eyal levi Archives - Page 2 of 3 - Unstoppable Recording Machine

Unboxing Architects “Gone With The Wind” raw multi-tracks

No but seriously these guitars omfg

Eyal Levi takes you on a guided tour of the raw multi-track session for “Gone With The Wind” by Henrik Udd off their 2016 album “All Our Gods Have Abandoned Us,” originally mixed by Henrik Udd and featured on Nail The Mix in June of 2017.

Architects “Gone With The Wind” raw multi-tracks [ UNBOXING ]

Eyal Levi takes you on a guided tour of the raw multi-tracks for Architects “Gone With The Wind” from their 2016 album “All Our Gods Have Abandoned Us,” originally mixed by Henrik Udd.

Here’s a few things to note as you watch the unboxing:

Beastly vocal performance from Sam Carter that sounds massive right out of the box
Very, very thick guitar tone (although DIs are also provided if you want to reamp for some reason)
Super tight, hard-hitting drum performance from Dan Searle. You won’t need to use many samples with these drums.
A lot of subtle layers of synths, effects and post-production (a lot of what sounds like synth is actually guitars, though)

Want more? Click here to get instant access to these multi-tracks and Henrik’s full mix session!

Nail The Mix is our online mixing school that gives you REAL multi-tracks from REAL bands, plus a mixing class from the producer who recorded it. Past guests include Periphery, Gojira, Meshuggah, Machine Head, A Day To Remember and Bring Me The Horizon. Join now for instant access!

Unboxing Lamb Of God “Redneck” raw multi-tracks

A look behind the songs of this groundbreaking classic!

Eyal Levi takes you on a guided tour of the raw multi-track session for “Redneck” by Lamb Of God off their 2006 album “Sacrament,” originally mixed by Machine and featured on Nail The Mix in August of 2018.

Lamb Of God “Redneck” raw multi-tracks [ UNBOXING ]

Eyal Levi takes you on a guided tour of the raw multi-track session for “Redneck” by Lamb Of God off their 2006 album “Sacrament,” originally mixed by Machine. Get instant access to these Lamb Of God multi-tracks Machine’s full mixing session ► http://nailthemix.com/lambofgod A few things to note about this epic, iconic session: – Quad-tracked guitars as well as DIs are provided.

Here’s a few things to note as you watch the unboxing

Quad-tracked guitars as well as DIs are provided. The tones are surprisingly low-gain, but they sound incredible because Lamb Of God guitarists Willie Adler and Mark Morton have tone for days in their hands
The rhythm section of bassist John Campbell and drummer Chris Adler is INSANELY tight!!! Listen to how these two are absolutely LOCKED together (and that perfect bass tone)
Chris Adler’s drum tracks are exactly as tight as you think they would be 🙂
A fair amount of drum overdubs in this session (a Machine trademark) which are NOT a cheat or lazy workaround – in fact, they’re the opposite. Only great drummers like Chris Adler can pull it off.
Randy Blythe’s vocals sound fierce and huge right out of the box – no fancy effects or tricks needed

Want more? Click here to get instant access to these multi-tracks and Machine’s full mix session!

Unboxing Meshuggah “Monstrocity” raw multi-tracks

Yep, it’s that good!

Eyal Levi takes you on a guided tour of the raw session for this monster of a song (ba dum tiss), originally mixed by Tue Madsen and featured on Nail The Mix back in 2017. And YES, it sounds as ridiculously amazing as you are imagining it does 🙂

Meshuggah “Monstrocity” raw multi-tracks [ UNBOXING ]

Eyal Levi takes you on a guided tour of the raw multi-tracks for “Monstrocity” by Meshuggah from their 2016 album “The Violent Sleep Of Reason,” originally mixed by Tue Madsen…

Here’s a few things to note as you watch the unboxing

It was recorded essentially live, which is very rare for metal because very few bands can pull it off like Meshuggah or Gojira can
The overall arrangement is pretty straightforward… no orchestra or synths or anything, just drums bass guitars and vocals (Tomas Haake on drums, Fredrick Thorendal and Marten Hagstrom on guitar, Dick Lovgren on bass, Jens Kidman vocalist)
While the arrangement is simple, there are a LOT of options for you to work with: the guitars are quad tracked, but with lots of microphones and amp tones (Rectifier, Marshall, Engl, and more) to choose from as well as a guitar DI track. There’s a total of 6 amps PER GUITAR and 4 tracks, for a total of 24 guitar tracks!
These multi-tracks have reamped drums in them, which is rare to see (but awesome!)

Want more? Click here to get instant access to these multi-tracks and Tue’s full mix session

Unboxing Monuments “I, The Creator” raw multi-tracks

World class musicians!

Eyal Levi takes you on a guided tour of the raw session for this song off the second Monuments album, originally mixed by John Browne and featured on Nail The Mix back in 2017.

Monuments “I, The Creator” raw multi-tracks [ UNBOXING ]

Eyal Levi takes you on a guided tour in Pro Tools of the raw session for this song off the second Monuments album, originally mixed by John Browne.

This session is a textbook example of what a difference truly great players and performances make: John Browne and Olly Steele are absolute savages on guitar and quad track almost everything, this is a MONSTER drummer who hits ridiculously hard, and vocalist Chris Baretto is very simply one of the best in all of progressive metal.

Want more? Click here to get instant access to these multi-tracks and John’s full mix session

JOHN DOUGLASS: Mixing Opeth, Common Production Mistakes, Plugins vs. Analog Gear

On this Mixcritmonday episode, URM founder Eyal Levi is joined by producer/engineer John Douglass to critique user mixes of the Opeth classic “Heir Apparent.” Before diving into the critiques, they get into a killer discussion about the current state of music production. They cover how much easier it is for beginners to get decent sounds now, the incredible evolution of musician skill over the last couple of decades, and how digital tools like plugins and amp sims have finally reached a point where they can go toe-to-toe with high-end analog gear.

In This Episode

The main event features Eyal and John giving detailed, constructive feedback on three different student mixes. They tackle common but crucial issues like un-panned rhythm guitars, out-of-control low end in the kick drum, and over-compression that squashes the life out of beautifully recorded tracks. A major theme is that the source material is so good that it requires a delicate touch, not a heavy-handed template. They point out specific frequency problems, phase issues in the vocals, and highlight how dynamic balances between the song’s heavy and soft sections are key to getting the mix right. It’s a masterclass in objective listening and knowing when not to process.

Products Mentioned

Timestamps

[0:38] Do beginners realize how spoiled they are with high-quality multitracks?
[2:36] How production technology has advanced in just the last five years
[3:44] Why it’s easier than ever to get a “decent” recording
[5:02] How drummers’ relationship with click tracks has completely changed
[6:40] The rising technical skill of young musicians
[9:28] How streaming royalties are raising the quality of music again
[10:23] We’ve entered the age where plugins have finally caught up to analog gear
[11:14] The Taylor Larson NTM session: Amp sims vs. real amps
[12:39] Critiquing the first mix from Chris Uber
[15:58] The tell-tale signs of a mix done by a guitarist
[17:30] The importance of A/B referencing against the commercial mix
[19:24] Diagnosing phase issues between vocal tracks
[24:47] Critiquing the second mix from Ethan Layman
[25:04] The huge mistake of not panning the rhythm guitars
[31:24] How over-compression can make a good performance sound bad
[32:52] These Opeth tracks are so good you could just do a faders-up mix
[36:30] Critiquing the third mix from Marcus Stone
[39:49] When a snare sound is so loud it literally hurts your eyes
[42:39] Preserving ghost notes when you’re gating a snare
[44:51] Analyzing the low-end balance between the kick and bass