Henrik Udd: Lying to work at Studio Fredman, producing Architects, and his multi-band compression secrets

Speaker 1 (00:00:00):

Welcome to the Unstoppable Recording Machine Podcast, brought to you by two notes. Audio Engineering two notes is a leader in the market for load box, cabinet, and mic simulators garner the days of having ISO rooms or having to record an amp at ear bleeding volume to capture that magic tone. The Torpedo Live reload and studio allow you to crank your amp up as loud as you want, but record silently. Check out www.two-nodes.com for more info. And now your hosts, Joey Sturgis, Joel Wanasek and Eyal Levi.

Speaker 2 (00:00:37):

Welcome to another lovely episode of Unstoppable Recording Machine Podcast. How are you guys doing out there? Eyal's with me. Hello?

Speaker 3 (00:00:46):

Hello sir. How are you doing?

Speaker 2 (00:00:47):

Doing good. Doing good. And today we have, I'm going to butcher the pronunciation, so Eyal, take it away.

Speaker 3 (00:00:55):

Well, Mr. Henrik Udd, how is that? Yeah,

Speaker 4 (00:00:57):

It's pretty good.

Speaker 3 (00:01:00):

Ud

Speaker 4 (00:01:01):

Yeah,

Speaker 3 (00:01:02):

Swedish. Now he's a guy I'm sure most of you have heard of. And if you haven't then I know that you've heard his work and just didn't realize that you've heard his work because he's been in the game since at least the Dean of War Gear death called Armageddon Days. But you had known him from working with bands like Architects, bringing the Horizon at the gates. I killed the Prom queen. I mean List goes on. Came up through Studio, which is one of the most legendary metal studios of all time. I know that when I was learning production studio was there was Colin Richardson, there was Andy Sleep, and there was Frederick Nordstrom at Studio Fredman

(00:01:59):

And those were the three gods. So to come up, I mean, yeah, I can't think of, there were other guys that were also amazing, but I feel like that was the Holy Trinity in Metal in the early two thousands. And to come up through one of those seems pretty amazing. So thank you for being here, and thank you for doing Nail the Mix. Henrik is coming on this month for Nail the Mix Doing Architects, a song called Gone With the Wind, and we'll talk about that some and also just want to hear a little bit about your story. So thanks for being here. Thanks

Speaker 4 (00:02:43):

For having me. Inviting me. So just show. Yeah, so I grew up listening to Gunson Roses and I made and Metallica and stuff, but it never got much more metal than that.

Speaker 3 (00:03:01):

How did you end up at a place like Fredman? Where is way more over the top than that kind of stuff?

Speaker 4 (00:03:10):

Actually, it was by chance, I did some Al Engineering school and I needed a place to do my internship for five weeks and I called every studio in Gutenburg with a phone book.

Speaker 3 (00:03:27):

Hold on a second. Hold on. Let me just explain what a phone book is for people that are under 25 years old. It's a book that has phone numbers in it that used to exist. So alright, so go on. You called every studio from the phone book?

Speaker 4 (00:03:44):

Yeah, exactly. And then I called Studio Friedman and Fred asked me if, I was like, are you good at Pro Tools? And I lied and said I was the king of Pro Tools. So he said, okay, you can come here then for five weeks. And actually when I got there, they just started Drums for death. So that was my first session to do there to learn.

Speaker 3 (00:04:16):

Wait, but you didn't know how to use Pro Tools?

Speaker 4 (00:04:20):

No, I was using Cubase or at the time.

Speaker 3 (00:04:25):

Okay, so you had some experience.

Speaker 4 (00:04:26):

I used some from school, but I used Cubase a lot. But I was watching him, what he did and picked it up pretty fast.

Speaker 3 (00:04:36):

Did he immediately let you work on the DMU

Speaker 4 (00:04:39):

Stuff? Yeah, pretty much straight on because he needed someone to edit kick drums, which was media, and he put me on that work and I moved just the kick drums, not the whole drum kit, you do a lot today, but just moved the kick drums to the rest of the drum kit.

Speaker 3 (00:05:02):

There's a lot of kick drums on that record,

Speaker 4 (00:05:03):

A lot of kick drums. So I think I sat there for a week and just moved it, but it was fun for a bit.

Speaker 3 (00:05:12):

That's a pretty big record to have as your first record.

Speaker 4 (00:05:15):

Yeah, exactly. I mean, I've done, I bought myself some studio gear before that and recorded some local bands and stuff like that, but that was the first metal production I was ever involved with.

Speaker 3 (00:05:32):

Was it a huge, I don't know. It had to be a huge, huge difference going from working with local bands, suddenly being on a big DMO board gear record that has an orchestra and it was one of the biggest bands in Metal.

Speaker 4 (00:05:50):

Yeah, it was mental. And at the time I was more into radio, had music and listened to a Swedish band called Kent and more pop rock indie thing. So it's hard to pick up what was going on in the music. I mean, when you're not adjusted to listening to Met, I think you don't understand really what you're, what's coming at you from the speakers. But I think I picked it up fast and starting to love it.

Speaker 3 (00:06:22):

So he initially told you to come in for five weeks?

Speaker 4 (00:06:25):

Yeah, that's how long the intern thing from the school was.

Speaker 3 (00:06:30):

I had know of a few other people who got the five week internship who didn't stay. So what happened after that? How did you end up staying there?

Speaker 4 (00:06:40):

So I went back and finished the school and then went back to my normal job as a forklift driver at a storage. And I was so tired of that kind of work and it's like all I thought about was going back into music. So one day my boss came out and had some complaints at me and I just told him, I will quit this. I'll quit today. And then I left and went to Fred's place again and asked him if he could have any use for me for working for free, and I think he liked what I did during the five weeks there. So he said I could stay, and so I stayed for a year and worked for free, basically.

Speaker 3 (00:07:34):

Wait, what else did you do in the five weeks? You said you did kick drums for one week. What other stuff did you do?

Speaker 4 (00:07:41):

Some bass recording and guitars and stuff. It was pretty good with that, Fred. It put people on in work straight away trust.

Speaker 3 (00:07:54):

So it was really sink or swim. You really got the chance to prove yourself.

Speaker 5 (00:07:59):

Yeah, yeah, absolutely.

Speaker 3 (00:08:01):

Or to either prove that you know what you're doing or prove that you suck really, really quickly.

Speaker 5 (00:08:05):

Yeah, exactly.

Speaker 3 (00:08:06):

Okay. So he already knew that you could do various things when you came back. He knew that you could record a band or you could edit and that you could hang around with a band for a long period of time and still get along fine as people, which is very important.

Speaker 4 (00:08:25):

Absolutely.

Speaker 3 (00:08:26):

So you went back and you offered to work for free for a year. How did you live

Speaker 4 (00:08:32):

Back then? I was staying at my mom and dad's place, so it was pretty simple. They helped me out with all that.

Speaker 3 (00:08:41):

It was very cool. Yeah,

Speaker 4 (00:08:43):

I worked there, but then thought about because he couldn't hire me, then he had another guy working for him called Patrick, and so I decided to go to a university for audio engineering. So after a year I started second school for that. And yeah, stayed there for two years and then worked in the summers for Fred recording bands and stuff. And

Speaker 3 (00:09:13):

How did you eventually get hired?

Speaker 4 (00:09:15):

We were on a show with Fred's band Dream Evil, and his drummer in the band worked for him. That was Patrick. And on a show in Stockholm, he said like, I'm going to quit my work with you and I'm going to start to do something else. And then since I've been there for a long time, he asked me, do you want a job? And yes, that was happiest day of my life.

Speaker 3 (00:09:45):

So he was retiring from production?

Speaker 4 (00:09:49):

Yeah, exactly. He's an awesome drummer and really good at production and stuff, but it wasn't too much into mixing and stuff at the time, I think. So he wanted to quit.

Speaker 3 (00:10:00):

We're talking about Fred, right?

Speaker 4 (00:10:02):

No, no, Patrick's drummer.

Speaker 3 (00:10:03):

Oh. Oh, sorry. I misunderstood. I thought you said that Fred wanted to quit production. No,

Speaker 4 (00:10:07):

No, no.

Speaker 3 (00:10:08):

Okay. Oh, okay. So he was in a band with his own assistant,

Speaker 4 (00:10:11):

Patrick.

Speaker 3 (00:10:12):

Yeah,

Speaker 4 (00:10:12):

Exactly.

Speaker 3 (00:10:12):

Got it. So Patrick just wanted out.

Speaker 4 (00:10:15):

Yeah, and I took his job since I worked there for a long time.

Speaker 3 (00:10:20):

How many years would you say elapsed between the first internship with Dmu Borg gear to the time that Patrick decided to leave?

Speaker 4 (00:10:30):

I think he left in 2007, so four years. But I mean, I was going to school between that two, but

Speaker 3 (00:10:40):

It just goes to show that when you try to make a situation and happen for yourself in the music industry, build a relationship that will end up employing you or something. These are things that can take years and I just urge people who are interning or trying to get assistant jobs or work under big producers to be patient and give it time. Because in my story as well, when I got the gig at Audio Hammer, I got the gig at Audio Hammer after knowing them for five years.

Speaker 6 (00:11:21):

It

Speaker 3 (00:11:21):

Wasn't overnight. It took a long time. It took a long time of recording there and then leaving and then coming back and helping with some stuff and then going and touring and coming back and back and forth. I think that a lot of kids that are going for work positions in the industry are trying to do things a little too quickly at times. And I think this is good example that it takes time and proving yourself over and over and over again so that people feel comfortable with you.

Speaker 4 (00:11:59):

Yeah, I think that I learned so much in that year. I was working there for free. I mean, it was a lot of great bands to, and Fred left me a lot of work and came in and oversaw it the other day or something and it was good experience.

Speaker 3 (00:12:18):

What bands did you work on during that year?

Speaker 4 (00:12:21):

I don't really remember, to be honest. It's all,

Speaker 3 (00:12:24):

It's all just a big blur. Yeah.

Speaker 4 (00:12:25):

It's all just a big blur among one Fred's own band, but

Speaker 3 (00:12:30):

Well, I mean, there's always a ton of bands going through that studio. Joey, when you hear stories like this, does it make you think that your own story is kind of, I guess an outlier?

Speaker 2 (00:12:44):

Yeah, I do think it's interesting because there's also a perspective of when I was coming up, I remember listening to Dream Evil and being like, this is huge. I wonder what big producer did this or what Big Studio did that. And it's interesting because now I feel like I'm friends with a lot of the people that I looked up to, and so I don't know how to feel about that. I think it's weird.

Speaker 3 (00:13:16):

Yeah, it's weird for me too, because back in 2004 while you were sitting there editing those drums on the dmu, or maybe a year after that when it came out, I was sitting there wondering how the hell this record was even possible.

Speaker 2 (00:13:32):

Yeah, because it's so good.

Speaker 3 (00:13:34):

Yeah. How it's even possible to make it sound that good. So I think it kind of blows my mind to get a start around such phenomenal productions. So let's talk about architects some,

Speaker 6 (00:13:50):

Because

Speaker 3 (00:13:51):

You're coming on to do architects, so why don't we talk about architects Some you've done two records with them, lost Forever, lost Together, and all our Gods have abandoned us. How did you come into contact with them?

Speaker 4 (00:14:04):

It was like 2008. I worked with Bringed Horizon for the first time. Did an album called Suicide Season, and then Sam was doing some guest vocals there. So he came over to Sweden just to do that and part a bit. And it's like I knew that these two bands were good friends and I don't think architects really wanted to come to us because bring me Rice and was doing the production at our studio. So they stopped when bring me the rice and stopped doing coming to us. I went to a show in Gutenburg with architects and I was pissed drunk, I think and don't remember too much, and came in and talked to Tom and told him his guitar sound sucked so bad. And that's all I remember. But afterwards he said that really sold the gig hearing about how bad my guitar sound is. Really?

Speaker 3 (00:15:06):

Yeah,

Speaker 4 (00:15:06):

It's true.

Speaker 3 (00:15:07):

Was it an architect's show or were they on tour with bringing me the horizon?

Speaker 4 (00:15:10):

No, it was an architect show.

Speaker 3 (00:15:12):

Okay, so you got drunk and told them their sound sucked and that got you hired?

Speaker 4 (00:15:17):

Yeah. Yeah. I think I told him, especially your guitar sound sucked so bad. And that got him really happy because he never used to be happy with his guitar sound on anything. So he came here and said, okay, now show me how you do it.

Speaker 3 (00:15:37):

So after that you were working on one of their records, and what was the experience like working on that first record with them?

Speaker 4 (00:15:46):

It was fantastic. I mean, they're so good musicians and everyone is really a good person. So everything almost went too well. It sounded awesome, all the recordings. But then one day the kitchen flooded and there's a Thai massage upstairs from the kitchen and there was a lot of shit raining down in our kitchen and it got totally destroyed water damaged. Oh no. And that kind of put the lid on the recording, everything was going too well, and after that we had to eat outside in a party tent as Fred put up.

Speaker 3 (00:16:28):

Wait, so how long did it take to get that cleaned up?

Speaker 4 (00:16:31):

It took months and months. So the rest of the recording, they had to sleep in the recording room and I cook since all of them are vegans too. It was a bit difficult to not be able to cook your own food. So yeah, we got a bit depressed after that, but still good memories afterward.

Speaker 3 (00:16:55):

Dude, I remember one night when my band was on tour in 2007 and our singer was going crazy and he grabbed a pipe, he grabbed a pipe above the stage and started swinging from it and the pipe broke and it was a shit pipe and he broke the shit pipe and it didn't just come out of the ceiling. It came out of the ceiling at an angle to where it was pointing straight at the audience and it just sprayed them in shit for five minutes. It was horrible. So bad, but so amazing at the same time. Just one of those things that we were never able to play there ever again after the ship pipe incident. But yeah, it's definitely one of the best experiences I've ever had. I just thought it was water at first

Speaker 6 (00:18:04):

Then

Speaker 3 (00:18:04):

Because I got some on my arm, then I looked on my arm and there's brown liquid on it. I was like, Ugh. So I can relate to how awful your situation must have been,

Speaker 4 (00:18:21):

But I think we finished that album, the Lost Forever Lost Together when it's like they weren't really done with it, but I think they just wanted to go home. They said, okay, we are flying home. And I was like, we're not done. We have the mix and everything. There's still more takes and it it

Speaker 3 (00:18:47):

Went. So no, we're done. It's okay. Where were they sleeping?

Speaker 4 (00:18:52):

They slept in a recording room after the accident.

Speaker 3 (00:18:56):

So you guys all slept, you guys all slept in the recording room? Yeah,

Speaker 4 (00:19:00):

I mean, I slept at my place, but they slept at the recording room. And so the next album they did, they rented a house, a big house. So

Speaker 3 (00:19:14):

No poop

Speaker 4 (00:19:15):

Problems there. Yeah, exactly. Yeah. But it was a fun, fun recording and they were really inspired to do the best album they could ever do. And you know how it can feel like sometimes when the band does their fifth or sixth album and they're not really going for it. It's a lot of good energy doing this album.

Speaker 3 (00:19:39):

Sometimes bands get to their fifth or sixth record and it's almost like a day job.

Speaker 4 (00:19:43):

Yeah, autopilot.

Speaker 3 (00:19:45):

Yeah, they've just done it so many times. I know of one band I was around for their fifth album and one guitar player didn't pick up a guitar. He was at the studio for five weeks. You pick up a guitar the entire time. He just sat on a couch and looked at stocks, checked his stocks the entire time in a really big band too. It was like their fifth or sixth record. He didn't seriously didn't pick up a guitar once, so why not just stay home?

Speaker 5 (00:20:17):

Yeah, exactly.

Speaker 3 (00:20:18):

Joey, did you ever get situations like that at your place with some super seasoned bands just being like, ah, whatever.

Speaker 2 (00:20:27):

Well, sometimes it's welcomed in my position. That's true. It's like, yeah,

Speaker 5 (00:20:32):

True.

Speaker 2 (00:20:32):

I'm glad. I'm glad you're not bothering me because you're not good at guitars or whatever it is. When the good guitar player is playing all the guitar parts. I guess

Speaker 3 (00:20:46):

Guess that's the part I left out was that this guy that was checking his stocks all day wasn't the good guitar player anyways. That's

Speaker 2 (00:20:55):

Okay.

Speaker 3 (00:20:57):

Well, it's okay, but at the same time it's just why even come to the studio?

Speaker 2 (00:21:03):

And that's the other thing, I guess I can speak more to that because when the band comes, if there's a guy who's going to do all the guitars and there's each person in the band has a role to play in the recording process. If you're there and you're just taking up space, it's kind of detrimental to the recording because somebody's got to take you somewhere when you need to go to the store, and then you need food and

Speaker 6 (00:21:35):

Take

Speaker 2 (00:21:36):

Up space and you talk when you talk when we're trying to work all these things. So yeah, I like to do the records. They don't always work out perfectly, but when the band comes in, little teams, I like when the drummer and the guitar player come over for a while and then they go away and then the vocalist and the bass player comes over and stuff like that Works out pretty good.

Speaker 4 (00:22:04):

Yeah. Yeah, that's exactly what we did on the latest architect's album. They stayed in the house and working on songs or cooking food or whatever, and they came in small teams of two and it works out good

Speaker 3 (00:22:20):

As opposed to having the whole band staying there the entire time.

Speaker 4 (00:22:24):

I mean, it can get very boring to stay for five weeks in the studio. And when you're not doing much, I mean, if you're not recording,

Speaker 3 (00:22:36):

Well think about it from a drummer's perspective, especially if you record the drums first.

(00:22:41):

They record drums first for the first week, and then they're just hanging out for the next three or four weeks. What are they going to do? And in my experience, what they end up doing is distracting everybody because they get so bored. Invariably they start drinking more or partying more, or just too much nervous energy and it definitely distracts. So that's one thing actually that I think that older bands are a lot better about is when you ask them to work in teams, or if we're doing drums first, have just the guitarist, main guitarist and the drummer come for the first week and then just the two guitar players for the next week or whatever. I feel like with older bands, it's a lot easier to request those sorts of things. With younger bands it's a bit tougher. Yeah,

Speaker 4 (00:23:37):

Exactly.

Speaker 3 (00:23:37):

They all want to be there the whole time.

Speaker 4 (00:23:39):

For us, the most bands comes from abroad and stay in the studio sleeping there. So it's a bit hard sometimes to get them in smaller teams when they're here the whole time.

Speaker 3 (00:23:52):

So are you guys in a centrally located area to where they can just walk to bars or walk to the grocery store?

Speaker 4 (00:23:59):

Not really. It's like it's not far from the center of Gutenburg, but it's far enough to walk somewhere good. It's more an industrial area.

Speaker 3 (00:24:13):

So do they rent a car or

Speaker 4 (00:24:16):

Does

Speaker 3 (00:24:16):

That end up okay? Yeah,

Speaker 4 (00:24:17):

Some do that or take the bus into town, something like that.

Speaker 3 (00:24:21):

So it doesn't end up being your job?

Speaker 4 (00:24:23):

No, exactly.

Speaker 3 (00:24:25):

Okay, that's good, man. I hated it when that used to become my job

Speaker 4 (00:24:31):

Driving people around.

Speaker 3 (00:24:33):

Yeah, because you drive somebody as a favorite one day, then it becomes twice a day, then before you know it, you're the chauffer and you're spending a good quarter of your day just driving people around instead of working.

Speaker 4 (00:24:50):

Yeah, true.

Speaker 3 (00:24:52):

Yeah, because getting five people to coordinate their schedules. One

Speaker 2 (00:24:56):

Time I recorded a band where they lived in the same state and they were a few towns away. It's a 40 minute drive, and they would barely get to the studio. What do you mean? They would say, we're coming, and then hours go by, we're coming, and then hours go by. Our ride just picked us up. Hours go by. Oh man, we're not going to make it today. It's like, okay, well I could have done something cool today, but you kept me here waiting for you. Yeah.

Speaker 3 (00:25:34):

Was it a local band?

Speaker 2 (00:25:35):

I don't want to say who it was.

Speaker 3 (00:25:37):

So it was a well-known band.

Speaker 2 (00:25:38):

Well-known band, yeah.

Speaker 3 (00:25:41):

Amazing. So yeah, you'd stay there all day. You'd be like, okay, they're going to be here in 30 minutes.

Speaker 2 (00:25:47):

Yeah. It's like they just keep it going.

Speaker 4 (00:25:51):

So I guess it's good and good and bad to have people staying at the studio, but it's like the good thing that we always done is they can keep on working after we go home. If we show them how to track something and they can work on some base or something and then check it and redo it the next day.

Speaker 3 (00:26:11):

Do you have a special tracking room just for the bands, or would you let them just use your control room?

Speaker 4 (00:26:18):

They're using the whole studio. Fred's always done like that.

Speaker 3 (00:26:23):

Even when you guys are gone?

Speaker 4 (00:26:24):

Yeah. Yeah.

Speaker 3 (00:26:26):

Wow.

Speaker 4 (00:26:26):

It's 24 7 if you want to work. That's

Speaker 3 (00:26:29):

A lot of trust. Yeah,

Speaker 4 (00:26:30):

That's

Speaker 3 (00:26:30):

Scary, man. That's actually kind of scary. I'm kind of impressed just because of the idea that getting someone that doesn't know what they're doing on your system, they could possibly screw up the sessions.

Speaker 4 (00:26:46):

Well, I mean, there's always one guy in the band that knows some stuff and you can teach him something and it's worse if they spill the beer on the control surface or something.

Speaker 3 (00:26:58):

Has that ever

Speaker 2 (00:26:59):

Happened? No,

Speaker 4 (00:27:00):

Not so far.

Speaker 2 (00:27:01):

That's happened to me.

Speaker 4 (00:27:02):

Did,

Speaker 2 (00:27:02):

Yeah. I don't think he'll care, so I'll tell it. But Ben Bruce spilled a whole beer all over my central station, and so I just made him order one for me.

Speaker 3 (00:27:14):

There was a really, really big band on nuclear blast records recording at Audio Hammer once, and it was during a guitar session. The guitar player was up at the, it's not a console, it's one of those desks, those desks that we all have now that have all your racks right next to you,

(00:27:40):

The modern style recording desks. And he was up there and he was holding a beer and kind of stoned and it was a full beer and he was just talking and talking and talking and talking and talking and talking and talking and talking, talking and talking and talking. And as he was talking, his beer just started to tip over more and more and more. He just kept on talking and talking and the beer was just pouring into a Chandler. He poured his entire fucking beer into the Chandler. It was so bad. Then he blamed it on us because he said that we had coffee up there, so it's our fault. Alright,

Speaker 4 (00:28:30):

Awesome. Yeah,

Speaker 3 (00:28:31):

The label paid for it though.

Speaker 4 (00:28:33):

Alright.

Speaker 3 (00:28:33):

Yeah, he literally poured a full beer into the Chandler. How some people are really, really weird about having drinks on gear. I have never actually seen a drink that was on gear, get spilled into the gear, but I have seen somebody standing over a Chandler pour a beer into a Chandler. So yeah, that's good.

Speaker 2 (00:29:02):

Get frothy preamps.

Speaker 3 (00:29:04):

Dude, it was a compressor too. It was an expensive piece of gear. Oh,

Speaker 2 (00:29:08):

It was a compressor?

Speaker 3 (00:29:09):

I believe so. I think it was a Chandler Compressor, I'm pretty sure. And it was definitely one of the prize units in that rack.

Speaker 2 (00:29:22):

For those of you guys listening this and you look over to your right and you see that precious little piece of gear that you worked so hard to buy. This happens.

Speaker 3 (00:29:34):

Yeah, it does happen. I mean, I am trying to think. I've never really had a band, well actually I had a band destroy my band lounge once

Speaker 2 (00:29:48):

By accident or just,

Speaker 3 (00:29:50):

Oh, it didn't look too accidental to me. It looked like alcohol induced. It seemed like they had just watched one of those pantera vulgar videos where they destroyed a dressing room and they thought that they were rock stars and they destroyed the band lounge at my old house and they left me a little shrine. The shrine was all this trash and my Xbox in the middle and it was all piled up in the corner and the beds were at a weird angle. It was like they totally just fucked the whole room up. But I charged their manager 1500 bucks for it and he paid, so it was fine. I mean, they usually pay for this shit.

Speaker 2 (00:30:37):

Yeah, yeah. I've had labels pay me for all kinds of weird stuff.

Speaker 3 (00:30:43):

What,

Speaker 2 (00:30:44):

I think I said this on an early episode, but at this point we have a lot of episodes, but there was a band that they took a dump on the lawn and I took a picture of it and then I was really mad because my landlord was really mad at me. So I was really mad because I was like, man, this has nothing to do with me. And so I took a picture of it and I just emailed it to the label. I was just like, your band did this in my yard and they sent me a check for 500 bucks. Wow. Really? Yeah, they were like, we're sorry

Speaker 3 (00:31:21):

You didn't invoice them, you didn't send them a poop invoice?

Speaker 2 (00:31:26):

No, they just paid me. I don't know. It happened very fast. It was just like, they were like, that's unacceptable. Here we're sending you a check for

Speaker 3 (00:31:35):

Here's $500.

Speaker 2 (00:31:36):

Yeah. It's like, oh, okay, well that works. And I think I gave half of it to the landlord. I was like, oh, they gave me $250 and I kept $250.

Speaker 3 (00:31:46):

Yeah, this is the poop fine. I mean, have you have any stories like that with bands just doing fucked up shit at the studio?

Speaker 4 (00:31:57):

Yeah, I guess there's a lot of stories, but not clean enough to be told. Yeah, I dunno. There's been a lot of puking in the beds and someone's jumping into the wall and destroying stuff. Which wall? Like the sleeping, there's some bunk beds and someone jumped into the wall and destroyed it and had to rebuild the beds.

Speaker 3 (00:32:24):

Did they pay for it?

Speaker 4 (00:32:25):

No, I don't think they paid for it. No

Speaker 3 (00:32:28):

Bastards.

Speaker 4 (00:32:28):

Famous band.

Speaker 3 (00:32:30):

Of course. It's always the famous, the destruction seems to be always with those bands.

Speaker 4 (00:32:37):

Yeah,

Speaker 3 (00:32:38):

Well that's not true.

Speaker 4 (00:32:40):

You get a bit tour damaged I think if you're out on a bus and can do whatever you want. For

Speaker 3 (00:32:46):

Most

Speaker 4 (00:32:46):

Of the year there's no trash cans anywhere.

Speaker 3 (00:32:49):

And you think that the studio is just an extension of the tour bus? Yeah,

Speaker 4 (00:32:53):

Exactly.

Speaker 3 (00:32:54):

Well, let's talk some more about the second architect's record because you're doing a track off that on nail the mix.

Speaker 6 (00:33:05):

Yeah.

Speaker 3 (00:33:05):

So you're doing a track called Gone With the Wind, correct?

Speaker 6 (00:33:09):

Yep.

Speaker 3 (00:33:10):

And we chose it because it's got many different elements in it.

Speaker 2 (00:33:16):

Yeah,

Speaker 3 (00:33:17):

It's got cleans, it's got screams, it's got all kinds of different stuff

Speaker 2 (00:33:21):

From a mixing perspective.

Speaker 3 (00:33:23):

Yeah. What was challenging about it for you?

Speaker 4 (00:33:27):

I think that one was one of the hardest songs for me to mix. I don't know why really, but I didn't think I got it to sound good and I think I did in the end. But when I worked on it, I thought it was harder for some reason to get it to sound good. Maybe the guitars were a bit faster and stuff like that in the start and then it goes down to this more mellow parts and was more of a struggle for me to mix it.

Speaker 3 (00:34:01):

Have you noticed that there's always songs on records that some of them just mix themselves very easily? Yeah.

Speaker 4 (00:34:09):

Yeah. And

Speaker 5 (00:34:09):

Then

Speaker 3 (00:34:10):

Others are just hard for some reason?

Speaker 4 (00:34:12):

Yeah, it's like most of the time it has something to do with arrangement. I think if it's a good arrangement it will mix itself. And for this song, I think it's a good arrangement, but it's just harder for some reason to get the drums to sound good in the more soft parts. I thought I was struggling with a kick drum to make it less click in those parts and stuff like that.

Speaker 3 (00:34:40):

And it ended up being a pretty big song though, so it seems like you did okay.

Speaker 4 (00:34:44):

Yeah, it's always like that when I mixed something, it's like a rollercoaster for me. One minute I think I'm the king and stands up and hooray and then the next one, next day I'm at the bottom, don't want to hear it again. It's like it goes up and down like that for me.

Speaker 3 (00:35:06):

Well how long does it normally take you to mix a record?

Speaker 4 (00:35:09):

It's normally five days, not with architects. One I was a bit longer, I carried on and did some mix changes. So it's like that's what I really enjoy now when I started my own company, I can take as long time as I want on a mix. I have a hard time to stop the mix until I'm happy or until a certain point.

Speaker 3 (00:35:39):

Do you do your own mix setup? Do you lay your own samples and do all that stuff or do you have

Speaker 4 (00:35:45):

An

Speaker 3 (00:35:46):

Assistant help you?

Speaker 4 (00:35:47):

No, I do all the stuff. Basically someone might check the triggers if we have an intern or something check so all the samples play correctly and stuff like that. But other than that, I do all the stuff

Speaker 3 (00:36:02):

And you can still do a record in five days. Even with doing all that stuff,

Speaker 4 (00:36:08):

Normally spend one or two days on the basic sound on the first song and then move on to the next one and then adjust some stuff when you hear it's perspective on a different song. And then all the week long, I tend to adjust the songs for the changes I make. But yeah, I spent longer time on the architect's album than five days, but it's usually what we book in for, which I think it's a little too few days, but

Speaker 3 (00:36:51):

Five days is pretty quick.

Speaker 4 (00:36:52):

Yeah.

Speaker 3 (00:36:53):

So what do you consider taking a long time? Like an architect? How long did that take?

Speaker 4 (00:37:00):

I dunno. I maybe done it in 10 days then something like that.

Speaker 3 (00:37:05):

So like a normal person's mix?

Speaker 4 (00:37:07):

Yeah.

Speaker 3 (00:37:08):

Well you know what? I think mixers these days are getting faster

Speaker 6 (00:37:12):

Because

Speaker 3 (00:37:13):

I remember back in mid two thousands, mixers would take three or four weeks on a mix. Nowadays people are doing them in five days. Everything's so much faster now. How long did the mix take on Death Cult?

Speaker 4 (00:37:28):

Oh, I actually left before my internship didn't last for three months, which it take to record that album I think. So I wasn't there for the mix, but I think it took a long time just to get the strings. They went to Prague and recorded the symphonic Orchestra and they also mixed it in surround I remember. So probably 14 days or something like that. But

Speaker 3 (00:37:59):

That's still

Speaker 4 (00:38:01):

Pretty quick. Yeah,

Speaker 3 (00:38:02):

I was about to say that's pretty quick for a record that's that complex, showy. What's your quickest mix or longest mix?

Speaker 2 (00:38:11):

I might have something more interesting than my quickest mix. Actually. There was a song I was working on, it was somewhere in the middle of an album where I had already mixed six other songs on the same album. So at this point it was kind of, I dunno, very easy to mix the songs. And one of the songs, I opened it, I put everything into my template. I mix exactly like Billy Decker. So if anybody watched the Billy Decker nail mix, that's me. I literally open a template, drag consolidated audio into the slots and that's what I did with this song. Opened it, loaded my template, dragged and hit play, swear God it was done. No tweaks, just print it and send it to the band and they approved it. So there was one song, I mean I guess you could say that was my quickest one. I don't know how long it took. Maybe 10 minutes. I dunno,

Speaker 4 (00:39:09):

That's pretty quick.

Speaker 2 (00:39:11):

But I mean I spent a ton of time on the first six songs to get to that point.

Speaker 3 (00:39:20):

The thing about building a template, the one that Billy Decker uses or your templates is they're not just your average everyday templates. I mean these are templates that have been put together over years.

Speaker 2 (00:39:38):

They get refined and

Speaker 3 (00:39:41):

And they get tweaked and they're really, really, really worked out. I just want to let people know so when they download my template or something, my routing template from my Creative Live or whatever, this is not the same kind of template. The Joey templates or the Decker templates are far more intricate than that.

Speaker 2 (00:40:07):

And the other thing is that I know have different templates. So I have, I dunno, 13 templates and I know the little quirkiness of each one. So when I'm working on a project, I'm kind of also thinking in the back of my head. I'm like, I think this one kind of works with template four or something like that. And so that will change what mics I use and what I tell the drummer to do because I know. So basically what I'm saying is it all works together thinking. Yeah, go ahead.

Speaker 4 (00:40:45):

So you have a template when you record it too, not just for the mixing.

Speaker 2 (00:40:50):

Yeah, and they work together. So I kind of know if I'm like, well this template usually is bright on symbols, I might use a darker mic just as an example, just to speeds everything up. Then when those symbols go into that template, that's one less EQ move or one less the problem that I have to solve.

Speaker 4 (00:41:14):

Yeah, we've been kind of starting from scratch on every recording and just important some head listening, but it's a bit stupid to be honest. It just takes time that you can spend on other stuff and then tweak it from the templates.

Speaker 3 (00:41:34):

Well I think that there was a long time where people made fun of templates and so a lot of mixers were like, I don't work from a template or whatever. I'm not one of those template guys. But I think that that's because the template itself took a ton of skill to put together,

Speaker 6 (00:41:56):

To

Speaker 3 (00:41:57):

Put together a template that you just pop tracks into and something sounds incredible, like 90% of the way there. Incredible. That's not normal. That's not like,

Speaker 2 (00:42:08):

It's

Speaker 3 (00:42:08):

Not that easy. People make it sound like it's easy to do. That's not easy. That's super difficult for it to work across multiple bands and still sound, like I said, 90% of the way there when you're pulling the tracks. This is something that takes a ton of refinement and the thing is that once you get it done, you save so much time. And I don't know about anybody else, but saving time to me is the most amazing thing. All we've got in life is time. Why spend it on dumb stuff?

Speaker 4 (00:42:47):

True.

Speaker 3 (00:42:47):

Have you considered doing that?

Speaker 4 (00:42:50):

I haven't for recording. Yeah, I haven't thought about it too much. But I mean for mixing, obviously I drag in the reverbs and stuff that I want to use on almost everything and stuff like that. Sometimes Guitar Monster bus that I know sounds good, I can tweak it from that. Stuff like that I use for the mix. But yeah, I have to look into it more for the recording too.

Speaker 3 (00:43:21):

Well I find that with recording, at least having a routed template that has all the gis and all the guitars already grouped together, all that stuff already done, at the very least, that just makes life a lot faster. I feel like if it saves me two hours, then over the course of a year it ends up saving you a few days, maybe even a week. But that ends up being a week, that a week of your life that you've got back a week per year over the course of a few years ends up being a few months, a few months of solid time that you spent there making sessions where you could have just had it to walk the dog or do whatever you want. So I dunno, I think it makes life better. So we've got some questions here from our audience

Speaker 6 (00:44:23):

For you

Speaker 3 (00:44:24):

That I want to ask you. So here's one from Vinny and he said the drums on the last two architects records sound amazing. What microphones did you use and what do you personally think you do? So different compared to a lot of engineers out there recording metal bands.

Speaker 4 (00:44:42):

Thanks a lot. I don't know if we do anything different, but I can start with the mics that we use. It's SM 91 in the kick drum.

Speaker 3 (00:44:53):

Nice.

Speaker 4 (00:44:53):

And an Noman U 67 in front of the kick drum too, which distorts a bit and sounds good like that. And on the snare drum, it's Sunken CU 31, both on top and bottom. It's a small handmade Japanese condenser mic, which sounds pretty cool, like a bit richer and a normal SM 57. And for the Toms, it's the shore Bitta 56 I think they call.

Speaker 3 (00:45:31):

Wow, I've never tried one of those.

Speaker 4 (00:45:32):

Yeah, they sound decent. And overhead is Noman KM 180 4 Classic.

Speaker 3 (00:45:42):

Yeah,

Speaker 4 (00:45:43):

Sounds good. And then it's some spare mics on the China and write symbol. Don't think we used the Hayat on any of the two albums, the architects. So that's basically it. Great much to it. And

Speaker 3 (00:46:02):

Do you tune your own drums

Speaker 4 (00:46:05):

Sometimes on this project with architects, we had a guy coming in from TMA and tune them, but most of the time it's me or Fred tuning. But yeah, sometimes we bring in a tech guy

Speaker 3 (00:46:23):

And working with a drum tech is such a great thing.

Speaker 4 (00:46:25):

Yeah, it's awesome. It's awesome. You don't have to worry about it.

Speaker 3 (00:46:30):

Yeah.

Speaker 4 (00:46:32):

Can you just tell him it sounds good? A little bit higher or something.

Speaker 3 (00:46:35):

It just saves your ears too. Yeah.

Speaker 4 (00:46:38):

Okay.

Speaker 3 (00:46:39):

Johan Lu said Ben, I can't even pronounce this so I'm not even going to try. I'll state of the English part. The bass guitars sounds so massive In the last two architects album albums, what was the signal chain on both and how did you approach 'em in a mix to make them sound That frigging awesome. Keep up the good work. Thanks.

Speaker 4 (00:47:01):

Thanks a lot. It's like the amps is an EVH amp and then pre-amp out on the backside it goes into to 51 50 and they both go to different cabs. Like the EVH has an angle cab two SM 50 sevens in front of it, like the normal fredman miking technique. And then the fifth one 50 goes to Marshall with two mics in front of it and then they get blended. And that's for one guitar and then quad track. So

Speaker 3 (00:47:42):

That's a lot of microphones. Yeah,

Speaker 4 (00:47:43):

It is. But on the latest one, we combine all the microphone to one track I think committed to it. And then there was also a diesel lamp together with a bui with the same cabs and those were guitar three and four. And then in the mix, well I guess you will see it eventually, but there's some C four from waves to take care of some low end to multi band compress some low end and the low five plugin from pro tool zone plugin adds a lot of some distortion extra.

Speaker 3 (00:48:33):

Really? Wow. Hold on. That's a really cool plugin that I don't think that many people know about. No,

Speaker 4 (00:48:39):

I don't think so either. But we used it for a long, long time. I use it on every project I do

Speaker 3 (00:48:47):

On guitars.

Speaker 4 (00:48:48):

On guitars, yeah.

Speaker 3 (00:48:50):

Interesting. I have never seen it used on guitars before, but it's got a good distortion on

Speaker 4 (00:48:54):

It. Yeah, I don't know. It boosts the volume a lot where I have it, it posts it's like four db and I wish it had an output trim, but it doesn't. So as soon as you turn it up it sounds it's awesome, but it does something, it compresses the guitar a bit, make them sound bigger, and then it's like some normal EQing, some taking out some bad frequencies with a narrow cue.

Speaker 3 (00:49:33):

So it doesn't sound like it's anything that crazy. No,

Speaker 4 (00:49:37):

I mean the amp sounds so good together by themself. I don't really like the EVH by itself, it sounds to me just thin and stuff, but together with a power amp from the 51 50, it's gets really meaty and fat.

Speaker 3 (00:49:56):

I've never heard someone do that before. That sounds like a really cool idea.

Speaker 4 (00:50:00):

Yeah,

Speaker 3 (00:50:01):

Sure. It sounds incredible.

Speaker 4 (00:50:02):

It's awesome.

Speaker 3 (00:50:03):

Did you used to not sum the mics on the way in

Speaker 4 (00:50:07):

If we used to not sum the mix The mics?

Speaker 3 (00:50:10):

Yeah. Did you just start doing that recently?

Speaker 4 (00:50:12):

Well, sometimes it's like every other time. I think on the Lost Forever album, it's two tracks, one for each cab, and I think a pan, I'm a bit different on that one. The Angle Cab is full hundred percent pan and the other one is 86% or something. So I don't know, it's most of the time I do it into two tracks.

Speaker 3 (00:50:43):

That makes life a lot easier, doesn't it?

Speaker 4 (00:50:45):

Yeah. Then you can tweak, set the levels between the guitars.

Speaker 3 (00:50:50):

Yeah. So question from Anthony Omo, which is what's it like or what was it like working for an absolute legend like Frederick Nordstrom and what kinds of things did Frederick teach you that you still use today?

Speaker 4 (00:51:05):

I mean probably his approach to most things. What I do today, it's probably from him and then of course I refine them and want to do stuff my own way. But a lot of the stuff like recording guitars and stuff, it's learned from him by watching what he does and the whole work approach. I think from file handling to whatever it can be, it's stuff that he did from the start. And then of course you do it your own way. I mean we've been having arguments for 10 years about I want to do manual fades on guitars and stuff and cut all the silent in between the notes manually and he wants to use strip silence and do automatic cross fades.

Speaker 3 (00:52:02):

So you guys still fight about that one?

Speaker 4 (00:52:03):

Yeah, but now when I'm a free man now, so I can do whatever I want.

Speaker 3 (00:52:09):

You can do your manual fades.

Speaker 4 (00:52:11):

Yeah, but also after getting, I got a son two years ago and

Speaker 3 (00:52:18):

Congrats.

Speaker 4 (00:52:19):

Thanks.

Speaker 3 (00:52:20):

Make him edit your drums.

Speaker 4 (00:52:21):

Yeah, I will one day.

Speaker 3 (00:52:24):

Oh, he's not editing them already.

Speaker 4 (00:52:26):

Not yet.

Speaker 3 (00:52:27):

Just start them at six months. Be laying samples by one year. But

Speaker 4 (00:52:33):

I guess that taught me how to fuck it. I just strip silence and do automatic fades and get more time with my kid. I dunno.

Speaker 3 (00:52:46):

So maybe he was onto something with the strip silence.

Speaker 4 (00:52:49):

Yeah, yeah, maybe he was. But I'm still really, I'm doing most of the drum edits and always enjoyed doing it. I think I'm one of the few guys that it's meditation for me to sit for five days in cutting drums. It's beautiful.

Speaker 3 (00:53:10):

You're an angel. I love people like you. I know two other guys that love editing drums. It's like their zen or something. They really, really just enjoy it.

Speaker 4 (00:53:30):

So fulfilling when stuff gets better and like, ah, this is fucking awesome. I dunno. But unless it's a terrible drummer then it's a nightmare.

Speaker 3 (00:53:43):

Yeah, I recommend all producers find someone they know who loves editing drugs. Well, because not everyone does. It's kind of also the same thing with guitar teching. There are some guys who just naturally want to do that stuff. They love building guitars or setting up guitars or messing with how guitars are put together. And there's some guys who don't give a shit about that. Like me, for

Speaker 4 (00:54:12):

Instance. Yeah, same here.

Speaker 3 (00:54:14):

Yeah, I couldn't care less. But it's always helped me to know guys who love that stuff because I can have them set up my guitars rather than me do a bad job. Just give it to someone who loves it. Here's a question from Ivan Aguila, which is how do you choose where to put synths on your productions? I love the and every single synth on those songs are perfect.

Speaker 4 (00:54:42):

Well, on the architect's case, it's done from the pre-production already. Not that we don't record it again, but it's already there. And most of his synths on that album is actually guitars through the Ryman pedal and the timeline and Big Sky.

Speaker 3 (00:55:07):

Oh, I love the Big Sky pedal man.

Speaker 4 (00:55:09):

So I mean there's some synths, but I think most of what you hear all the ambient stuff, it's guitars just dreaming, floating.

Speaker 3 (00:55:19):

So for anyone not familiar with the Big Sky, it's a modulating reverb pedal and it's a lot like the Valhalla Shimmer plugin,

Speaker 6 (00:55:29):

But

Speaker 3 (00:55:30):

It's like a pedal version of Valhalla shimmer. And in some ways it sounds better because it's got that pedal reverb thing happening, but lots of people confuse modulated reverbs or even modulated delays with synths. When you put them on guitars, they sound like strings at times they sound like dreamy awesome sounds.

Speaker 4 (00:55:54):

So I mean with a band like architects, most of the music is done and even like 98% of the IDs for the ambient stuff is all Tom doing what he does. And so it's more of making everything sound good when working with architects, for example, and putting in input where it's needed.

Speaker 3 (00:56:21):

So they're a band that really knows what they want

Speaker 4 (00:56:24):

In advance. Yeah, absolutely. I mean it's probably the easiest band I've ever worked with for that reason. And everyone knows the parts and playing is awesome.

Speaker 3 (00:56:37):

So Anthony Potenza is wondering, the low end on both LFLT and all our Gods is absolutely insane. How did you get everything to fit together? So tight sounds so clean and huge. How did you manage to get that huge of a guitar tone?

Speaker 4 (00:56:57):

I don't know, it's his thick strings and playing well on the guitars together with amps and a lot of C four multi-band compression. I think that's the thing that makes it sound good. I

Speaker 3 (00:57:15):

Mean you'll basically be showing them on the live mix how you do your low end. I have four identical questions here about how do you get your low end so massive. Yeah, so clear on your mix. Wondering, do you boost the subs with the multi-band on the master or do you add max base on the master or is it in the individual tracks?

Speaker 4 (00:57:43):

Never really used any harmonic stuff. So it's more like C four doing some stuff. I dunno, I don't really know any other way to do it, so I can only make it sound like I do. So I don't know how you do it differently.

Speaker 3 (00:58:06):

I'm very, very curious to see because seriously I've got all these questions about it.

Speaker 4 (00:58:12):

Also, I could say on the EVH, the low equalizer is always on full to record it with a lot of bass and I mean the tuning is also like, what is it, F sharp or something on some other songs. So it's pretty damn low.

Speaker 3 (00:58:34):

God that's low.

Speaker 4 (00:58:35):

Yeah.

Speaker 3 (00:58:35):

So you record with a ton of low end and then control it

Speaker 4 (00:58:39):

After? Yeah, we always use the UA LA 22, so all the four guitar mics go into that one and do some compressing away some other low shit sounding stuff like the stuff like that. But it broke somewhere between the two albums. So it works with a C four to do it? I think. So we haven't got ourself a new unit.

Speaker 3 (00:59:13):

I know a lot of guys who record with too much high end

Speaker 4 (00:59:16):

Because

Speaker 3 (00:59:16):

They want to then carve it afterwards.

Speaker 4 (00:59:20):

Yeah, it's a bit too much low end in this case and I have to boost some high end on the guitars and try to control the low end

Speaker 3 (00:59:32):

With a ton of C four. That makes sense. Or

Speaker 4 (00:59:34):

It's like one instance on the guitar Monster and then there's an extra one on the MOS bus and then probably use one more in the string, Shane, just a little bit.

Speaker 3 (00:59:47):

So you're using multiple stages of multi-band compression?

Speaker 4 (00:59:50):

Yeah.

Speaker 3 (00:59:51):

Okay, I see. What about on the base on there as well?

Speaker 4 (00:59:55):

No, it's nothing like that on a base. Most of the time it's just a di signal with a sun sump, pro own sun sump plugin and just some EQing and compression.

Speaker 3 (01:00:12):

Do you split your base into two?

Speaker 4 (01:00:14):

No, I'm going to look into it actually. I heard some of your other podcasts and I knew about it, the technique for a long time, but never really gone for that approach so far. But I will one day.

Speaker 3 (01:00:32):

I love it and I hate it sometimes. I really hate it. I hate it sometimes because it's hard sometimes to get the low and the high to sound like one instrument sometimes.

Speaker 6 (01:00:44):

Sometimes

Speaker 3 (01:00:45):

It's just a lot easier for me to kind of not separate it into low and high, but to separate it into dirty and clean and get the blend that way.

Speaker 4 (01:00:55):

You probably talked about it a lot in the show already, but what is it you do you high pass filter out like 300 hertz?

Speaker 3 (01:01:05):

Well, so there's one that's low pass at like a hundred or 150 and then one that's 300 and up or 400 and up depending. And the one that's high usually gets some distortion and the one that's low just gets limited to shit so that it's just a block of low end and then they just get blended together. So they sound like one instrument. I mean Joey, does that sound about right?

Speaker 2 (01:01:40):

Yeah, absolutely. And

Speaker 3 (01:01:42):

Is there anything else to it?

Speaker 2 (01:01:43):

I mean there's ways to make, I like to, for example, on the top end you might put some distortion or something, but then once you've put them together into a bus, I mean a little bit of compression, a little bit of even more distortion on there sometimes can make it blend together a little more. I feel like just processing the two signals in any sort of way, even if it's just compression, it starts to weld it together, if that makes sense.

Speaker 4 (01:02:14):

Yeah, I'll for sure look into it because that's always been the hardest thing for me to mix is the bass always struggle with it. And on the latest architect's album, I think Al used a ding wall bass for some other songs and at the time when we decided what to record on, I think I decided for another bass that I thought sounded better. But then in the mix the thing wall was much better. So I was like, oh, we should have done all the elbow with this bass. But

Speaker 3 (01:02:56):

That sucks. Yeah,

Speaker 4 (01:02:57):

It does.

Speaker 3 (01:02:58):

Your original instinct was the best way to go.

Speaker 4 (01:03:01):

Yeah,

Speaker 3 (01:03:01):

Yeah, usually I find that I'm usually right the first time.

Speaker 4 (01:03:07):

Alright. In this case I was totally wrong the whole time I voted for the other base. Anyway.

Speaker 3 (01:03:16):

Still sounds great though.

Speaker 4 (01:03:17):

Yeah, thanks.

Speaker 3 (01:03:18):

So Henrik, thank you so much for coming on the podcast.

Speaker 4 (01:03:21):

Thank you very much.

Speaker 3 (01:03:22):

It's been great talking to you and looking forward to seeing you in a few weeks in Florida. Yeah,

Speaker 4 (01:03:31):

Me too.

Speaker 3 (01:03:32):

To do now the mix with architects.

Speaker 4 (01:03:34):

Thanks for having me, Jeff.

Speaker 1 (01:03:36):

The Unstoppable Recording Machine podcast is brought to you by two notes. Audio Engineering two Notes is a leader in the market for load box cabinet and Mike Simulators. Gone are the days of having iso rooms or having to record an amp at ear bleeding volumes to capture that magic tone. The torpedo Live reload and studio allow you to crank your amp up as loud as you want, but record silently. Check out www.two-notes.com for more info to ask us questions, make suggestions and interact. Visit nail the mix.