Adam 'Nolly' Getgood: creating unstoppable robot heaviness through digital precision

What is it about?

Adam 'Nolly' Getgood, known for his work with progressive metal bands like Periphery and Animals as Leaders, takes a uniquely literal approach to heaviness in metal production. Where other producers might speak metaphorically about heaviness, Getgood thinks in concrete, physical terms: massive machinery, unstoppable robots like the Terminator, natural disasters, and huge animals. His goal is to create sounds that evoke overwhelming size and power, making listeners feel the physical presence of something enormous and mechanical. To achieve this, he focuses on specific low-end frequencies, sub-drops, and industrial-style sounds that create visceral, bodily sensations. Using cutting-edge digital technology, he expands the frequency spectrum to its absolute limits, delivering maximum power, impact, and clarity. His approach requires musicians to perform with robot-like precision and synchronisation - similar to bands like Meshuggah - creating a unified "wall of sound" that feels mechanically perfect rather than humanly imperfect. Unlike producers who value the charm of lo-fi recordings, Getgood believes only high-fidelity, hyperreal productions can convey the overwhelming physical sensations he associates with true heaviness. His mix of "In Solitude" demonstrates this philosophy, using advanced digital processing to create maximum impact while carefully preserving musical nuance and acoustic instrument complexity.

Featured Image

Photo by James Kovin on Unsplash

Photo by James Kovin on Unsplash

Why is it important?

Getgood's perspective represents the technological vanguard of metal production, embodying the full creative potential of digital audio tools in ways that push beyond traditional recording limitations. His mechanical conceptualisation of heaviness provides a distinctly contemporary framework that reflects metal's evolution toward progressive complexity and technical precision. This approach is particularly significant as it documents how younger-generation producers, who grew up with digital technology, conceptualise musical aesthetics differently from their analogue-trained predecessors. His emphasis on "unstoppable force" imagery connects metal production to broader cultural themes about technology, power, and human-machine relationships that resonate with contemporary audiences. The chapter captures expertise in cutting-edge production techniques that are rapidly becoming industry standards, particularly in progressive and technical metal subgenres where traditional approaches often fall short. His work with bands known for extreme technical complexity provides insights into how modern producers manage the unique challenges of highly sophisticated compositions while maintaining musical expression. Getgood's philosophy of embracing hyperrealism over naturalism offers a compelling counterpoint to authenticity debates, demonstrating how technological enhancement can serve artistic vision rather than replace it. His approach provides practical methodologies for producers working with technically demanding music, establishing new benchmarks for clarity, impact, and precision in metal production.