Author: Eyal Levi

Joost van den Broek is a Netherlands-based producer, mix engineer, composer, and arranger known for his expertise in the world of symphonic metal. As a keyboardist and composer himself, he’s become a go-to collaborator for some of the genre’s biggest names, including Epica, Powerwolf, and Ayreon, often getting involved from the earliest stages of songwriting and arrangement at his home base, Sandlane Recording Facilities.

In This Episode

Joost van den Broek gets into the nitty-gritty of producing epic, large-scale symphonic metal records. He breaks down his process for remote recording with complex ensembles like choirs and orchestras, sharing the pros and cons of the workflow. Joost explains why, for this genre, a producer has to be involved from the ground up—acting almost as an extra band member to integrate orchestrations organically rather than just layering them on top. He shares incredible insights from working with the Prague Philharmonic, from the critical importance of score preparation to the single biggest challenge in blending a real orchestra with heavy guitars (it’s probably not what you think). He also dives deep into his long-term production philosophy, detailing how he uses extensive pre-production, time management, and a focus on reliability to build trust and guide massive, year-long projects from the first demo to the final master.

Products Mentioned

• Audio Movers
• Zoom
• Microsoft Excel
• Evertune

Timestamps

• [00:02:53] Remote recording a choir
• [00:04:05] Using Audio Movers and Zoom for remote sessions
• [00:07:17] The pros and cons of remote vocal recording
• [00:13:49] Is he more of a composer or a producer?
• [00:15:57] Why you can’t just “throw orchestration on top” of a metal track
• [00:18:42] Creating a “color palette” of sounds for each project
• [00:20:53] How imposing creative limits can help define a direction
• [00:24:57] The mistake many people make when writing for samples vs. a real orchestra
• [00:26:33] The reality of working with the Prague Philharmonic
• [00:29:58] Transposing scores from sharps to flats to improve intonation with guitars
• [00:32:52] How programming orchestra parts is like a guitarist programming drums
• [00:40:08] The most difficult part of blending an orchestra with distorted guitars
• [00:44:49] Using programmed orchestrations as a tuning reference for guitars
• [00:47:40] Organizing and managing massive sessions with over 1,000 tracks
• [01:01:08] Why his productions are planned in 1.5-year cycles
• [01:04:28] The different stages of pre-production for a symphonic metal album
• [01:14:13] How he learned recording and mixing on top of composition and arrangement
• [01:19:40] The importance of delegating tasks like editing and score preparation
• [01:32:26] How to build trust with a new band
• [01:47:26] The difference between a musician making a mistake vs. not knowing their parts

Joe Lambert is a mastering engineer who has worked on a diverse range of projects. His credits include artists like City and Colour, The Black Crowes, and Reel Big Fish, along with major motion picture soundtracks for films such as Sweeney Todd and The Terminator.

In This Episode

Joe Lambert shares his awesome journey from being a driven, “tyrant” guitarist in a high school band to becoming a sought-after mastering engineer. He gets real about the realities of a music career, like the moment his band’s big record deal evaporated and pushed him to find a new path at Full Sail. Joe breaks down how he navigated the NYC studio scene, moving from runner to engineer, and the pivotal moment he had to choose between focusing on mixing or mastering. He also discusses the importance of client relationships and why he actually enjoys attended sessions. The real gold here is his perspective on growth; he talks about the crucial decision to take a step back in his career to assist a more experienced engineer, emphasizing how essential it is to learn from others, know where the bar is set, and put your ego aside to truly serve the music.

Timestamps

• [4:12] Why he enjoys attended mastering sessions
• [5:40] Why mastering used to be a non-recoupable expense for artists
• [11:26] The importance of only working with people you like
• [14:59] From aspiring rock star to audio engineer
• [16:55] Being the “tyrant” in his high school band
• [20:03] The moment his band’s record deal fell through
• [22:15] Deciding to attend Full Sail to pursue audio
• [26:16] Hearing the word “mastering” for the first time
• [33:38] The crossroads: choosing between a career in mixing or mastering
• [36:33] The pressure on modern artists to do everything themselves
• [39:42] Why it’s crucial to focus on a few key skills
• [42:10] How moving to NYC and being around top-tier talent was a humbling experience
• [54:27] Why he took a step back to become an assistant after already running a mastering room
• [57:16] The irreplaceable value of learning directly from a mentor
• [1:05:37] His approach to mastering different genres
• [1:07:02] How he handles client requests he disagrees with
• [1:08:55] Is mastering an art or a craft?
• [1:11:45] Putting your ego aside to better serve the project

This episode brings together the creative team behind Papa Roach’s recent sonic evolution: frontman Jacoby Shaddix and producers Colin Brittain and Nick Furlong. The trio discusses how their collaboration began when Papa Roach decided to work with a fresh team of “young bucks” to break out of a creative rut. This partnership, which started around six years ago, resulted in the acclaimed 2017 album Crooked Teeth and has continued to thrive, built on a foundation of mutual respect, fearless experimentation, and a shared desire to push the band’s sound into new territory.

In This Episode

Jacoby kicks things off by explaining why Papa Roach sought out a younger production team to escape the stale “active rock chart” sound and reconnect with their raw energy. The guys get into why their creative process is all about vibe, fun, and experimentation over technical perfection. They share some wild stories—from trucking in a literal beach to the studio parking lot to planning a sword fight with flaming guitars—to illustrate how creating memorable experiences fuels the music. They also drop some serious knowledge on the producer’s mindset, emphasizing that your job is to enable the artist, not be the rock star. This one is a killer deep dive into the importance of collaboration, overcoming the fear of judgment, and why staying stoked and avoiding the “jaded” mindset is the key to a long and fulfilling career in music.

Products Mentioned

• Avid Pro Tools
• Sony C-800G Microphone
• Splice
• Steinway Pianos

Timestamps

• [2:36] Why Papa Roach wanted to work with “the young bucks”
• [4:06] Avoiding the stale “active rock chart” sound
• [7:05] The difference between working with an established band vs. a new band
• [8:46] A producer’s role in helping a band reestablish their identity
• [13:26] The time they brought a literal beach to the studio parking lot
• [16:10] Why technical perfection doesn’t matter as much as vibe and energy
• [19:20] How rock producers can learn from hip-hop’s fun and fast workflow
• [20:09] Why you should seriously consider moving to a major music city
• [24:19] How insecurity and fear of judgment cause producers to obsess over details
• [25:57] The story of Jimmy Iovine’s initial feedback on the song “Scars”
• [34:42] Creative recording techniques: using a quarter to play a piano string
• [36:01] What makes a recording session feel like true “rock and roll”
• [37:15] The danger of letting yourself get jaded about making music
• [39:11] When you feel blocked, find inspiration outside of the studio
• [45:18] Why people don’t finish their projects (it’s fear of judgment)
• [49:24] The two years of grinding it took for Colin to become a go-to mixer
• [52:41] You are the company you keep: The power of your professional network
• [54:18] The poisonous attitude of jealousy vs. celebrating your friends’ success

Jason Livermore is a producer, engineer, and co-owner of the legendary Blasting Room Studios in Fort Collins, Colorado, alongside punk rock icon Bill Stevenson. For decades, he’s been the force behind the board for a massive list of influential bands, including Rise Against, The Descendents, NOFX, Alkaline Trio, and A Day To Remember, shaping the sound of modern punk and hardcore.

In This Episode

Jason Livermore sits down to talk shop about what it takes to run a multi-room facility and maintain a career for the long haul. He gets into the nitty-gritty of how The Blasting Room’s ultra-efficient, parallel workflow allows his team to finish entire records in just a few weeks without sacrificing quality. He also breaks down the importance of earning a client’s trust, managing different personalities, and knowing when to stand your ground versus letting things go. Jason offers some great perspective on the ever-changing role of big studios, why gear matters less than you think, and why your social skills might just be more important than your technical chops. This is a super chill but insightful look into the mindset of a producer who has seen it all and is still going strong.

Timestamps

• [1:53] Running a multi-room facility during quarantine
• [6:37] How the pandemic shifted client priorities away from “bullshit”
• [7:11] The problem with arbitrary industry deadlines
• [9:41] The pros and cons of burning bridges
• [11:20] Whose vision matters most: the band’s, the label’s, or the manager’s?
• [14:02] Why it’s better to ask for forgiveness than permission
• [16:19] Dealing with pointless studio visits from label A&R
• [19:13] Time management during the “golden years” of working 80-hour weeks
• [22:00] Identifying and correcting inefficient production workflows
• [24:59] The Blasting Room’s parallel workflow that gets albums done in 3 weeks
• [28:24] Earning a client’s trust when they don’t know you
• [31:00] Why bands complain more about lenient producers than tyrants
• [33:30] Balancing the “best record” vs. the “best experience” for the band
• [40:36] The misunderstood “executive producer” style of Rick Rubin
• [47:55] How The Blasting Room uses internships as a filter for hiring full-time staff
• [56:31] The future of big studios in the age of home recording
• [1:01:08] The diminishing role of gear (and the specific gear that still matters)
• [1:02:54] Why inexperienced producers worry so much about gear
• [1:05:39] How Jason got his start (and how long it took to make a living)
• [1:09:05] Why social skills can sometimes be more important than audio skills

Producer, songwriter, and engineer Josh Schroeder has been running his studio, Random Awesome, since 2008, working with bands like For The Fallen Dreams, The Color Morale, and Tallah. He’s joined by his long-time collaborator David Gunn, the frontman, lyricist, and primary songwriter for King 810. Together, they have a wide body of work that pushes the boundaries of heavy music.

In This Episode

This one is a deep dive into the philosophy and mindset behind a successful producer-artist relationship. Josh and David get into what made them click creatively, breaking down their shared belief in being “ideas people” rather than “settings people.” They explore why chasing authenticity and capturing a vibe is way more important than obsessing over technical minutiae or the right gear. The conversation goes way beyond the studio, touching on the pitfalls of external validation, the nature of success, and how to find true satisfaction in your work by creating for yourself first. They also share some wild stories from their sessions, including how a demand from the label led to the song “Kill ‘Em All” and the time they used pepper spray to capture a uniquely aggressive vocal performance.

Products Mentioned

• Empirical Labs Distressor

Timestamps

• [2:45] How Josh and David first met (and why David didn’t want to be there)
• [9:20] The difference between being an “ideas person” and a “settings person”
• [11:40] A core producer philosophy: Listen to your artists
• [13:06] Can you actually teach someone awareness and “how to hang”?
• [18:40] “Beginner’s novelty”: Why the first year of learning something is so rewarding
• [22:42] Proving that great records can be made with awful gear
• [29:34] David on being uncompromised and not motivated by external rewards
• [31:05] The idea that the second you show your art to someone, you’ve “sold out”
• [38:33] The “hedonic treadmill” and why achieving your goals might not make you happy
• [45:53] “Calling your shots”: How verbalizing a goal can help you achieve it
• [51:27] The whole story behind writing “Kill ‘Em All” for King 810
• [59:06] Using actual pepper spray in the vocal booth to get a wild performance
• [1:02:49] Why they often use the original demo vocals on the final album
• [1:07:55] Josh’s “painting on the moon” analogy for making bold creative choices
• [1:22:23] The “Flat Earth” test: If a conspiracy is true, how would your life actually change?
• [1:35:47] Why Josh takes a break from the internet for a month every year
• [1:47:18] The “building tables” analogy for why you need to work quickly to improve
• [1:56:04] The pragmatic approach: Watch what people do, not what they say