Eyal Levi, Author at Unstoppable Recording Machine

Fredrik Nordstrom: Creating the Gothenburg Sound, Recording Slaughter of the Soul, Miking an Orchestra

Fredrik Nordstrom is a Swedish producer and the architect behind the iconic Gothenburg sound. His studio, Fredman Studio, has been the birthplace of genre-defining albums for bands like At the Gates (Slaughter of the Soul), In Flames, Dark Tranquillity, Arch Enemy, Dimmu Borgir, Architects, and Opeth. He’s one of the most influential figures in modern metal production.

In This Episode

Fredrik Nordstrom hangs out to drop some serious knowledge from his decades-long career. He gets into the nitty-gritty of how classics like At the Gates’ Slaughter of the Soul were made without a click track, relying on insane performance and punch-ins. We talk about the mindset of the ‘90s, where making legendary records was more about dedication than having the fanciest gear—in fact, he reveals the Slaughter guitar tone was a Boss Metal Zone! Fredrik also shares wild stories from the massive Dimmu Borgir sessions, detailing the challenges of recording a full orchestra and his philosophy of committing to sounds and effects during tracking. He breaks down his famous dual-amp miking technique and discusses why arrangement is more important than automation. It’s a deep dive into the real-world techniques and philosophies that defined a genre, straight from the source.

Products Mentioned

Timestamps

[0:04:09] Recording At The Gates’ Slaughter of the Soul without a click track
[0:08:56] How classic In Flames albums were recorded and mixed in just two weeks
[0:11:01] The unique drum technique used for Slaughter of the Soul‘s consistent snare hits
[0:14:16] Mixing with a “shit control room” and a ghetto blaster
[0:15:16] Why you don’t need expensive gear to make a great record
[0:18:11] Fredrik’s favorite EQ is the stock Pro Tools EQ
[0:20:26] The value of unique plugins like Soothe and Sound Radix
[0:24:52] Realizing Slaughter of the Soul was something special
[0:34:55] The philosophy of capturing great performances vs. editing everything to be perfect
[0:39:23] Behind the scenes of Dimmu Borgir’s Death Cult Armageddon
[0:44:29] The challenges of miking and recording a full orchestra for a metal band
[0:48:33] Running the orchestra through a guitar amp for an industrial sound
[0:52:07] Why a great arrangement makes a track mix itself
[1:01:41] Breaking down the legendary tom sound on Death Cult Armageddon
[1:06:15] Printing vocal effects during tracking instead of waiting for the mix
[1:20:22] How and why he gives proper credit to his assistants like Henrik Udd
[1:27:59] The guitar tone on Slaughter of the Soul was a Boss Metal Zone pedal
[1:30:49] Fredrik’s amp slaving technique for massive dual-tracked guitars
[1:43:23] The importance of always trying new things and avoiding templates

NICK RAD: Why He Loves Editing, Building a Career Without a Hit, The Power of Networking

Nick Rad is a Chicago-based producer and mix engineer known for bringing a polished, pop sensibility to a wide range of genres. His resume includes work with rock acts like Stone Sour and Skillet, pop artists such as Hillary Duff and Rachel Platten, and bands like The Color Morale. Rather than being known for one specific sound, Nick has built his career on his meticulous approach to editing and production, delivering tight, clean, and professional-sounding records for every artist he works with.

In This Episode

Nick Rad joins the podcast for a super chill and insightful chat about building a real-deal production career from the ground up. He explains how he transitioned from being a full-time touring musician to a go-to producer, emphasizing that you don’t need a smash hit to make it—just a solid work ethic and a good reputation. Nick gets into the nitty-gritty of his “fine-tooth comb” approach to production, sharing his process for rescuing less-than-perfect vocal takes and why he actually loves the art of editing. He also drops some serious wisdom on the power of long-term networking, telling some great stories about how relationships planted years ago can lead to major opportunities down the line. This episode is packed with practical advice on finding your niche, building a career on your own terms, and the importance of just being a cool, reliable person to work with.

Products Mentioned

Timestamps

[3:25] The common thread in his work: making things polished
[6:25] Building a career without one “big” record
[8:10] Learning his work ethic from Jason Livermore and Bill Stevenson (The Blasting Room)
[10:28] Why Nick actually loves editing
[12:14] Knowing who you are as a producer and when to turn down bands
[17:33] His history as a touring musician in Hangnail and Acceptance
[20:21] How working with producer Aaron Sprinkle was an eye-opener
[22:23] Deciding to quit the band life and go all-in on production
[26:07] The early days: living with his parents and taking on cheap gigs to learn
[31:21] His biggest regret from his touring days: not networking enough
[35:53] How a relationship from 2005 led to work in 2014
[38:09] The story behind working on vocals for Hillary Duff
[41:58] Dealing with the pressure of working on high-stakes pop records
[43:44] Nick’s “fine-tooth comb” process for fixing poorly recorded tracks
[46:42] The most common issues with vocal tracks he receives
[52:24] The nightmare scenario: losing a band’s recordings
[58:59] How his work on Stone Sour demos came about
[1:04:40] Transitioning to a place where he can say “no” to projects
[1:06:32] Why he doesn’t advertise and relies on word-of-mouth
[1:09:04] The worst way to network (don’t be a punisher)

JACK SHIRLEY: Old-School Recording, Why Source Tone is Everything, Sacrificing for a Career

Jack Shirley is the Oakland-based producer and engineer behind Atomic Garden Studios. Known for his raw-yet-polished aesthetic, he earned a Grammy nomination for his work with Deafheaven and has also helmed records for acclaimed artists like Jeff Rosenstock. Shirley’s approach is deeply rooted in capturing organic, live performances that feel both huge and authentic.

In This Episode

Jack Shirley joins the podcast to talk about his unapologetically old-school recording philosophy. He breaks down why he prefers tracking bands live to 2-inch tape with no click track or samples, using the computer more as a utility than a creative centerpiece. Jack goes deep on the hierarchy of what *really* matters for a great sound, explaining his belief that every step in the signal chain is less important than the one before it—meaning the source tone is everything. This leads to a great discussion on the art of capturing killer performances and the trade-offs between pristine production and authentic vibe. He also drops some serious real-world wisdom on what it actually takes to build a sustainable career, from the immense personal sacrifices (like living in your studio for over a decade) to the critical importance of being a genuine member of your local music scene instead of just trying to “network.”

Products Mentioned

Timestamps

[5:01] Jack’s start in recording out of necessity
[6:33] Why punk producers had to DIY: engineers getting in the way
[8:05] The “Post-Jane Doe” world of heavy production
[14:32] Jack’s analog-based, “pre-computer era” recording philosophy
[20:19] Committing to sounds on the way in: 80% of processing happens during capture
[20:50] The hierarchy of importance in a recording chain (source first)
[23:27] Sculpting source tone: from pickups to amp settings
[26:01] Why obsessing over mic preamps is “cork sniffing”
[32:32] Simplifying the workflow with an API 1608 console
[37:00] Convincing bands to track live without a click
[48:00] Leaving in the “human shit” and happy accidents
[50:51] Weighing the trade-off: perfect room tone vs. authentic band performance
[52:44] Getting the first take just 2-3 hours after load-in
[56:53] What keeps clients coming back?
[59:38] The importance of sacrifice and living at the studio
[1:01:43] The priority check: Do you have a $30k car but no studio gear?
[1:10:57] Why you can’t just go up to a band and try to sell your services
[1:12:20] Keeping overhead low as the key to a sustainable career
[1:17:02] How being a touring musician gives you a critical connection with bands

JOEY STURGIS, MACHINE & BILLY DECKER: Why Demos Matter, Killer Customer Service, The Pro Producer Mindset

This special live episode from NAMM 2019 features a killer panel of producers, including URM co-founder Joey Sturgis (Asking Alexandria, Of Mice & Men), the one and only Machine (Lamb of God, Clutch, Every Time I Die), and 15-time number-one country mixer Billy Decker. These guys have seen it all, from superstar sessions to developing brand new artists from the ground up.

In This Episode

Ever wonder if you should approach a big-budget record differently than a local band’s demo? This episode tackles that question head-on. The panel gets real about the business and interpersonal side of being a modern producer, emphasizing that every project deserves 110% effort. They discuss the unique responsibilities of handling a legacy act versus shaping a new band’s first impression, and why a great attitude and top-notch customer service are just as important as your technical skills. From creating systems for efficiency to the simple power of having good snacks and a studio that smells great, this is a deep dive into the professional mindset required to build a lasting career. It’s a must-listen for anyone navigating the client-facing realities of the recording world.

Products Mentioned

Nag Champa Incense

Timestamps

[2:25] The two sides of producer responsibility: legacy vs. first impression
[3:32] Why working with a new band can be more exciting
[4:22] Dealing with smaller budgets and speeding up the process
[5:17] Creating systems that allow for creativity and efficiency
[6:41] The producer’s role in helping artists not get in their own way
[7:32] Machine’s philosophy on meeting every band before working with them
[8:25] How to create an environment where any band can thrive
[9:15] Why you should never treat a project as “just for paying the bills”
[10:59] Billy Decker on giving every client 110%, regardless of budget
[11:36] How doing great work on demos can lead to getting the album project
[12:20] The importance of customer service in the music business
[12:58] Billy’s rules for returning emails and phone calls
[13:54] Why snacks and a good-smelling room are part of the client experience
[14:52] Do some producers intentionally delay communication to seem more important?
[16:11] Why playing mind games with clients is a bad strategy
[17:23] Mark Cuban’s advice: “They’re going to eat your lunch”
[18:41] How URM improved customer retention by drastically cutting response times
[20:16] A simple rule for client interaction: “Do unto others…”
[21:35] The entire podcast conversation summed up in four words

Eyal Levi: Crafting drum samples, creative workflow, and getting sounds at the source

Eyal Levi is a guitarist, producer, and one of the co-founders of URM Academy. As the guitarist for Dååth and the former guitarist for Levi/Werstler, he’s a musician’s producer who understands what it takes to make a killer record. His extensive discography includes work with bands like The Black Dahlia Murder, Chelsea Grin, August Burns Red, and Whitechapel.

In This Episode

In this episode, URM’s own Eyal Levi sits down with Joey Sturgis and Joel Wanasek to break down the thought process behind his Drumforge expansion pack. Eyal explains how he baked his signature drum sounds into the samples using choice outboard gear like the Distressor and DBX 160, but the real magic is in the workflow. He walks through how he created dedicated faders for common automation moves—like balancing 60Hz sub and 80Hz punch in the kick depending on the part, or adding just the right amount of “crack” to a snare. The conversation then opens up into a masterclass on drum production philosophy, covering everything from Eyal’s go-to snare mics (SM57, i5, KM84) and preamps to his approach of getting sounds right at the source before ever touching a plugin. They also get into specific compression settings, the art of stage compression, and why a simplified workflow isn’t just about working faster—it’s about staying in a creative headspace.

Products Mentioned

Timestamps

[2:19] The outboard gear Eyal used to process the Drumforge samples (Distressor, 1176, SSL).
[3:12] Eyal’s approach to parallel processing and automating kick drum tones.
[5:43] Adding common mixing automation moves (like 60Hz vs. 80Hz kick bumps) as faders.
[6:28] A specific example of when to automate low-end on kicks for different parts.
[7:25] Creating a dedicated “crack” fader to add snap to snares.
[9:55] How to use different reverb types to solve common mixing problems on drums.
[10:50] The specific reverb plugins used on the pack (Valhalla, D-Verb, R-Verb).
[13:29] Eyal’s go-to snare mic choices, including the SM57, Audix i5, and KM84.
[14:58] Using an SM7B as a suspended mono overhead pointing at the snare.
[16:48] The importance of getting drum sounds right at the source without plugins.
[20:14] The first step in processing drums: subtractive EQ.
[21:22] Finding and removing “paper bag” frequencies on toms and other problem areas.
[23:32] Using an Empirical Labs Distressor on a snare drum.
[24:48] The magic of the DBX 160 compressor on snares.
[26:43] The debate on whether or not you should compress a kick drum.
[28:09] Getting a great snare sound with the SSL channel strip compressor.
[30:21] Joey’s trick: Using a fast-attack compressor, then adding the transient back with a transient designer.
[33:57] How a simplified, faster workflow can help you make more money as a producer.