urmadmin, Author at Unstoppable Recording Machine

TREY XAVIER: Running Gear Gods, the ultimate overdrive shootout, and music theory for metal

Trey Xavier is a guitarist, educator, and the Editor-in-Chief of GearGods.net, the popular online hub for metal musicians. He’s known for creating a massive variety of content, from viral gear-related comedy like his John Petrucci parody video to highly detailed product reviews and shootouts. Through his work at Gear Gods, he has established himself as a trusted voice in the gear community. He also writes and performs in a power metal band and produces “Trey’s Theory Corner,” a video series dedicated to making music theory accessible for metal players.

In This Episode

Trey Xavier of Gear Gods hangs out to talk about his journey from guitar teacher to running one of metal’s biggest gear sites. He gets into the logistics of creating massive gear shootouts, like his 25-pedal overdrive comparison, and shares his personal favorites from the test. Trey also discusses his passion for making music theory fun and intuitive for players who might be intimidated by traditional methods. The conversation shifts to the state of modern guitar, celebrating a new generation of players like Brandon Ellis and Jason Richardson who carry the torch of the classic shredders. He also dives into the art of songwriting, explaining how writing pop music made him a better metal writer and offering solid advice for anyone looking to build a career in online music media, from what camera to buy to the simple, crucial art of networking without being a “punisher.”

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Timestamps

[8:20] Trey’s viral John Petrucci parody video
[9:18] Using the Jam It app to isolate tracks for covers
[11:22] The importance of humor in music and gear content
[13:34] The experience of going to a Dream Theater show
[16:10] The mission behind Gear Gods: being a hub for metal musicians
[17:15] Breaking down the massive 25-pedal overdrive shootout
[19:11] Trey’s favorite overdrive pedal from the shootout (VFE Ice Cream)
[22:54] Joel’s history with pedals, from the Metal Zone to boutique gear
[26:00] Going down the gear rabbit hole after discovering a great pedal
[28:57] Creating an accessible music theory series for metal guitarists
[34:03] Making theory intuitive and breaking it into small, digestible chunks
[38:26] Is the era of the classic “shred” guitarist over?
[40:44] Why Brandon Ellis is the “new Jason Becker”
[44:57] Highlighting other incredible modern guitarists like Nick Johnston
[53:24] The art of pop songwriting and what metal musicians can learn from it
[54:11] Why writing a hit pop song can be harder than writing a complex metal song
[56:28] How Trey got his start at Gear Gods by being persistent
[1:02:44] Advice for aspiring content creators: what gear to start with
[1:07:02] The secret to networking: just make genuine friends and don’t be a dick
[1:13:25] The power of being persistent (but not annoying)

JAY MAAS: Computer Science & Punk Rock, The Psychology of Mixing, and Phase Alignment

Jay Maas is a producer, engineer, and musician known for his work in the hardcore and punk scenes. As the guitarist and a founding member of Defeater, he spent years on the road before establishing himself as a go-to producer at his studio, The Getaway Recording. He’s worked with a ton of influential bands, including Title Fight, Counterparts, Bane, and State Champs, consistently delivering records that are aggressive, raw, and emotionally resonant.

In This Episode

Jay Maas joins the podcast to talk about his unique production philosophy, which blends a computer science background with a punk rock, commitment-first mentality. He explains how he balances a software-centric workflow with select analog gear on the front and back end, sharing some of his go-to pieces for tracking. Jay also makes a strong case for why he prefers attended mixing sessions, getting into the psychology of involving the artist in the creative process to get better results and fewer revisions. He also dives into the nuts and bolts of his drum recording techniques, emphasizing the critical role of phase alignment for massive room sounds. It’s a great look into the mindset of a producer who values both technical precision and capturing the raw, human element of a performance.

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Timestamps

[2:52] The story of dropping out of Berklee College of Music on the first day
[5:03] Planning for long-term relevance in a youth-driven industry
[7:09] How a computer science background influences his production approach
[8:22] Balancing a software-first mindset with select hardware choices
[9:11] His favorite vocal chain: Retro Sta-Level and an Empirical Labs Distressor
[11:00] Blind A/B tests and justifying the expense of high-end outboard gear
[13:07] The importance of committing to sounds during tracking
[14:14] A trick for recording compressed and uncompressed snare tracks simultaneously
[15:11] Why Jay is one of the few producers who actually prefers attended mixing sessions
[17:36] Deciphering what artists *actually* mean with their abstract mix notes
[20:29] How to be direct and honest with a band without being a dick
[21:18] Dealing with “too punk” clients who are afraid of their music being accessible
[23:38] Navigating band politics when the best ideas come from the quietest member
[28:32] The pros and cons of traveling for work vs. staying in a familiar environment
[38:01] Jay’s philosophy on processing drum room mics and the absolute importance of phase
[41:24] Do you time-align distant room mics to the close mics?
[42:54] Thoughts on amp sims and why he rarely uses them
[44:32] “I almost never track DI… I’m punk as fuck.”
[45:26] Using the Empirical Labs Fatso on the mix bus
[48:23] Why he prefers a Sennheiser MD 421 over a Shure SM57 on snare

NICK SAMPSON: Building custom guitars, the tonewood myth, and perfect guitar setups

Nick Sampson is a producer and an accomplished guitarist, formerly of the band I Am Abomination. After working under Joey Sturgis for several years, he branched out to run his own productions, working with bands like Polyphia, Of Mice & Men, and Born of Osiris. Beyond his production work, Nick has a deep passion for building custom guitars from the ground up, using his knowledge to innovate and solve common problems that musicians and producers face.

In This Episode

This week, producer and custom guitar builder Nick Sampson nerds out on everything that goes into making a killer axe. He gets into the weeds of designing and building guitars with CNC mills and CAD software, breaking down the technical challenges of getting things like balance, intonation, and neck feel just right. Nick weighs in on the boutique vs. mass-produced guitar debate and shares his thoughts on innovative designs from brands like Strandberg and Aristides. For producers, this is a deep dive into the source of all tone—the instrument itself. Nick covers the importance of a solid setup (and why you’ll probably have to do it for your clients), how tools like the Evertune bridge can be lifesavers in the studio, and his own quest to create a modular guitar that would allow for easily swapping pickups. It’s a killer conversation packed with insights that will help you get better tones before you even touch a mic.

Products Mentioned

Timestamps

[2:16] Why build a custom guitar instead of just buying one?
[3:00] Using a CNC mill and CAD programs to design a guitar body
[4:42] The unique trapezoid-shaped neck of Strandberg guitars
[6:53] How boutique builders can miss basics like balance and tuning stability
[8:20] How to avoid intonation issues by properly placing the bridge
[11:38] Do mass production and quotas hurt guitar quality?
[14:41] The challenge of recreating the super-thin Ibanez Wizard neck profile
[17:30] A discussion on a wild modular brass nut design seen online
[20:59] The benefits of Graphtec saddles and nuts for tone
[21:57] Why producers constantly have to set up client guitars for recording sessions
[28:17] Nick’s concept for a modular guitar for easily swapping pickups
[30:55] How the Evertune bridge works and how to set it for bending vs. perfect tuning
[33:32] The benefits of non-wood guitars like Aristides
[37:36] The “tonewood” debate: how much does wood really matter for electric guitars?
[39:31] Do thicker strings and denser wood equal a thicker tone?
[41:41] How pick thickness affects guitar tone and attack
[43:27] Coaching guitarists when you could easily play the parts yourself
[46:32] Nick’s advice for up-and-coming producers

NICK PILOTTA: How to become indispensable, getting a studio internship, and the art of shutting up

Nick Pilotta is an assistant engineer for producer Andrew Wade, having contributed to every record to come out of The Audio Compound in the past few years, including the Wage War album “Deadweight.” He also works with the URM team on the road, helping to film and produce Nail The Mix sessions around the world. At just 21 years old at the time of recording, Nick’s story is a masterclass in how to go from fan to indispensable team member in the studio world.

In This Episode

Nick Pilotta joins Eyal to share his incredible story of turning an internship into a full-time career with one of the biggest producers in the scene. He walks through the entire process, from strategically choosing his audio school to be closer to Andrew Wade, to the now-famous story of buying a surround sound system he didn’t need just for a chance to meet him. Nick gets real about the mindset required to make it, explaining why you have to be ready to pounce on opportunities, do the unglamorous work, and deliver high-quality results overnight—even when you’re not getting paid. He also discusses how to overcome the negative stereotypes often associated with audio school grads, the importance of having one key technical skill you’ve mastered, and why you should probably just keep your mouth shut during sessions. For anyone looking to get their foot in the door, this episode is a step-by-step guide to proving your value and becoming the person everyone wants to hire.

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Timestamps

[0:04:00] Why audio school grads can get a bad rap
[0:06:26] The intern who told Andrew Wade his own mixes ruled
[0:08:25] Why it’s “easy” to get a job if you just have a good attitude
[0:09:21] How Nick strategically chose his audio school to be closer to Andrew Wade
[0:13:36] The story of buying a surround sound system just to meet Andrew
[0:15:20] Turning a one-time meeting into a long-term career goal
[0:17:50] Pouncing on an opportunity posted on Facebook
[0:20:58] The transition from construction help to tuning vocals
[0:22:37] Seizing the moment: Why you have to deliver overnight
[0:25:27] The “I have to make a living” excuse that kills opportunities
[0:30:59] Driving to another state to pick up gear on his own dime
[0:37:20] Volunteering for a Nail The Mix session with no pay or expenses covered
[0:38:17] The power of small gestures, like knowing someone’s favorite green juice
[0:46:04] How to work faster: time management and sacrificing sleep
[0:53:31] Dealing with the fear of failure and feeling like you’re not good enough
[0:57:50] What he expected to learn vs. the reality of being an intern
[1:03:46] The importance of having one “niche” skill you’re great at
[1:06:54] Advice for a new intern: just don’t talk
[1:12:12] Should you give up if you’re an introvert?
[1:24:14] Dealing with the bombardment of information when you’re starting out

PHIL SGROSSO: As I Lay Dying’s Studio Secrets, The “Trim the Fat” Philosophy, Tour Managing Animals As Leaders

Phil Sgrosso is a guitarist and songwriter known for his foundational role in the metalcore scene. He has been a primary creative force in bands like As I Lay Dying, Wovenwar, and the hardcore-crossover project Poison Headache. Beyond his own bands, he’s a versatile player who has also toured with Nails and filled in on guitar for Saosin, showcasing a wide range of styles and skills.

In This Episode

Phil Sgrosso sits down for a chill but super insightful chat about his career making records at the highest level of metal. He gets into the nitty-gritty of working with iconic producers like Adam D and Bill Stevenson, sharing how their different approaches helped shape the As I Lay Dying sound—from Adam’s “trim the fat” songwriting philosophy to Bill’s “less is more” vibe. Phil breaks down their studio process, emphasizing the importance of thorough pre-production and explaining why they trusted mixers like Andy Sneap and Colin Richardson to re-amp their guitars. He also touches on cool production tricks like layering “thunder chugs” to make heavy parts hit harder. Beyond the AILD days, Phil talks about the creative shift required for Wovenwar, his passion project Poison Headache, and how his experience as a musician gives him an edge in his new role as a tour manager for bands like Animals As Leaders. It’s a great look into the mindset and practical techniques behind some of modern metal’s biggest albums.

Products Mentioned

Timestamps

[0:01:42] Joining As I Lay Dying after “Frail Words Collapse”
[0:04:57] Phil’s relationship with gear vs. songwriting
[0:06:22] Why great production is the essential foundation for a great mix
[0:08:52] The power of detailed pre-production before hitting the studio
[0:10:11] How producer Adam D’s “trim the fat” approach shaped their songwriting
[0:11:57] Working with Bill Stevenson to explore a “less is more” approach
[0:14:45] The excitement of getting the first mix back and making 1-2 dB tweaks
[0:18:16] Why legendary mixers like Andy Sneap and Colin Richardson re-amped their guitars
[0:20:43] Starting over with Wovenwar and writing for a new vocal style
[0:25:15] The Poison Headache project: exploring hardcore and crust punk influences
[0:27:58] Transitioning into tour management for bands like Animals As Leaders
[0:35:12] Phil’s philosophy on writing memorable, catchy riffs
[0:38:20] The guitar setup for “An Ocean Between Us” (Les Paul Studio with an EMG 81)
[0:43:12] Phil’s unconventional approach to warming up (or not warming up)
[0:46:21] What it was really like being tracked by Adam D
[0:51:08] Using “thunder chugs” to thicken up heavy parts
[0:52:30] Phil’s musical background, from classical lessons to learning Weezer songs
[1:00:02] How listening to punk rock developed his right-hand stamina for metal