Finn McKenty, Author at Unstoppable Recording Machine

JD OF ICE NINE KILLS: Digital Orchestration, His 5,000-Track Template, Lessons from Fleshgod Apocalypse

JD from the band Ice Nine Kills has been a member since 2009, with his first writing contributions appearing on their album Safe Is Just a Shadow. He serves as one of the band’s primary composers and producers, specializing in the complex orchestral and electronic arrangements that have become a signature part of their theatrical, horror-inspired sound.

In This Episode

JD of Ice Nine Kills drops by for a serious deep dive into the world of digital orchestration in modern metal. He walks through his evolution from early dabbling in Fruity Loops to his current pro-level setup, sharing incredible insights he learned from Francesco Farini of Fleshgod Apocalypse. This is a super technical discussion perfect for producers looking to up their game. JD breaks down his creative arrangement techniques, like spreading a single melodic theme across multiple instruments for a bigger sound, and gets into the nitty-gritty of programming realistic performances—think velocities, expression, legato, and beyond. He also details the absolute necessity of a beastly computer rig and his insane 5,000-track Cubase template designed to keep the creative flow going without getting bogged down. It’s a masterclass on the workflow, mindset, and gear you need to pull off epic, cinematic sounds.

Products Mentioned

Timestamps

[1:58] How JD joined Ice Nine Kills
[3:04] Starting out with Fruity Loops and Reason
[5:51] The power of Native Instruments Kontakt for modern orchestration
[7:19] Learning orchestration from Francesco Farini of Fleshgod Apocalypse
[9:29] JD’s go-to orchestral libraries (EastWest, Cinesamples, etc.)
[11:24] The challenge of mixing orchestral libraries with baked-in room sounds
[13:24] Why a good arrangement is crucial for a clean mix
[13:55] A key lesson from Fleshgod Apocalypse: spreading a single melody across multiple instruments
[18:58] Why programming orchestra is “tenfold” more complex than drums
[20:49] Using MIDI expression lanes to blend multiple recorded samples
[22:44] Using templates to streamline the creative process
[25:18] Why he switched from Pro Tools to Cubase for MIDI work
[28:33] The crucial role of a powerful computer for orchestration
[31:19] Why he switched from Mac to a custom-built PC for more power and flexibility
[36:23] The specs of his new production PC
[38:46] Optimizing his hard drive setup for performance
[44:39] His method for learning orchestration: active listening and studying film scores
[48:00] Making flashcards to learn orchestral terminology
[50:08] How building his massive 5,000-track template taught him the most about his tools

KEITH MERROW: His DIY Career Philosophy, Unconventional Production Tricks, and Kemper Tone Secrets

Keith Merrow is a guitarist, producer, and one of the original pioneers of the guitar-focused YouTube scene. With a staunchly DIY ethos, he has built a career on his own terms through independent releases like his current project Alluvial and the acclaimed Conquering Dystopia album with Jeff Loomis. Merrow previously worked with Seymour Duncan, creating video content and contributing to product development, and has his own signature Schecter guitar line.

In This Episode

Keith Merrow pulls back the curtain on his entire career philosophy and production workflow. He gets real about what it takes to survive as a modern musician, discussing the shift away from relying on record sales and labels toward a more diversified, entrepreneurial mindset where your music becomes the vehicle for everything else. Keith shares some seriously next-level—and unconventional—production tricks, including the secret to his massive Kemper tones: profiling an amp when it’s just barely breaking up and then adding gain *inside* the unit, often without using the refine feature at all. He also details a brilliant method for achieving a cohesive bass sound by using the same guitar profile for the bass grit, blended with a clean DI, and reinforced with a sub layer created by converting the DI to MIDI. It’s a deep conversation about workflow, the importance of maintaining a creative “flow state,” and the drive it takes to master every aspect of your craft, from video production to meticulous guitar setups.

Products Mentioned

Timestamps

[3:26] The value of being a DIY artist vs. signing to a label in the modern era
[7:17] A look inside Keith’s meticulous, well-organized guitar tech workbench
[10:44] How a layoff led him to pursue a career in multimedia and video production
[15:26] The mindset of constant improvement that drives his career
[20:57] The creative risks of leaving a stable job to focus on your own music
[24:25] Why you can’t rely on music sales alone to pay the bills in metal
[28:50] Viewing music as a “vehicle” for other business opportunities
[33:29] The sheer amount of work that goes into a single 5-minute YouTube demo
[37:27] The two-year process of trial and error to craft the Alluvial album mix
[43:36] The secret to his Kemper tones: profiling an amp when it’s just barely breaking up
[45:21] How he modified a Randall ISO cab to get his signature sound
[49:27] Why he often *doesn’t* use the “refine” feature on the Kemper
[55:11] Why Studio One is his “creator’s DAW” of choice for workflow
[56:23] Using Melodyne to convert bass DI to MIDI for a sub-bass layer
[1:02:20] How working with elite players like Jeff Loomis can be humbling and inspiring
[1:06:35] His simple but effective DI recording chain
[1:28:16] A clever bass tone trick using the guitar’s Kemper profile for grit
[1:20:07] The importance of “flow state” and creating a creative vibe in your studio

CHRIS SERNEL: The 45-Second Rule, The Art of the Hook, The Numbers Game of Pop

Chris Sernel is an LA-based songwriter and producer who got his start playing in bands like Escape from Earth before launching a secret MySpace project called Oh Hush. That project’s buzz led to a publishing deal, and he transitioned into writing for major pop artists. His credits include songs for C-Lo, Jason Derulo, JLo, Hey Violet, and Bea Miller. He also produced the ridiculously epic song for a Poo-Pourri ad, which is a seven-genre journey in itself.

In This Episode

This episode is a killer look into the world of high-level pop songwriting with Chris Sernel. Even if you’re all about blast beats and breakdowns, there’s a ton to learn here about the pure craft of making a song connect. Chris gets into the structure of a radio hit, explaining his “45-second rule” for getting to the chorus and why he thinks the pre-chorus is the new chorus. He talks about the art of the hook—how to write melodies that stick, the importance of starting with a great title, and how familiarity (without getting sued) plays a huge role. He also pulls back the curtain on the insane workflow of a pro writer, discussing his discipline of writing a song every day and the sheer numbers game involved in landing a cut on a major record. It’s a masterclass in concise, effective songwriting that can be applied to any genre.

Products Mentioned

Timestamps

[3:16] How a secret MySpace band led to a major publishing deal
[6:15] The 45-second rule: Why you need to get to the chorus, fast
[7:16] Using a strong intro to grab the listener immediately
[8:14] Why the pre-chorus is the new chorus in modern pop
[9:06] The reality of pop songwriting: just flying the first verse into the second verse spot
[10:58] Dissecting the hooks in ‘80s pop songs
[12:40] The unspoken rule of pop sessions: “Who’s copyright can we violate today?”
[13:27] Why spending hours on a song title can be more important than writing the song itself
[15:23] The “less lyrics equals more money” philosophy
[16:48] Is writing a simple pop hit harder than a technical metal song?
[18:04] The insane gauntlet a song has to run to get cut by a major artist
[21:41] The numbers game: Writing over 100 songs a year to get just a few placed
[23:37] Chris’s disciplined routine of writing a song every single day
[24:51] Beating writer’s block by building a massive bank of titles and ideas
[29:05] Why you need to write for the future, not for what’s on the radio now
[32:43] Does music theory actually matter in modern pop?
[33:40] When your virtuoso piano player just needs to play four simple chords

Josh Newell: Engineering Linkin Park, the genius of bad mixes, and surviving marathon sessions

Josh Newell is an engineer and Pro Tools editor who has been in the trenches for some massive records. He recently wrapped a year-and-a-half-long session engineering the latest Linkin Park album, and his credits also include work with Intronaut, Avril Lavigne, and Puff Daddy. Before focusing on studio work, he was the original bassist for the band In This Moment.

In This Episode

For the podcast’s two-year anniversary, Josh Newell returns for a deep dive into the realities of a marathon album production. He gives a fascinating behind-the-scenes look at the year-plus he spent working on the new Linkin Park record, breaking down the insane logistics of a session with over 80 song ideas. Josh gets into the weeds on the essential, non-musical side of the job—from establishing OS update rules and managing terabytes of data to the sheer mental stamina required to avoid burnout. He contrasts this big-budget experience with the pros and cons of faster, leaner projects and shares hilarious-but-true stories about the importance of a good assistant. The guys also get into a great discussion about classic albums that sound technically “bad” but have an unbeatable vibe (hello, *St. Anger* snare), making this a killer episode about the real-world compromises, problem-solving, and mindset needed to see a record through to the finish line.

Products Mentioned

Timestamps

[0:01:51] Amateur Hour: Dealing with DAW crashes
[0:05:33] Working on the Linkin Park record for over a year and a half
[0:07:37] The influence of Metallica’s “A Year and a Half in the Life” documentary
[0:11:19] Rules for a year-long session: Don’t update the OS
[0:13:26] The workflow for changing the key of an entire song mid-production
[0:17:21] The importance of having a good assistant engineer
[0:18:28] A look inside the gorgeous Sphere Studios in LA
[0:22:12] Dealing with cabin fever and burnout on a long project
[0:27:00] Strategies for maintaining a fresh perspective as a producer
[0:28:59] Understanding Rick Rubin’s hands-off production approach
[0:30:41] Using Dropbox and versioning to track a song’s evolution
[0:35:41] The insane logistics and data management for a massive project
[0:39:51] Pros and cons of big-budget vs. fast, low-budget records
[0:46:00] Investing your own money in a session (strings, setups, etc.)
[0:48:55] Why producers need to know how to set up guitars and tune drums
[0:51:06] Making the most out of a shitty drum kit
[0:57:41] The great debate: Is the *St. Anger* snare actually good?
[0:59:31] Why some of the best records sound technically “bad” (Korn, Slipknot)
[1:08:36] Balancing life and work: Mixing a record just days after his child was born

Fred Archambault: Working with Avenged Sevenfold, Mixing Live TV, Building a Career in Music

Fred Archambault is a producer and engineer who has worked with artists like Atreyu, Avenged Sevenfold, Alice Cooper, and I Set My Friends On Fire. In addition to his studio work, he has spent several seasons as the recording and mix engineer for the NBC show Last Call with Carson Daly, where he captures and mixes live performances from a huge variety of bands.

In This Episode

Fred Archambault joins the guys for a super chill chat about building a sustainable career in a town as competitive as LA. He gets into the unique workflow and challenges of his gig with Last Call with Carson Daly, where he has to mix hundreds of live tracks a year and navigate the delicate balance of recreating a band’s sound versus creating it from scratch. Fred also drops some wisdom on networking without being a sleazeball, emphasizing the power of doing good work and offering value upfront—a strategy he still uses. He shares his own story of coming up, from interning in Boston and working on the first Godsmack demos to how that single opportunity eventually led to him working with Avenged Sevenfold. It’s a great look at the mindset and hustle required to not only survive but thrive in the industry.

Products Mentioned

Timestamps

[5:42] Fred’s gig recording and mixing live bands for Last Call with Carson Daly
[8:45] Adopting Joel’s multi-band bass DI trick to get out of a rut
[13:55] How to self-promote without feeling like a used-car salesman
[16:24] The value of having your own studio to offer free tracking sessions
[18:21] Why consistency is the key to a long career
[21:55] Key differences between mixing a studio record vs. a live TV performance
[23:53] The unique challenges of tuning live vocals
[26:20] Testing the limits of what you can add to a production
[28:50] The need to “unlearn” things after attending Berklee
[33:13] How interning led to working on Godsmack demos and eventually Avenged Sevenfold
[39:32] Where aspiring engineers should look for internships today
[41:03] Rapid Fire: Kick Drum
[42:57] Rapid Fire: Room Mics
[44:23] Rapid Fire: Heavy Guitars
[47:48] Rapid Fire: Mix Bus
[52:10] The approach to the Avenged Sevenfold “Nightmare” record after The Rev’s passing
[57:04] His process for getting in the right headspace with a new artist
[58:46] Pushing a band out of its comfort zone to get a great performance