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.
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.
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.
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.
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!
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.
I built this Heavy Metal Production Studio through blood, sweat, and tears – and way too much of each.
Emerging as a naive dream of 25-year old myself, with absolute zero financial foundation behind it. But my desperate desire to make Heavy Records the way I’ve been hearing them in my head throughout my life pushed from ‘nothing’ to ‘something’. And here I had the first basis of my studio, my first clients and my first records done. Still, without a clue on how to grow it and build it from ‘something’ to ‘everything’.
Blood, sweat, and tears. Coming back from my Doctorate studies at 5 PM, to get started in the studio. From 5:30 PM to 9:30-10 PM at night. Every business day, for 3 years.
Jumping into the studio full-time in 2018, with no way to remain in Australia and just desperately hoping that things would work out. Yet another round of 12-hour days, now in the studio and on the studio development side of things, thanks to The Six Figure Home Studio.
Going back to vicious routine, one last time as I promised myself, in 2019. 4 days a week at University lab to finish my immigration, the rest of the week is for the studio, in the name of heavy music, for my clients.
And ending up here, at the tail end of COVID, with ‘something’ turned to absolute ‘everything’ for me, and with future looking solid as I finally live the studio life I’ve been so desperately chasing for so many years.
I’ve paid a very high price for this, and now I take pride to call EOL Studios my job. At least, until I disappear from the face of this world, as a Doctor of Metal. And yes, EOL stands for Echoes Of Life – but that’s for another time and another story.
The mere single path – on the entire Earth.
The Overcoming Project is a psychedelic-melodic-groove metal studio project conducted by Mike Trubetskov, PhD, Guitarist and Producer at EOL Studios.
Today Heavy Magazine is premiering the second single release titled, “Anxiety“, which features world-class musicians: Jon Howard (Threat Signal, Imonolith) on vocals, Mike Heller (Fear Factory, Malignancy) on drums, and Sergei “Efes” Fomin (FS Projekt) on bass.
Mike Trubetskov composed the track, performed guitars and all the production and mixing business. Tony Mantz mastered the track at Deluxe Mastering.
Talking to Trubetskov today about the new track he says, “’Anxiety’ depicts a psychedelic journey towards defeating one’s deepest fears, with blast beats, on an extreme edge of the consciousness.”
“Anxiety” is released digitally on all streaming platforms and is accompanied by a lyric video produced by Andy Pilkington at VeryMetalArt.
This happens again. You see a shining post of another band killing it, opening with international acts, releasing a fantastic video, celebrating a sold out gig with their fans.
As you’ve been quiet, working on your new release for quite a few months now and not making that much progress rapidly (isn’t it damn hard to make music promptly hey?), you inevitably start comparing yourself with that band.
These thoughts lead you to an inevitable spiral of self-doubt, negativity, insecurity and sometimes even envy.
The scarcity mindset becomes real. Music business is ruthless to us, creatives. So much pressure and so much stress brings weak thoughts to even the strongest of us. And we sometimes may think that the success of that other band is our own failure.
It is super important to understand that this is the main mistake in this line of thought. Just because someone released a successful EP absolutely doesn’t mean that your won’t be successful! Just because someone has played a huge gig absolutely doesn’t mean that their fans would turn your gig down. Conversely, this only means that the music scene is growing, the demand is increasing, and there actually will be place for your music in the scene!
The healthy way is to stop comparing yourself with the others and start comparing yourself with you in the past. Have you grown in the previous few months? Have you developed a new skill, wrote a new song, improved your performance or made progress on long-standing album in the works?
Your path as a creative is unique and must be different to anyone else – that is the definition of authenticity. Aim to be a better version of yourself every new day, and your progress will never stop coming.
One of my very talented clients told me that the society doesn’t value music as a commodity anymore.
This thought strikes me hard, as it is the truth. People value food, lifestyle, luxuries and money much more than the subtle and elusive yet extremely powerful art of music.
It is a very sad battle – to fight so hard for something that the majority doesn’t even consider valuable!
However I think as music has been devalued for a few decades now, it is the very time for us, musicians, producers, engineers to strike back and show everyone what the real value of our precious art is!
I value music because it enhances the raw emotions, brings cathartic revelations, makes the listener connected, shivered, excited. I value music because at the end of the day it can break the useless consumer society cycle and force someone to open their ears and step on a path of inner development.
Music also makes the musicians who performed the record eternal, leaving massive legacy after their death. In fact, when I listen to certain artists I can feel them singing and playing right in front of me, no matter how long ago they passed away or what happened in their lives.
I urge all of us, musicians, to show everyone how hard we work to capture the depth of life into our creations.
I urge all of us to show that there are things infinitely more significant than the dull cycle of consumerism, and that is our art and our soul.
I urge all of us to fight our battle hard, and I know that collectively we can make an impact that will spread across people who have the ears to listen.
In this video, I talk about how we as heavy musicians and audio professionals should never stop learning. I provide 10 different approaches to learning in the field of heavy music and hope you find these useful.
I’m glad that the “Sample War” is getting to its conclusion, similarly to how the Loudness War ended about a decade ago.
Sample-replaced drums are mostly outdated now, and the productions still done this way send us straight back to 2015.
Sterile sounding songs are not in trend anymore. I see more and more musicians requesting natural sound of their records, despite how heavy they want their sound, and I highly respect that.
Still, there is a lot of misunderstanding about using the samples. People tend to think about it on the extreme side of things – either full replacement with lifeless plastic sampled sound, or no sample usage at all.
I advocate for a different approach to using sampling and the modern sound production technologies in general.
Instead of going for the “trend”, we are going to help the source material to shine, whatever it requires.
For example, if the original recording of the kick drum is lacking the punch in the 100 Hz low end range, there is no harm to gently blend an appropriate sample to make the original recording fuller and bigger, dial in the missing part yet retain the original character.
Similarly, if the snare is lacking a piercing attack at 3 kHz, there is no harm in gently blending the transient sample in to get the attack back!
Moreover, one can colour the samples by using all the emulations of analog gear available at our fingertips. Console and tape saturation, analog-like EQs, etc. It’s our job to utilise these tools properly, with a careful consideration of the character of the song.
Our ultimate aim is to open up and enhance the original sonic character and the original message of the artist, with all the tools available.
We should never aim to throw this character away and replace it with generic, lifeless and characterless samples.
Tags: drum samples, recording drums at home, slate trigger, drum sound, drums, home recording studio, drum kit online, digital drum kit, drum triggers, sound samples, ezdrummer, free drum samples
My mission in music is to help you achieve your unique vision. Over all these years I’ve been learning how to find sonic and musical approaches that emphasise one’s originality.
I learnt it the hard way, by testing tools and approaches that form my music palette on my own material. I failed numerous times, and it was crushing.
But then I simply got better at it. It was not an immediate transition, rather than a slow and long grind, and the only thing I can brag about here is that I simply did not give up.
I am keen to help you and your music by applying the experience that I’ve gained on my path. The only thing that I am absolutely certain in my future is that I will never stop growing this experience. This evolution is something that forms a core of my personality and hence my studio.