Heavy music artists get your

Music Professionally mix & Mastered

Without loosing your original sound OR PAYING HIGH RISK RATES

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$200/flat per song

$100/flat per song

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No MINUTE LIMITS
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Real clients that were taken from raw recordings to end results

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What artists are saying about tonalchemist audio

CASE STUDY: SKRIKE

Who Are You?

We are SKRIKE, a heavy metal band based around Manchester, UK. Our sound is rooted in classic and 80s metal, with strong influences from thrash, NWOBHM, and high-energy theatrical metal.

What’s your role in the band/project?

The band consists of five members:
Matt – Rhythm Guitar
George – Lead Guitar
José – Bass
Ethan – Drums
Josh – Vocals & Lead/Rhythm Guitar

What were you doing before you met Jakob to produce and mix your music?

Before we met Jakob, we were mainly focused on putting together our own songs. We’d just headlined Manchester Academy and decided to take a short break, giving ourselves time to recharge and write new material so we could come back to the scene stronger than ever.

That meant starting fresh with new music. Our first recording of War of Time had been rough and messy, so we went back into the studio to track everything properly. We were recording the parts ourselves, mixing our own demos, and trying to develop a cleaner, more polished version of our sound.

Why was that not working for you/What pain did that cause you?

The reason it wasn’t really working for us is because there’s only so much you can do with your own music when you’re producing it yourselves. Sitting down with five people in a studio is exciting, because everyone brings their own ideas and approaches, but that can also get in the way. It’s easy to become obsessed with your own sound to the point where you start drowning in it.

As a band, of course we want to be hands-on with producing our music, but the writing process is the part we truly enjoy. Being in the studio is already stressful, and trying to manage the entire production ourselves took a huge amount of time and energy—time we could have spent on actually creating and performing.

And practically, it’s a lot to ask five band members, especially when not everyone has production experience, to sit in a room and try to figure it all out from scratch. We didn’t really argue, but we definitely drained ourselves pushing through it. It became frustrating, and we realised we needed a different approach.

Why did you look for help?

We’d been looking for a producer to work closely with for a while, because it was something we genuinely needed. You can only take your music so far on your own—having someone with a fresh perspective, new ideas, and a clear method makes all the difference.

Even though we’d done some production ourselves, we knew we needed someone with real experience to help push our sound to the level we wanted. Our goal has always been to make the music as powerful and polished as it can possibly be, and bringing in a producer felt like the right step to get us there.

What fears did you have before working with Jakob, if any?

The biggest fear we had before working with Jakob was that he simply might not get the genre. Not a lot of people do. These days, so many producers are obsessed with newer industrial or mainstream metal – the Bring Me the Horizon sort of sound – and when you say “metal” to someone, they either understand it instantly or they don’t.

It might sound pretentious, but there really is a huge difference, and for us it’s everything. Traditional heavy metal, classic 80s influences, thrash roots – this genre genuinely means a lot to us. Our image, our sound, the era we draw from, the bands that inspire us… it’s all part of who we are.

So we were nervous about working with someone who might treat our songs like just another set of audio files. We didn’t want someone to come in, gloss over the details, and miss the heart of what makes our music ours. We needed a producer who felt the genre, understood its history, and understood us.

How did JAKOB RESOLVE THE FEARS YOU HAD?

The moment our fears really started to disappear was in those first few phone calls with Jakob. We were throwing bands and reference tracks his way, and straight away he was picking up on exactly what we meant. He wasn’t just familiar with the sound—we could tell he genuinely liked the older style of metal we come from.

When he said he was excited to work with a band that wasn’t doing the Bring Me the Horizon–style industrial stuff, that meant a lot. It showed us that he understood the era, the influences, and the feel we were aiming for—not just in theory, but in taste.

That alone was a massive comfort. It wasn’t just that he knew the genre; it was that he shared the same passion for it. That really eased our minds 100%.

What made you pull the trigger to sign up officially?

The reason we decided to sign up was because we genuinely got along with him straight away. He really understood our image and what we were trying to do, and the level of professionalism he showed made a massive difference. He took us through every single step of the process—how everything would be organised in Basecamp, how the files would be handled, what each stage of production would look like—and it was all so clear, sensible, and easy to grasp.

It felt exactly how you’d want the process to feel: structured, organised, and never overwhelming. Having someone who genuinely knows what they’re doing, and who doesn’t just leave you in the dark, is such a comfort. He walked us through everything in detail, and that eased so many of our worries.

There’s always that fear of handing your music over and just hoping the producer “gets it,” but the fact that he worked so closely with us—even in those early conversations—really pulled the trigger for us. It made the whole decision feel right.

What did you like about the workflow processes?

Like I mentioned earlier, the whole process was incredibly smooth from start to finish. Everything was laid out in such a clear and organised way that it genuinely made our lives easier. Every step was simple to follow, nothing ever felt confusing or overwhelming, and he made sure we always understood exactly what was happening.

The communication especially stood out. He kept everything running on schedule, he chased up the things that needed chasing, and he kept us on track at times when we had a lot going on in our own lives. It never felt like we were being left behind or forgotten about — he was present, responsive, and completely on top of everything.

Overall, the experience couldn’t have been easier or more reassuring. It felt professional, well-managed, and genuinely supportive throughout.

What are a few things you learned from this experience?

It was our first time in a studio as a band, so there was definitely a learning curve. Not everyone had been in that environment before, and we realised pretty quickly that the studio is a place to record music, not learn it. Next time, we’ll make sure all the songs are fully locked in before we go in.

I’d also like to record more guitar layers—five or more if needed—to make the sound as big as possible. We originally thought you only needed one or two tracks per guitar for left and right, but now we know how much depth extra layers add.

Overall, we were very proactive and put a lot of effort in, but I think some of that effort went into the wrong areas. Going forward, we’ll focus more on preparation and quality rather than trying to move quickly

What was your reaction to the end result?

When we heard the final version of the song, we were genuinely pleasantly surprised. We were kept involved throughout the entire process and heard each stage of the mix as it developed, which made it really rewarding to hear the track evolve. Especially considering how bad our original recording with a different producer turned out, it was amazing to finally hear the song’s true vision come to life

We did have a few disagreements during the production stage, but honestly, that’s only because he pushes you to make the music the best it can possibly be. He really cares about the end result, and sometimes that means being challenged.

My advice is simple: trust the process. I was skeptical at first too, but it genuinely pays off. It will push you to the next level and give you the satisfaction you’re looking for. Just go for it.

What would you say to someone that is on the fence working with Jakob?

Where can we find the music that Jakob worked on for you?

Spotify, all streaming platforms

Sincerely,

SKRIKE

Commonly asked questions

  • Prices can vary depending on your project. You can calculate your potential quote by going to the “services“ tab on this website

  • I charge 50% of your quoted price upfront when the project starts as my security deposit, and the other 50% upon completion of the project. There are no refunds on the security deposit. If you don’t like how it turns out or want to cancel the project, you don’t owe the other 50%.

  • My promise is that you will be 100% satisfied with your results. If I can't give you the results you want, I will refer you to someone else who can. You will not leave empty handed or worse off than you were.

  • Artists sometimes think that going with a producer is a waste of money since they can do everything on their own, which is sometimes true. If you think your music already sounds good then you don’t need me. But if you have an itch for improvement, that is your sign to consider hiring someone.

  • What sounds good to you is subjective. I recommend looking at my portfolio and reviews to decide whether or not it is likely for me to help you make your music sound better or worse.

  • I am typically very niched in the genres I work in because of my specialized skills, but I don’t mind expanding if it feels right.

    Main genres:
    - Modern Rock/Metal/Metalcore/Emo Rap/Trap Metal/Metalstep/Electronicore and everything else related to those

  • I worked in a dedicated sound treated studio room. I am working completely in the box (using mostly all plugins). Most of what I do happens inside the Reaper DAW. I use KRK Rokit 5 Studio Monitors and AKG K240 Studio Headphones and a few mics like the sm57 and Super 55. Plugins are industry standard plugins for mixing and mastering. I have an Arturia Keystep 37 MIDI controller and various synth libraries, amps sims, midi drums, midi bass. I have electric guitars, acoustic guitars, and bass guitars. Everything we need to make your record sound great is here!