Eyal Levi, Author at Unstoppable Recording Machine

EYAL LEVI & JOHN MACIEL: Mixing Dynamic Metal, Common Drum Pitfalls, and The Importance of Vision

This episode’s featured track, “Where Owls Know My Name” by Rivers of Nihil, was originally mixed by the powerhouse duo of Carson Slovak and Grant McFarland. Working out of Atrium Audio in Pennsylvania, they have become go-to producers in modern metalcore and progressive metal. Their extensive discography includes multiple acclaimed albums for bands like August Burns Red, Polaris, Erra, and Of Mice & Men, with their work on Rivers of Nihil’s material being a notable highlight of their career.

In This Episode

Hosts Eyal Levi and John Maciel sit down to critique URM student mixes of the incredibly dynamic Rivers of Nihil track, “Where Owls Know My Name.” This episode is a goldmine of practical advice, as they break down the common pitfalls mixers face when tackling a song with such drastic shifts in feel. They dig into recurring issues like thin, “wiry” snare tones, uncontrolled low-end, and drums that sound out of place between soft and heavy sections. A key theme is the absolute necessity of having a clear artistic vision; a mix can be technically okay but fail if it doesn’t serve the song’s emotional journey. Eyal and John also discuss the dangers of an overcooked mastering chain, weird phasing from over-compression, and the importance of balancing sections so the heavy parts actually hit with more impact than the quiet ones. It’s a super helpful look at what separates a demo-sounding mix from a professional one.

Products Mentioned

Timestamps

[04:05] Why this song is a “playground mix” for engineers
[07:27] Critiquing a mix with a “wiry” snare and weird high-end on the drums
[09:12] Why boosting 7k on a snare can make it sound thinner
[14:00] Breaking down a mix that’s too loud, too bright, and has a weird “squeaky” sound
[16:18] How a bad listening environment can lead to overly loud toms
[17:10] The importance of overheads and room mics for a cohesive tom sound
[19:38] Why you can’t approach a soft intro like it’s a heavy part
[20:35] The “fog of guitar” analogy for when rhythm guitars are too loud
[22:15] How a bad mastering chain can ruin an otherwise decent mix
[23:35] The problem with “top-down mixing” for beginners
[28:50] What happens when the soft buildup is bigger than the actual band
[30:27] Identifying the sound of a mix distorting from out-of-control bass
[31:25] The curse of “water toms” that have no impact
[34:00] Praising a mix that has great artistic vision, even if the technical skills aren’t there yet
[36:30] How a mix can sound like a “producer demo” with good ideas but poor execution
[37:30] The problem with distracting snare reverbs on fills
[41:03] A mix where the heavy parts sound smaller than the soft parts
[42:43] Diagnosing an “illusion of low end” where the bass is loud but not tight
[44:27] Why you can’t just focus on the heavy parts and ignore the rest of the song

CHRIS KELLY: Managing Band Egos, Programming Realistic Drums, Finding Your Sound

Chris Kelly is a producer and guitarist, best known for his role in the Star Wars-themed metal band Galactic Empire. He got his start in the industry interning at the studio of Carson Slovak and Grant McFarland, an experience that led directly to him joining the band. He also works as a producer, specializing in the technical death metal scene, putting the real-world lessons he’s learned to work for his clients.

In This Episode

Chris Kelly joins the podcast to get real about the daily grind of being a musician and producer. He shares some killer insights on navigating those tricky studio situations, like when to scrap a day of bad takes and how to handle a drummer who just can’t hang (hint: sometimes you just gotta program it). The conversation gets into the psychology of production, from managing band egos to the long journey of finding your own sound by first trying to emulate your heroes like Nolly or Taylor Larson. Chris also breaks down the insane discipline it took to learn the complex orchestral arrangements for Galactic Empire and how that practice mindset translates to production—especially when it comes to programming realistic, human-sounding drums. It’s a great chat about embracing your unique style, understanding that “perfection” often lies in the imperfections, and why you shouldn’t fall for the myth that music was better in the old days.

Products Mentioned

Timestamps

[5:51] Scrapping a full day of takes when the vibe is off
[11:00] The quick decision to program drums for a struggling drummer
[12:42] Your job as a producer when the band just sucks
[17:35] Why checking your ego is the sign of a pro band
[22:25] The problem with “old school” engineers who won’t adapt
[24:11] The “Alice in Chains unplugged was out of tune” excuse
[29:54] When a client wants 30 room mics because Nirvana did
[32:37] How your unique production style emerges from trying to copy others
[37:29] Why new gear won’t fix your bad mixing habits
[38:30] Your ears dictate every decision you make
[44:13] The immense challenge of learning orchestral parts for Galactic Empire
[50:58] Balancing practice, family, and work (late nights & early mornings)
[54:35] The frustration-to-breakthrough cycle of practice
[55:50] Why warming up hours before a show can be better than right before
[57:59] Using visualization to nail difficult parts
[59:54] How to program realistic drums by thinking like a real drummer
[1:06:28] Why “perfectly” edited and quantized music sounds sterile and lifeless
[1:08:57] Harmonic distortion and other “imperfections” our ears love
[1:13:12] The reality of mistakes on classic albums like Led Zeppelin
[1:15:51] Debunking the myth that music was “better back in the day”

ALEX PRIETO: Pivoting to Bob’s Burgers, redefining your career, and the realities of TV audio

Alex Prieto is an engineer and producer who has worked with a wide range of artists including Pierce The Veil, The Devil Wears Prada, Papa Roach, A Day To Remember, and Hands Like Houses. After being mentored by the legendary Susan Rogers and working under acclaimed producers like Dan Korneff, David Bendeth, and Colin Brittain, he has recently transitioned into the world of television audio, landing a key role in the sound department for the hit animated series Bob’s Burgers.

In This Episode

Alex Prieto returns for a super candid conversation about the realities of building a long-term audio career. He and Eyal get into the importance of self-evaluation and being willing to redefine the identity you’ve built for yourself, using Alex’s jump from producing bands to working on Bob’s Burgers as a prime example. Alex gives a killer breakdown of the workflow, pressure, and expectations of working on a major TV show, comparing the corporate structure, massive budgets, and strict deadlines to the often chaotic, 24/7 world of record production. They also get real about failure, using their “Metal Beard Club” venture as a case study on why passion and authenticity are non-negotiable for success. This is a must-listen for any producer thinking about their next move, what truly makes them happy, and how to stay sane in this industry for the long haul.

Timestamps

[0:08:14] The importance of delegating and building a team
[0:09:00] Debunking the “lone wolf” myth in the music industry
[0:16:16] Sacrificing short-term “little pride” for long-term “big pride”
[0:22:18] Alex on turning down records to work on Bob’s Burgers
[0:26:23] Why it’s hard to break out of the identity you created for yourself years ago
[0:32:37] Realizing you’re not getting the same fulfillment from making records anymore
[0:38:06] Eyal on being bored on stage during what should have been a career highlight
[0:49:05] The difference in workflow between producing bands and working on a major TV show
[0:50:47] Comparing the scale and financial pressure of a TV show vs. an album
[0:59:53] How personal time is valued in TV vs. the 24/7 demands of record production
[1:05:07] Why you have to earn the right to set your own hours as a producer
[1:15:41] A technical walkthrough of the dialogue editing process for an animated show
[1:17:13] Using ISDN for remote recording with actors across the country
[1:22:26] The incredibly long production timeline for animation
[1:32:55] How musical skills like timing and feel translate to comedic dialogue editing
[1:38:06] The difference between a “superhuman” performance and a “robotic” one
[1:50:21] Why the audio industry is a “war of attrition” and success is about outlasting others
[1:56:26] A breakdown of the failed “Metal Beard Club” business and the lessons learned
[2:01:55] Why you have to be authentically part of a culture to build a brand around it
[2:15:36] The importance of self-evaluation and finding what truly makes you happy now

DEVIN TOWNSEND: Ending Beloved Bands, The “Alpha” Rockstar Mindset, Defining Success

Devin Townsend is a Canadian guitarist, singer, songwriter, and producer known for his eclectic and prolific career. He gained initial recognition as the vocalist for Steve Vai in the early ’90s before founding the extreme metal band Strapping Young Lad. Since then, he’s released a massive body of work under his own name and with the Devin Townsend Project, exploring everything from progressive metal to ambient music. He has also produced several notable albums, including Lamb of God’s Ashes of the Wake.

In This Episode

Devin Townsend gets deep into the philosophy and psychology behind a long, weird, and wonderful career in music. He opens up about the difficult but necessary process of ending beloved projects like Strapping Young Lad and DTP, and how he navigates fan expectations while staying true to his own creative evolution. The conversation explores the pressure on artists to take political stances, and Devin argues that the most effective way to create positive change is through authentic personal growth reflected in the art. He shares some incredible insights on the nature of “alpha” personalities in music, sparked by his interactions with Chad Kroeger, and the realization that not everyone is cut out for that level of mega-stardom—and that’s okay. This isn’t about gear or plugins; it’s a candid look at the mental game of being an artist, the importance of self-awareness, and finding your own definition of success in a chaotic industry.

Timestamps

[5:54] Why Devin’s creative checklist is constantly changing
[7:45] Following creative compulsions and quitting projects
[10:44] Dealing with fan pressure to not end a band
[14:34] The frustration of trying to change people’s minds
[20:42] The controversy and pressure surrounding playing shows in Israel
[27:09] How personal growth is the most effective way to create positive change
[37:17] Cycling through public identities (the mad scientist, the hateful guy, etc.)
[39:38] Using Strapping Young Lad to work through a fear of confrontation
[42:35] Anger as an emotion and how it’s expressed in non-destructive ways
[47:41] Why being a successful artist requires a degree of selfishness
[55:16] Why Joe Rogan’s podcast has been significant for society
[59:53] The mental fortitude required for massive success (and why Devin doesn’t have it)
[1:03:32] The prerequisites for being an “alpha” rockstar
[1:06:49] The epiphany that being a massive star isn’t a choice, it’s who you are
[1:15:45] Why Nickelback’s productions are the pinnacle of commercial rock mixing
[1:24:37] The importance of knowing your limitations as an artist
[1:28:31] The slow, ongoing process of figuring out what you really want to do
[1:31:23] Feeling like your whole career is a “house of cards”
[1:35:37] Would Devin ever truly retire from music?
[1:37:40] Finding a balance with a streamlined, low-overhead acoustic tour

RUSS RUSSELL: Mixing heavy music, fixing noisy mixes, and why loud bass sounds small

This episode’s source material comes from the incredible Russ Russell, a UK-based producer known for his work with some of the most influential bands in extreme metal. From his Parlour Studios, he has helmed iconic albums for artists like Napalm Death, At The Gates, Dimmu Borgir, and The Haunted, consistently delivering records that are both punishingly heavy and remarkably clear.

In This Episode

Hosts Eyal Levi and John Maciel jump into the octagon to critique fan mixes of two monsters originally produced by Russ Russell: “The Chasm” by At The Gates and “Preachers of Death” by The Haunted. This one’s a deep dive into the common pitfalls that can derail a heavy mix. They break down why so many mixers overuse tape emulation plugins, creating a distracting noise floor that eats headroom. The guys discuss the crucial importance of respecting the artist’s intent—especially with a genre-defining band like ATG—and why a “clean and separated” vibe doesn’t work for a track that’s meant to be raw and atmospheric. They also get into the weeds on low-end management, from out-of-control kick subs making the mix pump, to bass tones so loud and fizzy they make the track sound small. If you’ve ever struggled with balancing aggression and clarity, this is an essential listen.

Products Mentioned

Timestamps

[5:51] Diagnosing mix noise: tape emulation or a Waves plugin in analog mode?
[7:26] How a mastering chain can amplify the noise floor from tape plugins.
[8:59] Why overpowering sub-frequencies in the kick can make the whole mix pump.
[10:33] A limiter trick to check for hidden noise in your mix bus.
[12:32] Why a “clean and separated” drum sound doesn’t fit a raw, gritty track.
[13:50] The importance of reading the producer’s notes for artistic direction.
[14:34] Balancing At The Gates’ signature counterpoint guitar riffs.
[15:39] Is it harmful to listen to the original mix before you start?
[17:18] Avoiding the “scooped mid” kick drum sound.
[22:33] The weird effect of a room mic getting jacked up and then ducked.
[24:23] The difference between raw energy and atmosphere in a mix.
[27:35] Getting guitar tone right when you’re given great DIs.
[28:15] Automating EQ on the kick for different sections of a song.
[31:08] How a bass that’s too loud can make a mix sound small and narrow.
[32:02] How a mix can reveal issues with a non-ideal listening environment.
[35:06] The fatiguing sound of an overcooked, “crispy” mix.
[36:46] Why you need mids in your kicks and snares to translate on smaller systems.
[38:38] Recommending specific URM Fast Tracks to fix common drum mixing issues.