Eyal Levi, Author at Unstoppable Recording Machine

MARK DODSON: Producing Judas Priest, old-school production tricks, and why he hates click tracks

Mark Dodson is a UK-based producer and engineer whose career has spanned decades and genres. He got his start at The Who’s Rampart Studios, working with artists like Joe Cocker and Joan Jett (“Bad Reputation”) before becoming a go-to name in heavy metal. He engineered Judas Priest’s seminal Sin After Sin and later produced Defenders of the Faith. His extensive discography also includes iconic albums with Anthrax, Suicidal Tendencies (Lights…Camera…Revolution!), Metal Church, and Ugly Kid Joe.

In This Episode

Mark Dodson joins the podcast to share some absolutely killer stories from his decades behind the board. He talks about getting thrown into the deep end at The Who’s studio, where his first-ever session involved a completely wasted Joe Cocker delivering a mind-blowing vocal take. Mark dives into his philosophy on capturing a band’s natural “magic,” explaining why he avoids click tracks and how a great player is the true source of a heavy guitar tone. He gets into the details of engineering Judas Priest’s Sin After Sin and shares some wild, pre-digital production tricks from the Defenders of the Faith sessions—including building a mechanical, glove-wearing arm to trigger snare hits. He also discusses working with Suicidal Tendencies and Anthrax, the importance of relationships in building a long-term career, and why you can’t be afraid to experiment, even if it means dragging a mic’d up axe around a car park.

Products Mentioned

Timestamps

[0:09:59] The wild first session Mark ever worked on with Joe Cocker
[0:12:44] The time he cheekily threw a coin in Pete Townshend’s guitar case
[0:19:58] Engineering Judas Priest’s “Sin After Sin” and working with Roger Glover
[0:21:41] The evolution of heavy guitar tones since the ’70s
[0:23:03] How a specific amp that survived a fire defined the Anthrax sound
[0:27:26] The “magic pocket” that bands hit and why he hates click tracks
[0:36:36] Hearing “You Can’t Bring Me Down” in a random pub decades later
[0:38:06] The story of how he started working with Suicidal Tendencies
[0:41:18] How Robert Trujillo landed the Metallica gig
[0:44:48] Robert Trujillo’s idea for Metallica to play local songs at shows
[0:48:29] Why he avoids crazy long, drug-fueled studio hours
[0:53:31] Why he still feels like he hasn’t reached his pinnacle
[0:56:15] Learning from producers like Glyn Johns and his three-mic drum technique
[1:05:10] A clever vocal recording trick learned from Tony Visconti’s work with Bowie
[1:10:30] How Kenny Laguna (Joan Jett) was instrumental in launching his production career
[1:23:09] What he learned from working with Mutt Lange
[1:24:54] The insane, pre-sampler mechanical arm they built to trigger snare hits on Judas Priest’s “Defenders of the Faith”
[1:29:39] Creating a sound effect by dragging a mic’d up axe around a car park
[1:32:17] Mark’s take on re-amping vs. capturing the performance in the moment
[1:39:56] How he dealt with hard times by starting an office supply business

FINN MCKENTY, JESSE CANNON & JOHNNY MINARDI: Music Industry Mistakes, The Problem With Drums, Beating Perfectionism

This episode is a killer roundtable with URM’s own Finn McKenty (The Punk Rock MBA), producer/author Jesse Cannon (The New Abnormal, Muse Formation), and Johnny Minardi, the VP of A&R at Elektra Music Group and founder of Self-Titled Management (Will Putney, Steve Evetts). This power trio chops it up about the real-world state of the music industry in the middle of a global crisis and beyond.

In This Episode

This is a no-BS conversation about navigating the modern music industry, especially when the world goes sideways. The guys get into the huge mistake many artists made by holding back music during the pandemic instead of taking advantage of the open playing field. They debate the viability of touring for smaller bands and whether acoustic drums are the biggest bottleneck holding rock musicians back from the faster release schedules of other genres. The discussion also covers the mindset traps that artists fall into, from getting bogged down in endless mix notes to the self-sabotage of perfectionism. It’s a super insightful look at the importance of direct communication, building real relationships, and why your success has way more to do with just doing the work than being some kind of creative genius. If you need a dose of reality about what it takes to build a career, this is it.

Timestamps

[04:42] Why holding music during the pandemic was a huge mistake
[07:29] The coming flood of new music and tours when things open back up
[08:11] Finn’s take: Why can’t rock bands make a living from home like rappers?
[13:39] Finn’s theory: Are acoustic drums the biggest thing holding rock bands back?
[17:21] Jesse’s counterpoint: Why real drums are the “secret sauce”
[23:22] How long should it take to record drums for an album?
[24:30] The frustrating waste of time on mix and mastering notes
[25:31] The importance of letting go and not self-sabotaging with perfectionism
[31:24] Why being direct and saying “no” earns you more respect
[45:17] How to make live streams that fans actually want
[51:16] A key mindset shift: Your job is to entertain, not just play music
[54:22] Using Instagram Live to build a community with other bands
[57:50] The most common career mistakes: Self-doubt and cynicism
[59:09] The most common career mistakes: Entitlement
[01:00:34] The most common career mistakes: Not doing enough research
[01:03:02] Why it’s crucial to play the long game
[01:08:00] The “ClickFunnels” revelation: Realizing successful people aren’t necessarily geniuses
[01:10:48] Johnny’s “aha” moment seeing his friends’ band get signed
[01:31:32] Dealing with the fear that everything you release is terrible
[01:40:55] Adopting unnatural but beneficial habits, like exercise

Jimmy Alexander: Mastering Remote Production, Producing as a Songwriter, and Building a Sustainable Career

Jimmy Alexander is a producer, songwriter, and vocalist from Australia’s Gold Coast. His band, Awaken I Am, is signed to Victory Records, but he’s also gained recognition for his production and songwriting work with the band Slaves on tracks like “Heavier.” He specializes in writing-focused production, often building entire songs from rough iPhone demos for artists and helping them find their sound within the modern rock and post-hardcore space.

In This Episode

Jimmy Alexander joins the podcast for a super chill but insightful chat about what it really takes to make it as a modern producer. He gets into the nitty-gritty of remote production, breaking down the time management and creative challenges of working with artists across the globe. Jimmy offers a cool perspective on being a writer-first producer, discussing how he gains a band’s trust to reshape their songs and why it’s crucial to work within genres you’re genuinely a fan of. He also shares his journey from recording covers for friends to landing major projects, emphasizing the importance of building your network organically rather than spamming bands you don’t know. The conversation goes deep into the mindset of a successful creative, touching on everything from dealing with fear and imposter syndrome to why taking care of your physical and mental health is a total game-changer for productivity and longevity. This one is packed with real-world advice on building a sustainable career.

Products Mentioned

Timestamps

[03:18] Tackling the challenges of remote production
[05:13] Pitching creative ideas when you’re not in the room
[07:18] Time management for remote projects and avoiding backlogs
[09:30] Building a full production from a simple iPhone demo
[11:20] Why taste is a producer’s most important asset
[13:18] How to gain a band’s trust when you want to change their song
[17:23] Identifying as a writer first and a producer second
[26:32] Getting your first clients by recording artists in your local network
[34:24] The importance of being a genuine fan of the music you produce
[37:45] Why you should turn down projects in genres you don’t connect with
[42:30] Why having a “Plan B” can kill your “Plan A”
[45:58] Using fear as a motivator instead of letting it paralyze you
[51:38] The producer as a psychologist
[56:13] Shifting to a structured “9-to-5” workday to boost creativity
[01:00:09] How improving his physical health transformed his production work
[01:16:18] Is the production market actually oversaturated?
[01:24:56] An in-the-box producer’s first impressions of working on an analog console
[01:35:38] Why giving away your “secrets” doesn’t actually matter
[01:51:00] Knowing when to fire a difficult client
[01:59:19] Why you should never burn bridges with a band, even if they leave you for another producer

Marc Urselli: From Intern to Grammy Winner, The Psychology of Working with Legends, Studio Etiquette

Marc Urselli is a six-time Grammy-nominated, three-time Grammy-winning producer, mixer, and front of house engineer based out of New York. As the chief house engineer for the legendary East Side Sound studio, he has worked with an incredible range of artists including U2, Foo Fighters, Sting, Keith Richards, Mike Patton, and John Zorn. He also plays in his own doom metal project, Steppen Doom, which features members of Neurosis, St. Vitus, and Cult of Luna.

In This Episode

Marc Urselli breaks down the mindset and work ethic required to navigate the world of high-end recording. He shares his journey from being an unpaid intern cleaning toilets at East Side Sound to becoming the studio’s chief engineer, emphasizing the importance of being hungry and putting in the hours. Marc gets into the practical realities of working with a huge variety of clients, from accommodating artists who thrive on “organized chaos” to knowing when to keep your opinions to yourself and simply be a great engineer. He discusses his core philosophy for building a long-term career: making the artist happy is the absolute number one priority, which is the key to getting repeat business from icons like John Zorn. This episode is packed with real-world wisdom on studio etiquette, managing client relationships, and why building a community is way more valuable than being competitive.

Products Mentioned

Timestamps

[3:36] Why it’s so hard to keep a major studio running in NYC
[4:10] From cleaning toilets to chief engineer at East Side Sound
[11:46] What makes an intern stand out (and what doesn’t)
[15:00] Signal flow vs. Pro Tools wizardry in a high-end studio
[18:01] Why he left his own studio in Italy to become an intern in New York
[24:16] Why you have to consciously make time off to avoid burnout
[30:17] How getting his first big break involved Luther Vandross and a sick engineer
[32:00] An incredible lesson in musicianship from Luther Vandross
[35:31] The hard lesson he learned about offering unsolicited opinions to a producer
[36:55] The #1 red flag for an intern (and why they should never, ever talk about the music)
[41:43] How to deal with “organized chaos” and artists who don’t give you info ahead of time
[52:07] What to do when an artist requests a mic you think is the wrong choice
[56:25] The secret to getting tons of repeat business
[58:48] Using psychology and body language to know if a client is truly happy
[1:01:02] Why he limits mix revisions (and why it’s good for the artist)
[1:06:13] His protocol for getting clear, actionable mix feedback via email
[1:11:33] Keeping a “black book” on musicians: who’s great, who can’t play to a click, and how much they charge
[1:15:28] The New York mindset: Why he recommends his “competition” for gigs
[1:38:16] A brutally honest take on musicians recording and mixing themselves
[1:44:17] A simple trick for staying objective and avoiding ear fatigue during long mix sessions

Zack Ohren: Producer Psychology, Surviving Band Politics, and Mixing the New Machine Head

Zack Ohren is a seasoned producer, engineer, mixer, and mastering engineer working out of Sharkbite Studios in Oakland, California. He is known for his work with a ton of heavy bands, including Machine Head, Fallujah, Suffocation, All Shall Perish, and Warbringer.

In This Episode

Zack Ohren is back on the podcast to chat about the mindset needed to survive and thrive as a modern metal producer. He kicks things off with how quarantine pushed him into a serious running habit, leading to a discussion on the importance of physical health and mental clarity in a sedentary studio career. He gets real about the psychological side of the job—managing crazy musicians, navigating internal band politics, and staying creative under pressure without getting bitter. Zack also shares his philosophy on gear, explaining why you shouldn’t fear new tech like amp sims and why he still uses a decade-old, unsupported plugin because it just plain works. He dives into his approach to loudness, how he avoids the “louder is better” trap when sending mixes to clients, and the story behind his recent remote collaboration with Colin Richardson on the latest Machine Head tracks. It’s a super chill but insightful look at what it takes to stay at the top of your game.

Products Mentioned

Timestamps

[0:02:30] How quarantine inspired a serious running habit
[0:08:40] The mindset of constant self-improvement
[0:14:59] The importance of adjusting your goals as you get older
[0:24:20] Why audio engineers need to make a conscious effort to be healthy
[0:27:03] The job is 80% psychology, 20% audio
[0:32:27] Dealing with internal band politics as a producer
[0:34:04] How to get great results when the band has a clear vision
[0:38:12] What to do when the band *doesn’t* have a clear vision
[0:40:24] Breaking through a band’s preconceived notions about gear
[0:45:23] Why you can’t be afraid of new technology
[0:50:58] Using an unsupported, decade-old plugin because it’s still the best tool for the job
[0:55:51] The danger of tweaking things just for the sake of it
[0:57:15] How to avoid fooling a band with loudness when sending mix options
[1:00:22] Are the loudness wars really over?
[1:08:00] The importance of listening to mixes on different systems and at different volumes
[1:11:15] Using unity gain monitoring to make better mastering decisions
[1:15:13] Working with Colin Richardson on the new Machine Head tracks
[1:26:35] The increase in self-recorded tracks and how to manage them
[1:29:09] Why hobbyists sometimes deliver more organized sessions than pros
[1:35:27] Why automation will never replace skilled producers and engineers