Eyal Levi, Author at Unstoppable Recording Machine

MAOR APPELBAUM: Taming Harshness with Converters, Mastering for Vinyl, Fixing Muddy Mixes

Maor Appelbaum is a mastering engineer known for his work across an incredibly diverse range of genres. His credits include major artists like Faith No More, Yes, Dokken, and Halford, as well as the cinematic rock band Starset. He’s handled everything from prog-rock and pop to R&B and death metal, famously mastering a prog-rock concept album for William Shatner that featured players like Steve Vai and Al Di Meola.

In This Episode

Mastering engineer Maor Appelbaum joins the guys for a special #MasteringCritMonday to break down three subscriber masters. This is a super practical look at identifying and fixing common issues at the final stage of production. Maor offers his unique perspective on problems like harsh high-end, explaining how he uses different converters—not just EQ—to tame sizzle without losing depth and ambience. The crew digs into diagnosing a floppy or overpowering low end, pinpointing specific frequencies that cause muddiness, and discussing how to handle triggered kicks that feel disconnected from the mix. They also get into workflow topics like prepping masters for vinyl, knowing when to call a mix engineer for revisions, and what a mastering engineer actually wants in a delivery. It’s a killer deep dive into the technical and philosophical approach of a pro mastering engineer.

Products Mentioned

Timestamps

[2:19] Maor’s philosophy on gear: flow with what the recording needs
[3:42] The right way to prep a master for vinyl (hint: let the cutting engineer do it)
[5:22] Maor discusses his proprietary mastering process for overly slammed mixes
[9:17] Critiquing the first master: harsh top end and boxy mids
[11:51] A unique approach to taming harsh high-end without sacrificing depth
[13:20] Using different converters to shape tone instead of just using EQ
[16:19] How to tighten the low end of triggered kicks that feel delayed or sustained
[17:58] The difference between loudness that has energy and loudness that feels “tamed”
[19:48] The biggest challenge in mastering: making a track loud without it becoming fatiguing
[20:42] The story behind the controversial Dååth master that was intentionally dynamic
[24:15] Why bass can take over a mix during mastering and how to handle it
[27:28] Pinpointing the low-mid frequencies (around 180 Hz) that make a mix feel muddy
[29:22] How often a mastering engineer has to ask for mix revisions
[34:11] What mastering engineers *actually* want from a mix delivery (instrument up/down versions?)
[39:09] Diagnosing issues in a hip-hop master: painful treble and uncontrolled sub-bass
[40:23] Using a low-pass filter around 40Hz to clean up a muddy sub
[44:11] The story of mastering William Shatner’s prog-rock album
[48:11] What causes that “pointy,” cheap-sounding EQ character on vocals?
[50:47] Joking about the classic “smiley face” EQ curve

Alan Douches: The Loudness Wars, Analog Mastering, and Over-compression

Alan Douches is a mastering engineer who got his start in the early ’90s after a career as a freelance engineer and indie producer, working with a wide range of artists from Aerosmith to Grandmaster Flash. He became a go-to mastering engineer for heavy music, known for his work with New York hardcore bands like Murphy’s Law and Crown of Thorns, as well as landmark metal albums like The Red Chord’s Fused Together in Revolving Doors and the reissues for Death’s Scream Bloody Gore.

In This Episode

Mastering engineer Alan Douches stops by to chat about his journey from producing indie records to becoming a master of the final polish. He gives a full rundown of his killer all-hardware signal chain, explaining why he prefers analog tools and the specific character each piece brings to the table. Alan gets real about the loudness wars, breaking down how he approaches mastering for different formats like vinyl, MP3s, and streaming services that normalize volume. He also drops some serious knowledge on the mixer-mastering engineer relationship, discussing his biggest gripe with modern mixes (hint: it’s over-compression) and the importance of communication and committing to a sound. It’s a killer deep dive into the philosophy and technical craft of making records sound huge, with practical advice on preparing your mixes for the final stage.

Products Mentioned

Timestamps

[0:01:45] How Alan accidentally got into mastering
[0:05:08] The importance of flexibility and recognizing new career opportunities
[0:07:23] Why understanding the genre is crucial for mastering heavy music
[0:08:29] A breakdown of Alan’s all-hardware mastering chain
[0:10:49] Using optical compression on a master bus
[0:12:02] The importance of building a dialogue with your mastering engineer
[0:15:20] How visual feedback from a screen can negatively impact your hearing
[0:19:26] The sound of a Neve console and ½ inch tape as a sonic reference point
[0:21:51] Why he chose Pro Tools over the industry-standard Sonic Solutions to be different
[0:23:14] The long-term value of developing your own unique sound
[0:25:34] The loudness war and how streaming normalization is changing the game
[0:27:33] Mastering for different formats (vinyl, MFiT, and even MP3)
[0:30:07] Key differences when mastering for vinyl vs. digital
[0:36:00] Alan’s number one gripe with modern mixes: over-compression
[0:38:30] The difference between what a mix should sound like vs. a master
[0:50:14] When (and when not) to use M/S processing
[0:53:20] Using phase shift as a creative tool instead of a problem to be fixed
[0:58:08] The power of committing to sounds and making decisions early
[1:01:07] A cool trick for adding “sheen” without harshness using pre/post EQ

JESSE CANNON: The Loudness War, Navigating the New Music Business, Working with Ross Robinson

Producer, mixer, and mastering engineer Jesse Cannon has a seriously diverse resume. He’s done everything from tracking punk legends The Misfits and indie darlings Animal Collective to working under producer Ross Robinson (Korn, Slipknot) and mastering for years with Alan Douches. He’s also an author and educator, sharing his deep knowledge of both the technical and business sides of the music industry.

In This Episode

Hosts Joey Sturgis, Joel Wanasek, and Eyal Levi kick things off by chopping it up about their own mastering philosophies before bringing on guest Jesse Cannon. Jesse dives into his journey from mixer to mastering engineer, discussing why it’s crucial to understand both sides of the coin. The crew gets into the nitty-gritty of why they often master their own material and the pros and cons of mixing into a master bus chain. They also tackle the loudness war, breaking down why loudness is an emotional tool and a key part of the modern sound. Jesse shares some awesome stories about how he landed gigs with big-name producers and offers some seriously practical advice on navigating the new music business, building a fanbase, and why your email list is still king. It’s a killer conversation packed with insights on workflow, career building, and the mindset you need to succeed.

Products Mentioned

Timestamps

[0:03:16] Mastering at night vs. the morning
[0:04:28] Ear fatigue when mastering vs. mixing
[0:07:06] Why Joey and Joel mix into a mastering chain
[0:10:15] Eyal’s experience having an album mastered by Ted Jensen
[0:13:07] Joey’s aggressive approach to mastering
[0:18:46] Jesse on why mixers make great mastering engineers
[0:24:24] The story that motivated Joey Sturgis to learn mastering
[0:27:43] How to explain mastering to a client who doesn’t get it
[0:30:01] The flawed logic of the “just turn up the volume” argument
[0:33:51] How Jesse got to work with producers like Steve Evetts and Ross Robinson
[0:41:31] Building online relationships without being a spammer
[0:50:24] The economics of streaming: How many Spotify plays equal one download?
[0:56:03] The importance of an email list over social media followers
[1:07:00] Why you shouldn’t rely on RMS meters for loudness
[1:10:29] Jesse’s typical mastering signal chain
[1:20:38] Using M/S processing on the low end
[1:25:03] Why committing to sounds and printing tracks improves your workflow
[1:31:04] Using a co-producer as a system of checks and balances

JOEY STURGIS, JOEL WANASEK & EYAL LEVI: Why expensive mics fail, the compression debate, saving tone-deaf singers

URM hosts and production heavyweights Joey Sturgis, Joel Wanasek, and Eyal Levi get together for a masterclass on vocal production. Joey Sturgis is known for shaping the sound of modern metalcore with bands like Asking Alexandria, The Devil Wears Prada, and Of Mice & Men. Joel Wanasek has a massive credit list that includes Machine Head, Blessthefall, and Attila. Eyal Levi, a founder of URM Academy and guitarist for Dååth, has produced and mixed for bands like The Black Dahlia Murder, Chelsea Grin, and August Burns Red.

In This Episode

Joey, Joel, and Eyal drop a ton of practical knowledge on one of the most crucial parts of any record: the vocals. They start with the absolute foundation—the recording environment—and discuss why a dry, reflection-free space is non-negotiable, sharing their go-to methods from portable booths to DIY forts. They also cover life-saving tools like iZotope RX for when you get tracks recorded in a bathroom. The guys get into their philosophies on mic selection, comparing workhorses like the SM7B and AT4040 to high-end condensers like the U 87, and why the most expensive option isn’t always the right one. You’ll also hear their takes on tracking with compression, vocal editing workflows, session management for keeping the singer’s vibe and voice intact, and how to deal with challenging situations like tone-deaf vocalists. It’s a deep dive full of real-world tips for getting killer vocal tracks from start to finish.

Products Mentioned

Timestamps

[1:33] The crucial impact of the recording room on vocal mixability
[2:20] Using iZotope RX to fix vocals recorded with too much room reverb
[3:44] A pro tip for getting dry vocals in a control room: the Real Traps Portable Vocal Booth
[8:18] The crew’s process for choosing the right vocal microphone for a singer
[9:59] Why a high-end mic like the Neumann U 87 can sometimes be “too good”
[15:42] The debate: tracking vocals with compression versus doing it all in the box
[17:49] Using forgiving opto compressors to safely add character during tracking
[19:13] Why mixers almost universally hate receiving pre-compressed vocals
[21:28] Different approaches to vocal editing workflow
[22:49] Time-aligning vocal layers on the spot with Revoice Pro
[25:21] Favorite vocal tuning tools: Auto-Tune vs. Cubase’s VariAudio
[29:34] Strategies for setting up a vocalist’s headphone mix
[35:23] Why you should kick the rest of the band out during vocal sessions
[38:56] The importance of limiting vocal sessions to around four hours to avoid burnout
[40:30] Why you should start tracking vocals early in the recording process
[42:37] Eyal’s personal vocal-saving drink recipe
[46:54] How many vocal takes is too many?
[50:24] The massive benefits of Melissa Cross’s “The Zen of Screaming” training
[55:40] Why the best vocalists often treat themselves like athletes
[59:52] The nightmare scenario: how to deal with a tone-deaf singer

DAN KORNEFF: Building DIY Gear, Producer Nightmares, and Creating Paramore’s ‘Riot!’

Dan Korneff is a producer, engineer, and mixer known for his work with a huge range of rock and metal bands. His discography includes seminal albums like Paramore’s Riot! and Pierce The Veil’s Collide with the Sky, as well as projects with Papa Roach, Breaking Benjamin, and Lamb of God. He’s also a serious gearhead who designs and builds his own custom analog equipment under the name Korneff Audio.

In This Episode

Dan Korneff joins the podcast for a wide-ranging chat that blends old-school philosophy with modern-day realities. He gives a detailed look at his analog-heavy workflow, explaining how he uses his SSL 8000 G console and outboard gear with Cubase acting as a “glorified tape machine.” The conversation then takes a deep dive into the world of DIY electronics, as Dan shares how he went from building guitar pedals to designing his own unique studio pieces, cloning unobtainable classics, and the intense process of creating a circuit from scratch. Dan and the guys also get real about the challenges of the producer lifestyle, from battling Red Bull addictions to dealing with clients who think mixing includes full-on editing and production. For anyone who geeks out on custom gear or has ever been frustrated by an unprepared client, this episode is full of relatable stories and solid wisdom.

Products Mentioned

Timestamps

[2:05] Have bands gotten worse musically over the years?
[8:52] Dan’s analog-heavy recording and mixing workflow
[11:17] Using Cubase as a glorified tape machine for an SSL console
[13:14] How Dan got started building his own DIY gear from scratch
[15:47] Is the DIY analog gear movement causing more harm than good?
[19:13] The real process of designing gear (hint: it starts with math)
[19:54] Dan’s secret weapon gear: unreleased Universal Audio preamps and rare limiters
[21:17] The need for new, original analog designs instead of just clones
[25:20] How Dan balances a full-time production schedule with building gear
[27:26] The unhealthy studio lifestyle and recovering from a 6-Red-Bull-a-day habit
[35:50] How often do clients actually follow file delivery instructions?
[36:47] The frustrating trend of clients expecting mixing to include editing and producing
[42:42] How Dan handles requests to do extra editing work on a mix project
[44:39] The best way to ensure you get proper credit on an album
[49:28] The secret to the punchy sound on the Maximum Penalty record
[52:25] Why stompbox effects feel and sound different than plugins
[54:37] Learning through execution: “Jump first and then figure out why you just broke your arm”
[59:20] Why your technical skills need to be second nature in the studio
[1:00:06] The story behind Dan’s “explosions” credit on Paramore’s Riot! album