Author: Eyal Levi

ERIK RUTAN: Joining Cannibal Corpse, authentic metal production, and his relentless work ethic

Erik Rutan is a guitarist, vocalist, and producer who has been a central figure in the death metal scene for decades. He’s the frontman for his own band, Hate Eternal, and was recently announced as the new guitarist for the mighty Cannibal Corpse. This follows a formative run with Morbid Angel, where he contributed to iconic albums like Domination. As the owner of Mana Recording Studios in Florida, he has also carved out a formidable career behind the board, producing and mixing a massive list of heavy bands, including Goatwhore, Nile, Vital Remains, and multiple Cannibal Corpse records long before joining their ranks.

In This Episode

Erik Rutan drops by for a deep, career-spanning chat about what it takes to survive and thrive in extreme metal. He gets into the philosophy of balancing his many roles as a musician, producer, and studio owner, explaining how early career struggles—from his first record deal imploding to delivering chicken after touring with Morbid Angel—shaped his relentless work ethic. Erik breaks down why he started producing in the first place and shares his core philosophy: capturing a band’s authentic performance and integrity, even if it means bucking modern trends of hyper-editing and sample replacement. He discusses the challenges of making organic sounds work in a dense mix, the thought process behind joining Cannibal Corpse, and the story of recently installing his dream SSL Origin console. It’s a killer look into the mindset of a guy who consistently turns adversity into opportunity.

Products Mentioned

Timestamps

  • [3:18] Balancing multiple roles and the early struggles that shaped his work ethic
  • [7:00] Why he started his own studio after early experiences with engineers who didn’t understand metal
  • [14:34] The low point of delivering chicken after touring with Morbid Angel
  • [16:16] Moving to Florida with no guarantees to join Morbid Angel
  • [20:45] The dichotomy of his aggressive rhythm playing and melodic soloing
  • [25:25] The reality of burnout and learning to take care of himself for career longevity
  • [32:25] Getting the call to join Cannibal Corpse
  • [40:18] The challenges of producing the new Cannibal Corpse album during COVID lockdowns
  • [45:25] The story behind decommissioning his old console and getting his dream SSL Origin
  • [55:27] Using different gear like colors on a canvas to create unique textures
  • [59:08] Avoiding the “factory line” approach to modern metal production
  • [1:01:37] His philosophy on preserving a band’s unique sound and authenticity
  • [1:03:43] “This is audio engineering, not visual engineering”: why feel is more important than the grid
  • [1:07:52] Citing Master of Puppets as an influence on the new Cannibal Corpse drum sound
  • [1:16:01] How personal struggle and trauma fuels his art
  • [1:27:48] Turning a negative into a positive: how leaving Morbid Angel led to starting Hate Eternal and his studio
  • [1:43:42] His psychology on taking risks and having a “nothing to lose” attitude
  • [1:54:07] Why Paul Mazurkiewicz from Cannibal Corpse started using a click track
  • [1:58:02] How to create a dense mix without losing transient detail
  • [2:01:49] The critical importance of pre-production and communication

CHARLIE MASSABO: Why Metal Producers Succeed in Pop, The Death of Dangerous Rock, and Blending Genres

Charles “Charlie” Massabo is a French producer, composer, and songwriter who has built a career on bridging genres. After moving to the US, he brought his background in synths and electronic music to the rock world, working with artists like Falling In Reverse, The Word Alive, and Luke Holland for labels including Epitaph and Fearless Records. His versatile skill set has also led to collaborations with major brands like Google, Sony PlayStation, and Ubisoft, and his work spans everything from metal and rock to pop, hip-hop, and EDM.

In This Episode

Charlie Massabo gets real about the shifting landscape of modern music production. He discusses why he moved from LA to Miami, the importance of being where the scene is, and how his early experiments blending EDM with metal set the stage for today’s genre-fluid world. Charlie shares his take on why rock music has lost some of its edge and how that energy has migrated to other genres like trap. He also breaks down why metal producers are uniquely equipped to succeed in pop and hip-hop, drawing on his experiences with artists like Luke Holland. This is a super insightful chat that covers everything from the creative process and the importance of real instruments to the nitty-gritty business of negotiating song splits and the trend of sub-two-minute tracks in the streaming era.

Products Mentioned

Timestamps

  • [3:33] Moving from LA to Miami before the pandemic wave
  • [5:38] Why it’s crucial to be where the music scene is
  • [8:25] Blending EDM and synths with metal before it was popular in Europe
  • [14:42] The future of metal: who will be the next mega-bands?
  • [16:42] Why genres might be disappearing in favor of “moods”
  • [18:09] How Machine Gun Kelly helped bring guitars back into pop and hip-hop
  • [20:09] Charlie’s theory on why rock music “lost its message”
  • [22:26] Has metal lost its sense of danger?
  • [28:34] Why metal producers are so good at working in other genres
  • [30:36] Working with Luke Holland to bridge the gap between metal and electronic music
  • [35:53] Why you shouldn’t program drums if you can work with a great drummer
  • [41:07] Charlie’s early career in computer-generated “generative music”
  • [52:22] The importance of taking every opportunity seriously
  • [1:06:40] Navigating the awkward conversation of song splits
  • [1:12:46] The “fuck it, just do it” philosophy for scary career moves
  • [1:22:09] The trend of sub-2-minute songs for the TikTok/streaming era
  • [1:34:05] How Falling In Reverse adapted to the modern singles-focused landscape
  • [1:37:30] Why rock and metal bands tour way too much

Andrew Scheps: Mixing Philosophy, Interpreting Mix Notes, and Working with Superstars

Andrew Scheps is a multi-Grammy-winning audio engineer, mixer, and producer whose credits read like a who’s-who of modern music. He’s known for his incredibly diverse body of work, having manned the console for iconic artists across rock, pop, metal, and hip-hop, including Red Hot Chili Peppers, Adele, Metallica, Black Sabbath, and Jay-Z.

In This Episode

Andrew Scheps drops by for a masterclass on the philosophy and psychology of modern mixing. He kicks things off by dismantling the tired analog vs. digital debate, emphasizing that your ears and your brain are infinitely more important than the gear you use. Andrew explains why you should only ever make a move in a mix to fix something you don’t like, and how to avoid the “busy work” that kills creativity. He gets into the weeds on workflow, sharing how he uses templates and automation tools like Sound Flow to eliminate mind-numbing tasks so he can stay focused on listening. He also offers some killer advice on interpreting mix notes, handling the pressure of working with high-profile artists, and the crucial skill of managing personalities in the studio. This is a deep dive into the high-level mindset that separates the pros from the pack, packed with wisdom on everything from building trust to dealing with getting fired.

Products Mentioned

Timestamps

  • [2:04] Is the analog vs. digital debate finally over?
  • [5:49] Why you can’t replicate a mix just by copying settings
  • [9:27] The danger of blaming your gear for a bad mix
  • [11:22] How to stop paying attention to bullshit and focus on what matters
  • [14:07] The only valid reason to do anything in a mix
  • [17:21] The real purpose of a mix template
  • [18:10] Automating tedious session prep with Sound Flow
  • [24:57] What is “busy work” and how can you avoid it?
  • [29:06] The one thing you should never include in an email when delivering a mix
  • [31:28] Why there’s no such thing as a “dumb” mix note
  • [35:14] Interpreting notes to figure out what an artist *really* wants
  • [37:39] Why 90% of a producer’s job is managing personalities
  • [45:07] Why our brains are wired to obsess over negative feedback
  • [1:00:13] The reality of career droughts, even after winning a Grammy
  • [1:03:06] The pros and cons of being a genre specialist
  • [1:10:23] Handling the pressure of working with superstars
  • [1:15:29] How to earn an artist’s trust when you’re starting out
  • [1:21:35] How to handle getting fired
  • [1:31:38] Andrew’s “rear bus” parallel compression technique
  • [1:44:23] Mixing exclusively on Sony MDR-7506 headphones

Rob Pasbani: Building Metal Injection, why metal is its own worst enemy, and turning jealousy into fuel

Rob Pasbani is the creator of Metal Injection, one of the most prominent and long-running resources for metal news and content on the internet. He is also a co-owner of the Blast Beat Network, an advertising network that partners with other major sites in the scene, including MetalSucks, Lambgoat, and Gear Gods.

In This Episode

In a candid conversation about what it really takes to build something that lasts in the music industry, Metal Injection founder Rob Pasbani shares the story of how he and his partner built their empire from the ground up. He gets real about the mindset required to succeed, from turning jealousy of others’ success into fuel for your own hustle to learning how to handle rejection without burning bridges. Rob explains why bootstrapping the business with no investors forced them to be smarter and more adaptable, and why pivoting is essential for survival in an ever-changing landscape. For any producer running their own business, this episode is packed with invaluable lessons on networking, navigating industry politics, and understanding the broader metal scene—including a deep dive into why metal is often its own worst enemy and how that impacts everyone trying to make a living in it.

Timestamps

  • [4:46] Why the music industry is all about relationships
  • [7:37] How Metal Injection surpassed its early competitors
  • [11:29] The humble origins of Metal Injection as a public access TV show
  • [17:59] Mark Cuban’s philosophy: “The first day you take investment money is the first day you fail”
  • [22:29] Realizing you have to make it happen yourself after chasing a “sugar daddy” investor
  • [25:23] Turning jealousy into fuel: “What can I do so that will be us?”
  • [27:57] Remembering your successes to combat feelings of failure
  • [32:06] Why you can’t have a long career without burning a few bridges
  • [35:05] Why shitting on popular bands only alienates your own audience
  • [38:06] How huge bands like Metallica and Slipknot keep the whole scene alive
  • [41:47] Is metal its own worst enemy?
  • [44:39] How streaming is breaking down genre barriers for younger fans
  • [52:44] The challenge of music discovery when Facebook’s algorithm controls everything
  • [58:20] Pivoting your business: The story of Metal Injection’s failed attempt to compete with YouTube
  • [1:03:04] The “entrepreneur’s curse” of spreading yourself too thin
  • [1:08:47] The “secret” to success is that there is no secret—you just have to do the work
  • [1:17:51] Why not getting a job at a record label was a blessing in disguise
  • [1:22:28] How taking “losses” and rejection too hard can kill your career
  • [1:31:02] When should you learn a new skill versus hiring a freelancer?

JOHN CONGLETON: The tortured artist myth, navigating fragile egos, and why a Grammy won’t fix you

Grammy-winning producer, engineer, and songwriter John Congleton has built an incredibly diverse discography. Beyond fronting his own bands like The Paper Chase, he has worked with a massive range of artists including St. Vincent, Explosions in the Sky, Erykah Badu, and Nelly Furtado. His work also extends into film and television, with credits on projects for MTV’s Jackass, the Discovery Channel, and the horror film Halloween.

In This Episode

John Congleton drops by for a super deep and honest conversation about the real-world psychology of being a producer. He gets into why being direct—with tact—is a sign of respect, and shares his approach for navigating the fragile egos and difficult personalities that come with the territory. They dig into the myth of the “tortured artist,” arguing that great work usually happens despite drama, not because of it, and debunk the idea that you need to be depressed to be creative. John also offers some killer perspective on the business side, explaining the hard truth about making a living for other people before you can make one for yourself and revealing what a manager actually does. It’s a heavy, philosophical chat about imposter syndrome, self-awareness, and why a Grammy award isn’t going to fix your problems, perfect for anyone navigating the mental and professional maze of a career in music.

Products Mentioned

Timestamps

  • [2:32] The problem with passive-aggressiveness in the studio
  • [5:47] You need tact, not just bluntness
  • [7:11] How success can actually increase insecurity and imposter syndrome
  • [9:33] The danger of artists surrounding themselves with “yes men”
  • [15:10] Debating the myth of the “tortured artist”
  • [16:26] Why being depressed doesn’t actually help you be creative
  • [19:16] Great art often happens *despite* turmoil, not because of it
  • [25:37] Using art and creativity to achieve a “flow state” and feel present
  • [32:44] There’s no shame (and plenty of dignity) in having a day job
  • [35:33] John’s mind-numbing gig recording Barney the Dinosaur
  • [42:13] The narcissism spectrum and its role in the entertainment industry
  • [49:27] Does money change people, or just amplify who they already are?
  • [53:32] Curating your career so you don’t have to put up with toxic behavior
  • [58:35] John’s tactical approach to dealing with a chaotic, talkative artist
  • [1:00:19] The most important lesson learned from working with Steve Albini
  • [1:02:18] You don’t have to try to “be yourself” in art—you just have to get good
  • [1:04:58] The hard truth: to make a living, you have to make a living for other people
  • [1:11:04] The real purpose of a producer’s manager (hint: it’s not to get you work)
  • [1:25:52] John’s surprisingly chill take on the personal value of Grammys and plaques