Author: Eyal Levi

Patrick Stump is the singer, primary composer, and multi-instrumentalist for the multi-platinum rock band Fall Out Boy. Long before the band’s global success, he was a teenage drummer in the Chicago punk scene, where he first connected with producer Sean O’Keefe. Sean recorded all the members of Fall Out Boy in their various early projects and went on to produce their iconic debut album, Take This to Your Grave. After 15 years, the two reunited to record the fan-favorite track “Lake Effect Kid.”

In This Episode

This episode is a reunion between Patrick Stump and Sean O’Keefe, diving deep into the origin story of Fall Out Boy and the scrappy, high-pressure sessions that created Take This to Your Grave. They share incredible stories from the early days, detailing Patrick’s unexpected transition from drummer to frontman and Sean’s role in capturing the band’s raw energy on a shoestring budget. They get into the creative process, discussing the crucial role of harmony and song structure over simple melody, and the technical hurdles they overcame—from sneaking into a major studio at 2 AM to track vocals on a U 47 to recovering from a catastrophic hard drive failure. The conversation comes full circle as they discuss reuniting to record “Lake Effect Kid,” reflecting on how their workflows have evolved while their creative chemistry remains unchanged. It’s a great look at the determination, resourcefulness, and happy accidents behind a scene-defining album.

Products Mentioned

• Avid Pro Tools
• Neumann U 47
• Telefunken ELA M 251
• Sony C-800G
• Hammond B-3 Organ
• Antares Auto-Tune

Timestamps

• [2:06] Sean O’Keefe recorded Patrick’s first band when he was just 14 years old
• [5:13] How Patrick accidentally became a singer just so he could write songs
• [8:02] The shift from being a dedicated instrumentalist to having a producer’s mindset
• [17:01] The early magic of overdubbing and layering harmonies on cheap tape recorders
• [19:31] Learning how to feel and create a groove within the confines of a click track
• [25:28] Sean’s story of discovering Patrick’s singing talent for the first time
• [29:52] Patrick’s philosophy on why harmony and structure are more important than melody
• [32:33] The importance of treating vocals as a musical instrument with intentional notes
• [36:42] Debunking the myth that learning music theory will kill your creativity
• [44:48] The real story behind how Fall Out Boy formed
• [49:46] Spending hours crafting and orchestrating a perfect feedback swell
• [55:55] Sneaking into a pro studio at 2 AM to track vocals with a Neumann U 47
• [1:00:38] The horror story of an intern formatting the main drive AND the backup
• [1:05:24] Mixing an album on an analog console with no recall while the band is on tour
• [1:10:03] The decision to use Auto-Tune for the first time under intense pressure
• [1:15:23] How the process of working together felt after a 15-year break
• [1:23:23] Patrick’s perspective on Auto-Tune and how some producers use it for its tone
• [1:28:07] Using subdivisions to create energy and a feeling of speed without changing the tempo
• [1:30:05] Learning how to give and receive effective mix notes

This episode’s mixes are for “Lake Effect Kid” by Fall Out Boy, originally mixed by Sean O’Keefe. A producer and engineer based out of Chicago, O’Keefe is well known for his work on seminal pop-punk and emo records. His long-standing relationship with Fall Out Boy includes engineering their breakthrough albums Take This to Your Grave and From Under the Cork Tree. He has also worked with influential artists like Hawthorne Heights, The Plain White T’s, and Motion City Soundtrack.

In This Episode

Hosts Eyal Levi and John Maciel are back to chop it up and provide some real-world feedback on URM members’ mixes of Fall Out Boy’s “Lake Effect Kid.” They get into the weeds on six different student mixes, tackling common issues that even seasoned producers run into. The guys break down why a pop-punk track shouldn’t be mixed like a metal song, emphasizing the importance of active listening to nail genre-appropriate drum tones and balances. They offer detailed critiques on everything from harsh vocal frequencies and messy stereo imaging to the dangers of over-compressing your mix bus. You’ll hear them diagnose potential phase issues in drum recordings, discuss how to balance dense vocal arrangements without losing the lead, and explore the crucial difference between a mix that needs a simple “retweak” and one that requires a full “redo.” It’s a super practical session packed with advice on balancing fundamentals, gain staging, and developing a clear vision for your mix before you even touch a plugin.

Timestamps

• [3:49] Why Fall Out Boy’s melodies are so universally catchy
• [8:03] Critique of Mix #1: Good power, but unbalanced bass and vocal harmonies
• [9:32] A counterpoint on Mix #1: Problems with the kick/snare tone and cymbal articulation
• [11:03] The unique challenge of balancing the track’s many vocal layers
• [13:03] The difference between a “retweak” and a full “redo”
• [15:22] Critique of Mix #2: Harsh vocals, weird stereo balance, and buried lead vocals
• [17:05] Why this mix needs a redo: focusing on gain staging and balancing
• [18:14] A reminder that being told to “redo” a mix isn’t an insult
• [20:23] Critique of Mix #3: When a pop-punk track sounds too much like a metal mix
• [21:34] “Holy snare Batman”: Breaking down the overly aggressive drums
• [24:37] The value of “active listening” for understanding different genres
• [26:25] How Nail The Mix challenges producers by switching between heavy genres
• [31:40] Critique of Mix #4: The dangers of over-compressing vocals
• [33:38] How excessive compression can kill the groove and vibe of a song
• [36:28] Using the final released version of a song as a guide for balances
• [38:32] Critique of Mix #5: No power, potential phase issues, and a lack of low-end
• [40:47] How a mix’s EQ problems can point to issues with a producer’s listening environment
• [43:30] Critique of Mix #6: Overwhelming drum room, harsh vocals, and a messy mastering chain
• [44:28] Identifying volume pumping as a sign of an overzealous mastering chain
• [48:36] The importance of one-on-one coaching for fixing recurring mix problems

This episode features Danish producer Jacob Hansen, known for his work with bands like Volbeat, Amaranthe, and Epica, alongside the members of British death metal outfit Dyscarnate and their manager, Chris Adler (formerly of Lamb of God). They all get together to break down the process of turning a completely DIY recording into a massive, professional-sounding metal album.

In This Episode

Ever get a set of DIY tracks and wonder if they’re salvageable? This episode is for you. Jacob Hansen and Dyscarnate dig into exactly what made their bare-bones recording session work so well. They cover the essential choices that make or break a DIY project, from the wisdom of using minimal drum mics in a bad room to capturing killer vocals in a closet full of mattresses with just an SM7B. The guys get into the nitty-gritty of performance, discussing how simplifying bass lines, choosing the right guitar pick, and focusing on a powerful right-hand attack can be more important than having expensive gear. They also stress the importance of sending clean, well-edited DI tracks and having someone with experience oversee the process, even on a tight budget. It’s a super practical look at how smart decisions during tracking can give a mixer everything they need to deliver a pummeling final product, proving you don’t need a million-dollar studio to make a killer record.

Products Mentioned

• Shure SM7B
• Focusrite Audio Interfaces
• Avalon U5 DI
• Roland Kick Trigger Pads
• Avid Pro Tools
• Dunlop Tortex Picks

Timestamps

• [4:42] What makes a DIY recording workable vs. unworkable
• [5:32] Why the Dyscarnate tracks were salvageable
• [6:22] The value of not experimenting in a bad room with bad gear
• [7:06] The bare-bones drum mic setup for the Dyscarnate record
• [8:01] Using plugins to create a fake room sound
• [9:57] The importance of having a professional oversee a DIY session
• [12:20] Jacob’s advice for bands with a minimal budget
• [14:04] Why you should send test tracks to your mixer first
• [16:22] The hidden costs of not changing your bass strings
• [17:32] The argument for changing bass strings for every song
• [21:09] The simple vocal chain used: SM7B and a Focusrite interface
• [22:05] How the band deadened their recording space with mattresses for free
• [23:16] The importance of focusing on performance over gear
• [25:23] Why well-edited tracks are crucial for a heavy mix
• [28:34] Why bass quality is often a weak point in DIY recordings
• [30:12] Simplifying bass lines to support the guitars and add low-end power
• [36:53] How pick choice and guitar setup impact the final tone
• [38:50] Down-picking for that extra .02% of heaviness

Producer Andrew Wade is known for his work with bands like A Day To Remember, The Ghost Inside, Wage War, and Neck Deep. A frequent collaborator with URM Academy, he has appeared on Nail the Mix multiple times and is the instructor for the comprehensive “Ultimate Guitar Production” course. His experience spans the spectrum of modern rock and metal, making him an expert in crafting punchy, polished, and powerful guitar tones for a variety of styles.

In This Episode

Andrew Wade returns to the podcast to pull back the curtain on “Ultimate Guitar Production,” the massive course he created with URM. He and Eyal get into the nitty-gritty of why so many producers struggle with pro-level guitar tones, explaining that it’s rarely one big mistake but rather a series of small, overlooked details. They break down common myths and misconceptions, from why modelers like the Kemper often fall short of a real amp, to the surprising impact of cable length when using passive pickups. Andrew shares key takeaways from the course’s exhaustive A/B tests, revealing the crucial importance of a proper guitar setup, effective DI and reamping techniques, and counter-intuitive tracking and editing tricks that are essential for achieving truly tight performances. This is a deep dive into the mindset and methodology required to conquer the endless quest for the perfect guitar tone.

Products Mentioned

• Kemper Profiler
• Avalon U5 DI Box
• Radial SGI Studio Guitar Interface
• Little Labs STD Signal Extender
• Palmer PDI-03 Speaker Simulator

Timestamps

• [2:38] Why Andrew was the right person for a massive guitar production course
• [6:03] The problem with defaulting to modelers like the Kemper
• [7:44] How a thousand tiny mistakes in the signal chain add up to a bad tone
• [9:25] The surprising truth about guitar cables (and why active vs. passive pickups matter)
• [11:17] Taking a “Mythbusters” approach to testing common studio beliefs
• [16:08] The critical importance of a proper guitar setup
• [17:47] Why you can’t trust setups from big box music stores
• [23:37] What DI box should you use and when does it actually matter?
• [25:45] The unexpected piece of gear that guarantees a perfect DI signal
• [33:52] A simple tracking mistake that ruins guitar tightness
• [35:01] Why editing guitars perfectly on the grid can still sound sloppy
• [38:56] Using impulse responses to get a consistent and perfect cab sound
• [41:00] Why a Kemper’s IR is less detailed than one you can make yourself
• [44:20] Learning what to listen for and developing your ear for subtlety
• [47:08] Why the course covers genres beyond just metal (indie pop, pop-punk)
• [49:14] How making the course improved Andrew’s *own* guitar tones
• [50:48] Why the goal is to develop your *own* sound, not copy his
• [52:20] The problem with trying to be creative without doing the analytical testing first
• [55:25] How to get a tight modern sound vs. a loose ’70s vibe

On this MixCritMonday episode, URM’s Eyal Levi is joined by guest host John Maciel, a familiar face to those in the URM community. Together, they dive into student-submitted mixes of tracks by Amaranthe and Dyscarnate, the latter of which was originally mixed by the incredible Jacob Hansen. They offer up some tough-love critiques and practical advice to help producers level up their skills.

In This Episode

Eyal and John get real with no-BS feedback on student mixes, breaking down exactly what’s working and what’s falling flat. They tackle common issues producers face, from dialing in a tight, powerful low-end to ensuring the kick and snare have the right impact and separation. They also discuss why some mixes sound painfully bright and “overcooked” from being mastered too loud, and how to spot the signs of a mix that’s fighting itself. A big focus is on fundamentals, like how an out-of-control low-end can force bad decisions everywhere else, and the importance of having a clear vision. They also drop some great advice for working with raw, lower-budget tracks like the Dyscarnate session, showing how even a challenging recording can be turned into a professional-sounding monster.

Timestamps

• [2:07] Introduction to the two songs being critiqued: Amaranthe and Dyscarnate
• [2:51] First mix review: Zach Savoia’s mix of Amaranthe’s “365”
• [5:39] Feedback for Zach: The low end is almost there, but needs to be 5% tighter
• [6:55] John’s feedback on Zach’s mix: The bass fundamental is getting lost
• [8:55] Second mix review: Johan Carlson’s mix of Amaranthe’s “365”
• [10:15] Feedback for Johan: The bass and low end are completely out of control
• [12:22] Why unchecked low end forces you to push the high end too hard
• [14:25] Discussing how a poor listening environment can cause low-end problems
• [17:09] Third mix review: Deck Reed’s mix of Amaranthe’s “365”
• [18:40] Feedback for Deck: The kick is nonexistent, and the vocals are extremely sibilant
• [21:16] The importance of having a vision before you start mixing
• [26:00] Introduction to the Dyscarnate track and Jacob Hansen’s original mix
• [27:26] Fourth mix review: Devin McNichols’ mix of Dyscarnate’s “Iron Strengthens Iron”
• [28:44] Feedback for Devin: The mix is overcooked, has painful high-end, and the bass sounds disconnected
• [30:45] Don’t be afraid to scrap a mix and start over from scratch
• [31:55] Fifth mix review: Cyril Lauper’s mix of Dyscarnate’s “Iron Strengthens Iron”
• [33:07] Feedback for Cyril: The snare is all wrong and needs sample reinforcement
• [39:09] Final mix review: Alan Casada Aguilar’s mix of Dyscarnate’s “Iron Strengthens Iron”
• [40:08] How to tell when your mix is pumping from being mastered too loud
• [43:00] The value of working with lower-budget recordings as a real-world scenario