Arthur Migotto is the owner/producer of Arthorium Records and former singer/composer of true heavy metal band Hazy Hamlet. Counting with huge background of 70s/80s hard, heavy and thrash metal and well trained pair of ears, he is able to use digital realm to give your album the great vintage/analog feel you are looking for.
Arthur Migotto is well know in underground metal realm, specially for old-school sound lovers. First, for the work as singer, composer and producer he has developed with true heavy metal band Hazy Hamlet (BRA) between Oct. 2001 and Jan. 2016. Second for being the owner and producer of metal records label Arthorium Records.
Migotto has initiated on rock/metal in 1995 and joined the first band in 1997. As most teenagers, tried a few more underground heavy metal bands until joining the most significant to his career, Hazy Hamlet, from October 2001 to January 2016, achieving worldwide distribution and repercussion.
Working independently, gathered experience in both graphics & sound production, as well as promotion and web development.
Initiated Mixing and Mastering in 2008, focusing on contextual mixing (timbres, eq, effects according to band genre and years of influence) and specializing in old-school rock/metal, emulating 80s ambiance and vintage/analog sonority with contemporary digital resources. Audio is always processed with a MINIMUM quality of 96kHz/32bit floating point (higher if necessary), only being downsampled in final render.
70s Hard: Rainbow, Purple, Thin Lizzy;
80s Heavy: DIO, Iron Maiden, Judas Priest, Accept, Omen, Grave Digger;
Thrash: Toxik, Sanctuary, Nuclear Assault, Heathen;
And obviously, NWOBHM and NWOTHM
Contact me through the green button above and lets get to work.
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Interview with Arthur Migotto
Q: Tell us about your studio setup.
A: This is a post-production studio, so: Hardware: Motu 8M interface with Sabre converters, Focusrite interface, Focusrite ISA One preamp, a surface controller, a pair of good 8" near-field monitors, some 80s guitar racks. Software (mixing): Presonus Studio One (preferred), Reaper and Pro Tools; plugins from Slate Digital, Nomad Factory, Native Instruments, ToneBoosters (and 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: 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 great interface and a trustworthy pair of headphones. 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 since Oct. 2013.
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 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 long work with Chris Tsangarides, which added a lot of creative ideas, effects exageration, 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.
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.
Q: What's your strongest skill?
A: Concept/context perception.
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 or automations that I think would help enrichen the arrangements.
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 an ISO or physical CD for the finished master. I can also ship an HDD/SSD with the whole original project if desired. For more than 5 songs 50-50 payment is accepted. 3 mix revisions included. Text "Mixed|Mastered by Arthur Migotto at Arthorium Pro Audio" must be included in credits (disc inlays, platforms, promo material)
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).