The Self-Recording Band

🚀 Want our personal help with your next recording project?
If you want to learn to listen in a completely different way, and get the production skills to finish songs consistently...
👉 Book a free first coaching session with us:
theselfrecordingband.com
We’ll listen to your music, look at your current situation, create a custom plan for you and figure out if you're a good fit for our coaching inside The Self-Recording Syndicate. 
If you are, we can help you make records you're truly proud of and give you the skills and confidence to do it over and over again.
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About this episode:
What kind of person decides to cover the entire ~400-song catalogue of one band?
Someone like Tobi Seitz, aka Samy Braysel.
His ongoing project is to cover every original song by German punk legends Die Ärzte. He’s currently around 10% of the way through and estimates that finishing the whole thing could take 25 years or more. His reason for starting such a ridiculous project is simple: if an idea is crazy enough, you sometimes have to start immediately before you overthink yourself out of doing it. 
But that project is only one part of what Samy does.
He writes and records his own music, plays multiple instruments, produces other artists, teaches guitar and songwriting, repairs and restores guitars, and is building Hitzen Audio, where he helps artists take songs from the initial idea all the way to the finished production. 
In this episode, we talk about the philosophy that connects all of those things.
Samy deliberately creates challenges that force him to move quickly instead of overthinking everything. He has written and recorded songs within a few hours, captured one new musical idea every day for a month, resurrected unfinished songs from ten years ago, and learned when to accept that something is done and simply good enough to release. 
We also get into his approach to production: making records polished without making them robotic, recording real instruments, keeping human imperfections, using references early in the process, and knowing when the last 10% of "perfection" simply isn’t gonna help the song. 
And we talk about “Always Smiling,” the first official Samy Braysel release: a fast, loud song about unexpectedly finding a sense of freedom after AI takes away a job you didn’t particularly enjoy in the first place. 
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In this episode:
The 25-year mission to cover every Die Ärzte song
What recreating hundreds of songs teaches you about arrangement and production
Why Samy deliberately sets himself creative challenges
Moving fast without sacrificing quality
Why 90% can sometimes be good enough
Recording real drums and keeping productions human
Polished vs robotic
Knowing when a song is actually finished
Using reference tracks before you start recording
Producing your own songs vs producing other artists
Translating someone else’s ideas into a finished production
Why Samy enjoys restoring and building guitars
Finding time for music alongside work and everything else
Being a generalist instead of specializing in only one thing
Building Hitzen Audio as an end-to-end production service
The story behind “Always Smiling”
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Check Out Samy / Tobi
Samy Braysel:
https://samybraysel.com
Die Erbse – the Die Ärzte cover project:
https://www.youtube.com/@Die_Erbse
Hitzen Audio:
https://www.hitzen-audio.de/
https://www.instagram.com/hitzen.audio/
https://www.tiktok.com/@hitzenaudio
Confusion of ChiffChaff:
https://open.spotify.com/intl-de/album/4A4IYUKMvLEhES3ZzIFyYw
“Walls” – produced by Tobi:
https://open.spotify.com/intl-de/track/0V4WGClbt12B2TwwM0lMhj
“Tuxedo Torpedo” – Ron Jambo:
https://open.spotify.com/intl-de/track/5WTQ2lAyLR5IPt0QGd3bNQ
“Always Smiling”:
https://samybraysel.com/#presave
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Work With Us
If you’re making your own music and want outside feedback, coaching, and a clear process for making better records:
https://theselfrecordingband.com
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If this episode helps you, we’d really appreciate it if you left a rating/review or shared it with another self-recording artist. It helps us reach more musicians like you, invite exciting guests and keep the podcast going.
--
For links to everything we've mentioned in this episode, as well as full show notes go to:
theselfrecordingband.com/322
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Send us Fan Mail
If you have any questions, feedback, topic ideas or want to suggest a guest, email us at: podcast@theselfrecordingband.com

🚀 Want our personal help with your studio or your next music project?
If you want to explore the full potential of your creations, learn to listen in a completely different way, and get the production skills to finish songs consistently...
👉 Book a free first coaching session with us:
theselfrecordingband.com
We’ll listen to your music, look at your current situation, create a custom plan for you and figure out if you're a good fit for our coaching inside The Self-Recording Syndicate. 
If you are, we can help you make records you're truly proud of and give you the skills and confidence to do it over and over again.
--

About this episode:
What if the thing limiting your creativity is actually what helps you become more creative?
That’s one of the big ideas in this conversation with Bryan Hinerdeer.
Bryan is a songwriter, guitarist, live musician, and longtime member of The Self-Recording Syndicate. He’s also spent the last few years diving deep into sync licensing and writing music to briefs for film, TV, and other media. 
At first glance, writing to a brief can sound restrictive.
You’re given a genre, a purpose & references.
Sometimes specific instrumentation.
Plus a deadline.
And then you have to create something that fits.
But Bryan found that those constraints can actually force you to be more creative, because you can’t just fall back on the same habits every time. As he puts it, you’re already “in a box” with your own music, even if you don’t realize it. 
In this episode, we talk about how writing for sync pushed Bryan to grow as a songwriter, producer, and self-recording artist.
We get into learning to interpret briefs, figuring out what “contemporary” actually means, hearing production choices more critically, collaborating with other musicians, improving timing and drum programming, and developing the kind of ears that let you recognize problems before someone else points them out. 
We also talk about the balance between polished and organic production, why collaboration can unlock better results, and how Bryan went from simply “listening to drums” to hearing whether a snare, reverb, arrangement, or performance actually fits the song. 

In this episode:
How sync licensing and music briefs work
Why constraints can make you more creative
Writing inside a genre without copying references
Learning to interpret vague feedback like “sounds dated”
Why reverb can make a production feel tied to a certain era
Developing your ears through repeated feedback
Improving timing without over-editing
Why drum programming is such a steep learning curve
Making programmed drums feel more human
Bryan’s punk collaboration with another Syndicate member
Why complementary collaborators are so valuable
The difference between being a good musician and a good recording musician
How recording improved Bryan’s live performances
Why production choices need to fit the genre
Bryan’s acoustic guitar recording approach
Organic vs polished production
Using modern tools without losing feel
Why pre-production matters
The value of honest feedback
Why collaboration can take your music somewhere you wouldn’t reach alone

If you’re a self-recording artist who keeps defaulting to the same sounds, the same habits, or the same way of writing, this episode is a great reminder that sometimes a few limits are exactly what you need.

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If this episode helps you, we’d really appreciate it if you left a rating/review or shared it with another self-recording artist. It helps us reach more musicians like you, invite exciting guests and keep the podcast going.
--
For links to everything we've mentioned in this episode, as well as full show notes go to:
theselfrecordingband.com/321

Bryan Hinerdeer:
thebryanscottrevival.com
The Bryan Scott Revival on Spotify
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Send us Fan Mail
If you have any questions, feedback, topic ideas or want to suggest a guest, email us at: podcast@theselfrecordingband.com

🚀 Want our personal help with your studio or your next music project?
If you want to finally finish songs and make them sound so good that you can't wait to share them with the world...
👉 Book a free first coaching session with us:
theselfrecordingband.com
We’ll listen to your music, look at your current situation, create a custom plan for you and figure out if you're a good fit for our coaching inside The Self-Recording Syndicate. 
If you are, we can help you make records you're truly proud of and give you the skills and confidence to do it over and over again.
--
About this episode:
What happens when you stop second-guessing every mix and start actually finishing and releasing your songs?

That’s a big part of Thomas Hauenstein’s story.

Thomas is a solo artist, songwriter, and longtime member of The Self-Recording Syndicate. He writes and produces his own music, plays multiple instruments, programs and records drums, mixes his songs, and also collaborates with other musicians.

For a long time, one of his biggest challenges was simply not knowing whether what he had made was actually good enough.

He could write songs.

He could record them.

But evaluating his own mixes, knowing what needed to change, and deciding when something was finished was much harder.

In this episode, we talk about how that changed.

Thomas shares how developing his ears, getting consistent feedback, and finishing more projects helped him build confidence and actually release music instead of leaving ideas unfinished on a hard drive.

We also get into his very hands-on approach to recording: 
Creating fuzzy rock tones, programming realistic drums, experimenting with acoustic guitar mic setups, sampling his own drum kit, collaborating with other musicians, and learning when to let go of control.

And underneath all of it is one idea Thomas comes back to:

“It has to be heard by other people.”

In this episode:

Going from uncertainty to actually releasing music
Why finishing songs matters so much (beyond the obvious)
Learning to trust your own ears
The value of outside feedback
Why chasing perfection can keep songs stuck forever
Producing both full rock arrangements and stripped-back acoustic songs
Making programmed drums feel more natural
Building unique guitar and bass tones
Thomas’s acoustic guitar recording setup
Using modeling microphones creatively
Sampling your own drum kit
Why unique sounds make productions more personal
Collaborating with other musicians
Learning to give up some creative control
The challenge of doing everything yourself
Managing expectations when music is not your full-time job

If you have a hard drive full of unfinished songs and keep wondering whether your mixes are good enough, Thomas’s story will probably feel very familiar. And it might inspire you to finally take action.
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If this episode helps you, we’d really appreciate it if you left a rating/review or shared it with another self-recording artist. It helps us reach more musicians like you, invite exciting guests and keep the podcast going.
--
For links to everything we've mentioned in this episode, as well as full show notes go to:
theselfrecordingband.com/320

Thomas Hauenstein:
instagram.com/thomas_hauenstein (@thomas_hauenstein)
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Send us Fan Mail
If you have any questions, feedback, topic ideas or want to suggest a guest, email us at: podcast@theselfrecordingband.com

🚀 Want our personal help with your studio or your next music project?
If you want to produce your songs in a way that gets the emotion across and makes your vision for the music come out of the speakers...
👉 Book a free first coaching session with us:
theselfrecordingband.com
We’ll listen to your music, look at your current situation, create a custom plan for you and figure out if you're a good fit for our coaching inside The Self-Recording Syndicate. 
If you are, we can help you make records you're proud of and give you the skills and confidence to do it over and over again.
--
About this episode:
What does mastering actually do to your music?
It’s easy to think of mastering as the final technical step. Make it louder, maybe add some polish, export the final files, done.
But for mastering engineer Maor Appelbaum, the job goes much deeper than that.
Maor has worked with artists including Faith No More, Sepultura, Dream Theater, Yes, Meat Loaf, and many more. And in this episode, he explains mastering as a form of presentation: shaping the tone, focus, contrast, texture, dynamics, and overall feel of a finished mix so the listener connects with the music more deeply.
We talk about why mastering isn’t just about loudness, why tiny changes can matter, how transient response changes emotional impact, when a mastering engineer should leave a mix alone, and why there is no universal mastering chain that works for every song.
Maor also shares his thoughts on collaboration, AI mastering, hearing health, learning through mentorship, and why the human connection around music still matters so much.

In this episode:
What mastering actually does to a finished mix
Why mastering is about presentation and emotional impact
How EQ, compression, limiting, saturation, and width change how music feels
Why tiny mastering moves can still matter
When more processing makes a master worse
Why there is no universal mastering chain
What artists should expect from a professional mastering engineer
Why mastering can reveal problems you missed in the mix
Whether you should mix into a limiter or mastering chain
The difference between a “loud mix” and a true mastering process
Why collaboration and outside perspective matter
How Maor developed his ears, taste and skills
Protecting your hearing as an engineer or musician
Maor’s perspective on AI mastering
Why keeping people involved in music matters for the future of art and the community around it
If you’ve ever wondered what mastering really adds after the mix is finished, this conversation gives you a much deeper answer than “make it louder.”
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If this episode helps you, we’d really appreciate it if you left a rating/review or shared it with another self-recording artist. It helps us reach more musicians like you, invite exciting guests and keep the podcast going.
--
For links to everything we've mentioned in this episode, as well as full show notes go to:
theselfrecordingband.com/319

Maor Appelbaum:
maorappelbaum.com
instagram.com/maorappelbaummastering
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Send us Fan Mail
If you have any questions, feedback, topic ideas or want to suggest a guest, email us at: podcast@theselfrecordingband.com

What do artists actually need from a modern music producer?
Not just someone who can hit record, choose microphones, or make a mix sound polished.
A great producer helps turn a rough idea into a finished record. And a huge part of that work happens before the final recording even starts.
In this episode, we talk with Spanish producer, guitarist, songwriter, and engineer Pablo Lopez Figueroa about what modern production really looks like.
Pablo works with artists across the entire process: songwriting, arrangement, pre-production, recording, performances, editing, mixing, mastering, and bringing in additional musicians when a song needs them.
A big part of the conversation is about pre-production and why decisions about structure, tempo, key, dynamics, instrumentation, vocal melodies, and contrast often matter more than the plugins or gear you use later.
We also get into collaboration, making faster creative decisions, keeping ego out of the production process, creating a studio environment where artists feel comfortable, and why working around other ambitious musicians can accelerate your growth dramatically.
Pablo is a member of The Self-Recording Syndicate and also part of our Studio Growth Mastermind, where studio owners meet weekly to exchange ideas, solve problems, and grow their creative businesses together.
In this episode:
What artists should actually expect from a modern producer
Why so much of a great record happens before you hit record
What good pre-production really includes
Building contrast into songs and arrangements
Why better production starts with better decisions
Helping artists turn rough demos into finished records
Why the producer’s ideas don’t always need to win
Working with bands and choosing a musical director
Avoiding endless revisions and creative indecision
Creating a studio environment where artists can do their best work
Why acoustics matter more than expensive monitors
Building a professional studio on a realistic budget
The value of community, accountability, and learning from your peers
Pablo and Manel’s journey from music students in Dublin to professional producers
If you think a producer’s job starts when the red light comes on, this episode might change the way you look at the entire record-making process.
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If this episode helps you, we’d really appreciate it if you left a rating/review or shared it with another self-recording artist. It helps us reach more musicians like you, invite exciting guests and keep the podcast going.
--
For links to everything we've mentioned in this episode, as well as full show notes go to:
theselfrecordingband.com/318

Pablo Lopez Figueroa:
lacharcasound.com
instagram.com/pablopezfi
youtube.com/@pablopezfi

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🚀 Want our personal help with your studio or your next music project?
If you want to surround yourself with like-minded, ambitious artists and producers like Pablo and Manel...
👉 Apply for coaching:
theselfrecordingband.com/coaching
You'll get our unlimited, personal guidance. 
Depending on what your goals are, we can help you make records you're proud of, or build and grow the studio business you've always wanted.
We’ll listen to your music, look at your current situation, create a custom plan for you, and help you execute it step by step.
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Send us Fan Mail
If you have any questions, feedback, topic ideas or want to suggest a guest, email us at: podcast@theselfrecordingband.com