Author: Finn McKenty

Lewis Johns is a UK-based producer, mixer, and mastering engineer known for his work with bands like Loath and Palm Reader. In 2017, his production on the Employed to Serve album The Warmth of a Dying Son was awarded Kerrang!’s Album of the Year, and he was nominated for a Heavy Music Award in 2019. Beyond the studio, Lewis has also released several popular IR and drum sample packs for producers.

In This Episode

Lewis Johns joins the podcast for a super real-talk session about what it actually takes to build a career in production. He and Eyal get into the classic dilemma of grinding non-stop in your early days versus setting healthy boundaries once you’re established. They discuss why being a jack-of-all-trades—musician, editor, engineer—is pretty much non-negotiable for the modern producer, and how knowing your way around a drum kit or a piano is less about chops and more about communicating your vision. They also break down the myth of the overnight success, touching on why awards don’t really move the needle, how imposter syndrome never fully goes away, and why the most rewarding path is often growing alongside a band over multiple albums. This is a great one for anyone trying to navigate the long game of being a pro.

Timestamps

• [3:15] Building in buffer time to your schedule to avoid burnout
• [5:07] When to be selective about projects vs. taking on “bread and butter” stuff
• [7:41] The importance of saying “yes” to everything early on to learn different genres
• [9:38] Why the “work-life balance” rules of established producers don’t apply when you’re starting out
• [11:24] Proving you’re hungry is the only way to get more responsibility as an intern
• [15:23] Why you need to know how to do everything (like editing), even if you plan to hire an assistant later
• [19:44] The lost art of tuning drums and why it’s crucial for engineers to learn
• [24:38] How playing multiple instruments helps you communicate with artists
• [26:59] Can you be a great producer without being a musician? (Discussing Colin Richardson & TLA)
• [28:23] How the definition of “producer” has changed from the old-school “director” role
• [30:27] Is Steve Albini *really* just an engineer?
• [32:33] Why Kurt Ballou’s records have a signature sound despite his hands-off approach
• [37:05] You don’t “try” to develop your own sound; it happens naturally
• [39:05] Why recording yourself is one of the most important things you can do to get better
• [44:27] Lewis’s journey from assisting to working three jobs to going full-time
• [47:08] Strategically doing cheaper records for bands you believe in
• [55:10] Do awards actually change anything for your career? (Spoiler: No)
• [55:47] Dealing with imposter syndrome, even after you’re successful
• [1:02:17] The power of growing with a band over multiple albums (like with Employed to Serve)
• [1:07:21] Why you shouldn’t get bummed out when a band decides to work with someone else

Co-host Joel Wanasek is a producer and mixer known for his powerful, polished work with bands like Machine Head, Monuments, Blessthefall, and Attila. As one of the co-founders of URM Academy, he has also become a leading educator in the metal production space, helping countless mixers level up their skills through his direct and insightful teaching style.

In This Episode

Eyal Levi and Joel Wanasek are back for a no-holds-barred MixCritMonday, diving into three different mixes of the incredibly dense Jason Richardson track, “Upside Down.” They kick things off by explaining why blunt, honest feedback is one of the best tools for growth, even if it stings a little. The guys break down each mix, tackling common issues like frequency masking, an out-of-control low end, and painfully harsh high-mids from overcooked drums. They get into the domino effect of bad foundational decisions, where one overly bright snare can lead to a whole mix feeling brittle and disconnected. Throughout the critiques, they offer practical advice on establishing a solid balance, focusing on what the artist is known for, and why hitting reset on a mix is a pro move, not a failure. It’s a killer lesson in objective listening and building a mix from the ground up, especially when you’re dealing with a “dumpster fire” of a session like this one.

Timestamps

• [1:51] Why Joel hates (but understands the value of) doing mix critiques
• [2:08] The value of straightforward, honest feedback for growth
• [3:59] Why the best mentors are often the hardest on you
• [7:13] Critiquing Mix #1: Identifying frequency masking and a bass that’s way too loud
• [7:57] The “house foundation” analogy for building a solid mix
• [9:43] Balance issues: Inconsistent cymbals and buried guest spots
• [11:40] Tip: Go section-by-section and decide on the most important elements
• [12:50] Always consider what the artist is known for (e.g., Jason Richardson is a guitarist)
• [17:56] Critiquing Mix #2: A painful high-end that literally hurts your ears
• [18:48] How over-bright drums can force you to overcook the rest of the mix
• [19:33] Making sure a drum kit sounds cohesive, not like a “kick and snare solo”
• [21:29] Why you shouldn’t be discouraged about starting a mix over
• [22:42] Joel’s story of restarting a vocal mix 8 times for a major label band
• [26:36] Critiquing Mix #3: An over-compressed mix bus and unruly low-end
• [28:12] When the guitars are so loud they’re swallowing the rest of the mix
• [30:34] Why this Jason Richardson track is a “dumpster fire” and incredibly hard to mix
• [31:38] Metal is the hardest genre to mix, and this song is an extreme example

Dan Weller is a UK-based producer, songwriter, mixer, and guitarist. He is best known as the guitarist for the influential mathcore band SikTh. As a producer, he’s helmed records for a diverse range of artists, including Enter Shikari’s acclaimed album The Mind Sweep, Holding Absence, Bury Tomorrow, and Sea Girls. He has a knack for managing complex arrangements and bringing a strong sense of musicality and emotional depth to heavy and alternative music.

In This Episode

Dan Weller joins the podcast for a super insightful conversation about the mindset and philosophy behind a successful production career. Dan gets real about dealing with the creative brain’s quirks, from imposter syndrome and managing self-loathing to the importance of understanding your own deep-seated motivations. He breaks down his approach to production as a holistic role—part project manager, part therapist—and explains why earning a band’s complete trust is the foundation for everything else. He also gets into the nitty-gritty of collaborating with mixers like Taylor Larson, detailing how he tailored the Holding Absence production for the mix, and shares his “piggybacking” technique, a killer method for generating song ideas and overcoming writer’s block. It’s a deep dive into the human side of making records that’s packed with wisdom for any producer.

Products Mentioned

• Avid Pro Tools
• Arturia Synthesizers
• Valhalla Shimmer
• Massey DRT
• Diezel VH4
• Marshall Amps
• Two notes Torpedo
• Suhr Reactive Load I.R.
• Peavey 5150/6505
• Coles Microphones
• Fender Jaguar

Timestamps

• [3:45] The goal of writing music that stands the test of time
• [6:21] Thoughts on SikTh’s shelf life and legacy
• [11:19] The danger of over-analyzing your past career moves
• [15:27] Realizing that a band wasn’t the right vehicle for his bigger career goals
• [24:22] Battling imposter syndrome and collecting “proof” you don’t suck
• [25:35] Why even the most successful people probably feel like failures sometimes
• [30:31] Why sleep is the biggest factor in creative decision-making and self-loathing
• [31:13] A practical tip for progress: Keeping a list of things you want to learn
• [36:32] The producer’s role as a project manager and unqualified therapist
• [39:25] Reading the room: Knowing when to push a band and when to call it a day
• [47:45] The guilt producers can feel when a band’s record doesn’t connect
• [53:33] Communicating with mixers and writing a detailed monologue for the session
• [58:53] How knowing who will mix a record changes production choices
• [1:00:26] Tailoring drum sounds for a specific mixer’s style
• [1:08:47] Why listening is a producer’s most important skill
• [1:15:35] The transition from “guy in a band” to trusted producer
• [1:19:22] Dan’s “piggybacking” technique for riff writing and escaping writer’s block
• [1:22:09] How SikTh used tempo and key restrictions to generate cohesive riffs

Dryw Owens is the owner of Little Russia Recordings in Sacramento and is known for his work with bands such as Dance Gavin Dance, Hail the Sun, and A Lot Like Birds. He approaches every project with the mindset of a collaborator, aiming to get on the artist’s wavelength and help them achieve their highest art.

In This Episode

Dryw Owens joins the podcast for a chill but super insightful conversation about his philosophy as a collaborator. He kicks things off by explaining why getting on an artist’s wavelength is the most critical part of his process, framing production as the art of translating a band’s vision into the “language of pathos.” Dryw gets real about the crucial business and interpersonal side of the job, stressing the importance of carefully choosing which artists to partner with and learning to spot a “broken decision-making mechanism” within a band. He and Eyal break down the pitfalls of band democracy and why it often leads to weak compromises instead of the strongest creative choices. If you cringe at the idea of self-promotion, you’ll appreciate Dryw’s take on being a “reluctant entrepreneur” and why investing in your community and simply doing great work is a more authentic and effective path than trying to be a social media influencer. The chat also dives into the pressures of modern release cycles, why chasing originality is a flawed goal, and how he finally conquered Gear Acquisition Syndrome (GAS) to focus on the tools that truly matter.

Products Mentioned

• Amphion Speakers

Timestamps

• [2:15] Why Dryw considers himself a collaborator first and foremost
• [3:59] Viewing the technical side of production as a tool to serve the creative
• [6:14] The real-world process of getting on an artist’s wavelength
• [9:49] What happens when a good producer and a good band just don’t have chemistry
• [12:43] The importance of actively searching for the right artists to work with
• [15:28] Seeing artists for who they are, not just what you want them to be
• [18:03] The romantic but flawed idea of keeping a band lineup together at all costs
• [20:39] Identifying the “broken decision-making mechanism” in dysfunctional bands
• [22:36] Why a true democracy can be the downfall of a band
• [26:45] The pressure of short release cycles and the quantity vs. quality debate
• [34:42] Overcoming the “cringe” of self-promotion and personal branding
• [38:11] Do you need to be a social media influencer to be a successful producer?
• [42:28] What helps bands stand out in a saturated music landscape
• [44:59] Why chasing originality for its own sake is the wrong move
• [48:23] Conquering Gear Acquisition Syndrome (GAS)
• [51:48] Why the listening chain (monitors, room) is the “holy grail” of studio equipment
• [54:34] Tracking creative ideas and theories in a note-taking system to foster improvement
• [59:14] Why the answer to almost every audio question is “it depends”

Chris Clancy is a producer, engineer, and vocalist best known as the frontman for the Roadrunner Records band Mutiny Within. After his time with the band, he dove headfirst into production, eventually becoming the right-hand engineer for the iconic Colin Richardson. Together, they have worked on records for bands like Kill the Lights and Machine Head. Chris also collaborated closely with Colin to create their signature STL Tones ToneHub pack, capturing the tones they use in their day-to-day work.

In This Episode

Chris Clancy joins the podcast for a super insightful look at what it takes to build a career from the ground up. He shares some wild stories from his early days, from being told his band was being compared to Dååth by Roadrunner to getting busted for messing with Jason Suecof’s Pro Tools session. The conversation gets into the obsessive mindset required to succeed, whether it’s quitting your job to move to another country for a band or setting the seemingly impossible goal of working with your hero, Colin Richardson. Chris breaks down how he uses visualization to master new skills, what he’s learned from Colin’s relentless pursuit of the perfect sound, and the practical philosophy behind their STL ToneHub pack. This is a must-listen for anyone who believes in going all-in on their goals.

Products Mentioned

• Avid Pro Tools
• BFD3 Drums
• Peavey ReValver
• CreativeLive Music Production Bootcamp
• Toontrack EZdrummer
• STL ToneHub – Colin Richardson & Chris Clancy Pack

Timestamps

• [4:47] When Roadrunner Records kept comparing Dååth to Mutiny Within
• [7:46] The time Chris got caught messing with Jason Suecof’s mix session
• [10:49] How Chris taught himself to edit drums by programming them out of time and fixing them
• [13:47] Recording drums for the first time… on a session with Colin Richardson
• [15:33] Using visualization to mentally prepare for complex technical tasks
• [17:01] Reverse-engineering Colin Richardson’s EZdrummer sounds to learn mixing
• [26:49] Quitting his day job on a whim to move to the US and join Mutiny Within
• [30:33] Why getting a record deal isn’t just about writing good songs; it’s a business plan
• [31:03] Setting the ambitious goal to work with Colin Richardson years before it happened
• [35:54] How a chance meeting with Colin at a Bullet For My Valentine show changed everything
• [37:52] The level of personal sacrifice required to forge a career in the music industry
• [46:23] Colin Richardson’s surprising offer to mix an album in Chris’s spare bedroom
• [50:44] Eyal’s take on Colin’s famously long mix times: a relentless pursuit of the “sound in his head”
• [53:41] Knowing when a mix has peaked and it’s time to “put the brush away”
• [58:39] Andy Sneap’s more strategic approach to starting a mix versus diving right in
• [59:24] The problem-solving sequence of mixing: fixing one thing often reveals a new problem
• [1:01:58] How a mix can take 18 days for the first song, and then the rest of the album speeds up
• [1:05:25] The importance of providing bands with a strict, organized recording schedule
• [1:12:59] The philosophy behind releasing “raw” guitar tones for their STL ToneHub pack