48] Why the key to being a good producer is adjusting your workflow to the artist
[43:34] The danger of metal becoming too homogenous and losing its impact
[47:23] How Gojira broke through by being completely their own thing
[48:59] Being honest with yourself about your artistic intentions
[58:54] How Ross Robinson’s production on the first Korn album was sonically out of left field
[1:03:16] An arrangement tip for making fast parts feel truly extreme

JOEL WANASEK: Speed Mixing, Structured Training, and Automated Plugins

In this episode, Eyal Levi is joined by URM co-founder and producer/mixer Joel Wanasek. Joel has an extensive discography in heavy music, having worked with bands like Machine Head, Blessthefall, Attila, and Monuments. He’s known for developing highly efficient workflows out of necessity, enabling him to mix entire records like Attila’s Guilty Pleasure under insane deadlines without compromising on quality.

In This Episode

Eyal and Joel announce the brand new Speed Mixing 2 course and get into the core philosophy behind why every producer should learn to work faster—and no, it’s not about cutting corners. They break down how your most valuable resources—your ears and your creative focus—are extremely limited, making every minute in the chair count. The guys discuss how to systematize the non-creative grunt work of mix prep so you can save your energy for what actually matters. They also get into establishing a strategic order of operations, the immense power of structured training (think of it like an athlete hitting the gym), and how to smartly leverage modern automated tools like Soothe and Track Spacer as a “second opinion” to speed up tedious tasks. It’s a deep dive into the mindset and practical systems required to not only mix faster, but to make better, more confident decisions and get pro results every time.

Products Mentioned

Timestamps

[08:18] Why working faster is essential for producers with families and day jobs
[09:56] The gradual, sneaky decline of your hearing during a mix session
[14:36] The limits of mental “deep focus” and how it affects your mix decisions
[18:24] The massive, often underestimated, list of tasks involved in mix prep
[21:15] The trap of “mixing as you go” and how it kills creative momentum
[24:20] How poor gain staging can mix you into a corner you can’t escape
[28:13] Establishing an “order of operations” for different genres
[31:00] Why groove and vocals are the top of the pyramid for most commercial music
[32:47] Chasing the “perfect” snare while the rest of the mix suffers
[36:40] Using compressor settings like CLA: four options that work 90% of the time
[39:37] The metal guitar tone that wins almost every shootout (5150/TS/V30/57)
[41:10] The power of structured training vs. just mixing more songs
[43:35] How structured training helped Joel mix a full album in 5 hours
[49:57] Using training and speed to build confidence and beat imposter syndrome
[53:27] How modern automated plugins can do in one step what used to take four
[56:35] Using automated tools like a “second opinion” to catch frequency buildups
[01:00:50] The danger of letting automated plugins “think for you” on different song sections

LASSE LAMMERT: Battling “Demo-itis”, Salvaging the Warrel Dane Album, Crafting Modern Guitar Tones

Lasse Lammert is a German producer, mixer, and engineer with a reputation for crafting killer guitar tones. Operating out of his LSD-Studios, he’s worked with power metal mainstays like Alestorm and Gloryhammer, as well as the avant-garde Japanese black metal band Sigh. He has collaborated with STL Tones on a signature Tonality plugin and ToneHub pack and was notably tasked with mixing the posthumous solo album from Nevermore vocalist Warrel Dane.

In This Episode

Lasse Lammert returns to the podcast for a deep dive into the real-world challenges of modern metal production. He breaks down how his approach to guitar tone has evolved to fit denser arrangements and discusses the fine line between using a band’s demo as a helpful guide versus falling into the trap of “demo-itis.” Lasse gets into the common but frustrating issue of “track-itis”—when a musician gets so used to hearing their own part loud during tracking that they can’t hear the mix objectively. He also shares some incredible stories about making things work under pressure, from knowing when to send poorly recorded tracks back to the band, to the extreme lengths he went to salvage the challenging Warrel Dane recordings. This one is all about the mindset, compromises, and creative problem-solving required to deliver a professional record, no matter what gets thrown at you.

Products Mentioned

Timestamps

[2:03] Has Lasse’s method for dialing in guitar tones changed with new tech?
[3:26] Adjusting guitar tones for modern, dense mixes
[5:03] The danger of “demo-itis” and overly polished demos
[9:30] “Track-itis”: Why musicians always want their instrument louder
[11:24] Realizing that even on your favorite albums, some elements are compromised
[13:37] Lasse’s mix revision workflow and how he sets expectations
[14:58] The endless battle between guitars and keyboards for space in the mix
[16:12] How COVID changed band workflows and deadlines
[18:01] The importance of sending tracks back to be re-recorded
[19:34] Dealing with vocals that are clipped into a solid brick
[22:11] When asking for re-records might *not* lead to a better result
[23:34] Why “bad” recording techniques can sometimes add a cool vibe
[27:05] Mixing the posthumous Warrel Dane album from laptop mic demos
[30:45] Using VocAlign to align a messy vocal performance to a new guide track
[34:42] Why clients don’t care about your “nightmare scenarios,” only the result
[41:45] Rapid fire: Favorite mic for heavy guitars
[42:39] Rapid fire: Favorite guitar amp head
[44:51] Rapid fire: Favorite speaker in a guitar cab
[45:34] Rapid fire: Favorite amp sim

KEVIN MCCOMBS: The Metal Producer Work Ethic, Colin Brittain Joining Linkin Park, Running Steakhouse Studio

Kevin McCombs is an engineer and producer who started his career as an intern for Colin Brittain during the sessions for A Day To Remember’s *Bad Vibrations*. He quickly became Colin’s right-hand man, moving to Los Angeles and working on records for artists like Papa Roach, 311, Five Seconds of Summer, and the Jonas Brothers. After years of honing his craft alongside one of the industry’s top producers, Kevin is now the head engineer at the iconic Steakhouse Studio in North Hollywood.

In This Episode

Kevin McCombs drops by to share his incredible journey from dedicated URM student to head engineer at LA’s Steakhouse Studio. He gets real about the mindset that got him there, breaking down the intense work ethic forged in metal and how it translates to the wider industry. Kevin shares some wild stories, from the “no one is coming to help you” realization that fuels his drive to the rock-bottom moment of being sick on the street in a new city. He also offers a behind-the-scenes look at how Colin Brittain joined Linkin Park and discusses why high-level sessions are often less stressful than you’d think. It’s a deep dive into navigating the industry, owning your mistakes, and understanding that the path to a sustainable career is about relentless problem-solving and appreciating the journey, even the parts that totally suck.

Products Mentioned

Timestamps

[5:14] Why metal producers have an edge in the wider music industry
[8:26] The unique challenges of mixing pop music vs. metal
[12:26] Why mixing modern death metal is a highly specialized skill
[17:30] The compounding effect of making “perfect decisions”
[18:26] Bruce Swedien’s advice on success: people, room, equipment (in that order)
[22:09] How today’s metal demos sound better than records from 2005
[25:05] The powerful mindset of “no one is coming to help you”
[27:40] Kevin’s “rock bottom” moment of being sick with nowhere to go in LA
[31:34] Why overcoming adversity is more powerful than constant success
[38:57] How Kevin’s career path differed from his original death metal dreams
[40:22] Becoming head engineer at the studio where he used to sleep on the couch
[46:26] The story behind his own custom plugin, “Kevin’s Limiter”
[50:35] How using one channel strip plugin has decluttered his workflow
[54:28] The story of how Colin Brittain and Mike Shinoda’s creative relationship began
[59:09] Why he’d be more starstruck by Cannibal Corpse than the Jonas Brothers
[1:03:10] How top-level sessions are often less stressful because of the talent in the room
[1:04:16] A story about accidentally ruining drum overheads and owning up to the mistake
[1:12:17] Why the modern music industry is more sober and serious than ever