Author: Eyal Levi

Steve Albini is a record engineer, musician, and journalist who has been a fixture in the independent music world for over four decades. As the founder of Chicago’s Electrical Audio, he’s worked with an incredible range of artists including Nirvana, Pixies, The Stooges, Helmet, and Neurosis. Albini is known for his distinct engineering philosophy and his ethical stance of not exploiting artists, remaining one of the most accessible top-tier engineers in the business.

In This Episode

Steve Albini drops by for a wide-ranging chat that pushes back against lazy thinking in the music world. He starts by dismantling the classic “music isn’t as good as it used to be” argument, making a strong case that the passion behind creating music is timeless, even if the tools change. Steve explains why he’s always been focused on the process of making records rather than chasing external goals like sales or awards, and how that mindset has kept him grounded. For him, success is simply getting to keep doing the work. He also gets into his role as a facilitator in the studio, emphasizing that his job is to help a band realize their vision, not to impose his own taste on them. Finally, he lays out the single most compelling reason he’s remained a dedicated analog engineer: archival permanence. He argues that tape is the only proven long-term storage medium for music, ensuring the art outlives its creators—a responsibility he takes very seriously.

Timestamps

• [3:03] Why the “music isn’t as good as it used to be” argument is lazy
• [4:16] Rejecting the capitalist view that music is only legitimate if there’s an industry behind it
• [7:14] The passion of discovering music is the same, whether it’s buying vinyl or finding it on YouTube
• [9:58] Why he thought Guns N’ Roses was “atrocious garbage”
• [11:44] The importance of letting others have their own musical experience, even if you hate their taste
• [14:37] How being a professional engineer keeps him passively exposed to new music
• [16:40] Why being process-oriented prevents the “emptiness” of achieving goals
• [18:35] Why external approval and success metrics don’t matter to the process
• [20:58] How he gauges his own success: “That I get to keep doing it.”
• [23:11] Why he doesn’t draw parallels between engineering, playing in a band, and playing poker
• [26:14] His role as an engineer is to facilitate the band’s vision, not impose his own aesthetic
• [30:41] How experience, not taste, informs his technical choices in a session
• [32:37] Working with a band whose aesthetic is completely foreign is an opportunity to learn
• [33:59] Why bands who work with him should already have a defined vision
• [38:29] The parallels between his start and the “guy in every town” who recorded the local punk scene
• [45:10] The fundamental difference between mastering analog tools and mastering digital tools
• [52:31] The single most important reason he remains an analog engineer: archival permanence
• [54:53] Why early digital sessions are already lost forever
• [55:44] Debunking the myth of tape degradation
• [57:33] His obligation to ensure the music he records outlives the artist

Sławek and Wojtek Wiesławski are the brother duo behind Hertz Studio in Poland. Over a career spanning more than two decades, they have become a go-to production team for some of the biggest names in extreme metal, including Behemoth, Decapitated, and Vader. Their work, particularly on albums like Decapitated’s game-changing Organic Hallucinosis, has had a significant impact on the sound of modern metal.

In This Episode

Sławek and Wojtek Wiesławski of Hertz Studio sit down for a deep dive into the philosophy and practice behind their massive metal productions. They share the inside story of crafting Decapitated’s unique “death metal Pantera” sound and stress the importance of capturing killer tones during tracking, with the musician responding to the amp in real-time. The brothers get into the core of their process, explaining how they built their international career from a remote part of Poland through “small steps” and an unwavering focus on earning the artist’s trust. They break down their strategies for managing sessions, from using blind A/B tests to get buy-in on sounds to knowing when a player has hit their daily limit. They also discuss their collaborative workflow as brothers, using fresh ears and brutally honest feedback to push each other. It’s a great look at balancing the technical craft with the artistic vision to create powerful records.

Products Mentioned

• Kemper Profiler

Timestamps

• [05:46] Creating the unique “death metal Pantera” sound on Decapitated’s Organic Hallucinosis
• [10:18] Why capturing a great tone with the player is better than re-amping
• [17:06] Why trust is the most critical element in the producer-artist relationship
• [21:14] How to build trust when you don’t have a big track record
• [24:18] Starting a recording session by dialing in sounds the band loves
• [34:13] The different approach for a band like Behemoth who already has a strong vision
• [40:28] Using blind A/B tests to get band buy-in on sounds
• [44:16] The benefits of handing a project off to a different mixer
• [49:42] The different roles and specialties the brothers have in the studio
• [58:35] Their unique workflow of swapping out mid-session to stay fresh
• [01:05:48] Recognizing musician (and producer) fatigue and knowing when to stop
• [01:14:08] Spreading vocal sessions out over the entire recording process
• [01:24:59] Why the first few takes or songs are often just a warm-up
• [01:34:48] Why a great song is the most important ingredient
• [01:41:07] The Polish version of “you can’t polish a turd”
• [01:50:20] How they built an international client base from the “middle of nowhere”
• [02:05:30] Adapting to a new generation of guitarists who grew up on plugins
• [02:08:17] The process of creating versatile Kemper profiles

Simon Grove is a musician, songwriter, producer, and engineer based out of Sydney, Australia. Known for creating deep and emotive productions, particularly within the progressive metal scene, he’s the longtime bassist for the instrumental virtuoso Plini. His studio work includes engineering and producing for a range of international artists, including Protest The Hero and Intervals, and he’s highly regarded for his detailed approach to complex, modern productions.

In This Episode

Simon Grove gets into the nitty-gritty of what makes a modern prog production feel alive. He discusses the delicate balance between surgical precision and retaining the human element, explaining why you need a musician’s ear to properly edit complex drums and why things like fret noise and tiny timing shifts are often features, not bugs. Simon shares his philosophy on attention to detail, arguing that it’s the real “secret” to a great mix, not some magic plugin. He also talks about the realities of building a career, from the challenges of mixing on the road to the importance of specializing in a niche you’re passionate about. For anyone navigating the world of technically demanding music, this episode is a masterclass in the mindset required to serve the song, trust your instincts, and know when to let “imperfections” create character.

Timestamps

• [2:58] The technical challenge of mixing drums with subtle tuning shifts
• [4:12] How the genre and artist’s intent dictate a natural vs. processed sound
• [8:50] Why you almost need to be a prog musician to properly produce prog
• [11:07] The importance of musical maturity for drum editing
• [12:59] How kick drum note length affects clarity in dense mixes
• [16:07] Why “attention to detail” is the real production secret
• [20:07] Shifting your editing mindset from tight metal to looser prog
• [22:07] The vibe of letting performances breathe instead of gridding everything
• [28:39] The weird phenomenon of a guitarist so tight their double-tracks phase cancel
• [31:40] Are minor playing noises mistakes or part of the performance’s character?
• [37:23] The problem of caring more about the record than the band does
• [40:05] How the separate mindsets of touring and studio work feed each other
• [44:12] The brutal reality of trying to get serious work done on the road
• [49:22] Getting good at mixing is like playing an instrument: you just “suck less” over time
• [54:38] Knowing when to revise a mix versus mixing the life out of it
• [57:19] Why Simon’s meticulous process means he can’t do rush jobs
• [1:04:13] The impressive self-sufficiency of modern independent musicians
• [1:27:03] Why you have to “eat shit for a while” before you can pick and choose your projects
• [1:30:59] The power of specializing and focusing on your strengths

Two-time Grammy-nominated producer, songwriter, and musician Tyler Smyth has built a career on crafting ambitious, boundary-pushing rock and metal. He is the force behind massive records for bands like I Prevail (including their acclaimed album *Trauma*), Falling In Reverse, and Blessthefall, as well as being a member of his own projects, Smyth and Danger Kids. Known for his intense work ethic and ability to blend heavy sensibilities with pop hooks, Tyler has become a go-to producer for artists looking to make a powerful statement.

In This Episode

Tyler Smyth goes deep on the mindset that fuels a high-stakes production career. He kicks things off by dismantling the toxic “local band” mentality, arguing that collaboration—not competition—is what elevates the entire scene. Tyler shares invaluable stories about navigating label pressure, like his “gun on the table” moment defending the timeline for I Prevail’s game-changing album, *Trauma*. The conversation explores the idea that instrumental skill is just one small piece of the puzzle; your real power comes from work ethic, self-awareness, and the courage to have uncomfortable conversations. He champions a “Dare to Suck” philosophy, where creating a space for bold ideas is the key to surprising yourself and the listener. It’s a powerful discussion about owning your ambition, dealing with ego and pressure, and finding the confidence to outwork everyone else to make your vision a reality.

Products Mentioned

• Steinberg Cubase
• Tony Maserati Plugins
• Shure SM7B

Timestamps

• [2:44] The myth of finite success and why rock bands cannibalize each other
• [4:46] A rising tide lifts all boats: someone else’s success is not your failure
• [6:40] Why pointing the blame at yourself is when real growth begins
• [11:17] Your instrumental skill is probably only the 6th most important skill you need
• [16:18] Putting the “gun on the table” to get more time from the label for I Prevail’s *Trauma*
• [20:19] Earning the extra time you ask for from a label
• [24:33] The pressure of following up a gold record with platinum singles
• [25:23] What Joey Sturgis taught him (and what he refused to teach him)
• [31:34] Dealing with pressure by just jumping in and swinging for the fences
• [32:08] The power of being willing to have uncomfortable conversations
• [37:58] Setting the bar high: aiming to be one of the best to ever do it
• [42:13] The struggle to accept your own accomplishments and success
• [58:51] “This is what you wanted”: A mantra for getting through the grind
• [1:06:51] The power of doing something you hate (like going to the gym) for a result you love
• [1:13:36] Dare to Suck: Creating an atmosphere where artistic exploration can happen
• [1:22:32] The development stage is where most people stop, and where Tyler wins
• [1:42:02] How to discover your strengths (and weaknesses)
• [2:29:10] Having no pride in the game in order to serve the song
• [2:34:20] The fastest way to get good is to play against pros who humiliate you
• [2:53:58] Having enough pride in yourself to make tough life decisions

Brad Boatright is a mastering engineer and musician operating out of his Portland, Oregon studio, Audio Siege. He has lent his ear to a massive range of artists across the heavy music spectrum, including Obituary, Sleep, Nails, Skeletonwitch, and Defeater.

In This Episode

Brad Boatright gets real about the mental and artistic sides of being a mastering engineer. He kicks things off with an honest look at burnout, explaining how he steps back to “woodshed” and recharge his creative energy to avoid just going through the motions. Brad makes a strong case for mastering as a deeply creative process, arguing that the real art lies in details that go unnoticed, like album sequencing, timing between tracks, and creating an undeniable flow. He also drops some serious knowledge on the technical and creative nuances of mastering for vinyl, from why bass drops are a terrible idea to the physical limitations that dictate how a record should be arranged. Plus, Brad unleashes a fiery takedown of AI mastering services, discusses the importance of camaraderie in the music scene, and shares the wild story of quitting his day job the same week he found out he was going to be a father.

Products Mentioned

• LANDR AI Mastering
• Line 6 POD
• Toontrack EZdrummer
• Focusrite Scarlett Audio Interfaces
• Ampeg V-4B
• Yamaha NS-10 Monitors
• Shure SM57

Timestamps

• [2:13] Dealing with burnout as a creative professional
• [5:20] Why you have to care: music lasts a lifetime
• [9:34] Leaving room for happy accidents during tracking
• [12:39] The instincts and judgment that can’t be taught
• [16:35] The creative elements of mastering that often go unnoticed
• [18:32] How album sequencing and song spacing create flow
• [22:39] The technical side of mastering for vinyl
• [25:43] Why mastering for vinyl is more than just turning down the low end
• [28:25] Why bass drops are a bad idea for vinyl releases
• [31:38] Brad’s strong opinions on 10-inch records
• [32:16] When should a mastering engineer get opinionated?
• [35:41] Brad’s fiery takedown of AI mastering services
• [55:02] How Brad got into mastering
• [59:21] The “loading the van” analogy for mixing vs. mastering
• [1:07:07] Quitting his day job and finding out he was going to be a father in the same week
• [1:17:06] The importance of camaraderie and making friends in the music scene
• [1:21:50] The best advice for getting started in the music industry
• [1:31:27] How Brad learned the technical side of mastering
• [1:34:13] How a mastering engineer can tell what your monitoring situation is like just by listening to your mix