Finn McKenty, Author at Unstoppable Recording Machine

Forrester Savell: Karnivool’s Bass Tone, Gorilla Recording, and No-Tune Vocals

Internationally renowned Australian producer and mixer Forrester Savell is known for his lush, textural, and technically brilliant work with bands like Karnivool, Dead Letter Circus, Twelve Foot Ninja, and Helmet. His unique approach has earned him multiple ARIA nominations and a reputation for creating immersive soundscapes that are both intricate and powerful.

In This Episode

Forrester Savell drops in to chat about his journey from being a musical late-bloomer to developing his signature production style. He gets into the weeds on his philosophy of finding a unique identity for every record, explaining why he loves working in different studios and even embraces the limitations of “gorilla recording” in unconventional spaces. Forrester gives a masterclass on drum tracking, from his preference for specific room sizes to the crucial importance of keeping the snare in tune between takes. He also pulls back the curtain on some of his most requested sounds, breaking down the multi-amp setup behind Karnivool’s monstrous Sound Awake bass tone and his vocal chain for Ian Kenny, which relies more on meticulous editing and automation than tuning. This is a deep dive into the mindset of a producer who perfectly balances the technical with the artistic to get killer results.

Products Mentioned

Timestamps

[1:34] Forrester’s musical origins as a late bloomer
[4:44] The impact of Australia’s isolation on his unique sound
[8:45] Balancing the technical and creative sides of production
[11:08] Using live sound gigs to network and find studio clients
[13:55] Overcoming the awkwardness of approaching bands at shows
[20:48] The creative process: Fascination with how bands write songs
[26:37] Forrester’s favorite drum rooms and why size matters
[29:09] The pros and cons of “gorilla recording” in unconventional spaces
[32:12] The importance of tuning your own drums (and Nolly’s methodical approach)
[34:30] Keeping a snare in tune throughout a long tracking session
[36:04] The pros and cons of recording drums last
[47:39] The conscious effort to give every record its own unique identity
[51:28] The legendary Karnivool “Sound Awake” bass tone in excruciating detail
[59:28] The “mute party”: How to keep massive mixes from sounding small
[1:04:00] Tracking Ian Kenny’s “no tuning needed” vocals for Karnivool
[1:07:31] The battle to get low end right in a dense mix
[1:20:02] The producer’s role in preventing bands from second-guessing their best ideas
[1:22:17] Why Forrester was initially unhappy with his mix of “Sound Awake”
[1:32:21] Panning and layering guitars when two parts are playing different things
[1:36:27] Forrester’s vocal chain, including heavy automation and notch filtering

JOEY STURGIS: The Asking Alexandria conflict, how producers get paid, secrets to perfect tuning

Producer Joey Sturgis is a key architect of the 2000s metalcore sound. His work includes landmark albums for bands like Asking Alexandria (Stand Up and Scream), The Devil Wears Prada (With Roots Above and Branches Below), Of Mice & Men (The Flood), and Attack Attack! (Someday Came Suddenly). Beyond his production credits, he’s the founder of Joey Sturgis Tones, a company renowned for its innovative and user-friendly mixing plugins.

In This Episode

On this “Dear Joey” Q&A episode, Joey Sturgis fields questions directly from the URM community, offering a ton of real-world advice for producers. He kicks things off with the full story behind Asking Alexandria’s From Death to Destiny, explaining why he didn’t end up mixing the record and how his production choices clashed with another mixer’s workflow. Joey also gets into the weeds on the essentials of perfect guitar tuning, emphasizing patience, attention to detail, and why an EverTune bridge might be your best friend. He breaks down the complex world of producer royalties, explaining points, mechanicals, and fees, and shares his philosophy on dealing with bands who are hesitant to add layers they can’t replicate live. For those interested in software, he even offers some starting points for getting into plugin development. It’s a session packed with practical insights on both the creative and business sides of making records.

Products Mentioned

Timestamps

[1:04] The story behind Asking Alexandria’s “From Death to Destiny”
[2:21] Why Joey couldn’t mix the album due to scheduling conflicts
[3:40] How his production choices (like a stereo kick stem) clashed with the mixer’s workflow
[4:36] Advice for aspiring audio plugin developers
[5:28] The importance of learning C++ for plugin design
[7:15] Joey’s non-audio book recommendations for business and finance
[9:09] The challenge of getting heavy, double-tracked guitars perfectly in tune
[9:52] Why intonation issues are common even on well-set-up guitars
[10:48] Why there’s no “quick way” to get guitars perfectly in tune
[11:08] The importance of patience and trusting your ear during tracking
[12:00] Why most guitar techs don’t set up instruments correctly for the studio
[14:02] The number one key to high-quality recordings: attention to detail
[14:48] The reality of getting a world-class sound: spending six hours on a single tom
[16:33] A breakdown of how producer royalties work
[17:50] The different types of royalties: upfront fees, points, and mechanicals
[18:28] What “points” really mean in a producer’s contract
[19:08] The role of performance rights organizations like ASCAP
[20:08] How to approach a band that only wants to record what they can play live
[21:18] The story of how the producer for Nirvana secretly added double-tracked guitars
[22:20] The ethics of going against a band’s wishes for the good of the record

WARREN HUART: Why Hard Work Beats Talent, Overcoming Self-Doubt, and the Modern Music Industry

Warren Huart is a multi-platinum producer, songwriter, and mixer who has worked with a massive range of artists, including Ace Frehly, Aerosmith, The Fray, and James Blunt. His work also extends into film and TV, with credits on projects like Inglorious Basterds and Grey’s Anatomy. In addition to his studio work, he’s a dedicated educator and the founder of Produce Like A Pro, an online community that teaches all aspects of music production.

In This Episode

Warren Huart joins the podcast for a super inspiring chat about the mindset and hustle required to build a sustainable career in music. He shares stories from his early days, from discovering Queen’s A Night at the Opera to building his first guitar with his dad. Warren gets real about not being a “naturally gifted” musician and how the hard work required to get good was ultimately a blessing that separated him from the kids who were handed Les Pauls and gave up. He explains how the modern, low-budget recording landscape demands a versatile skillset, and why being an instrumentalist is a huge advantage for a producer. The core of the conversation is about empowerment—don’t let the internet “experts,” gear snobbery, or self-doubt stop you. He tells the powerful story of the most talented musician he ever met, who never pursued his dream because he didn’t think it was possible. This is a must-listen for anyone who needs a reminder that passion, perseverance, and a good attitude are what really matter.

Timestamps

[3:22] How Queen’s “A Night at the Opera” started it all
[4:41] Building his first guitar with his dad to be like Brian May
[7:22] The influence of ELO and Supertramp on his production ear
[9:37] Learning Neil Young songs by playing the record at half-speed
[10:30] On not being a “naturally gifted” musician and having to work harder
[11:58] Why the kids with Les Pauls as their first guitar never became musicians
[17:42] The “chip on his shoulder” from being around wealthy kids who gave up easily
[21:58] The belief that the best music combines art and pop sensibilities
[24:39] Why being an instrumentalist is a massive help for a producer
[26:24] The rapid decline of major label budgets around 2004
[30:00] The Segovia quote: “All of my best students gave up”
[33:15] The “cuckoo clock” speech from *The Third Man* and the value of struggle
[34:48] The fear that everything will go away drives him to keep working
[37:50] Why the democratization of the music industry is a good thing
[39:26] The story of Nick Rimmer, the most talented keyboardist he’s ever met
[44:03] Why he’s not an expert and why you shouldn’t listen to them either
[45:32] The biggest thing holding people back is not getting started
[49:54] Why taste and creativity are more important than technical tricks

BILLY DECKER: Winning the Loudness War, Why Pros Ignore “Sample Guilt”, and Nashville Mixing Secrets

Billy Decker is a Nashville-based mix engineer who has been a dominant force in modern country music for over two decades. Known for his incredibly fast, in-the-box workflow, he has mixed a staggering number of chart-topping hits for artists like Rodney Atkins, Sam Hunt, Chris Young, Dustin Lynch, and Colt Ford. His distinctive, punchy, and loud sound has earned him the nickname “The Mix Doctor” and made him one of the most in-demand mixers in Music City.

In This Episode

Nashville mix heavyweight Billy Decker joins the guys for a special country edition of Mix Crit Monday, breaking down URM subscriber mixes of the Rodney Atkins hit “These Are My People.” Billy kicks things off by discussing the incredibly high standards for tracking in Nashville, which sets the stage for a great mix before a single fader is pushed. The crew dives into three mixes, offering feedback on common issues like distracting vocal effects, imbalanced elements, and a lack of overall punch. This leads to some killer insights from Billy on his philosophy of loudness—using series of light compression to build a powerful, “duct tape” mix that wins the loudness war. He also weighs in on the infamous “sample guilt” that plagues the metal scene, confirming that in Nashville, no one cares how you get there as long as it sounds awesome. It’s a masterclass in professional mindset, regardless of genre.

Products Mentioned

Timestamps

[4:42] The incredibly high recording standards in Nashville
[6:18] How great engineering leads to “faders up” mixes
[12:25] Prioritizing elements in a dense, multi-layered mix
[15:16] Why loudness matters when pitching songs to labels
[16:43] Billy’s approach: using lots of light compression to build loudness
[17:53] If your mix doesn’t look like “a piece of duct tape,” turn it up
[19:02] Decker and Wanasek agree: the loudness wars are still on
[23:38] Critiquing a mix with a “super metal” kick in a country song
[24:47] Advice on using vocal doublers sparingly in country music
[25:41] A quick starting point for compression using an 1176 plugin
[28:33] The concept of “sample guilt” in the metal community
[30:23] Who cares how you get there? Biggest, baddest drums. Let’s go
[31:47] The parallel between “sample guilt” and the old Pro Tools vs. console debate
[37:43] How to check your mix for distortion: turn your monitors down low
[38:52] “You are as good as the last thing you’ve done”
[41:51] Billy’s technique for carving out mud from doubled acoustic guitars
[43:59] How to lock down background vocals with an aggressive compressor chain
[48:21] Billy’s challenge: mixing a death metal song for the URM community

JESSE CANNON: Processing Creativity, Head vs. Heart, Finding Flow State

Producer, mastering engineer, author, and podcaster Jesse Cannon runs Cannon Found Soundation and has an incredibly diverse discography. His work spans from mastering tracks for The Cure, Animal Collective, and The Misfits to engineering for bands like The Dillinger Escape Plan and Limp Bizkit. He’s also the host of two podcasts, “Off The Record” and “Noise Creators,” and the author of the essential DIY guide “Get More Fans.”

In This Episode

Jesse joins the podcast to talk about his new book, “Processing Creativity,” and gives us a no-BS, science-backed approach to the creative process. He argues that creativity isn’t some mystical force but a skill you can develop through deliberate practice and process. He offers practical advice for getting into a “flow state” (hint: put your damn phone away), explaining how challenging yourself just beyond your current ability is key. The guys get deep into the “head vs. heart” battle, discussing why an obsession with technical perfection often kills a song’s vibe and how tools like Guitar Pro can become a crutch. They also cover overcoming “analysis paralysis” by focusing on the emotional intent of a track and the classic mistake of cramming too many ideas into one song. It’s a killer look at turning creativity from a random spark into a reliable tool in your production arsenal.

Products Mentioned

Timestamps

[4:04] Jesse’s goal for his new book: getting control of the creative process
[6:16] The insane amount of research that went into the book (200+ books)
[10:30] Taking a no-BS, scientific approach to creativity
[12:36] The two extremes: sterile perfection vs. leaving in every mistake
[14:11] Why the word “creativity” is a relatively modern concept
[16:34] Debunking common myths about creativity
[19:29] Practical ways to enter a “flow state”
[21:41] The importance of self-awareness and learning to recognize when you’re about to enter a flow state
[28:22] The “head vs. heart” dynamic: when technical perfection kills emotion
[32:06] The downsides of composing entirely in Guitar Pro without feel
[34:32] Why it’s easier to be technical than emotional
[39:25] Learning to use production tools to accentuate emotion, not just make things loud
[43:53] Overcoming “analysis paralysis” by defining the emotional goal of a song
[48:48] Why creative limitations can actually force you to be *more* creative
[52:10] Different approaches to inspiration: stuffing yourself with it vs. starving yourself of it
[58:15] Why the best records aren’t perfectly on the grid
[1:03:09] The “hub and spoke” method of collaboration vs. jamming
[1:06:09] The “20 pounds of crap in a 10 pound bag” problem: arranging to avoid clutter
[1:08:49] Even the most technical bands are incredibly calculated in their arrangements
[1:11:43] A discussion on “imposter syndrome” and its prevalence among creatives