Eyal Levi, Author at Unstoppable Recording Machine

JOEY STURGIS: Why he quit producing, the psychology of haters, building a plugin company

Joey Sturgis is a producer, mixer, and entrepreneur who was a key architect of the metalcore and electronicore sound of the 2000s and 2010s. He produced seminal albums for bands like The Devil Wears Prada, Asking Alexandria, Of Mice & Men, and Emmure. A co-founder of URM Academy and the founder of the plugin company Joey Sturgis Tones, he has since shifted his focus from daily production to creating tools and educational resources for the audio community.

In This Episode

Joey Sturgis returns to the podcast he co-founded for a deep conversation about career evolution and the psychology of creativity. He gets into why he no longer misses the daily grind of production and found greater fulfillment in creating tools and educational content. Joey and Eyal discuss the different roles people play in the industry and the importance of supporting those who push the scene forward. They explore how to handle online negativity and difficult client feedback, breaking down the psychology of “haters” and how to find the constructive truth in their criticism. Joey also shares the origin story of his plugin company, explaining how being an active producer helped him identify what the market was truly missing—a crucial lesson on how genuine innovation comes from getting your hands dirty and solving your own problems first.

Products Mentioned

Timestamps

[0:04:16] Does Joey miss the day-to-day grind of production?
[0:10:06] Why the industry needs creators, critics, and consumers to function
[0:11:23] The vocal minority vs. the silent majority online
[0:17:50] The one thing he misses about making records
[0:22:11] The challenge of getting bands and labels to understand specialized production roles
[0:24:52] Recognizing when you’re subconsciously ready to move on from a career
[0:27:22] Feeling underutilized and how it sparked a new creative path
[0:28:48] How boredom in the studio led to the creation of his first plugins
[0:35:02] How to identify genuine market demand for a new product
[0:39:29] Finding the real problem beneath what the community is saying
[0:45:42] Why customer feedback is critical, but you shouldn’t always act on it
[0:49:14] Applying the psychology of user feedback to handling mix notes
[0:53:22] How even the most negative haters can contribute productively
[1:02:05] The psychology of haters and how it mirrors the drive of creators
[1:07:03] Choosing creation over destruction with your finite time and energy
[1:10:32] Why every producer is also a marketer
[1:13:12] The ethics of using psychological “manipulation” as a weapon for good
[1:17:34] What separates a workhorse producer from a true visionary

J. HALL: Music Career Soft Skills, Getting Clients, and Why Paid Ads Don’t Work

J. Hall is a Nashville-based producer and mixer who has worked across a wide range of genres. He is known for mixing the album Wolves for post-hardcore mainstays Story of the Year, and has worked on projects for artists on Facedown Records and Capital Records. He frequently collaborates with producer Aaron Sprinkle (Demon Hunter, Anberlin).

In This Episode

In one of the deepest dives on the URM podcast, producer J. Hall sits down to unpack the real-world mindset and “soft skills” that are crucial for building a sustainable career in music. He explains why the industry has shifted from a “scarcity mentality” to one where sharing knowledge is key, and why traditional paid advertising is a waste of money for producers. The conversation gets into the nitty-gritty of client acquisition, including how to genuinely approach a band you want to work with, how to navigate the three biggest client objections you’ll inevitably face, and why your network is your most valuable asset. J. also breaks down what he looks for when taking on an intern or assistant, emphasizing the non-negotiable trait of being a self-starter who can “observe, assimilate, and execute.” This episode is less about gear and more about the tough, practical aspects of the job—from client psychology and networking to self-promotion and knowing when to specialize—that ultimately determine your success.

Timestamps

[12:21] Why experienced pros are often hesitant to share “soft skills”
[19:29] The “scarcity mentality” of older generations in the industry
[23:13] The problem with formal recording education as a business model
[35:01] The stereotype of the introverted audio engineer
[40:49] Why music production is fundamentally a service industry
[44:11] The negative connotation of “networking” and the dreaded “Punisher”
[55:25] The three biggest objections you’ll face from potential clients
[57:17] How to approach a band at a show when you’ve done zero research
[1:02:56] Being clear about your motivations as early as possible
[1:11:58] The fear of failure and why it’s crucial for getting clients
[1:23:27] How most real career opportunities happen organically over time
[1:36:51] Why J. has never spent a dime on advertising
[1:50:30] Why traditional online ads (Facebook, etc.) don’t work for producers
[1:52:53] The perfect producer website is just a contact page
[2:00:05] Why you should say “yes” to everything early in your career
[2:10:04] Why you aren’t qualified to be a “producer” or “mixer” right out of school
[2:19:59] What makes an internship request get deleted vs. read
[2:24:49] The biggest turnoff: Acting like you already know everything when asking for help
[2:38:44] The importance of being a self-starter: Observe, assimilate, and execute
[2:52:24] The debate over unpaid internships and the value exchange

Jakob Herrmann: The Gothenburg metal scene, collaboration over competition, and earning the title of “Producer”

Jakob Herrmann is the owner of Top Floor Studios, a gorgeous facility located in an 1850s theater in the heart of Gothenburg, Sweden. He’s worked with artists like Anthrax, Machine Head, Amaranth, and Body Count, and is a frequent collaborator with a who’s-who of European metal producers, including Nolly, Jens Bogren, and Jacob Hansen.

In This Episode

Jakob Herrmann joins the podcast for a conversation about what it really takes to build a career in the metal scene. He gives an insider’s look at the legendary Gothenburg community, explaining how collaboration and mutual respect—not cutthroat competition—have helped everyone thrive. Jakob breaks down how Sweden’s social safety net creates an environment where creativity can flourish and discusses the crucial difference between genuinely having a passion and just wanting the “producer” title. He shares his own journey of breaking into the industry by becoming an indispensable drum tech and networking with legends like Geddy Lee. This is a super insightful look into the mindset, sacrifice, and self-awareness needed to go from an aspiring amateur to a pro who gets the call from the biggest names in the business.

Timestamps

[4:47] The legendary Gothenburg metal scene
[7:33] How “scenes” and new sounds develop organically
[8:13] The problem with the “support the scene” mentality
[17:25] Why does Sweden produce so much great music?
[18:19] How Sweden’s social safety net allows artists to focus on their craft
[26:35] Why the Gothenburg producer community is collaborative, not competitive
[32:01] Viewing other producers as collaborators, not competition
[34:00] Knowing when to hand off a mix to someone else for the good of the project
[35:31] Building trust and relationships with other top-level producers
[42:04] The #1 quality you need to get work: you have to *want* it
[45:50] Why you have to love the work, even the tedious parts
[52:19] How Jakob broke into the industry as a specialized drum tech
[57:05] The crucial difference between a “good” sound and the “right” sound
[1:05:55] How Jakob used his side-gig as a journalist to network with legends
[1:15:06] Why you shouldn’t call yourself a “producer” until you’ve earned it
[1:18:08] The danger of self-delusion and the importance of self-awareness
[1:22:06] What *not* to say when asking for an internship
[1:31:22] The immense sacrifice required to make it in the music industry
[1:40:00] The turning point: when people start contacting you for work

DAN SWANO: The “Abba Trick” for Vocals, Bloodbath Guitar Tones, and His Shift to Mixing

Dan Swano is a producer, mixer, mastering engineer, and multi-instrumentalist who has been a cornerstone of the Scandinavian metal scene for decades. He was a founding member of the influential melodic death metal band Edge of Sanity and is known for his work across a vast spectrum of metal, including producing and mixing seminal albums for bands like Opeth, Catatonia, and Bloodbath. While he started out as a full-on recording engineer and musician in multiple projects, he has since honed his focus, now primarily working as a dedicated mix and mastering engineer from his home studio.

In This Episode

Dan Swano joins the podcast to talk about his long and varied career, dropping some serious knowledge along the way. He gets into the weeds on why metal that sounds massive on a record can be tough to pull off live and shares some pro tips on getting the best vocal takes—from the psychoacoustics of headphone monitoring to the old-school “Abba trick” for eliminating monitor bleed. Dan also shares his philosophy on workflow, explaining how he juggles multiple projects by embracing the inevitable downtime that comes with waiting on bands. He opens up about his personal shift from being a prolific songwriter to focusing almost exclusively on mixing and mastering, and why it’s crucial to follow the work that truly inspires you. This is a great look into the mind of a dude who has seen it all and has a super practical, no-BS approach to making records.

Products Mentioned

Timestamps

[5:23] Why metal often sounds better on record than live
[7:11] How Edge of Sanity engineered their live sound by simplifying arrangements
[11:21] The Doppler effect phenomenon with loud headphones that can throw off a singer’s pitch
[14:33] The “Abba trick” for recording vocals with monitors while eliminating bleed
[16:36] The value of letting singers hold the mic and move around for a better performance
[23:27] Why mixing is fundamentally about solving problems
[28:22] Seeing difficult sessions as an opportunity to get stronger, not a reason to complain
[29:50] Dan’s fluid approach to scheduling and why a rigid schedule doesn’t work for him
[32:25] The power of taking short, frequent breaks to maintain perspective on a mix
[35:49] Using the inevitable downtime from band delays to work on other projects
[39:36] The importance of having a “no-deadline” project to experiment with new plugins and techniques
[48:44] Why Dan has moved away from writing new music to focus on mixing and mastering
[52:49] The importance of following what gives you “goosebumps” in your career
[54:19] Respecting the fans (and your own legacy) by not releasing substandard music
[1:00:35] Mike from Opeth’s singular focus as a key to the band’s success
[1:07:42] Realizing his true passion was mixing, not the full recording process
[1:13:05] The story behind his unusual upside-down guitar playing style
[1:20:42] Full breakdown: The guitar tone on Bloodbath’s “Resurrection Through Carnage”
[1:27:41] Vocal processing on the Bloodbath record (Rode NT3 and a Waves C4 preset)
[1:30:22] Dan’s approach to reverb: Using distorted ambience samples on drums instead of traditional reverb

COLIN BRITTAIN: Mixing Genre-Bending Tracks, Taming the Low-End, and Avoiding Over-Processing

This episode’s featured track comes from producer, songwriter, and multi-instrumentalist Colin Brittain. He’s the creative force behind massive tracks for bands like Papa Roach, All Time Low, ONE OK ROCK, and A Day To Remember, known for his ability to blend rock and metal energy with modern pop sensibilities and sophisticated layering.

In This Episode

Hosts Eyal Levy and John Maciel are back for another MixCrit Monday, this time tackling student mixes of Papa Roach’s genre-bending track “Not The Only One.” Produced by Colin Brittain, the song’s unique pop-style layering—fusing elements of dubstep, punk, and anthemic rock—proved to be a serious challenge for the URM community. Eyal and John break down the most common mistakes they heard, offering a ton of practical advice for anyone mixing modern heavy music. They dive deep into issues like tubby, inconsistent low-end that either disappeared or created an “all-you-can-eat sub buffet,” and a general failure to respect the song’s carefully crafted dynamic build. They also discuss why so many mixers overused saturation and compression, creating distortion and noise instead of enhancement, and ultimately missed the producer’s original intent. This episode is a masterclass in adapting your approach, managing a track’s energy flow, and learning when to simply trust great source tones and focus on the balance.

Products Mentioned

Timestamps

[2:27] The challenge of mixing Papa Roach’s “Not The Only One”
[3:00] Why the track is structured more like pop music than traditional rock
[4:16] Why producers initially underestimated the song’s difficulty
[5:56] The unique production approach of Colin Brittain
[6:30] The importance of listening to multiple genres as a mixer
[7:32] Why you need to be a “professional listener” to succeed
[11:27] Critiquing the first mix: tubby low end and lack of impact
[13:13] How over-saturation can lead to unwanted distortion in a dense mix
[16:51] Critiquing the second mix: strange snare balance and overwhelming low end
[18:05] Why the piano is way too loud in the heavy outro
[19:39] The “all you can eat sub buffet” problem in the chorus
[22:18] The importance of respecting the original producer’s work and vision
[25:30] Critiquing the third mix: an ambitious but harmonically unresolved remix
[27:00] If you’re going to remix a track, you have to fully commit
[32:25] Critiquing the fourth mix: phase issues and zero low end
[34:10] When vocal effects and delays are too loud and distracting
[37:41] Why proper gain staging and balancing is crucial for a track like this
[40:40] Critiquing the fifth mix: vocals are too loud and arrangement buildup is missed
[42:30] Getting the energy right for the explosive final section
[46:20] Critiquing the final mix: capturing the buildup but struggling with low-end control