Old-school Metal Mix/Master

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: "Glorious Death" album released in 2016 by GREY WOLF, a Brazilian one-man heavy metal project. It took him from non-selling effort to worldwide recognition with CDs releases selling out one after another. I had the privilege to mix and master the album, as well as designing the booklet layout and even singing some background vocals. The result still makes me proud.

Q: Analog or digital and why?

A: Analog for tracking, for its warmth, and digital for editing, for its practicality.

Q: What do you like most about your job?

A: Music is an art, and that is the most intimate expression of the artist. One's reflections, emotions, synthesis of thoughts. As an audio engineer, I am able to touch those feelings and still contribute, making it sound better, and ready to be exposed as the artist desire: just as a free expression for everyone to contemplate, or as a professional sell-able product. It is like being a hub for dreams.

Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?

A: A blazing-fast computer, a low-latency interface, one comp/eq channel strip, some no-harsh condenser mic and a trustworthy pair of headphones. No brands cited. With trained ears, all else is desirable, but dispensable.

Q: What was your career path? How long have you been doing this?

A: Singer since '97, composer since 2002, first-contact with mixing between 2007/2008, record label owner from Oct. 2013 to 2019, and remote studio owner since 2017. A recording facility is on its way for 2021 ;)

Q: How would you describe your style?

A: Deeply honest about my workflow and ideas, and really careful about the artists sound. I don't impose myself over the artists, I try to imagine me on his/her place. And that's because I've been an artist too since 97.

Q: Which artist would you like to work with and why?

A: Judas Priest and Iron Maiden. Priest, because of their work with Chris Tsangarides, which added a lot of creative ideas, effects exaggeration, which led to the sound we all learnt to love. Maiden because they went from the best rock engineer ever (Martin Birch) to the worst (Kevin Shirley). And I would kill for a chance to replace Kevin and helping Iron Maiden once again achieve a full-length album where the guitars don't sound synthetic and the drums don't sound like pancakes.

Q: Can you share one music production tip?

A: Sure. Want old-school sound? Don't fear cutting frequencies out with filters. An instrument may sound awesome by itself, but in a mix, sacrifices are necessary, because things sum up and usually get muddy or exagerated. Let the bass-drum speak, breath. It is different from contemporary productions. A deep heavy guitar may sound awesome alone, but it can ruin a mix. A good (usually surprising) amount of hi-pass filter can get the mud out of your sound and help the drums breath and make the mix shine. Ah, and don't ever record the sound clipping. Digital hates clipping. You want the sound punchy? Don't push your interfaces, and let the mix engineer do his job. Trust him.

Q: What type of music do you usually work on?

A: Rock, hard, heavy and thrash metal. Specialized in getting the sound of 70s and 80s metal inside the digital realm. But I am also a 70s jazz fan too, and am eager to work with this kind of music.

Q: What do you bring to a song?

A: I can achieve the sound the band is desiring according to its influences - the bands, the albums, what years and continent were they recorded, which gears were used - Old-school 70s and 80s sound without compromising soundstage and loudness, loud and heavy without compromising dynamics. I sometimes interfere on creative side of mixing/production, suggesting effects, automation, samples that I think would help enrich the arrangements.

Q: Tell us about your studio setup.

A: This is still a remote studio, so: Hardware: Motu 8M interface with Sabre converters, Motu 24ai and Focusrite Clarett Octopre expanders, Focusrite ISA 430MKii channelstrip, Softube Console 1 surface controller, a pair of good 8" near-field monitors, some 80s guitar racks. Software (mixing): Presonus Studio One (preferred), Reaper and Pro Tools; original plugins from Slate Digital, Black Rooster, Native Instruments, ToneBoosters (and many others). Software (mastering): Presonus Studio One, Izotope plugins for finalization and some dark secrets for old-school sound.

Q: What advice do you have for a customer looking to hire a provider like you?

A: We know you artists want to sound great. But do you have a focus? Can you filter among your influences and can you express in words what you are seeking for?

Q: What's your typical work process?

A: First I convert one of the songs project coming from the client, whatever software it comes from, to my preferred daw. Mix one song for the client to check if it is on the desired direction. After confirmation, I convert and import the whole album (when appliable). Client pays and I do my job. I deliver the songs digitally in the preferred quality, and a DDP or physical CD for the finished master. I use to deliver two distinct masters, one for CD and another for streaming services. 3 mix revisions are included. Text "Mixed|Mastered by Arthur Migotto at Heavytron Studio" must be included in credits (disc inlays, platforms, promo material)

Q: What's your strongest skill?

A: Concept/context perception.

Q: What other musicians or music production professionals inspire you?

A: As engineers, Martin Birch and Chris Tsangarides, which helped to create the sound of British hard rock and heavy metal. As musician and producer, Ronnie James Dio.

Q: Describe the most common type of work you do for your clients.

A: Mixing and mastering heavy/thrash metal albums and demos, specially old-school metal. I also do re-master from stem groups and audio cleaning (podcasts, field interviews, etc).