Finn McKenty, Author at Unstoppable Recording Machine

JOEY DOHERTY: Scoring Call of Duty, producing I Prevail, and why you should make music you hate

Producer Joey Doherty has built a diverse and impressive career working on everything from the video game series Call of Duty and Sonic the Hedgehog to albums with rock and metal heavyweights like I Prevail, Falling In Reverse, and Otep. He has also collaborated extensively with fellow producer Tyler Smyth.

In This Episode

Joey Doherty joins the podcast to talk about his unconventional path from metal guitarist to an in-demand producer working in rock, pop, and video games. He discusses how he got his start in LA with just $500 in his pocket and shares some killer advice on building genuine, long-term relationships instead of just chasing clients. Joey gets into the weeds on how he used his background in EDM and pop production to bring a unique flair to I Prevail’s album True Power, breaking down what separates a “cheap” electronic sound from an “expensive” one. He also explains why forcing yourself to learn genres you don’t like is one of the best ways to expand your creative toolkit and shares the wild story of how a single networking connection led him to become a composer for the Call of Duty franchise. This episode is packed with practical wisdom on networking, career growth, and the power of cross-genre experimentation.

Products Mentioned

Timestamps

[0:01:03] How working with Taylor Larson ignited Joey’s passion for production
[0:04:37] Using Nail The Mix to practice on pro-quality stems
[0:10:32] The boundary-pushing value of working on low-budget “salvage” mixes
[0:16:21] Moving to LA to pursue pop and EDM
[0:17:40] Actionable advice for networking when you’re new to a city
[0:19:27] The “Tinder vs. marriage” analogy for building a career
[0:25:21] The importance of putting the music first, even when working on spec
[0:27:24] How a long-term relationship with Tyler Smyth led to the I Prevail gig
[0:30:22] Applying EDM sound design techniques to the I Prevail album True Power
[0:31:50] Defining the difference between “cheap” and “expensive” electronic sounds
[0:33:04] Why you should spend time producing genres you hate
[0:37:02] The importance of wearing your influences on your sleeve
[0:41:31] As a producer, you have to figure out why emerging genres are popular
[0:45:19] Why pop music is much harder to create than most metalheads think
[0:47:08] The “lone wolf” mentality doesn’t work; you’re competing against teams
[0:50:22] The story of how Joey landed the gig composing for Call of Duty
[0:53:16] How the sound of in-game gunfire affects his mix decisions
[0:57:33] Why the music and your relationships will speak for themselves, even if you lose a project
[1:00:01] The slow grind and sudden explosion of a freelance career
[1:02:36] Arrangement tip: Get to the chorus in under a minute

MATT SQUIRE: Fixing streaming royalties, producing Panic! At The Disco, and lessons from Max Martin

Matt Squire is a multi-platinum producer, engineer, and songwriter who has bridged the worlds of heavy music and mainstream pop. He produced the breakout debut album for Panic! at the Disco, *A Fever You Can’t Sweat Out*, and has worked with a string of influential rock acts including Underoath, The Used, All Time Low, and The Amity Affliction. His discography also includes major pop artists like Ariana Grande, Selena Gomez, and Kesha, showcasing a versatile approach to production and a deep understanding of melody and songwriting.

In This Episode

Producer Matt Squire sits down for a killer conversation that’s as much about the future of the music business as it is about making records. He kicks things off by tracing his path from the DC hardcore scene to LA pop sessions and back to his Maryland studio, sharing a fascinating take on how the DIY, direct-to-fan ethos of his youth basically predicted the modern music industry. The real deep dive, though, is on the nitty-gritty of streaming royalties. Having been on Capitol Hill lobbying for change, Matt gets deep into the weeds on the Music Modernization Act, breaking down why the current system is so flawed. He explains the complexities of variable royalty rates and lays out a clear, tech-based solution: a transparent data standard that gives creators the leverage they’ll need against future distributors like AT&T and Verizon. On the creative side, Matt discusses his philosophy of helping an artist achieve their own vision, his process for finding the best ideas, and the importance of setting impossibly high standards, sharing what he learned about meticulous melody writing from working alongside Max Martin. This episode is a crucial look at the intersection of tech, business, and creativity.

Products Mentioned

Timestamps

[3:18] Matt’s story of moving to LA and back to Maryland
[5:50] His background in the DC hardcore scene and how it shaped him
[9:05] How the DIY hardcore ethos predicted the modern music industry
[11:13] Why the current music industry is better than the “old days”
[15:58] The music industry’s mistakes in reacting to Napster and the shift from artists to songs
[19:11] How Steve Jobs and the iPod changed the focus away from sonics
[23:14] The complexities of streaming royalties and the Music Modernization Act
[27:06] The technical solution: sharing transaction files and creating a data standard
[31:30] Why streaming royalty rates are so complicated
[34:06] Institutional barriers: gatekeepers’ fear of transparency
[37:32] The future of streaming: AT&T and Verizon as distributors and the need for data leverage
[42:43] His startup, True Stream, as the “SoundScan for the digital age”
[48:31] Shifting his headspace from heavy music to pop
[50:13] His creative process: throwing out 10 ideas to find one good one
[52:50] His role as a producer is to help bands achieve *their* vision
[54:21] The creative dynamic behind Panic! At The Disco’s first album
[57:19] Why he considers himself a producer first and a reluctant writer
[1:02:49] The challenge of keeping the vibe right on long, epic album productions
[1:07:33] What separates successful artists: having incredibly high standards
[1:08:38] Learning about meticulous melody writing from Max Martin

JAMIE KING & DAN BRIGGS: A 15-year partnership, the nightmare ‘Alaska’ sessions, and the breakthrough of ‘Colors’

Producer Jamie King is a 22-year veteran of the North Carolina metal scene and the owner of The Basement Recording NC. He’s the long-term collaborator for progressive metal titans Between the Buried and Me, having worked on nearly every one of their albums. He has also produced records for bands like The Contortionist, Through the Eyes of the Dead, and Motionless in White. He’s joined by Dan Briggs, who has been the bassist, keyboardist, and a key composer for Between the Buried and Me since their seminal 2005 album, Alaska.

In This Episode

Jamie King and Dan Briggs of Between the Buried and Me sit down for a deep dive into one of modern metal’s most enduring producer-band relationships. They look back on their nearly 15-year history, starting with the lineup change that brought Dan into the band for the Alaska record. They break down the importance of having a producer who truly understands a band’s unique musical language, contrasting their seamless workflow with nightmare stories of producers who just didn’t get it. You’ll hear about BTBAM’s hyper-efficient recording process, which involves tracking rhythm sections on a song-by-song basis and arriving at the studio 100% prepared, leaving more time for creative layering and experimentation. They also discuss the challenging sessions for Alaska—from disastrous drum tracking to a hostile mix engineer—and how that experience paved the way for the creative breakthrough on their landmark album, Colors. Ultimately, this conversation is a masterclass in the trust, communication, and mutual respect that allows a band and producer to grow together and consistently create their best work.

Products Mentioned

Timestamps

[5:27] How Dan Briggs joined the band and immediately hit the studio with Jamie
[7:49] Recording their first demo together without a click track
[11:00] Jamie on being a fan of BTBAM’s early style when no one else was playing it
[12:27] A bad experience with a producer who demanded fully charted-out songs
[15:03] Why BTBAM’s songs are 100% written before entering the studio
[16:13] The story behind the shrieking cat sample on their album Automata II
[19:50] Their efficient song-by-song tracking method for rhythm sections
[23:57] Dan’s process for writing bass parts *after* the drums are solidified
[26:05] Using notation software strictly for documentation, not composition
[35:15] Jamie’s philosophy on serving the artist’s vision above all else
[39:21] Dan’s advice to producers on building long-term relationships
[43:41] Why Alaska became their highest-selling album
[48:33] The technical nightmare of recording the drums for Alaska (and having to re-track everything)
[52:12] The story of the mix engineer who told Blake Richardson “fuck you”
[1:01:59] The creative explosion and positive vibes of the Colors sessions
[1:10:54] How the misery of Ozzfest fueled the writing of “White Walls”
[1:12:10] How Colors opened the door to touring with bands like Dream Theater
[1:22:29] Why a producer showing personal frustration can kill a band’s performance
[1:28:15] How Jamie adapts his production style for each individual member of the band
[1:48:25] How to keep your sound consistent from album to album without getting stale

KEVIN ANTREASSIAN: Dillinger Escape Plan, studio horror stories, and building a music career

Kevin Antreassian is a guitarist, producer, and studio owner. He’s best known for his time as the guitarist for the influential mathcore band The Dillinger Escape Plan, playing on their final album, Dissociation. He is also the owner and operator of Backroom Studios in New Jersey, where he has worked with a diverse range of artists.

In This Episode

Kevin Antreassian drops by to chat about the wild, unglamorous, and often hilarious journey of building a career in music. He shares some insane stories from the early days of Backroom Studios, from dealing with a hostile fire marshal to building a functional recording rig out of a gaming PC, a Crate PA, and a piece of plywood. Kevin gets real about the nightmare clients you encounter when starting out, including one who wanted to record his car stereo and another who threatened the engineers. They also dive into the less-than-glamorous realities of studio ownership, which can involve sewage, puke, and other disasters you have to handle yourself. Beyond the war stories, Kevin discusses his more recent ventures, including starting the Backroom Studios YouTube channel and the challenges of creating engaging video content. He also talks about his new role as a university professor, where he’s teaching students the practical, real-world mixing skills that are often overlooked in academic programs. This episode is packed with invaluable lessons on hustle, perseverance, and why a successful music career often means juggling multiple jobs at once.

Products Mentioned

Timestamps

[2:42] The many jobs of a modern music professional
[3:29] The current status of The Dillinger Escape Plan
[5:40] Kevin’s hilariously janky first recording rig
[8:40] Dealing with a hostile fire marshal and getting shut down
[12:41] The nightmare clients you get when you’re starting out
[14:12] The hip-hop client who just got out of jail
[17:00] Bizarre client request: “Mic my car stereo”
[18:05] Host Eyal Levi’s story of his studio getting struck by lightning
[21:12] The unglamorous reality of studio ownership (it involves sewage)
[22:04] A truly epic story about a studio covered in puke
[24:53] When sewage comes from the ceiling
[27:29] The hidden dangers of studio construction (pressure fractures)
[30:35] Why Kevin started a YouTube channel for his studio
[32:32] The challenges of being “on camera” vs. real life
[35:21] Does video length really matter on YouTube?
[39:19] The goal of the channel: branding, not monetization
[42:37] Should you respond to YouTube comments?
[45:25] Kevin’s new gig as a university professor
[47:21] Bridging the gap between academic theory and practical mixing skills
[57:17] Learning new tricks from interns and younger engineers

DAVID BENDETH: The “Signature Sound” Lie, Learning from Legends, The Sempiternal Snare

With a career spanning decades, producer and mixer David Bendeth has navigated nearly every corner of the music industry. After his time as a touring musician, he spent 17 years working for major labels, including a long tenure as a staff producer and Senior VP of A&R for RCA Records. This unique position allowed him to learn from the best in the business by sitting in on mix sessions with legends like Andy Wallace and the Lord-Alge brothers. After leaving the label world, he launched an incredibly successful independent career, producing and mixing landmark albums for bands like Breaking Benjamin, Paramore, Underoath, Hawthorne Heights, and Bring Me The Horizon.

In This Episode

Producer David Bendeth sits down for an in-depth chat about his one-of-a-kind career path. He shares how he went from being a touring musician to spending 17 years as a staff producer and A&R exec at labels like CBS and RCA Records. For David, this corporate gig was the ultimate production school, giving him a front-row seat to learn directly from mixing icons like Andy Wallace, Chris Lord-Alge, and Michael Brauer. He opens up about the mindset that drove him after getting laid off—using “revenge” as a powerful motivator to launch his wildly successful independent career. David dives deep into the psychological side of the job, arguing that a producer’s primary role is to connect with an artist’s emotional core to capture a genuine performance, something he achieves by learning their musical DNA before ever hitting record. He also breaks down his philosophy on serving the song rather than chasing a “signature sound” and offers killer behind-the-scenes stories on crafting the sound for records like Underoath’s Lost in the Sound of Separation and the legendary snare on Bring Me The Horizon’s Sempiternal. This one’s a masterclass in the art and business of making records that matter.

Products Mentioned

Timestamps

[4:22] How David knew he’d be in music from the age of three
[10:01] Going to high school with members of Rush and other future music industry figures
[15:15] Moving to England at 17 to start his professional career
[16:41] Transitioning from a touring musician to a staff producer at CBS Records
[22:13] Why the hazing culture of old-school studios made him want to be a producer, not an engineer
[26:26] How frustration with other people’s mixes motivated him to learn mixing himself
[28:33] Using his A&R position to learn from legends like Andy Wallace and the Lord-Alge brothers
[36:10] Getting laid off from RCA and using “revenge” as motivation to go independent
[47:33] Leveraging his A&R experience to find and develop successful bands
[56:55] The importance of connecting with an artist’s emotional core over technical perfection
[1:00:39] His process for getting to know an artist before he even touches a fader
[1:11:24] The psychological challenges of producing bands who are burnt out from touring
[1:33:42] Why having a “signature sound” can be the kiss of death for a producer
[1:35:41] His vision for mixing Underoath’s “Lost in the Sound of Separation”
[1:38:06] The real story behind the iconic snare on Bring Me The Horizon’s “Sempiternal”
[1:52:54] How he determines the right key and tempo for a song (it’s all about the vocals)
[2:02:05] Why artist and song preparedness is far more important than technical prep
[2:11:23] David’s candid take on mixers who claim to also be mastering engineers
[2:13:31] The advice he would give his 35-year-old self