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Natehor

Casa
Colombia
Bogotá
Natehor

🎶 Mix & Master Engineer for Modern Metal
💀 Turning raw demos into heavy, crushing & punchy evil-sounding pro mixes

27/08/2026

Learning how to produce, mix and master metal takes a long time. I've been doing this for around 10 years and it wasn't until year 5 that I made something I actually thought was worth listening to.

Here's a song I made back in 2018. Sounded like crap, honestly. Bad drum library, DIs full of clicks and pops, sloppy editing, not the best performance. But it was real.

Years later I took that same song and remixed it. Kept all the same limitations, same tracks, same performance. Just different mixing decisions and a different amp setting. Listen with headphones and you'll hear it. Fuller, warmer, more low end, louder, cymbals sit better, guitars are wider, vocals actually cut through the mix.

26/08/2026

I finally have a good space to work, so I’ll be building my studio in one of the rooms. After about ten years of producing metal, I’m finally turning pro and that makes me happy. If you want me to mix your track, just DM me :D

26/08/2026

Every metal mixer has tried this: push the bass up because the low end feels empty, then push it back down because now everything's mud. Neither fixes it, because down-tuned rhythm guitars and bass are fighting over the same 80 to 250 Hz range, and turning a dial doesn't resolve a collision.

What actually needs to happen isn't a bigger EQ move, it's a decision about which instrument owns that space, section by section, all the way through the song. That's not a five minute fix on a Tuesday night after work.

If your low end still sounds like mud after the tenth pass, that's not a talent problem. Send me the track and I'll sort out who owns what.

25/08/2026

Six months ago you told yourself the mix would come together in a few sessions. It hasn't. The song is still finished the same way it was back then, just waiting.

That's not a writing problem. It's a time problem wearing a writing problem's clothes. Fixing the kick undoes the bass, fixing the bass undoes the guitars, and a demanding week doesn't leave room to untangle a dense, high BPM arrangement the way it actually needs.

A release date doesn't need you to find another weekend that isn't coming. It needs someone else's hours. Send me the track that's been sitting there and let's get it out.

24/08/2026

I finally moved to my new place, where I’ll build my new studio. It’s going to be an awesome journey.

24/08/2026

Not many people understands the joy that moving k***s bring to producers and mixing engineers. I’ve been working with metal for about ten years and it is always so gratifying to start shaping the sound of a song.

22/08/2026

One of the most extreme thrash albums ever made was recorded almost completely dry, on purpose. No reverb, no room sound, no ambience to hide behind. At the time, that went against how metal records were supposed to be made.

The producer's reasoning was the opposite of what everyone else was doing. Fast, dense music does not need more space to sound big, it needs less. Add reverb to something already moving that fast and every hit blurs into the next one.

Close mic'd drums, almost no room sound, nothing to blur the attack of a hit that fast. At that tempo, a reverb tail from one hit is still ringing when the next one lands. Cut the tail and every hit stays a separate, distinct event.

The "right way" to record drums was built for songs half this fast. Big, roomy drum sound works when there is time between hits for the room to breathe. At extreme tempo, that same technique just smears everything together.

The result felt like standing in the middle of the attack, not watching it from across the room. Dry and close made the band sound like it was hitting you directly, no distance, no cushion. That intensity became a reference point for extreme metal production that followed.

Sometimes the fix for a dense, fast mix is less space, not more. That instinct still holds up decades later, in a genre that got faster and denser than anyone in 1986 could have guessed.

22/08/2026

Ever wondered what mixing actually does? Here's a short comparison between the raw version of a metal song and the finished mix. The goal isn't just to make it louder—it's to make every instrument work together, even in the busiest arrangements. Extreme metal pushes that to the limit with low tunings and relentless tempos, and honestly, I enjoy solving those problems as much as eating a hamburger.

21/08/2026

Some 2000s metal records are louder than anything released today, and that is not a compliment. Crank the volume and there is nowhere left to go, because there was nowhere left to go on the record itself. Every transient was already flattened at the mastering stage.

Look at the waveform and it is a solid block, not a mountain range. A healthy master has peaks and valleys, loud hits standing out from quieter ones. A loudness war casualty is a brick, the same height from the first second to the last.

Limiters pushed everything up against the ceiling until nothing could stand out anymore. More gain into a limiter squashes the loud parts down and drags the quiet parts up. Do that enough times and every hit hits exactly as hard as every other hit.

Louder sounded better on the radio, in the club, next to the other single on the playlist, so labels and engineers kept pushing the ceiling for years. The cost was every dynamic that made a breakdown actually feel like a breakdown, until a blast beat and a breakdown started sounding the same size.

Modern remixes turn the brick back into a mountain range. Same performances, same songs, mastered with headroom again so the loudest parts still mean something.

21/08/2026

Some news! I’ll be moving to my new studio (maybe I’ll already be there once this video comes out). I’ve been mixing in a horrible environment for ten years and have great results, nos imagine what I’ll do in a proper space! I can’t wait to start my next project.

Dirección

Bogotá

Página web

http://www.kondorstudios.com/

Notificaciones

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