The Overcoming Project – Overcoming

The Overcoming Project – Overcoming. Official Visualiser. Made with ProjectM Open Source Visualiser (…)

“Overcoming” depicts a thorny path through the Doctorate degree, burnout, and insane 60-hour working weeks for years to build a Metal studio.

The Overcoming Project is a Psychedelic Metal project featuring world-class metal musicians Mike Heller (Fear Factory, Malignancy) on drums, Jon Howard (Threat Signal, Imonolith) on vocals, and Sergei “Efes” Fomin (FS Projekt) on bass. Executed by Doctor Mike Trubetskov – Guitarist and Producer at EOL Studios.

Dr. Trubetskov on the new release: “Overcoming” is a recipe of becoming a better person through brutal self-growth”.

Listen to Overcoming:

7 Great Free Plugins for Recording and Mixing Metal

7 Great Free Plugins for Recording and Mixing Metal. My selection and plugins that I use on daily basis in my productions and mixes.

These plugins cover Guitar, EQ, Compression and Saturation for you. I am not affiliated with any of the companies!

1. Amped Roots Free Guitar Amp Sim:…

2. Ignite NadIR free Impulse Response Loader:

3. IK Multimedia Comprexxor (Free until September 20th, 2022):…

4. Audio Damage RoughRider 3:…

5. TDR Nova EQ:

6. Acustica Audio Coffee the PUn:…

7. Softube Saturation Knob:

The Overcoming Project – Determination. Exclusive Premiere via MetalSucks

The Overcoming Project – Determination. Exclusive Premiere via MetalSucks. With Jon Howard of Threat Signal, Arkaea, Imonolith, Mike Heller of Fear Factory, and Sergei FS Fomin of FS Projekt

The Overcoming Project is a Psychedelic Metal project featuring world-class metal musicians Mike Heller (Fear Factory, Malignancy) on drums, Jon Howard (Threat Signal, Imonolith) on vocals, and Sergei “Efes” Fomin (FS Projekt) on bass. Executed by Doctor Mike Trubetskov – Guitarist and Producer at EOL Studios.

”Overcoming” EP depicts a psychedelic journey through immigration, Doctorate degree, Type I Diabetes and insane burnout into discovering the true purpose and becoming a Metal Producer.

After releasing the “Anxiety” single in 2020 through Heavy Magazine, The Overcoming Project returns with a bang.

Custom Audio Amplifiers Metal CAA OD100 | CAA Suhr Amp Review | Lasse Lammert DI Reamp

CAA OD100 Custom Audio Amplifiers Metal Guitar Amp Reamp and Review. Using Lasse Lammert DIs, Pepper’s Pedals Dirty Tree, Suhr Reactive Load, CAPI VP26 mic pre. 

Mixing Your Own Music. Lessons that I learned in Metal.

Mixing Your Own Music is hard – be it Metal, Rock or any other genre. In this video, I share my recent experience when mixing The Overcoming Project and some insights that can help you on your path!

P.S. Pre-save the track here!…

A tale about consistency and fatigue – music industry burnout

Consistency is the key to success in the music industry. Whether you are a band, solo artist, producer or mastering engineer, consistently showing up to work, creating content, honing the craft and practicing your instrument is what drives your progress. 

We get tired, anxious, burnt out or unmotivated. Someone – rarely, others – often. 

Physical exercise, mental practices, meditation, keeping habits in check helps to maintain the energy.

However, at time that doesn’t work. Then you just do it anyways. Because you have one life to devote to music, and every moment is precious for your growth.

Bogren Digital AmpKnob Guitar Ampsim Review, Playthrough, Comparison

My first impressions of Bogren Digital AmpKnob Rev C. Guitar Playthrough, comparisons with ML Sound Lab Amped Roots and Custom Audio Amplifiers OD 100. Hope that you dig my thoughts!

METAL RECORDING STUDIO TOUR – Guitar, Bass, Microphones, Outboard Gear

My Metal Recording Studio Tour. Gear by Custom Audio Amplifiers, Suhr, Darkglass, ENGL, Ownhammer, Rupert Neve, Universal Audio, Louder Than Liftoff, Cranborne Audio, CAPI, Wes Audio, Avid, Audioscape, Horizon Devices, Focal, Amphion, Focal, Pepper’s Tree.

Metal Bass Tone – Recording Metal Bass Guitar

In this video, I show the whole process of recording Metal Bass Guitar. I talk about Bass Sound, importance of Bass in Metal. Setting up the DI, finding the best sound of your instrument. Using Compression on the way in. Doing multiple takes to provide the best performance, and editing it then. Finally, Modern Metal Bass Sound Production – Bass DI, Bass Amp, Bass Distortion, and blending these layers.

Playing METAL live vs recording in the studio. How to set up for great metal gigs. 

What’s the difference between playing Metal live and recording in the studio? Having just stepped off stage from our gigs with Hybrid Nightmares, I summarise the different approaches in this video as a studio and live guitarist.

How To Hear Compression, EQ and Saturation in Your Metal Recording and Mix – Guitars, Drums, Bass, Vocals

A simple method that allows you to better hear compression, EQ, saturation in your Heavy Metal Recording and Mix – Guitars, Drums, Bass, Vocals. Push things to the extreme, level match and listen to the results while changing one parameter at a time.

Recording Metal Home Studio vs. Actual Studio – Which is Better?

Recording Metal in the Studio vs. at Home – Which is Better?

Let’s break down one of the common recording myths – Recording Metal at Home is just as good as Recording Metal in the Studio. In this video, I talk about the not so obvious advantages of recording your heavy music in the studio with a producer, and what value you could get from it.

Keywords: Recording Metal Home Studio

Recording Metal Tutorial. Gain Staging and Levels.

Recording Metal Tutorial. Setting up Gain Staging and Levels while Recording your Heavy Metal Guitars, Drums, Bass and Vocals at Home Studio – Makes it or Breaks it! 

Find out how different is the sound for correct and incorrect gain staging within Logic, Cubase, Pro Tools, Reaper, or any other DAW, and how to set it up correctly.

Mixing Metal Tutorial. Compression vs Clipping – Doctor Mike Worships Tape Over Compression

Mixing Metal Tutorial. Compression is a key way to make instruments powerful and fit in the Heavy Metal Mix. Overcompression, however can make instruments sound thin, too pushed and, frankly, boring.

I discuss unique ways to retain dynamics and still keep Metal Guitars, Drums and Bass super powerful in the Mix. By using Tape, Saturation and Transformer Clipping.

Devolution – Enjoy The Silence (Cover) ft. Jon Howard (Threat Signal, Imonolith), and Christian Olde Wolbers (Fear Factory). Produced by Doctor Mike Trubetskov at EOL Studios

Devolution – Enjoy The Silence (Cover) ft. Jon Howard (Threat Signal, Imonolith), and Christian Olde Wolbers (Fear Factory). Produced by Doctor Mike Trubetskov at EOL Studios

The DEVOLUTION project started mid last year, when Nathan reached out to me to just have a casual chat about the music and do some remote production and mixing. We jumped on a few Zoom calls, refined what guys were after, and did some production sessions. Eric played MIDI drums in real time on Zoom with me, and I suggested some minor changes. Fast forward for today, Devolution lads have come a long way! I produced their EP, including this insane ENJOY THE SILENCE cover. Nathan reached out to Jon Howard who kindly agreed to do vocals, mixing and co-production with some synths. The lads have recorded real drums and collaborated with Christian Olde Wolbers on massive bass duties. Apparently, my coaching works and allows musos to grow and reach some heights!!

Staying Present when Recording Metal

Staying Present and Mindful when Recording Metal. It’s all about the mindset. The state of mind that you are in during the recording session in the studio or at home, dictates the end result. The way you feel translates into your guitar, bass, drums and vocal recording, and even mixes. Consider tuning your mind into your music and not losing the big picture, and the results will follow.

Adding Dynamics and Movement to Heavy Metal Mixes – Automation Mixing Tutorial

Adding Dynamics and Movement to Heavy Metal Mixes. Don’t end up with static mixes that lose the attention of your listener! Create movement with section automation and VCA fader automation. Mixing Tutorial, Tips and Tricks by Doctor Mike – Metal.

Recording Metal at Home – Common Mistakes

Common mistakes when recording Heavy Metal Guitars, Bass, Drums, Vocals at Home Studio. I talk about my direct experience receiving multitrack for mixing, and ways to prevent these mistakes from happening! Inconsistent levels, bad doubling, too complicated layers and not finding your sounds. If this sounds like you – check this video out.

The Sound of Compression in Metal. Mixing Metal Compressor

Compression is an integral part of any Heavy Rock and Metal Recording and Mix.

But how does it actually sound?

In this video, I provide multiple examples of Compression in application to Mixing Heavy Metal Drums and Guitar. I use digital and analog compression – plugins by Universal Audio, Kush Audio and Acustica Audio, as well as my Audioscape D-Comp. SSL Bus Compressor, 1176, API 2500, Kush Novatron, Teletronix LA-3A, Fairchild 670.

Which one do you like the most and the least?

⚡ Metal Recording Bootcamp ⚡

Still not getting those Modern Metal tones right, even in an abundance of Plugins and Access to Modern Recording Equipment?

I will help you by examining your exact challenges and solving these with you in real time, via screen-share Recording Bootcamp Sessions.

Sign up below.

▶ Schedule a free first coaching session with me:

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Tags: Recording Heavy Metal Guitar, Bass, Drums, Vocals. Mixing Metal at Home Studio. Metal Arrangement, Production, Producer. Getting Modern Tones with Get Good Drums, Nail the Mix, Nolly, Superior Drummer, Neural DSP, Ibanez, Jackson, Engl, Mesa Boogie, Peavey, ESP, and so on.

How I Treated My New Studio Room. Studio Acoustics and Frequency Analysis with Room Eq Wizard.

An overview of how I treated my new studio room, approaches and principles, and what to use.

Acoustic treatment, speaker placement, sound absorption, resonances.


Tags: sound absorption coefficient, acoustically transparent, composite materials, room eq wizard, acoustic fields, frequency analysis, noise reduction coefficient, rockwool, sound solutions, absorb sound

METAL GUITAR TONE. From RAW to Mix-Ready. Recording Metal Guitar Sound.

Recording Metal Guitar. How to get Heavy and Crushing Metal Guitar Tone starting from Guitar DI and into Mix-Ready Sound. I cover Cab Impulse Response IR Selection, Amp tone block, corrective and colouring EQ, dynamic EQ, multiband EQ, saturation, compression and lack of it, guitar reverb, and how to fit this all into the mix to obtain heavy, clean and crushing Metal Guitar Sound and Tones. 

Custom Cinematic Songwriting

Today marks the launch of my second Music Business – Custom Cinematic Songwriting

Alongside with Recording and Mixing Metal Bands, I now aim to help TV, Film, Series, and Game Directors to connect their viewers with the moving picture.

I first had this idea about a year ago in Melbourne lockdown. I was really really sad to not be able to go to the bush or to the coast. This connection is desperately required for my everyday well-being, and that was taken away.

So I decided to write a composition about nature. I wanted to explore if I could make it more contemporary than your normal metal stuff that I make, yet having all the heavy roots and complex harmonies embedded.

I spent a few days playing with my Prophet composing, and that’s how “Infinite Motion” slowly came out (lots of editing and mixing on that one consequently!).

I then progressed to make 2 more diverse compositions, and accompanied these with videos assembled from stock footage, depicting how these could be used in the movie world. 

I am very excited to open this second direction in my studio, looking to make some killer and memorable compositions to my peers who are working with Movies or Games!

Thanks to all my friends who supported this initial idea and gave valuable feedback, Dan Bucknell, Anna Gradoboeva, Sam Lowe, Nicholas Roberto Di Lorenzo, Chris Graham!

Metal Guitar Editing: How To Edit Metal Guitars

Metal Guitar Editing. I show how simple editing should be, and how fast you can get tight sounding heavy guitars (with decent performance in the first place). Manual editing, no auto-aligning or flex-editing needed. Edit your guitars based on DI tracks.

Compression and Over-Compression in Modern Heavy Music Production

Written by Doctor Mike – Rock and Metal Producer, Guitarist, and Mix Engineer at EOL Studios. Published in a collaboration with Sonimus Audio –

Compression in Heavy Rock and Metal has become a cornerstone of Modern Music Production Techniques. As mixes become denser and denser and each instrument fights for its space in the Heavy mix, they require more and more compression. On the other hand, if compression is applied incorrectly or excessively, it becomes incredibly easy to destroy the dynamics of mix elements and just come to blatant and static mixes that don’t sound exciting to the listener.

In this article, I would like to focus on some ways to prevent over-compression and loss of dynamics and still create the desired effect of heavy compression for a firm and solid modern sound.

I. The selection of Attack and Release times.

There is so much confusion about choosing the correct Attack and Release settings for compression. I can only suggest that this comes with experience, and experimenting and listening to your choices and their impact on the final sound will go a long way to discovering your take on compression.

There is, however, a simplistic approach to finding the Attack and Release settings suitable for the material, and that has been developed by Michael Stavrou in Mixing With Your Mind Book. In short, one calls for extreme compression settings to really hear their effect. Set up your ratio to the maximum. Attack and Release to the shortest. Adjust the Threshold so that you get a healthy amount of gain reduction. Now, start slowing the Attack down, and listen to the transient. Find the setting where the transient comes through. Next, adjust the Release time to suit the tempo of the chosen track.

II. Common Attack and Release Settings.

This approach allows to discover the compressor timing settings that would suit your musical material and leave the transient less affected, hence creating less of unwanted compression artefacts. Find some common compressor timing settings below applicable to Heavy material.

Drum Overheads – Slow Attack, Slow Release. Smooth out and glue drums together, without impacting the attack envelope.

Kick – Slow to Medium Attack, Medium to Fast Release, depending on the material. Leave the attack intact and adjust the release to not interfere with the next note. This varies depending on the part, for instance, a drum part consisting of predominately 16th note double kicks would require a faster release than 4th or 8th notes.

Snare – Slow Attack, Medium to Fast Release. Snare compression may be a bit tricky, and would largely depend on chosen production style. Fast release time would provide a more aggressive punch, medium release times would give more sustain to the snare. Slow attack is preferred to leave the transient intact, however, this depends on how the drum was recorded in the first place.

Toms – Medium to Fast Attack, Medium to Fast Release. Toms are compressed rather aggressively to cut through a dense mix.

Drum Parallel Compression – Fast Attack, Fast Release. Settings are adjusted to match the tempo of the track.

Bass – Fast Attack, Fast Release. Bass is one of the most dynamic instruments in the mix, and it hence requires a significant level of evening to stay prominent. Attack may remain as fast as possible until the distortion artifacts occur.

Guitar – None! Although many producers prefer the compressed guitar sound with slow Attack and fast Release, I would recommend against it since heavily distorted guitar is already significantly compressed by definition. I would recommend using extra saturation layers instead, see below.

Vocals – Medium to Fast Attack, Medium to Fast Release. For heavy screams or growls, aggressive compressor settings suit the material, hence fast attack and release. For cleaner singing, you may want to explore the infamous Dr. Pepper settings, with Medium Attack and relatively Fast Release.

III. Compression in Series versus a single Compressor.

Most of the Modern Rock and Metal Producers work in the box and rely on plugins heavily, and I have been no different until recently. The important thing of note is that outboard analog compressors are a little more transparent and forgiving in general, and hence allow more gain reduction to be done (up to 10 dB!) without providing excessive artefacts. Digital plugins aim to emulate this behaviour, and we’ve been fortunate enough to live in the era where these software products come closer and closer the their analog brothers, and sometimes even exceed these in the state of convenience, recallability, and the sound itself once not trying to emulate a specific piece of gear.

As a general rule of thumb, however, I recommend avoiding pushing plugins to their extremes especially if the goal is to achieve clarity and transparency. The answer to firm and solid compressed sound desired by heavy musicians and producers then is – serial compression.

Instead of using a single instance of a plugin and taking down 10 dB of the signal, consider going milder with that original compressor, maybe 3-4 dB of GR, and then using a different model with a different sound, complementary to the first compressor, taking additional 2-3 dB. This results in a cohesive and diverse sound that is still firmly compressed, yet remain more transparent. The second compressor settings are also likely to be milder, letting the transient through and emphasizing the action of the first compressor as well.

Few examples here. Once I compress the individual microphones for my Kick drum with the settings pictured above, I next travel to the Kick Buss. I insert an additional compressor of a different style (the modern metal genre craves for SSL-style compressors) and tweak its settings to the program material. Normally slow attack and fast release work very well for emphasizing aggression, and slow attack and medium release for additional punch and sustain. I approach snare similarly.

For Bass, I like to glue the buss together with a Fairchild-style medium or slow compression, adding thick harmonics and rich bottom end without impacting the attack already smoothened out on the previous step of compressing the individual tracks.

Vocals may benefit from a finishing polish of LA-2A or even API 2500-style compressor, taking out no more than 1 dB of gain for subtle evening and thickening.

Similarly, my mix bus itself goes through a series of hardware and software compressors, and that does quite a heavy lifting to the signal. I take out 2-3 dB of the mix bus with my Rupert Neve 5043, which then goes to Louder Than Liftoff Silver Bullet and Rupert neve 542 Tape Emulator for harmonic coloration and emphasis. Back into the box, I additionally compress the mix bus with API-style, SSL-style, or unique and transparent digital tools that further glue the mix together. The closer to the finish line, the less compression is required; I may barely move the needle of the final compressor in the chain and still hear a significant impact.

IV. Compression layering.

Additionally to serial compression, layering compression in parallel is a fantastic idea to thicken sounds up and create an aggressive feel to these, without destroying the original feel of the part.

One may get very creative on this stage, combining the flavours and unique action of all the software and hardware tools at hand to come up with a vibrant and strong combination of firm compressed signal.

I reach for 3-4 different parallel layers for drums, ranging from a classical 1176-style compression for grit and punch, as well as Neve-style glue and thickening for the entire drum kit, to very aggressive digital plugins on Kick, Snare and Toms only to let them cut through a dense mix.

I parallel compress the Bass, too, with 1176-style limiter acting very aggressively.

I started to parallel-compress the mix bus itself as well, strictly in the digital realm, blended subtly. This creates an additional layer of aggression, once again, without impacting mix transparency and fullness.

V. Multiband Compression and side-chain Compression.

A more utility-based approach is multiband compression, and that is a superior way to further clean things up in lieu of heavy compression. The approach is well applicable for instruments that are dynamic only in the specific frequency range. Heavy guitars are very prone to uncontrollable low end movement on the palm mutes. Bass guitar may move significantly in the sub-bass region. Vocals may have quite an uncontrollable low-mid and mid frequency range, prone to increased dynamics. All these instruments may additionally benefit from multiband compression on their buss, focusing on the problematic area and subtly evening it out without impacting the rest of the instrument. This provides more transparency, clarity, and control to the mix.

Finally, once one reaches the stage of mixing where all the instruments are incredibly dense and thick, it gets progressively more complex to let each instrument have its full space without compromises. Until recently, engineers didn’t have access to modern digital tools and hence had to carve room for instruments with the EQ, for instance, significantly high passing the additional lead guitars, synths, or extra vocals in order for these to sit in the mix nicely. As a result, the mix certainly felt balanced and rich, yet just these extra elements may have sounded thinner than desired.

We are blessed with technology in the modern days, and it gets infinitely easier to befriend the elements of the mix with multiband compression that is side-chained to the instrument of need.

For instance, vocals and guitars almost always fight for the common space in the mix – the midrange. Instead of trimming that midrange out and sacrificing the sonic character of one of the mix elements, one may perform the following trick.

Select a multiband compressor for the guitars. Create a band that sits in the conflicting midrange region. Side-chain it to the vocals. Set the attack and release to taste, so that the reduction is transparent. As a result, your guitars are going to become more “scooped” once vocals are active, leaving room for these and not interfering with the frequency distribution. However, once vocals are not present in the mix, the guitars return to their full-sounding state. The listener would appreciate both the massive guitar sound, and room for vocals where required.

Similar approaches are well applicable for synths in strings in heavy music that occur episodically and need to retain their power, as well as additional lead guitars – or any other element of the mix that is difficult to fit into a busy canvas.

VI. Conclusions.

As much as compression remains an area of music production that requires lots of experience from the producer to achieve transparent and solid results, the modern tools available at our disposal make the job easier and easier. By following the approaches described in this article, one would minimise the artefacts of over-compression and achieve massive and solid-sounding Modern Heavy Records with great deal of clarity and separation – a true staple of the Modern Sound.

Metal Myth Busters I. Instruments in the Mix Sound Bad in Solo?! Heavy Metal Recording, Mixing Tips

A common myth about mixing heavy rock and metal is that instruments in solo / isolation sound thin, brittle, or plain wrong, and only when combined they complement to each other. While it may be true to some extend (high pass filters, etc), I show that instruments need to sound big and full on their own, as well as combined together. Have a listen with me on my recent mixes for The Archanan, Sliimak, and The Overcoming Project. 

Doctor Mike Reacts to Crap Metal Snares

Doctor Mike Reacts to Shiddy Heavy Metal / Metalcore Snare Drums and Mixes. I listened to In Flames (I Am Above, Clayman 2020), Children Of Bodom (Something Wild), Metallica (St. Anger), Meshuggah (The Violent Sleep of Reason), Erra (Drift), Mnemic (Liquid), Alpha Wolf (Black Mamba), Emmure (Slave To The Game). I analyse and explain what I think is right or wrong with the sound of snare drums in these mixes.

Recording Natural Modern Metal Guitars for The Overcoming Project – EOL Studios Documentary II

Here’s a little documentary on how I was recording guitars for my Psychedelic Metal The Overcoming Project, where I work with Mike Heller from Fear Factory and Jon Howard from Threat Signal. I hope that you enjoy my approaches and some raw Heavy Metal Guitar footage and headbanging!