Finn McKenty, Author at Unstoppable Recording Machine

BLASKO: The “House of Cards” Music Biz, Life After Ozzy, and Networking Secrets

Blasko is a bassist who has laid down the low end for icons like Ozzy Osbourne, Rob Zombie, and Danzig, and was an early member of the thrash band Cryptic Slaughter. He’s also the co-owner of Mercenary Management, where he represents major artists like Black Veil Brides and Zakk Wylde, building their brands well beyond just the music.

In This Episode

Blasko gets real about the mindset it takes to build a long-term career in the music biz. He talks about why he sees the industry as a “house of cards” and how that fuels his entrepreneurial drive to constantly adapt and stay ahead. Blasko shares the story of his pivot from being a top-tier touring musician with Ozzy Osbourne to starting his own management company, explaining the self-awareness it took to know when to transition. He drops some serious knowledge on how to approach networking, emphasizing that it’s all about providing value, not just asking for favors. He also gets into his personal productivity hacks, like his five-sentence email rule and other time management strategies that keep him from burning out while managing multiple high-level projects. It’s an awesome look into the business side of things, packed with advice on how to avoid bitterness, stay motivated, and appreciate the insane opportunity of making a living from heavy metal.

Timestamps

[1:36] The “shark” mentality: Why you have to keep moving forward in music
[2:18] Viewing the music business as a “house of cards”
[5:49] Getting a record deal at 15 with Cryptic Slaughter
[7:27] The moment he realized he’d reached the pinnacle as a musician with Ozzy
[8:00] Transitioning into business and starting a management company
[10:10] The importance of self-awareness in avoiding bitterness
[13:36] How to maintain a positive focus in a negative industry
[14:35] Pivoting from early attempts at production and A&R to management
[20:37] Why you need to be able to repay favors to build relationships
[22:49] The right (and wrong) way to approach industry professionals for help
[25:07] What a band needs to do to get his attention for a tour
[29:55] The fear and boredom of only doing one thing in your career
[33:59] Blasko’s early music consulting business and why it didn’t work
[39:55] Lessons learned from working with a visionary like Rob Zombie
[42:41] What he looks for when deciding to manage a band
[47:45] Blasko’s 24/7 work ethic and time management strategies
[50:32] The danger of becoming a “slave to your inbox”
[54:40] The five-sentence email rule
[56:02] His favorite role: Making a living hustling heavy metal every day
[59:43] The power of “just fucking do it”

JORDAN VALERIOTE: The Signal Flow Hierarchy, Less Is More Guitar Tones, and Vocal Comping on the Fly

Jordan Valeriote is a producer with a killer discography that includes bands like Silverstein, Neck Deep, Intervals, and Counterparts. In this episode, he sits down with Eyal to discuss his “Hardcore Tracking” course and share the philosophies and techniques that have helped him capture pro-level recordings for some of modern metal’s biggest names.

In This Episode

Jordan Valeriote breaks down his entire framework for tracking heavy music, starting with the right mindset. He explains his “signal flow hierarchy,” emphasizing that the player and instrument are far more crucial than mics and preamps, and explains why obsessing over gear is often just a form of procrastination. Jordan gets into the practical, real-world challenges of getting consistent results, even when working with inexperienced musicians. He shares essential tips for every instrument, including his “less is more” approach to guitars (hint: you probably don’t need to quad-track), how to get a powerful and tight bass tone, and his unique “comping on the fly” workflow for tracking vocals that saves tons of time and captures better performances before the singer gets fatigued. It’s a masterclass in setting yourself up for a great mix before you even touch a fader.

Products Mentioned

Timestamps

[3:20] The three core elements of a great tracking session
[9:29] The signal flow hierarchy: player > instrument > mic > gear
[10:34] Why focusing on gear can be a form of procrastination
[13:26] What to do when the bands you’re working with aren’t great players
[16:33] How online courses replace the old studio mentorship system
[20:07] Looking beyond timing: the importance of dynamics in drum takes
[22:32] Starting with the end in mind when miking a sloppy drummer
[25:56] Jordan’s “less is more” approach to guitar tones
[27:04] Why you can get a killer tone with just one SM57
[28:24] The truth about quad-tracking for modern metal
[33:48] A top producer’s one-mic guitar tracking method on a major label record
[37:19] The importance of having a “why” for every mic you place
[41:28] Bass: the secret weapon of a heavy production
[43:10] The crucial role of bass arrangement
[45:46] Why you should track guitars *before* bass
[48:48] A simple, go-to vocal chain that works every time
[50:18] Jordan’s “comping on the fly” vocal workflow
[53:40] Why doing fewer takes can lead to a better performance

ZAKK CERVINI & MATT PAULING: Massive Guitar Tones, Aggressive Bass Compression, and the Evertune Secret Weapon

Zakk Cervini and Matt Pauling are a production duo known for their work with legendary producer John Feldmann. Together, they’ve shaped the sound of modern rock and pop-punk, contributing to massive records for artists like Black Veil Brides, Good Charlotte, The Used, and Story Of The Year, as well as working with members of My Chemical Romance and Stick To Your Guns.

In This Episode

Zakk Cervini and Matt Pauling drop in for a killer discussion all about capturing massive guitar and bass tones. They kick things off by explaining why they prioritize performance over heavy editing, often layering simple, well-played parts to create huge, intricate soundscapes. They get into their go-to gear, comparing the convenience of the Kemper Profiler to their favorite real amps like the Friedman BE-100 and a classic Hughes & Kettner. The guys share their no-nonsense mic techniques for guitar and bass, emphasizing simple, effective setups that they commit to on the way in. You’ll also hear their full bass signal chain, including how they use aggressive multi-stage compression to get a rock-solid foundation. They also dive into why the player’s hands are the most critical component, the importance of a good setup, and why the Evertune bridge has become their secret weapon for achieving perfect intonation on heavy rhythm tracks. This episode is packed with practical, source-focused tips for getting killer sounds before you even touch a plugin.

Products Mentioned

Timestamps

[0:56] The philosophy on editing guitars: performance over perfection
[1:47] Layering simple guitar parts for a massive sound
[2:58] Using a Kemper with a Friedman profile for writing
[4:06] Why the Kemper is a game-changer for live consistency
[5:33] The most important part of a great guitar tone is the player
[6:26] Why great vibrato is more important than shredding speed
[8:53] Tips for getting a thick guitar tone without too much gain
[9:52] Their preferred mic position on a speaker cone
[11:25] Committing to tones by summing mics to a single track during recording
[13:23] Zakk and Matt’s full bass recording signal chain
[15:08] How they align phase between bass DI, close mic, and room mic tracks
[16:14] Using EQ and saturation to help bass cut through heavy guitars
[16:59] Their aggressive multi-stage approach to bass compression
[18:20] Pick vs. fingers for bass playing
[19:19] Handling tuning issues caused by players who pick really hard
[20:40] Why the Evertune bridge is their secret weapon for tight rhythm guitars
[25:45] Deciding when to use a player’s personal guitar versus a studio instrument
[26:37] How often they change guitar strings
[27:29] Their favorite amp sims for writing and even final recordings
[30:02] The secret to their acoustic guitar sound: never changing the strings

EYAL LEVI: Overcoming Mix Paralysis, Managing Clients, and Getting Paid

Eyal Levi is a producer, mixer, musician, and co-founder of URM Academy. As the guitarist for bands like Dååth and Levi/Werstler, he gained first-hand experience on the creative side before moving into the studio to produce and mix for artists including The Black Dahlia Murder, August Burns Red, Chelsea Grin, and Whitechapel.

In This Episode

On this Q&A episode of Dear Eyal, Eyal Levi tackles the tough questions every producer faces, from workflow and mindset to business and client management. He kicks things off with practical advice for overcoming analysis paralysis in a mix, suggesting techniques like setting timers and aiming for “80% good” to avoid the dreaded rabbit hole. From there, he weighs the pros and cons of building a home studio, explaining why a separate building is usually the better long-term investment for both sound and sanity. Eyal also offers a reality check on taking on inexperienced remote bands, highlighting the red flags to watch for and the importance of in-person pre-production. For younger producers, he shares his perspective on balancing band life with a production career and offers crucial advice on protecting your gear and transitioning from free work to paid gigs without getting taken advantage of. It’s a killer session packed with real-world wisdom for navigating the grind.

Products Mentioned

Timestamps

[1:05] Question: How to stop overthinking and going down rabbit holes in a mix.
[2:45] The danger of losing perspective and ruining a mix after hours of work.
[3:45] Using a timer to force yourself to move on from a task.
[4:20] Asking if your work is 80% good instead of aiming for a perfect 100%.
[5:43] Why perfectionism can be a deep-seated issue that hurts your workflow.
[7:36] Question: Is it better to build a studio in a basement or a separate building?
[9:50] Why you don’t need to be in a major city like LA or Nashville to have a career.
[12:23] The case for building a standalone studio to separate work from family life.
[13:42] The “undesirable elements” that can come with running a studio from your home.
[15:09] Question: How to handle pre-production with an inexperienced out-of-state band.
[17:00] Red flags to watch for when dealing with inexperienced bands.
[18:32] Why it’s a concern if a modern band has no one who knows basic recording.
[20:39] Suggesting a neutral location to assess a new band before committing.
[21:46] Question: Advice for a young musician who wants to tour for 10 years then become a producer.
[24:25] How to make a band career and a mixing career feed into each other.
[25:23] Why focusing on your own skills is more important than focusing on a new band.
[26:22] Question: How to stop damaging mobile gear and convince free clients to pay.
[28:16] The importance of getting proper cases (like SKB) and insurance for your gear.
[29:30] Using free work as a “calling card” for clients who can afford to pay later.
[31:05] Differentiating between clients who are trying you out and those who are just taking advantage.

Russ Russell: Studio Psychology, Recording a Live Orchestra, Napalm Death’s Industrial Chaos

Producer and engineer Russ Russell has built a diverse discography that spans the metal spectrum. He’s known for his long-running relationships with grindcore pioneers Napalm Death and symphonic black metal titans Dimmu Borgir, but has also worked with bands like The Wildhearts, Brujeria, and Evile. His career path began with assisting producer Simon Efemey on records for bands like Helmet and Crowbar before striking out on his own.

In This Episode

Russ Russell sits down for a wide-ranging chat that’s heavy on the real-world psychology of making records. He shares how his career evolved from assisting to going solo and dives into the importance of man-management in the studio, from identifying different band member personalities to fixing the “source vibe” before it poisons a session. He contrasts the technical approaches for polished productions like Dimmu Borgir versus raw, intense bands like Napalm Death, explaining how the artist’s performance is the true source of a record’s power. Russ also gets into the nitty-gritty of some wild sessions, including the insane logistics of recording Dimmu Borgir’s live DVD with a full orchestra and his experimental techniques for capturing Napalm Death’s industrial chaos. This is a must-listen for anyone who wants to understand the human element and creative problem-solving that goes into production.

Products Mentioned

Timestamps

[0:04:00] Getting started in recording at age 7 with a reel-to-reel
[0:09:02] How pointing out a technical mistake (the right way) landed him his first major studio job
[0:12:08] The importance of people skills and knowing when to speak up
[0:14:43] Embracing Pro Tools in the mid-90s when everyone else was scared of it
[0:21:43] Going solo as a producer after studio budgets started to shrink
[0:32:34] The secret to getting repeat clients: cultivating a no-stress studio vibe
[0:35:37] Helping a drummer overcome PTSD from a previous bad producer experience
[0:39:27] The psychology of a session: how to read a band in the first 24 hours
[0:41:09] Why a guitarist who hasn’t practiced might give the drummer a hard time
[0:45:16] The logistics of recording Dimmu Borgir with a live orchestra (148 mics!)
[0:49:18] What to do when your main mixing console crashes during a massive live recording
[0:52:43] The story behind his signature “bomb” sample that’s on almost every record he’s made
[1:02:27] Why he started doing his own mastering
[1:09:47] His “over-the-head” drum mic technique for a huge, compressed sound
[1:12:36] Accidentally finding a killer guitar tone by using a cluster of drum mics
[1:22:44] Why he’s not a fan of the SM7B for aggressive vocals
[1:27:48] Russ’s go-to vocal chain for tracking
[1:42:18] Creating industrial percussion for Napalm Death with milk churns and a broken vacuum cleaner