Eyal Levi, Author at Unstoppable Recording Machine

Kris Crummett: The Grit of Running a Studio, Deconstructing Dance Gavin Dance, and The End of the Rockstar Era

Producer, engineer, and mixer Kris Crummett is known for his influential work in the post-hardcore and experimental rock scenes. From his studio, Interlace Audio, in Portland, Oregon, he has helmed records for bands like Dance Gavin Dance, Issues, and Get Scared. He’s also mixed recent albums for Tiny Moving Parts and is currently working with rising acts like Ashland.

In This Episode

Kris Crummett returns to the podcast for a deep-dive conversation that goes way beyond gear. Kris and Eyal get into the real-world grit of running a studio, from dealing with crime and security concerns to the importance of making clients feel safe and creative. They explore the fascinating career of a band like Dance Gavin Dance, analyzing why their eclectic sound and prolific output have built such a loyal fanbase, even through lineup changes. This leads to a bigger discussion about what makes fans connect with an artist’s evolution, the magic formula behind a band’s greatest album, and the difference between being a fan of a band versus a fan of a specific album or era. They also speculate on the future of legacy acts like Tool in the modern, content-driven music industry and discuss why old-school rockstar antics don’t fly anymore. It’s a thoughtful look at the artistic and business philosophies that shape a long-term career in music.

Products Mentioned

Timestamps

[0:03:31] Why Kris had to move his old studio
[0:06:39] Keeping a studio’s location secret from the public
[0:09:00] The crazy story of the Morrison Sound Studios robbery
[0:12:16] The time a heroin-addicted client stole all the spoons
[0:14:23] How Eyal recovered a stolen U 87 microphone from a client’s mentor
[0:19:07] The importance of security cameras in a studio
[0:22:31] It’s not a fear of dogs, it’s a fear of shitty dog owners
[0:27:34] The client whose dad fought his German Shepherd in a cage once a year
[0:31:36] Analyzing the strange and successful career of Dance Gavin Dance
[0:34:48] Why fans sometimes turn on a band after a sound change
[0:39:52] Being a fan of albums, not just bands
[0:40:59] Why a band’s first or second record is often their best
[0:51:48] Will the new Tool album be a massive success or a flop?
[0:56:49] Why the “surprise album drop” strategy doesn’t work anymore
[0:58:51] Behemoth’s brilliant (and creepy) marketing strategy
[1:04:12] A sneak peek into the new Issues record
[1:05:13] How Issues successfully blended legit pop with metalcore
[1:15:30] The tragic story of Eyal breaking his first Les Paul on day one
[1:17:50] Is smashing guitars on stage still cool?
[1:27:30] The bizarrely long and successful career arc of Tom Petty

RICK CARSON: The Philosophy of Sound, A Producer’s Signature Frequencies, Recording on a VCR

Rick Carson is a producer, engineer, mixer, and musician operating out of his own Make-Believe Studios in Omaha, Nebraska. He’s a versatile audio encyclopedia who has tackled everything from Grammy-nominated jazz records to Danny Worsnop’s solo work. More recently, he teamed up with producer Colin Brittain to engineer the latest A Day To Remember album.

In This Episode

Rick Carson joins the podcast for an epic, wide-ranging conversation that gets into the deepest corners of audio philosophy. He kicks things off with some hilarious stories about his early DIY recording days (including using a VCR as a two-track) before diving into the core of his production ethos: to truly create modern sounds, you have to be a student of history. Rick breaks down his synergistic relationship with Colin Brittain, explaining how their different sonic perspectives create a perfect partnership. He shares his approach to studio design, the business of building long-term creative teams, and why he believes a producer’s signature “sound” comes from their go-to frequencies, not just their gear. This is a massive deep dive for anyone who loves the nerdy details and wants to understand sound on a fundamental level, from the secret of Motown’s low end to why your favorite records are a “game of inches.”

Products Mentioned

Timestamps

[0:03:24] The Boston cream donut and mayonnaise prank on Andrew Wade
[0:13:28] Dropping out of high school at 16 to go to Full Sail
[0:16:42] His early, rudimentary recording setup using a Mackie mixer and a VCR
[0:21:15] Thinking the gain knob was only for distortion, not volume
[0:23:52] Discovering Pro Tools for the first time and telling the engineer “I can do this better than you”
[0:40:55] His philosophy: Everything in recording is connected to history and technology
[0:43:06] The “building a wall” analogy for creating modern sounds from historical styles
[0:48:47] His synergistic working relationship with producer Colin Brittain
[0:51:21] How he and Colin think in different frequency ranges
[1:02:56] The importance of vibe and making a studio feel like a home (but nicer)
[1:17:57] How he deals with getting slighted by artists and building long-term teams
[1:23:55] The problem with modern metal becoming overly technical and losing its “feeling”
[1:29:11] Viewing gear as a vehicle for achieving a *feel*, not just for fidelity
[1:44:52] The theory that a producer’s “sound” is defined by the frequencies they instinctively rely on
[1:48:54] The 10-year quest to figure out Ken Scott’s snare sound
[2:08:31] Why he primarily mixes in the box now, despite owning world-class analog gear
[2:20:21] How Bob Clearmountain mixing a song in four hours changed his life (via his girlfriend’s constant reminders)
[2:36:00] The secret to Motown’s low end: half-speed mastering
[2:39:15] Uncovering how Motown’s signature haze was a byproduct of generational loss from bouncing tracks
[3:08:25] The best way to find correct information on the internet is to post the *wrong* information

MATT BROWN: Working with Jon Anderson of Yes, baking 30-year-old tapes, and making small rooms sound huge

Matt Brown is a producer, engineer, and drummer known for his deep technical knowledge and incredible drum sounds. He’s played professionally with the band 10 Years and has spent years working extensively with Jon Anderson of Yes on his solo album 1000 Hands, a project that involved restoring and finishing recordings originally tracked in the early ’90s.

In This Episode

Matt Brown returns to the podcast for a massive deep dive on the realities of high-level production. He shares some incredible stories from his multi-year project working with Jon Anderson of Yes, detailing the wild process of baking and restoring 30-year-old analog tapes and navigating the endless revisions that come with working for a creative genius. Matt gets into the psychology of collaborating with legendary artists, managing their expectations, and knowing when to push back versus when to just execute the vision. He also discusses the relaunch of his acclaimed course, Ultimate Drum Production, and breaks down key updates based on student feedback. You’ll hear about the new section on recording killer drums in a real-world small bedroom, his techniques for blending room samples to make drums sound massive in any space, and why a drummer’s playing technique is the final, crucial piece of the puzzle. It’s a masterclass in both technical skill and the client-management chops you need to succeed.

Products Mentioned

Timestamps

[6:07] Dealing with “Sticky Shed Syndrome” on 30-year-old analog tapes
[7:19] The process of baking tapes to get a single playback for digital transfer
[10:09] How classic rock legends perceive modern recording technology
[12:20] Earning the trust of older, established artists as a young producer
[16:17] Winning over artists with speed and delivering great sounds instantly
[17:17] The downside of modern tech: now they think anything is possible
[24:26] The reality of handling endless mix revisions from a client
[27:30] Why you can’t just tell an artist like Jon Anderson “no”
[28:30] Jon’s story about 20 minutes of “Close to the Edge” being left on the cutting room floor
[30:16] Why an hourly pay structure was the only way to make the project work
[34:26] The disconnect between a legacy artist’s experience and the modern music industry
[44:46] The role of ego and delusion in making great art
[48:42] An overview of the new updates for the Ultimate Drum Production course
[49:50] The #1 request: how to record killer drums in a small bedroom
[53:43] Using room samples to make small-room drums sound huge
[57:15] The psychological impact a great headphone mix has on a drummer’s performance
[59:57] Why a drummer’s playing technique is a crucial part of the sound
[1:07:40] The most effective way to learn from an online course (hint: it’s not just watching)
[1:17:48] How the course gave students the confidence to start offering drum recording as a paid service

BRODY UTTLEY: Recording with Erik Rutan, Guitar Tone Secrets, and Producer-Band Relationships

This episode features the producer duo of Carson Slovak and Grant McFarland from Atrium Audio, known for their work with bands like August Burns Red and Century. They’re joined by Brody Uttley, guitarist for the progressive death metal band Rivers of Nihil. The trio share a long history, with Carson and Grant having recorded Rivers of Nihil’s early EPs before the band worked with Erik Rutan on their debut album, eventually returning to Atrium Audio for subsequent records like *Where Owls Know My Name*.

In This Episode

Carson, Grant, and Brody get real about the relationships and realities of making records. Brody shares the inside story of Rivers of Nihil’s intense, boot-camp-style recording session with Erik Rutan, detailing the crushing pressure that led to two members quitting and the critical lessons he learned about preparation, intonation, and performance. The guys also discuss the producer’s perspective, explaining why you can’t take it personally when a band decides to work with someone else and how maintaining good relationships ultimately pays off. They get into some seriously useful technical talk about guitar tone, covering everything from tuning for specific parts of the neck and the importance of scale length to a deep dive on why your favorite live pick (like the Jazz III) might not be the best choice for tracking. It’s a great look at the evolution of a band and their producers, packed with insights on both the creative process and the technical details that matter.

Products Mentioned

Timestamps

[19:21] How producers should handle a band choosing to work with someone else
[22:28] The story of August Burns Red recording their debut with Adam D
[27:41] Brody’s “horrifying” and intimidating experience recording with Erik Rutan
[30:32] How the high-pressure Rutan sessions caused two band members to quit
[32:01] A crushing guitar tracking session with Rutan
[35:34] The most important lessons Brody learned from Rutan (tuning, intonation)
[36:12] Tuning your guitar specifically for the part of the neck you’re playing on
[36:57] The benefits of using an Evertune bridge for rhythm tracking
[37:51] Why your live guitar pick might not be the best for recording
[39:36] The Jazz III vs. green Tortex pick debate
[41:19] Why the player matters more than the gear
[44:03] The problem with using other people’s Kemper profiles
[55:18] Kemper vs. Axe-Fx: Two different tools for different jobs
[59:45] The pros and cons of having lots of people in the control room
[1:02:22] Using objectivity and collaboration during mixing
[1:07:18] Why Carson doesn’t like recording vocals (and Grant does)
[1:16:31] The controversial decision to put saxophone on a death metal record
[1:22:17] How to approach mixing an unconventional instrument like a saxophone

WILLIAM CHAPLIN: The Sound of Stars, Managing NASA Data, A/B Testing the Universe

Professor William Chaplin is an astrophysicist at the University of Birmingham, England, and the author of “The Music of the Sun.” His work focuses on helio- and asteroseismology—the study of resonant sound waves trapped inside stars. He’s been deeply involved in several major NASA missions, including the well-known Kepler mission and the more recent TESS (Transiting Exoplanet Survey Satellite). He currently leads a large international consortium of hundreds of scientists who analyze the data from these missions to characterize stars and the exoplanets that orbit them.

In This Episode

Professor William Chaplin drops by to explain the wild field of asteroseismology, which is basically the study of sound in stars. He breaks down how stars act as natural resonant cavities, “breathing” in and out at specific frequencies that tell us about their size, age, and internal structure. For producers, this episode is full of fascinating parallels to audio work. Chaplin discusses how the initial research was all about getting past a star’s “noise floor,” and he dives into the challenges of managing data for a 500-person international team—from prepping raw data in a standardized format to the nightmare of version control. He also gets into how they use blind A/B-style tests with “fake data” to eliminate human bias and even touches on a technique of deliberately distorting waveforms to make a signal easier to detect, which sounds a lot like using saturation to make a track pop in a dense mix. It’s a mind-bending look at how the physics of sound applies on a cosmic scale.

Timestamps

[3:41] How studying sound in space helps the search for extraterrestrial life
[5:16] How the “noise floor” of a star can obscure data
[7:41] How stars act as natural resonant cavities, just like musical instruments
[9:46] The insane amplitude of sound waves inside a star
[13:56] Using the “pitch” of a star’s resonance to determine its size and structure
[17:12] How the nuclear fusion process changes a star’s “pitch” over time
[22:36] Why studying the sun is critical to understanding “space weather” and its impact on Earth’s technology
[25:44] Does Professor Chaplin believe there is life elsewhere in the universe?
[30:35] What is the “National Risk Register” and why are space weather events on it?
[34:22] Getting involved with NASA’s Kepler and TESS missions
[40:17] How do you coordinate a 500-person international research team?
[44:49] The surprisingly similar workflows of prepping satellite data and prepping multitracks for a mix
[48:34] The challenges of version control in large-scale astrophysics research
[56:37] Using “fake data” and blind exercises to test analysis techniques (similar to A/B testing)
[1:00:38] Dealing with human bias when analyzing scientific data
[1:05:10] The artistic and creative elements of scientific discovery
[1:09:39] Where “light bulb” moments of inspiration come from
[1:18:06] Could seismic analysis tools be used to create new audio effects?
[1:20:28] Deliberately distorting waveforms to make them easier to analyze