urmadmin, Author at Unstoppable Recording Machine

BRIAN HOOD: The business of audio, how to set your rates, overcoming imposter syndrome

Brian Hood is a producer and mixer known for his work with bands like Gideon, Sworn In, and The Crimson Armada, as well as for his drum editing work on The Devil Wears Prada’s seminal Zombie EP. Outside of his client work, Brian is the founder of the popular business blog Six Figure Home Studio and the creator of the comprehensive online mixing course, From Shit to Gold.

In This Episode

Brian Hood joins the URM crew for a deep dive into a topic that’s just as important as your mixing chops: the business of running a studio. He kicks things off by explaining how he first set his prices and details the crucial transition from charging as a commodity (a simple per-song rate) to pricing based on the unique value you bring to a project. The guys discuss why keeping your overhead insanely low is the key to survival and how to use supply and demand to know when it’s the right time to raise your rates. This isn’t just about spreadsheets, though; they get into the vital importance of self-confidence, people skills, and continuous self-education. It’s a killer conversation about building a sustainable career by focusing on your personal brand, providing insane value, and surrounding yourself with the right people—essential stuff for anyone looking to go from hobbyist to pro.

Products Mentioned

Timestamps

[1:13] Why Brian created the Six Figure Home Studio blog
[3:30] The importance of providing value in online education
[5:43] Why consistency is the key to improving your mixing skills
[8:20] The story of Joey Sturgis recording Brian’s old band
[14:41] How to approach setting your prices when you’re starting out
[20:25] The genius of keeping your overhead as low as possible
[22:41] Pricing as a commodity vs. pricing based on your unique value
[25:02] How a producer working from a home studio can make a killing on #1 records
[27:38] Using supply and demand to raise your prices
[29:26] The concept of “positioning” yourself in the market
[32:42] People skills are just as critical as your audio skills
[34:38] Joel’s story about overcoming crippling shyness
[39:47] How imposter syndrome and a lack of self-confidence can kill your business
[41:29] Bands can smell insecurity from a mile away
[45:44] The power of word-of-mouth and letting your work speak for itself
[51:34] Why self-education outside of audio is a common trait among successful people
[56:44] You are the average of your five closest friends
[1:04:02] The mindset of over-delivering and providing 3x the value to your clients

BOB MARLETTE: Working with Rob Zombie, The Producer’s Real Job, and Songwriting Before Gear

Bob Marlette is a producer, songwriter, and musician whose career spans five decades and a wide range of genres. He’s known for his work with rock and metal heavyweights like Black Sabbath, Rob Zombie, Rob Halford, Alice Cooper, and Shinedown. His diverse discography also includes credits with artists such as Tracy Chapman, Cheryl Crow, and David Lee Roth, showcasing his ability to adapt and find the core of the music regardless of style. A multi-instrumentalist who started as a keyboard player, Marlette was an early adopter of music technology and has also scored films for Rob Zombie.

In This Episode

Producer Bob Marlette sits down to share some serious wisdom from his five-decade career. He gets real about the challenges of film scoring versus producing bands, using his experience with Rob Zombie as an example of how a director’s vision shapes the process. Bob explains his core philosophy: a producer’s main job is to be an advocate for the audience, ensuring the artist’s message connects. He discusses how he stays on the cutting edge, evolving from early synth tech like the Fairlight CMI to a modern Pro Tools workflow, and how to identify “pivotal” new gear that actually matters. Most importantly, he hammers home that a great song and a passionate performance will always trump any piece of gear or production trick. This is a masterclass in mindset, longevity, and focusing on what truly makes a record timeless.

Products Mentioned

Timestamps

[02:27] The surreal moment of hearing your own song in a movie theater
[07:35] The unique challenges of film scoring versus producing bands
[08:50] How temp tracks from other films can limit a composer’s creativity
[13:57] Why artists with a clear, good vision (like Rob Zombie) are so rare
[17:10] The producer’s main job: Being an advocate for the audience
[22:49] How radio marketing demographics created musical “boxes” for listeners
[25:01] Why long album cycles can hurt a band’s connection with their audience
[27:54] An awesome story about meeting Paul McCartney at Henson Studios
[32:52] How Bob stays on the cutting edge of technology and music
[35:05] Identifying “pivotal” new gear versus short-lived fads
[39:24] Working with one of the first Fairlight CMI samplers in the US
[45:24] Does working on a computer boost or limit creativity?
[50:17] Dealing with modern musicians who aren’t as skilled as players from past eras
[56:06] Bob’s “secret sauce” for success: Relentless energy and great songs
[57:36] “What’s the cure for a shitty snare drum sound? A hit song.”
[01:00:28] Getting a killer drum sound by recording in his dining room
[01:05:07] Why he’d rather have his teeth pulled than record to analog tape now
[01:07:21] The importance of adapting to new technology to stay relevant
[01:10:49] Bob’s number one piece of advice for aspiring producers: Say “yes” to everything

TAYLOR LARSON: His drum recording secrets, handling unprepared musicians, and mixing bass & guitar

Producer Taylor Larson has a killer discography that includes work with progressive metalcore giants Veil of Maya, metal veterans Darkest Hour, and his early work with electronicore pioneers Sky Eats Airplane. Known for his powerful, modern productions, he’s a master at capturing aggressive and polished tones, particularly when it comes to drums and guitars.

In This Episode

Taylor Larson gets into the nitty-gritty of his recording process, starting with a deep dive into his drum sounds. He walks through his entire signal chain, from his preference for a Gretch Brooklyn kit and Remo heads to his philosophy of using Neve preamps on shells and APIs on cymbals. He details his go-to mics and placements for every part of the kit, including a multi-mic room setup designed to create a massive, wide stereo image. Taylor also gives his unfiltered take on how he handles underprepared musicians, the problem with getting mix advice from online forums, and the techniques he uses to get bass and guitars to sit together perfectly. It’s a super practical look at the gear, mindset, and no-BS attitude required to get pro-level metal tones.

Products Mentioned

Timestamps

[3:31] Working while sick: when to power through and when to stay home
[6:43] Taylor’s philosophy on getting drum sounds (and why his kit is always set up)
[8:44] Favorite drum shells and cymbals (Gretch Brooklyn, Zildjian K Hybrids)
[11:25] The great drum head debate: Remo vs. Evans
[13:20] Signal chain philosophy: Neve for shells, API for cymbals
[14:49] Go-to kick mic setup (vintage AKG + Neumann FET 47)
[16:54] Snare mic setup (SM57 top, vintage Blue Mouse bottom)
[20:15] Using room mics to create a wide, realistic kick and snare sound
[21:36] Tom miking techniques and why preamps matter more than mics
[27:38] Getting smooth overhead sounds with Neumann KM 84s and API EQs
[30:42] A detailed breakdown of his multi-mic room setup
[32:56] How he handles underprepared drummers in the studio
[36:06] Why getting mix advice from online forums can be a disaster
[41:13] Using outboard and plugins on the way in for drums
[43:36] Driving Neve preamps for harmonic distortion on kick and snare
[45:36] The secret to creating a 3D sound space in a mix
[47:26] How he gets a loud, explosive snare sound (compression, reverb, and a secret clipping technique)
[51:15] Taylor’s love/hate relationship with recording electric guitars
[54:42] The classic metal producer trick for separating bass and guitar (high-pass filters and multi-band distortion)
[59:25] Why some great records fail while mediocre ones succeed

JUSTIN COLLETTI: The Business of Creativity, Why Amateurs Aren’t Your Competition, and the Problem with Hi-Res Audio

Justin Colletti is a mastering engineer at Joe Lambert Mastering and the managing editor of the popular audio pro website Sonic Scoop. With a versatile credit list that includes everyone from Willie Nelson to the Sugar Hill Gang, Justin brings a unique perspective that bridges the gap between hands-on audio work, technical writing, and the business side of the music industry.

In This Episode

This episode is less about specific plugins and more about the philosophy and mindset needed to build a sustainable career in audio. Justin Colletti gets real about the crucial balance between art and commerce, arguing that business isn’t about numbers—it’s about understanding human motivation. He re-frames the “amateur vs. professional” debate, explaining why the rise of home recording is a good thing for everyone and why pros should see hobbyists as their best audience, not their competition. The guys also get into the power of slowly building good habits, why you shouldn’t build a massive studio before you have clients, and the importance of financial literacy for creatives. Justin caps it off with a killer rant on how the music industry’s obsession with high-resolution audio formats is actually devaluing music in the eyes of the consumer. It’s a heavy dose of the big-picture thinking you need to not just survive, but thrive.

Timestamps

[2:40] Balancing the logical and creative parts of your brain
[3:40] How getting deep into production can spark an interest in business and economics
[5:16] Business isn’t about numbers; it’s about human motivation
[8:50] Why you’ll burn out if you get into music for the wrong reasons
[9:32] Thinking of money as a “report card” for the value you create
[11:08] The true definition of “amateur”: one who does something for the love of it
[12:17] Why financial security gives you the freedom to take creative risks
[16:13] Financial education shouldn’t be a taboo topic for musicians
[16:49] Amateurs aren’t your competition; they’re your most passionate audience
[19:02] The myth of the world-class talent who never gets a chance
[22:34] People overestimate what they can do in a day but underestimate what they can do in a year
[23:18] How Justin balances his week between mastering and writing for Sonic Scoop
[24:13] If you don’t schedule downtime, burnout will schedule it for you
[29:34] The power of habits: “Excellence is not an act, but a habit”
[34:04] Building your creative output gradually instead of trying to do it all at once
[36:47] Why the “if you build it, they will come” approach is a death sentence for studios
[39:23] The problem with gear obsession: focusing on the tools instead of the people
[43:55] Rant: How the push for high-resolution audio may be hurting the music industry
[46:10] Telling listeners that MP3s are “shit” only justifies piracy in their minds

Kyle Black: Mixing Volumes, The Producer Hustle, and Vocal Compression Secrets

Kyle Black is a producer and mixer known for his work in the modern rock, pop-punk, and hardcore scenes. He has helmed records for bands like State Champs, Comeback Kid, Set It Off, and Secrets. In this episode, he discusses landing the mix for the metalcore band Volumes, showcasing his ability to move beyond a single genre and deliver killer results.

In This Episode

Kyle Black is back for part two, and this time it’s a deep dive into the nitty-gritty of being a working producer. He gets real about the producer grind, from mixing while sick to the realities of work-life balance and knowing when it’s actually time to get a manager. The main event is a full breakdown of his approach to mixing the band Volumes, a gig he landed by going after it with a spec mix. He unpacks the challenge of blending their aggressive, djent-style instrumentation with huge, pop-style vocals. Kyle shares some killer technical tips, including his multi-stage vocal compression chain, using side-chained delays to create space without automation, and his philosophy on master bus processing to ensure his mixes translate perfectly after mastering. It’s a killer conversation packed with pro-level career advice and actionable mix techniques.

Products Mentioned

Timestamps

[0:00:57] Mixing while you’re sick and the “no days off” mentality
[0:05:41] When and why to get a producer manager
[0:09:39] A manager is fuel for the fire, not a replacement for your own hustle
[0:16:19] The reality of work-life balance for a full-time producer
[0:20:39] Putting your career first when you’re young
[0:24:14] How to avoid being pigeonholed into one genre
[0:25:53] The story of landing the Volumes mix with a spec mix
[0:30:16] The challenge of mixing Volumes: blending heavy djent with polished pop vocals
[0:31:54] A deep dive into Kyle’s vocal compression chain
[0:32:45] Why Kyle prefers using compression over automation for dynamics
[0:33:04] Using JST Gain Reduction for aggressive, upfront vocals
[0:35:49] Getting punch from the slow attack setting on an SSL compressor
[0:37:26] The specific roles of each compressor in a vocal chain
[0:40:22] Using side-chain compression on delays for clarity
[0:43:28] Kyle’s simple but effective approach to parallel drum compression
[0:48:14] Master bus philosophy: checking the mix with and without a limiter
[0:50:23] How loud should drums be when sending a mix to mastering?
[1:01:21] Balancing passion projects with gigs that just pay the bills
[1:06:27] Using your rate to filter projects you’re less excited about