urmadmin, Author at Unstoppable Recording Machine

NICK SAMPSON: Modular guitars, the Polyphia writing process, and modern metal production

A guitarist, songwriter, producer, and mixer based out of Michigan’s 37 Studios, Nick Sampson is a key player in the modern metal scene. A protege of Joey Sturgis, he has produced and mixed for a diverse roster of artists including Asking Alexandria, Born Of Osiris, We Came As Romans, Of Mice & Men, and Polyphia. As a phenomenal guitarist himself in the band I’m Abomination, Nick brings a deep understanding of the instrument to both his productions and his innovative side-project: designing fully modular guitars.

In This Episode

Nick Sampson drops by to chat about his forward-thinking approach to all things guitar. He kicks things off by revealing his wild project of designing a fully modular guitar—inspired by the 500-series rack concept—that allows for swapping out pickups, bridges (including an Evertune), scale length, and even string count on the fly. The conversation then shifts to the studio, exploring why player technique is the most critical part of the signal chain and how to coach less-experienced players to get a great DI take. Nick also gives a peek into his writing process with Polyphia, explaining how they craft memorable instrumental music by treating guitar leads like pop vocal melodies that you can sing back. He wraps up with some killer mixing tips, breaking down his technique for splitting bass into separate low-end and grit tracks, and detailing how he tames harsh frequencies in heavy guitars without making them sound dull.

Products Mentioned

Timestamps

[03:24] The concept behind Nick’s fully modular guitar design
[05:01] How the API 500-series format inspired his guitar design
[06:53] Designing a guitar body to accommodate the massive Evertune bridge
[09:12] Future ideas for guitars that guide you through the setup process
[12:55] How a simple Digitech multi-effects pedal taught him about harmony
[19:59] Nick’s approach to coaching less-skilled guitarists during tracking
[21:21] How tiny changes in picking technique create huge tonal differences
[22:50] Why you should just re-track bad DIs instead of trying to “fix” them
[25:49] The astonishing sonic difference between two players on the exact same rig
[27:27] The meticulous, calculated drumming technique of Chris from Oceans Ate Alaska
[31:12] How blast beats actually work (it’s all about rebound)
[33:20] Why Necrophagist’s “Epitaph” is a timeless, compositional masterpiece
[38:15] The Polyphia writing formula: treating guitar leads like pop vocal lines
[40:35] The importance of being able to sing or “mouth riff” a part
[42:54] Using hip-hop rhythmic motifs to make instrumental riffs catchier
[49:21] First steps for taming harsh, distorted guitar tones in a mix
[51:45] How to avoid going down the “over-EQ” rabbit hole
[54:31] Breaking down the killer bass tone on Polyphia’s “Crush”
[55:20] The logic behind splitting a bass DI into low-end and top-end tracks

ROMESH DODANGODA: Why drums come first, mixing Bring Me The Horizon, and essential studio etiquette

Romesh Dodangoda is a producer and mixer operating out of his Long Wave Recording Studio in Cardiff, Wales. His impressive discography includes work with major UK rock and metal acts like Bring Me The Horizon, Bullet For My Valentine, Funeral for a Friend, and Sylosis. He’s also collaborated on records for Monuments and was brought in to track guitars for Motörhead’s album *The Wörld is Yours*. Known for his meticulous work, he’s handled high-profile projects like mixing Bring Me The Horizon’s epic live performances at both Wembley Arena and the Royal Albert Hall.

In This Episode

Romesh Dodangoda drops in to share the mindset behind his killer productions. He breaks down his philosophy of starting every record with a phenomenal, natural drum sound and explains why he spends so much time getting it right before anything else gets tracked. He gets into the nitty-gritty of committing to tones on the way in, from summing multiple guitar mics to a single track to printing compression while recording. Romesh also shares incredible stories from his career, including the technical puzzle of mixing Bring Me The Horizon with a 52-piece orchestra, the surreal experience of working at Abbey Road Studios, and what it was like tracking with Motörhead’s Phil Campbell. Plus, he offers up some crucial, real-world advice on studio etiquette that every aspiring engineer needs to hear.

Products Mentioned

Timestamps

[9:03] The importance of natural drum sounds in metal
[12:21] Why getting drums right is the foundation of a great mix
[17:24] Collaborating remotely on the Monuments record
[19:33] Using a numbering system to keep session files organized
[22:07] Recording guitars for Motörhead’s “The Wörld Is Yours”
[26:27] The surreal feeling of working at Abbey Road for the first time
[29:37] The 5.1 mixing workflow for Bring Me The Horizon’s “Live at Wembley”
[33:11] The massive challenge of mixing Bring Me The Horizon with a live orchestra
[35:07] Using fader rides and automation to mix to picture
[36:29] Why he sometimes scraps a mix and starts over completely
[44:05] The essential rules of studio etiquette for assistants
[45:24] The one thing an assistant should NEVER do
[54:30] Romesh’s philosophy on his massive amp collection
[57:30] How he uses amp sims and profilers like the Kemper
[59:41] Breaking down the drum sound on Sylosis’ “Monolith”
[1:03:07] His go-to guitar recording setup (mics, amps, workflow)
[1:05:28] Committing to sounds and summing mics on the way in
[1:13:41] How his assistant-based editing workflow saves tons of time

JOHNNY MINARDI: Getting signed, why producers get rehired, and having a long-term vision

Johnny Minardi is the Senior Director of A&R at Fueled by Ramen and Roadrunner Records, where he’s worked with acts like Fall Out Boy and Panic! at the Disco. He’s also the president of Self-titled Management, where he focuses on guiding the careers of top-tier producers including Will Putney, Machine, Kris Crummett, Nolly, and Nick Sampson. With previous A&R stints at Equal Vision, Atlantic, and Red Bull Records, plus co-founding Noise Creators, Johnny has a 360-degree view of the modern music industry.

In This Episode

Johnny Minardi pulls back the curtain on what it takes to build a real career in music, both as an artist and a producer. He gets into the nitty-gritty of what an A&R rep *actually* looks for in a new band (hint: it’s not always about pre-existing business metrics) and why having a clear, long-term vision is the one trait that separates the pros from the pack. Johnny also shares invaluable insights from his experience managing elite producers, breaking down the difference between a producer who gets repeat clients and one who doesn’t, and explaining when you’re actually ready to seek out management. It’s a super insightful chat about the power of work ethic, reverse-engineering success instead of getting jealous, and why the most entrepreneurial minds aren’t afraid to ask questions and get laughed at on the way to the top.

Timestamps

[2:31] Johnny’s career journey from Fueled By Ramen to Roadrunner
[5:13] Why just “showing up” puts you ahead of 85% of people
[6:38] What it takes to succeed as an A&R: giving a shit about music and people
[9:50] Does a band need to be an established business to get signed?
[12:14] Why a band needs to win over the entire label, not just the A&R guy
[13:58] How an A&R can help a new band build relationships within the label
[17:09] The single most important trait shared by top-tier bands and producers
[18:37] The power of having a long-term vision, even before your first record is out
[22:01] Reverse-engineering success vs. being jealous of other people’s careers
[29:06] Why Johnny started managing producers (and the skills many producers lack)
[32:19] The difference between managing artists and producers
[34:44] What he looks for when signing a new producer to his roster
[40:50] The #1 reason producers don’t get repeat clients
[42:23] The difference between a producer who gets rehired and one who doesn’t
[43:54] When is a producer actually ready for a manager?
[48:15] Cultivating an entrepreneurial spirit
[49:53] The “Best Buy” story: Not being afraid to ask dumb questions and get laughed at
[52:38] Is an entrepreneurial drive nature or nurture?
[54:03] How to find mentors and inspiration, even if you’re isolated

BRIAN HOOD: The Digital Nomad Myth, The “How Can I” Mindset, and The Math of Outsourcing

Brian Hood is a producer, mixer, and entrepreneur who runs 456 Recordings in Nashville, TN. He’s also the creator of The Six Figure Home Studio, an educational platform dedicated to teaching audio professionals the business and marketing skills needed to build a sustainable career. He’s a dude who’s figured out how to balance crushing it in the studio with building a smart, systemized business that gives him the freedom to live life on his own terms.

In This Episode

Brian Hood of The Six Figure Home Studio is back on the pod to talk about the stuff that actually moves the needle in your career. He kicks things off by dismantling the “digital nomad” fantasy, explaining why trying to mix from a beach in Thailand is probably a bad move when you’re still building your client base. The conversation shifts to the critical importance of mindset, contrasting the “I can’t” excuse-makers with the “how can I?” problem-solvers who always find a way to win. Brian also gets real about his own struggles with perfectionism and shares practical strategies like accountability groups and the “fail fast” philosophy to overcome it. The episode wraps with a deep dive into the economics of outsourcing, breaking down exactly how hiring an assistant for mix prep can drastically increase your hourly rate and free you up to build a bigger, better business.

Products Mentioned

Timestamps

[3:32] The myth of the “digital nomad” lifestyle for mixers
[6:35] Why you have to schedule zero work when traveling
[8:12] Getting the lifestyle cart before the career horse
[13:20] How long vacations can kill your momentum
[15:19] Focusing on playing chops vs. obsessing over gear (Kemper vs AXE-FX)
[18:14] The two mindsets that separate successful people from unsuccessful ones: “I can’t” vs. “How can I”
[23:34] How one team dominated Brian’s business bootcamp through sheer will
[29:58] The #1 determining factor for success: Grit
[32:52] Brian’s biggest struggle: Procrastination by perfectionism
[35:48] The power of the feedback cycle and failing fast
[39:37] Using accountability partners and mastermind groups to beat perfectionism
[44:15] The evolution of drum samples and staying current (Slate Drums 1.0)
[46:40] How the standard for online audio education has risen
[48:32] The importance of outsourcing non-creative tasks
[49:54] Figuring out your “base hourly worth”
[52:12] The math behind outsourcing: How to turn a $100/hr job into a $450/hr job
[56:36] Eyal just hired a personal assistant
[57:57] The “Happy Hustling” philosophy: work hard, but have a life
[1:01:05] Outsourcing on a smaller budget (hiring out drum editing)
[1:05:00] The rules of doing free work without getting screwed

Zack Ohren: Composing for Nintendo 64, Studio Horror Stories, and Producing Death Metal

Zack Ohren is a producer and engineer who has become a go-to name in the world of extreme and technical death metal. From his studio in the Bay Area, he has helmed punishing records for bands like All Shall Perish, Suffocation, Fallujah, Decrepit Birth, Chelsea Grin, and Brain Drill, shaping the sound of a generation of heavy music.

In This Episode

Zack Ohren gets real about the producer’s grind, from the lack of work-life balance to hilarious and horrifying stories about keeping bands in line at the studio. He shares his completely unique origin story, explaining how he went from composing Primus-inspired music for the Nintendo 64 game Twisted Edge Snowboarding as a teenager to becoming a sought-after metal producer. Zack breaks down his philosophy of building trust through brutal honesty and discusses his hybrid workflow, detailing why he tracks through killer analog gear but mixes in the box for speed and total recall. He also offers his perspective on the raw vs. polished metal debate, explaining his preference for real amps and drums while acknowledging where sims and samples have their place. This is a deep dive into the mindset and practical realities of making heavy records.

Products Mentioned

Timestamps

[3:55] The reality of a producer’s “always on” schedule
[8:28] The blessing and the curse of having a full studio setup at home
[11:55] Studio horror stories: Airsoft guns, stolen mics, and trashed rooms
[13:36] The time an engineer stole Eyal’s Neumann U87
[18:49] How a fancy, clean studio intimidates bands into being respectful
[20:16] Why you need to set boundaries and rules with bands from day one
[28:43] Dealing with bands sleeping in their van outside the studio
[30:48] How Zack got typecast as a technical death metal producer
[33:25] Zack’s wild origin story: Making music for Nintendo 64 games as a teen
[37:49] Getting into the mindset of a 24/7 music and recording obsession
[44:27] How recording bands like Animosity and All Shall Perish launched his metal career
[45:35] Zack’s core production philosophy: Building trust through brutal honesty
[49:39] Reading a band’s internal power dynamics to get a better record
[51:48] A breakdown of Zack’s hybrid workflow (tracking analog, mixing in the box)
[53:24] Why he values recallability and workflow speed over analog summing
[54:52] Pro tips for speeding up your DAW workflow with macros and key commands
[57:27] The difference between producing raw death metal vs. polished modern metal
[59:41] Zack’s take on using real drums and amps vs. samples and sims
[1:02:02] How a player’s familiarity with sims vs. real amps affects their performance