Finn McKenty, Author at Unstoppable Recording Machine

Dino Medanhodzic: Pop & Metal Production, Massive Low-End Secrets, Switching to Reaper

Dino Medanhodzic is a Swedish producer, mixer, and songwriter who splits his time between polished European pop and heavy metal. Operating out of his Radionika Studios in Stockholm, he first cut his teeth working with punk legends Millencolin and has gone on to produce and mix metalcore act Adept and engineer for deathcore pioneers Humanity’s Last Breath. On the pop side, he’s known for his lush production work with the artist Daughter, which landed him connections with major labels like Warner Music.

In This Episode

Dino Medanhodzic gets into the nitty-gritty of what it takes to be a versatile modern producer. He talks about his unique journey from a war-torn Yugoslavia to becoming a go-to producer in Sweden, and how his diverse musical taste allows him to jump between genres. Dino shares his surprisingly simple approach to achieving a massive low-end (hint: it’s all in the arrangement) and why he spends most of his time taming harshness in cymbals and high-end. He also breaks down his techniques for seamlessly blending electronic elements like 808s with acoustic drums using automation and multiband compression. For anyone looking to speed up their process, Dino explains why building a robust personal drum sample library is a game-changer and details his switch from Pro Tools to Reaper, highlighting the specific workflow hacks that save him a ton of time on every project.

Products Mentioned

Timestamps

[2:35] Why he works on both metal and pop
[5:41] Moving from Yugoslavia to Sweden due to the war
[8:12] Learning guitar with an Yngwie Malmsteen VHS tape
[10:33] His first “nightmare” studio experience recording on tape
[14:03] Building his first DIY studio in a rehearsal space
[18:18] Why social skills are as important as technical skills
[21:14] Lying about knowing Pro Tools to get a gig working on a Millencolin album
[24:46] How producing his girlfriend’s pop project (Daughter) led to major label work
[28:21] His surprising approach to low-end (he doesn’t think about it)
[30:21] Why he struggles with high-end, especially cymbals
[33:24] How quickly he turns around a metal album mix
[35:08] His “mix as you go” process for pop production
[39:02] How to blend an 808 kick with an acoustic kit
[41:47] Using saturation as a primary tone-shaping tool
[42:59] Building a versatile, personal drum sample library for efficiency
[52:20] Why he switched from real amps to the Kemper
[53:42] The specific workflow advantages of Reaper over Pro Tools
[58:14] Using Reaper’s track folder mixer for miking guitar cabs
[1:02:45] His mindset for using real drums vs. samples
[1:13:22] Using his kitchen and hallway as a “room mic” space

MARY ZIMMER: Screaming Technique, Boosting Singer Confidence, Vocal Harmony Shortcuts

Mary Zimmer is a vocalist and vocal instructor known for fronting bands like Luna Mortis, White Empress, and Santa Marta. She also runs the popular YouTube channel Voice Hacks by Mary Z, where she provides detailed vocal coaching for rock and metal singers. This episode marks her return to the URM Podcast, this time as a guest host for a special Q&A edition.

In This Episode

Guest host Mary Zimmer takes the reins for a special “Dear Mary” episode, tackling a massive list of your most detailed vocal questions. She gets into the nitty-gritty of vocal physiology, explaining why most singers have a set three-octave range and how to maximize what you’ve got. For producers, she drops serious knowledge on boosting a singer’s confidence in the studio, offering practical communication strategies to avoid meltdowns and get the best takes. Mary also breaks down the mechanics of fry vs. false cord screaming, shares her preferred vocal recording signal chain, and gives some awesome shortcuts for creating killer vocal harmonies. It’s a total vocal nerd-out session packed with actionable advice for anyone working with singers.

Products Mentioned

Timestamps

[3:37] Can you train your voice to reach lower notes?
[6:03] What is the “Fach system” for classifying voice types?
[12:28] The realistic vocal range for most people (approx. 3 octaves)
[20:43] Understanding the limits of belting and forward tone placement
[28:11] How producers can build a singer’s confidence and avoid discouragement
[32:46] Advice for singers in the studio: Think like an athlete
[35:10] The difference between constructive and “shitty” feedback
[40:08] The story of a singer who literally punched herself in the vocal booth
[43:12] Can you get your screaming voice back after a long break?
[48:04] The physiology of fry vs. false cord screaming
[53:40] Why cardiovascular fitness is crucial for vocalists
[57:07] Using tone placement to control your voice, regardless of your mood
[59:36] Communicating with different audiences (American vs. Belgian vs. Japanese)
[1:04:38] Mary’s list of the top six “sick” vocalists in modern metal
[1:09:38] A deep dive on Bel Canto, Speech Level Singing, and Sprechstimme
[1:20:52] What rock vocalists should learn from R&B singers
[1:23:36] Mary’s ideal vocal recording signal chain
[1:37:25] Practical shortcuts for creating vocal harmonies

ERMIN HAMIDOVIC: Landing the Periphery gig, the decline of big studios, and his mastering philosophy

Ermin Hamidovic is a mastering engineer and the author of the influential book, The Systematic Mixing Guide. He’s best known for his mastering work on Periphery’s Juggernaut: Alpha and Omega albums, and has also worked with bands like Abiotic and Silent Descent. He got his start, like many of his peers, on the infamous Andy Sneap production forum.

In This Episode

Ermin Hamidovic gets into the real-world hustle of building a career, starting with his early days on the legendary Andy Sneap forums where he connected with guys like Nolly from Periphery. He discusses the long grind of going from a local-scene hero to an internationally recognized engineer and offers a killer perspective on the industry’s shift away from big, expensive studios. Ermin shares the full story of how a spontaneous remaster of a Meshuggah track landed him the Periphery mastering gig, underscoring his belief in lateral thinking and professionalism—especially when you initially lose out on a project. For the tech-heads, he breaks down his mastering philosophy, including his conservative approach to bus compression and why he’d rather ask for a mix revision than get surgical with a multi-band. It’s a great conversation about navigating the industry with a smart, long-term mindset, the importance of life balance to stay fresh, and the creative hustle required to make your mark.

Products Mentioned

Timestamps

[01:20] How the Andy Sneap forum launched so many careers
[02:32] The “Attack Attack!” crabcore phenomenon
[05:03] Why producers should appreciate artists like Britney Spears and Max Martin
[06:24] The difficulty of breaking out of the “metal” pigeonhole
[09:11] Reflecting on his book, “The Systematic Mixing Guide”
[11:17] Writing a mixing book with practical, no-BS advice
[15:10] Making the transition from semi-pro to a full-time career
[17:31] How long it took to build a sustainable local client base
[20:44] Why the “doom and gloom” narrative in the audio industry is misleading
[21:45] The paradigm shift: Why project studios thrived while big studios sank
[29:18] The full story of landing the Periphery mastering gig
[33:03] Why you should never be a dick when you lose out on a project
[41:05] Will there be a follow-up to the Systematic Mixing Guide?
[42:19] Deciding when to use broadband vs. multi-band compression in mastering
[44:15] The importance of balance and having a life outside the studio
[46:37] How to preserve a band’s signature sound in mastering
[48:22] Overcoming the local-to-international career barrier
[49:49] Ermin’s approach to EQing distorted guitars
[52:05] The collaboration with Nolly on Periphery III’s master

JOEL WANASEK: Mixing 500+ songs a year, pricing your services, and the Righteous Vendetta drum sound

Producer, mixer, and URM Academy co-founder Joel Wanasek is known for his incredibly efficient workflow and powerful modern rock and metal productions. As the mind behind Drumforge and with a massive list of credits including Machine Head, Blessthefall, Attila, and Righteous Vendetta, his entire system is built around achieving speed and consistency without compromise, allowing him to mix hundreds of songs in a single year.

In This Episode

In this “Dear Joel” Q&A episode, Joel Wanasek pulls back the curtain on the mindset and systems required to thrive as a modern producer. He kicks things off by discussing the industry’s shift towards faster turnaround times and how developing an ultra-efficient workflow is no longer just an advantage—it’s becoming a necessity. Joel then dives into a wide range of listener questions, offering killer advice on everything from building a decent mobile rig for mixing on the road to the business of pricing your services. He gets technical with a full breakdown of the drum recording techniques used on the Righteous Vendetta records and shares some great philosophical approaches to songwriting and arrangement. From using humor to manage intense sessions to knowing when to subcontract your editing, this episode is packed with actionable advice for running your studio like a well-oiled machine.

Products Mentioned

Timestamps

[2:13] Why introverted producers need to learn social skills
[4:34] Using humor to diffuse tension during a session
[11:20] The industry trend towards mixing records much faster
[13:10] The philosophy behind mixing 500+ songs a year
[16:38] How to build a system for maximum efficiency and less stress
[17:32] Joel introduces his “Speed Mixing” system
[23:05] Advice for mixing on the road with a portable rig
[25:35] Technical breakdown of the Righteous Vendetta drum sound
[26:21] The “mic 3 feet above the tom” trick for adding depth
[29:39] How to differentiate song parts to keep listeners engaged
[31:06] Treating a song like a story with a dynamic arc
[37:26] Balancing local vs. online marketing for your studio
[39:04] Why word-of-mouth is still the best form of advertising
[43:50] Moving from hourly to day rates for tracking
[46:45] How to sell a band on booking the proper amount of studio time
[49:41] Why it doesn’t matter how fast you mix if the result is killer
[51:13] The business case for subcontracting editing and vocal tuning
[54:30] Rent vs. Buy: Finding the right commercial space for a studio

Josh Florian: “Ruining Audio Less,” The Truth About A/D Converters, and His Secret PEP Process

Josh Florian is a drummer, audio engineer, and the founder of JCF Audio, a boutique company that builds ultra-high-end gear for discerning pros. Guided by the motto “Ruining audio less,” Josh applies a minimalist, quality-obsessed philosophy to his designs, which he developed during his time at Mastering Lab and while building custom rigs for clients like Paul Reed Smith. He’s known for his top-tier converters, like the AD8 featuring his proprietary PEP process, and for a no-compromise approach that prioritizes sonic integrity over unnecessary features—sometimes even down to the power switch.

In This Episode

Josh Florian joins the podcast for a seriously nerdy deep dive into the philosophy and science of high-end audio gear. He explains why his company’s motto is “Ruining audio less” and breaks down why a simpler signal path is almost always a better one. Josh gets into the weeds on the converter debate, detailing what actually separates prosumer boxes from top-tier units—think power supplies, component quality, and system integration, not just the chip inside. He also shares his journey from musician to gear designer, discusses his proprietary “PEP” process that makes recordings just feel better, and offers his take on the DIY gear trend, the 500 series format, and the essential first steps for anyone thinking of starting their own audio company.

Products Mentioned

Timestamps

[0:04:17] Josh’s company motto: “Ruining audio less”
[0:07:38] Why JCF gear often doesn’t have power switches
[0:10:56] How disassembling toys as a kid led to a career in gear building
[0:15:09] Why he moved from engineering to building: music becoming a “video game”
[0:22:21] The myth that all A/D converters are the same
[0:27:42] A deep dive on power supplies (switching vs. linear)
[0:31:32] Why people’s hearing is less subjective than you think
[0:34:08] Becoming the go-to guy for custom gear for clients like Paul Reed Smith
[0:40:32] The mystery of why the SM57 became a studio workhorse
[0:45:25] The difference between making JCF products and one-off custom jobs
[0:48:06] Introducing PEP: a proprietary process to make audio *feel* better
[0:53:19] How using PEP early in the recording process saves time later
[0:58:17] The rise and fall of the DIY audio gear trend
[1:03:46] Defending the 500 series format from recent criticism
[1:10:07] The flood of low-quality gear and compromising quality for cost
[1:18:25] The risks of manufacturing in China (stolen IP)
[1:19:01] The #1 piece of advice for starting a company: get a tax professional
[1:43:12] Why a basic understanding of electronics is a huge edge for engineers
[1:52:02] How do software emulations compare to the real hardware?