Author: Finn McKenty

Daniel Rowland is an Oscar-winning, Grammy-nominated audio engineer, producer, and professor who also serves as the head of strategy at LANDR. He brings a unique academic and practical perspective to the industry, with a massively diverse credit list that includes work with Pixar, the Star Wars franchise, Gwen Stefani, Weezer, and Lady Gaga.

In This Episode

Daniel Rowland stops by for a killer conversation about the intersection of technology, creativity, and career strategy. As a mastering engineer who went on to help lead LANDR, he offers a grounded take on the role of AI in music production. He explains how AI tools aren’t meant to replace high-end engineers but to serve the massive community of creators who wouldn’t hire a pro anyway, effectively widening the funnel for the entire industry. Daniel gets into the weeds on how LANDR’s AI was trained using thousands of masters from real engineers, and the discussion expands into how new tech, from AI art generators to automated mixing tools, is forcing the bar for human creativity higher than ever. He also gets real about what it takes to succeed, breaking down how he balances multiple high-level gigs, why working 80+ hours a week is often the reality, and giving some seriously practical advice on networking and the importance of embracing change to stay relevant.

Products Mentioned

• LANDR
• Midjourney
• iZotope
• ChatGPT
• Audio Movers

Timestamps

• [2:52] Daniel’s perspective on LANDR as a professional mastering engineer
• [5:05] The fear of AI replacing creative jobs
• [7:04] Comparing the evolution of AI mastering to AI art generators
• [9:16] How new technology raises the bar for human creativity
• [11:38] Why it takes years of data for an AI to make human-like decisions
• [13:06] The secret sauce: How LANDR was trained using real mastering engineers
• [15:23] The necessity of human input and taste in modern AI tools
• [17:16] How Daniel balances his work with LANDR, teaching, and active audio work
• [20:11] The reality of working 80-100 hours a week to succeed
• [21:59] Why you should embrace new technology instead of fighting it
• [24:44] Acknowledging the natural (but potentially harmful) emotional reaction to new tech
• [32:01] How artists use LANDR for more than just final masters (demos, referencing)
• [34:32] A deep dive into LANDR’s free collaboration and project management tools
• [37:53] How remote work has changed opportunity in the music industry
• [39:21] Why working for free is a necessary evil when you’re starting out
• [42:30] Daniel still does spec work for artists he’s a fan of
• [44:34] Using social media (especially LinkedIn) to network strategically
• [47:51] The difference between objective-oriented and open-ended networking

Mark Heylmun, guitarist for deathcore pioneers Suicide Silence, is joined by producer/mixer Taylor Young. Taylor, who operates out of The Pit Recording Studio, produced and mixed the band’s latest album, Remember… You Must Die. He is also known for his work with bands like Drain and Militarie Gun, and for his time playing in the hardcore band Nails.

In This Episode

Suicide Silence guitarist Mark Heylmun and producer Taylor Young drop in for a chill but super insightful chat about the making of their latest record, Remember… You Must Die. They get into the nuts and bolts of their collaboration, starting with Taylor’s bold stance that he wouldn’t produce the album unless he could also mix it. Mark explains why the band chose to work with a producer who was more “underground” to capture a raw, aggressive, and riff-focused sound. This leads to a great discussion about capturing a genuine “live band” feel in the studio, and why that’s often more powerful than a perfectly gridded, computer-perfect performance. They also explore the producer’s role as a trusted outside ear, from helping “de-corn” cheesy lyrics to being the final vote on creative disagreements. It’s a solid look at building trust, taking risks, and focusing on what really matters: making crushing music that feels real.

Timestamps

• [5:31] Discussing the sonic signature for the new record
• [8:18] Why Taylor Young insisted on mixing the album he produced
• [10:58] Is making a bold demand a risk or a necessary artistic statement?
• [14:03] Why Suicide Silence chose a producer who was “under the cut”
• [16:24] How to get work as a producer (hint: don’t run ads)
• [18:21] The one thing you need to focus on before worrying about business
• [21:19] Should producers try to network with A&R people?
• [26:00] Dealing with a very hands-on A&R person (Mike Gitter)
• [27:23] Imposter syndrome and being open to advice, even late in your career
• [29:07] Why most people asking for advice are really looking for validation
• [35:04] Does a producer’s job include giving business or career advice?
• [37:33] The producer’s role in “de-corning” cheesy lyrics
• [39:28] Arguing about taste: When a part is technically right but just feels wrong
• [42:59] The rule for creative disagreements: “If a person cannot live with a moment, let’s fix it”
• [44:29] How involved Taylor was in pre-production and arrangement
• [48:47] Why this genre benefits most from a “live band” feel in the studio
• [52:31] The goal of sounding even better live than on the record
• [55:34] When “raw” and “human” are just excuses for being a sloppy band
• [59:58] Finding the drive to keep creating after so many years
• [01:01:18] How time and life experience prevent writing a “samey” follow-up record

This episode features producer Jens Bogren and artist Ihsahn. Jens is one of modern metal’s most prolific producers, known for his work with bands like Opeth, Dimmu Borgir, Amon Amarth, Arch Enemy, and Leprous. He is also the founder of the plugin company Bogren Digital. Ihsahn is a founding member of the influential Norwegian black metal band Emperor and has maintained a long and highly respected solo career.

In This Episode

Jens Bogren and Ihsahn drop in for a chat about the making of their massive URM course, “How It’s Done,” where they documented the entire start-to-finish production of an Ihsahn track. They get real about the experience of creating an actual record with cameras rolling, discussing the balance between showing the messy reality of the process—mistakes and all—and preserving the “illusion” of the final product for fans. This leads to a killer conversation about the psychology of production, from navigating artist egos and imposter syndrome to the delicate art of suggesting changes to a song. Ihsahn talks about having a producer alter his arrangements for the first time in his career, while Jens shares his strategies for pushing for what’s best for the song without derailing a session. They also get into some deep-level workflow concepts, like Ihsahn’s method of writing on piano to avoid muscle memory and the importance of committing to sounds early to create a more cohesive record. It’s a candid look into the minds of two masters of the craft, exploring the philosophies that drive their creative decisions.

Products Mentioned

• Evertune bridges
• Steinberg Cubase
• Avid Pro Tools

Timestamps

• [3:45] How having cameras present affects the creative process
• [9:13] The value of showing mistakes vs. maintaining the “illusion” of a perfect record
• [15:30] Jens’s philosophy: using modern tools to create the “magic take”
• [17:36] Dealing with loss of perspective and self-doubt during production
• [20:55] The reality that high-level bands aren’t always top-tier musicians
• [22:03] Why a producer must adapt their methods for each artist
• [25:18] Ihsahn on having a producer change his songs for the first time
• [28:05] Why Ihsahn is a solo artist: the challenge of deviating from a strong internal vision
• [33:43] Jens on navigating the “minefield” of suggesting song changes to an artist
• [39:22] What does the term “producer” really mean today?
• [44:03] The “sunk cost fallacy” and getting rid of a great part that doesn’t serve the song
• [48:37] The common mistake young bands make by stuffing too many unrelated riffs in a song
• [55:10] Ihsahn’s process: Writing music on piano and learning the guitar parts on the spot
• [1:05:31] Jens on balancing the art of production with running Bogren Digital
• [1:19:32] Why peer-to-peer education is crucial for the metal genre
• [1:23:22] How understanding real gear helps you use plugin emulations more effectively
• [1:31:04] The “courage of commitment” and how limitations can create a more unique record

As one of the key architects of the 2000s metalcore sound, producer Joey Sturgis has helmed influential albums for bands like The Devil Wears Prada, Asking Alexandria, Of Mice & Men, and Attack Attack!. Beyond his production work, he is the founder of Joey Sturgis Tones, a company renowned for creating mixing plugins and virtual instruments that have become staples for a generation of producers.

In This Episode

Joey Sturgis and Eyal Levi host a live Q&A with the URM community, tackling a wide range of real-world production challenges. Joey explains how he uses templates to maintain an efficient and creative workflow without letting them get stale, and shares his “superhero” production philosophy of making every element in a track sound larger than life. They offer practical advice for managing massive sessions, creating compelling social media content, and networking effectively in a post-COVID world. The conversation also gets into the nitty-gritty of client relations, like how to tactfully offer production feedback on a mix-only project, and provides crucial mindset advice on time management and the importance of patience for producers who are still developing their ears. It’s a session packed with actionable tips for navigating both the technical and business sides of a modern audio career.

Products Mentioned

• ADPTR Audio Metric AB
• Line 6 POD Farm
• Shure Beta 52A

Timestamps

• [3:26] Using mix templates without getting bored
• [5:37] Why it’s still crucial to know the fundamentals even with templates
• [7:12] Joey’s “superhero” production mindset: making every element larger than life
• [9:39] The risk of using too many layers (and making guitars sound smaller)
• [10:52] How to handle massive sessions without getting overwhelmed
• [11:38] Why drums should be the most important element in your mix
• [14:32] You can only focus on about three things at once in a mix
• [17:32] Content creation tips: get super clear on your message first
• [20:31] “Kill your darlings”: Why audience perception is key for content
• [23:53] Why you need to turn up your energy by 20% for YouTube videos
• [25:35] Should you wait for things to be “perfect” before looking for work?
• [28:08] Using cold outreach to build relationships, not just to spam
• [35:10] How to tactfully offer production advice to a mix-only client
• [37:00] A different approach: just do the production edits and send an alternate mix
• [40:42] Time management: focus 80% of your time on the one thing you want to be great at
• [43:48] Finding your “mission statement” to clarify your career decisions
• [48:32] Advice for new mixers: patience is key, and it takes years to develop your ears
• [49:35] Why feeling like your mixes “suck” can actually be a good thing
• [51:32] Layering drum samples with different fundamental frequencies

Oz Craggs is a producer, mix engineer, and the owner of Hidden Track Studios in Folkestone, England. With nearly two decades in the game, he’s built a solid career working with a ton of bands across the rock and metal spectrum, including Neck Deep, Mallory Knox, and Gallows.

In This Episode

Oz Craggs sits down for a deep chat that’s less about gear and more about the real-deal skills you need to survive and thrive as a producer. He talks about why he values relentless hard work over innate talent and breaks down the producer’s most important job: being a master problem-solver. Oz gets into the nitty-gritty of managing people, from tailoring your communication style for different musicians (especially fragile vocalists) to using humor to diffuse tension in the studio. They also get into the crucial balancing act of being the authority figure while still being a collaborator, managing deadlines when artists don’t grasp them, and how to keep your own ego in check. It’s a killer conversation about the psychology and project management skills that truly separate the pros from the pack.

Timestamps

• [2:10] Why drive is more important than innate talent
• [5:22] Why you work *more* hours, not less, as you become more successful
• [7:51] Why being a great producer means being a great problem solver
• [10:36] Learning to spot mix problems in the arrangement phase
• [12:42] Why mixing gets slower, not faster, the better you get
• [15:16] How to read the room and know when to stay quiet
• [17:03] The importance of showing the band you genuinely care about their music
• [19:50] Tailoring your communication style to different musicians
• [20:37] Oz’s high-energy, no-negativity approach to tracking vocals and drums
• [24:18] Why vocalists are often the most fragile people in the studio
• [26:07] Why Oz acts as the singer’s “biggest fan” during takes
• [32:09] Capturing a genuinely emotional vocal take from a singer in tears
• [39:33] Using humor to break tension in the room
• [42:16] Getting your own ego out of the way to solve problems
• [46:33] Balancing being the authority figure with being a collaborator
• [51:11] Setting expectations when studio time is running out
• [58:56] Why artists often can’t grasp the reality of deadlines
• [1:03:21] The “no plan B” mentality and committing fully to your career
• [1:17:37] How vocalists are learning to sing with “autotune accuracy”
• [1:22:13] Why UK productions tend to have a smoother, darker top end than US mixes