Finn McKenty, Author at Unstoppable Recording Machine

Jesco Lohan: Room Acoustics, The No-Fader Workflow, and Bass Trap Science

Jesco Lohan of AcousticsInsider.com is a mixing engineer and acoustics expert with a unique background in aerospace engineering and audio technology. Based in Berlin, he started his audio journey producing electronic music before transitioning into mixing. Jesco built his career from the ground up, initially mixing for friends and gradually expanding his client base through word-of-mouth and recommendations from mastering engineers, honing his craft and growing his reputation by helping artists at a similar stage in their own careers.

In This Episode

Jesco from Acoustics Insider stops by for a killer Q&A session, tackling all your burning questions about room treatment and workflow. He gets into the nitty-gritty of why you might be better off with a great pair of open-back headphones than trying to work with a sub when you’ve got difficult neighbors. Jesco also breaks down the science of finding the perfect listening position, explaining how to balance low-end response with a solid stereo image, and offers solutions for taming problematic low-mid frequency buildup. He shares his personal pre-mix routine, including his “no faders” approach to initial balancing, and dives deep into acoustic concepts like the purpose of air gaps behind panels and the critical difference between sound pressure and particle velocity when placing bass traps. It’s a super technical but practical episode for anyone looking to level up their listening environment and mixing process.

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Timestamps

[1:05] Dealing with crappy neighbors when you need to monitor low-end
[2:22] Why a good pair of open-back headphones is a great investment
[4:03] Why stereo imaging is crucial when choosing headphones
[5:20] How tight low-end timing is more important than a flat frequency response in headphones
[6:35] How to find the sweet spot for your listening position
[9:05] What to do about a nasty low-mid buildup around 200 Hz
[11:50] Jesco’s pre-mix routine for getting in the right headspace
[12:55] Getting all the technical prep work done before the creative mixing starts
[14:15] Priming your brain with reference tracks at a matched loudness
[15:10] Why Jesco does his initial level balancing with clip gain instead of faders
[17:00] His process for taking notes on a mix the next day
[20:55] The science behind using an air gap with acoustic panels
[22:05] Why material right up against a wall is less effective for absorption
[24:10] A potential career path for becoming an acoustics consultant
[33:10] The problem with small vocal booths
[39:30] A common misconception about bass trapping in corners
[40:21] Why the points of highest sound pressure are the least effective for velocity-based absorbers
[41:40] Why you should spread bass traps across the entire length of a corner
[43:00] Why tri-corners are theoretically the least effective places for mineral wool bass traps
[44:10] Applying the “bass hunter” technique to tracking and mic placement

Machine: Producing Lamb of God, “Street Smart” Production, and From Hip-Hop to King Crimson

Producer Machine has built a diverse and influential discography, bringing his unique production style to seminal albums by bands like Lamb of God, Suicide Silence, Clutch, Mindless Self Indulgence, Every Time I Die, and the iconic prog-rock outfit King Crimson. Known for his hands-on approach and ability to blend genres, he got his start making hip-hop beats before creating game-changing remixes for White Zombie that launched his career.

In This Episode

Machine sits down for a deep-dive conversation, charting his unconventional path from making hip-hop beats on an Atari to producing some of modern metal’s biggest records. He shares his “street smart” philosophy on production, emphasizing the producer’s role as a coach who must earn the band’s trust to get the best performance. He gets into the weeds on his classic Lamb of God records, revealing the story behind recording drum shells and cymbals separately and making Randy Blythe run around the block for “Walk With Me In Hell.” He also discusses the importance of creating a “rock and roll fantasy” environment for bands, his thoughts on gear versus skill, and his experience mentoring now-famous producers like Will Putney and Zach Cervini. This one is packed with insights on mindset, creativity, and the technical tricks that define his sound.

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Timestamps

[02:46] Growing up with classical musician parents in the NY Philharmonic
[05:08] Why his parents didn’t want him to pursue music
[08:28] The shift towards bands succeeding without record labels
[13:46] Getting his start making hip-hop beats on an 8-track and an Atari computer
[19:42] How remixing White Zombie launched his production career
[25:14] Starting as a DIY producer without traditional engineering training
[30:33] The danger of “gear acquisition syndrome” and why you should master what you have
[35:43] Why a record’s sound quality doesn’t always correlate with its success
[43:37] What set his successful protégés (Will Putney, Zach Cervini, Josh Wilbur) apart
[51:50] His thoughts on the Kemper Profiler (and hating it because it’s so good)
[55:28] Why he switched from hybrid to fully in-the-box mixing
[01:02:16] The importance of creating a “rock and roll fantasy” for bands in the studio
[01:09:37] Machine’s “street smart” recording philosophy
[01:12:59] How a visit to a gospel church gave him a new perspective on positive energy
[01:21:46] The key to making musical suggestions: earning the band’s trust
[01:27:21] His initial assessment of the metal scene before working with Lamb of God
[01:30:54] The decision to record drum shells and cymbals separately on *Sacrament*
[01:34:34] The real story behind making Randy Blythe run around the block
[01:40:49] Machine’s approach to dialing in metal guitar tones
[01:49:35] The experience of producing a King Crimson record

BEAU BURCHELL: Drum Production, Studio Workflow, Work/Life Balance

Producer, mixer, and Saosin guitarist Beau Burchell is known for his work with bands like The Bronx, Moose Blood, and Middle Class Rut, in addition to shaping the sound of his own influential projects. With a career built on bridging the gap between raw post-hardcore energy and polished, impactful production, he has a deep understanding of how to make records that feel both authentic and huge.

In This Episode

In this special Q&A episode, Beau Burchell hijacks the podcast to tackle a ton of awesome, detailed questions from the URM community. He gets into his “best of both worlds” approach to tom sounds, blending natural impact with subtle samples, and shares his go-to headphones for tracking. Beau also explains why a killer headphone mix is non-negotiable for getting a great vocal performance. He offers a deep dive into his workflow, covering everything from his preference for stereo subs and his parallel drum bus setup to his philosophy on panning vocals and using arrangement to create width. He also gets real about the human side of the job, discussing how he balances family life with studio time and touring, the importance of building a solid relationship with a mastering engineer, and why you should sometimes let a band member try out their “bad” idea. It’s a fantastic look into the practical mindset of a working pro.

Products Mentioned

Timestamps

[1:45] Beau’s approach to tom sounds: natural but impactful
[4:31] Why a great headphone mix is crucial for tracking vocals
[7:01] Tailoring a mix to fit the diverse sounds on a single record
[9:12] The one band Beau would love to produce
[11:11] Capturing a song idea with voice notes before picking up a guitar
[14:30] How moving monitors by even an inch can drastically change your low end
[15:56] Why Beau prefers using stereo subwoofers
[17:01] Panning background vocals and using arrangement to create width
[18:56] Thinking about “frequency fullness” when arranging parts
[20:41] The importance of building a relationship with a mastering engineer
[26:40] Managing family life, studio time, and touring
[32:15] Working on a strict 8-hour schedule and staying productive
[34:55] Beau’s “one song a day” tracking workflow
[35:57] Why he avoids drinking or smoking during sessions
[38:44] Beau’s quad-parallel drum bus setup with outboard compressors
[45:37] Using the input distortion on his Compex compressor to punish drums
[51:10] Why he uses spot mics on cymbals as “safety nets”
[54:30] Knowing when you can fix something in the mix vs. what needs a new performance
[1:02:26] The value of letting a band member try a “bad” idea

JOEY STURGIS: Fixing Mixes with Arrangement, Humanizing MIDI Drums, Delegating Work

Producer Joey Sturgis is known for shaping the sound of 2000s metalcore, having helmed landmark albums like Asking Alexandria’s Stand Up and Scream and The Devil Wears Prada’s With Roots Above and Branches Below. His discography also includes influential work with bands like Of Mice & Men, We Came As Romans, and I See Stars, and he’s the founder of the popular plugin company Joey Sturgis Tones.

In This Episode

Joey Sturgis kicks off another “Dear Joey” Q&A session, tackling some of the most common but tricky problems that producers face. He starts by offering practical advice for mixing low-end without a sub in a cramped room, emphasizing that the listening environment is often the real culprit. Then, he dives into a massive question about mixing dense, orchestral metal, arguing that the solution usually lies in better composition and arrangement, not fancy mix tricks. Joey also shares his go-to plugins and libraries for creative sound design, gets into the weeds on humanizing MIDI drums by thinking about a real drummer’s physical limitations, and wraps up with some killer advice on the psychology of delegating work. This episode is packed with high-level insights on workflow, mindset, and creative problem-solving.

Products Mentioned

Timestamps

[1:18] How to mix low end without a subwoofer in a small bedroom studio
[2:10] Why your room acoustics are a bigger problem than your monitors
[3:41] Approaching a dense mix with a 60-piece orchestra and two vocalists
[5:40] The uncomfortable truth: your mix issues might be a composition problem
[6:40] Why layering similar instruments in the same octave creates mud
[8:10] A producer’s job is to think about the mix during the arrangement phase
[9:00] Joey’s go-to plugins for synths, sound effects, and production elements
[9:55] Favorite orchestral libraries for adding size to a mix
[10:15] Tips for creating unique digital drum sounds through manipulation
[11:00] The creative process of layering and evolving electronic elements
[12:00] How to make MIDI drums sound less like a machine gun
[13:00] Using advanced logic functions in Cubase to humanize drum programming
[14:05] The key to realistic MIDI drums: thinking like a real drummer
[14:45] How a drummer’s physical movements affect their velocity and timing
[16:05] The “hot potato principle” of delegating work
[16:52] Overcoming the fear of losing control when you hand off tasks
[17:30] The importance of patience and letting others make their own mistakes
[18:10] A simple psychological trick for giving constructive feedback
[18:49] Why learning to delegate requires you to become a good leader

BEAU BURCHELL: Mixing Saosin, Fixing Muddy Guitars, and Respecting a Band’s Sound

Producer, mixer, and Saosin guitarist Beau Burchell joins the guys for a special Mixcrit Monday, breaking down listener mixes of the Saosin track “The Silver String.” As a key creative force in Saosin, Beau has shaped the band’s iconic post-hardcore sound across albums like their self-titled LP and 2016’s Along the Shadow. His production and mixing work extends to bands like The Bronx, Moose Blood, and Senses Fail, making him a go-to pro for dynamic, emotionally charged rock.

In This Episode

Beau Burchell offers a unique perspective on hearing countless interpretations of his own song, sparking a conversation about the fine line between creative mixing and respecting a band’s established sound. The guys discuss why it’s crucial to understand a band’s back catalog before making radical choices, like adding vocal glitches or using drum samples from a completely different genre. This episode is packed with practical critiques, addressing common issues like muddy guitars, harsh cymbals, disconnected drum sounds, and the ever-present danger of over-compressing your mix bus. They also get into the mindset of mixing, emphasizing that sometimes the best move is to do less, and exploring the trap of trying advanced tricks before mastering the fundamentals. It’s a great reality check for any producer who’s ever gotten lost in the sauce, full of actionable advice for getting mixes across the finish line.

Timestamps

[2:54] What it’s like hearing so many different mixes of your own song
[4:53] The hardest lesson: knowing when a mix doesn’t need much work
[6:06] Why you shouldn’t radically change a band’s established sound
[7:17] Eyal’s “Big Mac” analogy for staying in the zone on test mixes
[8:31] Why you need to get a reference mix for context
[14:53] Critiquing muddy guitars and creating space in the mix
[16:49] Dealing with boxy snare reverb and how to fix it
[17:38] Why adding vocal glitches without asking is a quick way to lose a gig
[19:26] How strange reverb choices can make guitars sound distant
[27:54] Why high-passing cymbals too much makes them sound thin
[29:20] Choosing the right type of compression for a hard-hitting drummer
[30:25] The difference between using a limiter/clipper vs. a compressor for snare attack
[31:32] The key to using drum samples: make it so no one knows you used them
[33:36] The central question every mixer should ask: “What’s the problem and how do I solve it?”
[38:54] Using the wrong genre of drum sounds for the song
[40:05] Why you need to be able to actually *hear* what compression is doing
[42:19] A simple trick for hearing mix bus compression more clearly
[49:04] The biggest trap for new mixers: wanting to go too fast, too soon
[50:23] How your perception of your own mixes changes dramatically over the years