With today’s technology, music is somewhat fairly easy for musicians and tech savvy fans to create and produce their own music. What isn’t easy however is getting it right musically and sonically and that’s where certain elements and factors become important to any serious artist who wants to put out music that will have an impact. That’s where someone like Mike Trubetskov comes in.
EOL Studios is operated by Mike Trubetskov, PhD, Producer, Guitarist, Composer and Mix Engineer specialising in the Heavy genre. Mike has a unique skillset in the music industry. Starting as a live and studio guitarist for Groove/Modern metal band Gift of Madness, Mike has merged his taste in modern Rock and Metal with the classical piano background that he has attained prior. As the current Metal music market is oversaturated – and often with productions that sound very similar, over the years of practice and critical listening Mike has developed a different approach to modern Heavy music.
It’s not often we talk to people involved on the other side of the music so we grabbed a few words from Mike to explain to us the importance of a good production for recording artists.
Tell us about EOL studios and what kind of work you do.
Mike: Hey Rockpit, pleasure to talk to you guys! I work as a Rock and Metal Producer, Guitarist and Mix Engineer at EOL Studios. Most of my projects range from full song production, arrangement and tracking to just mixing. In the mixing projects, the band sends me the pre-recorded multitrack along with the reference tracks and notes on the sound, and I mix it into a unique-sounding record.
For the full production bundle, the approach is very flexible. Essentially, we start with working on pre-production and arrangement of the initial demo songs that were sent. I then organize appropriate studio to record drums and any other instruments in, if desired. I also play as a session guitar player and hire bassists and drummers around the world when requested. Most of the time we track everything but the drums at EOL Studios, though. Finally, I tie together the band’s sonic vision on the mixing stage and send it for mastering then.
I collaborate with talented engineers and producers locally and internationally, having access to: Panorama Mixing and Mastering (AU) and Chris Graham Mastering (US) for mastering duties, Efes Projekt (RU) for meticulous song arrangements and session bass playing, Rodrigo Abelha (South America) and Pawel Jaroszewiczh (Poland) for session drums, Studio Truth Melbourne, Toyland Recording Studio, Rangemaster for tracking purposes.
What equipment do you use?
Mike: I have a hybrid setup. I am a huge fan of Universal Audio products, so I run Apollo 8 and Satellite for amazing mic preamps and meticulous emulations of outboard analog compressors, preamps, EQs, tape machines, consoles and such. These tools pretty much define my sound as I can route any possible combination of these emulations to achieve unique crunch and colour for each instrument in the mix.
My monitoring setup consists of a pair of Focal Solo 6 Be with the secondary pair of Equator D5 in the acoustically-treated environment.
For the guitar sound, I use Axe-FX II followed by the Universal Audio colours. Pretty much same thing here, as Axe-FX II provides me with outstanding flexibility for any particular amp need, as well as superior sound once you nail the technicalities of the tool.
As for the guitars, I play a rare custom Japanese Ibanez S9870 with really unique intonation along with a BC Rich ST-C982. I produce sounds, make layers and effects in Logic Pro X, and I track and mix in Pro Tools. I utilize an iCON QCon Pro X fader controller to make my DAWs behave similar to a console – where I can ride faders and inject more dynamics and human feel into the digital domain. I also use Fabfilter and Soundtoys plugins for precision work, additional colouration and effects.
What were some of the things you wanted to achieve with your work?
Mike: My mission is to rid the world in heavy music of sterile productions. I notice it all the time – talented musicians write great, catchy, authentic songs. And these then get produced very similarly, with no characteristic face of the band present in the recording. I want to make the opposite move and make as much records with unique, vibrant and dynamic sound based on the band’s message, as possible.
What are some of the biggest misconceptions about the kind of work you do?
Mike: Probably, musicians sometimes think that coming to a producer would magically make them a fantastic record straight away. While it can certainly be the case sometimes, I would not neglect the songwriting and studio prep aspect from the band’s side either, as essentially producer works together with a band, and only when everyone is trying their best, the outstanding product is achievable.
How important is a good producer for a band and getting the right mix and sound for a recording?
Mike: I firmly believe that nowadays it’s absolutely crucial to make outstanding records in case the band wants to get serious progress in their career. Thing is, due to accessibility of internet and computers, literally anyone can make some average records. But in order for the label people, radio stations, bloggers or just your fans to really notice your record, you have to stand out from the crowd with something unique in terms of sound, songwriting and production.
What are some of the biggest mistakes that you think bands are making today?
Mike: The number one mistake is not properly promoting your release online. You should be literally annoying the hell out of your friends and posting content for your upcoming album or EP every day for months before the release date. You also need to aim to get your music on streaming platforms for the easiest access to it.
I also see a lot of people self-producing their bands. While it can be a great advantage (and I myself was doing the same), half of the time it leads to recordings that do not stand out. Also, collaboration with other musicians and producers who may judge your material objectively with fresh ears only adds up more flavours and freshness to your music.
How did you get started involved in music? Who or what inspired you to be working in music?
Mike: I have been bound with music for my whole life. I started as a classical piano player when I was a kid and played for 8 years. Then I picked up the guitar, had some private lessons. I was heavily inspired by Muse and Rammstein at a time! I then joined a groove metal band Gift of Madness, played some gigs, opened for Killswitch Engage, hit the studio to record and album, and my career as a producer started from there.
What have been your greatest challenges to date, and your favourite highlights or moments musically?
Mike: The biggest challenge to date is trying to create an illusion of life-work balance in such a career! The biggest joy was to work on an album for Tamerlan Empire that people really liked and enjoyed. Most rewarding feeling ever.
With technology changing so much over the last few years and seemingly not slowing, and TV force-feeding us the lowest common denominator, what hope is there for rock & metal music?
Mike: I fully agree that heavy music is still very much underground, especially due to the mainstream trend in pop media. However, the information is getting more and more accessible due to the development of Social Media. And we see a lot of success for independent musicians on these platforms. I really believe that if one channels his efforts correctly and utilizes the modern platforms, he/she can reach enough people to get heavy music revived again.
From what you’ve learned so far what is the most valuable advice you’ve been given so far as a musician and producer?
Mike: Being humble and creating the community around yourself is the best way to build your career. It won’t also happen overnight and not even in a year. Also, considering running your band as a business is one of the best advice to musicians that I’ve had.
Who are some of your main influences?
Mike: Not in any particular order: Decapitated, Fear Factory, Machine Head, Meshuggah, Lamb of God, Killswitch Engage, System of a Down, Dream Theater, Muse, Rammstein, Opeth, Joe Satriani, Tony Macalpine, Bach, Shostakovich. Both in terms of the material and production.
How do you feel about the current music scene right now?
Mike: Heavy music in Australia is in rapid development, Melbourne is booming with heavy acts and venues. I am sure that in 10 years time it will break on its next level as well, and will be amazingly massive. Globally, I’ve heard some really healthy production directions with natural dynamic sound. Recent releases of Machine Head, Meshuggah, Gojira all sound fantastic and natural. Which is a great trend for sure.
Do you believe music can still change the world?
Mike: I may be an idealist, but yes, absolutely. Music has changed myself many times, I see no reason for it not to do the same with the others.
If you could be a fly on the wall for the recording of any album in history, what album would it be?
Mike: Fear Factory – Demanufacture
What is the meaning of life?
Mike: Depicting your vision into the piece of art and making this art impactful.
For more info visit www.eolstudios.com
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