Nu metal

History and character

Nu metal is a fusion of alternative metal, hip hop, funk, grunge and industrial, born in the mid-1990s with Korn (1994 debut, produced by Ross Robinson) and dominant until the early 2000s with Deftones, Limp Bizkit, Slipknot, Linkin Park (Hybrid Theory, 2000), System of a Down, Papa Roach, P.O.D., Staind, Disturbed, Static-X. It is considered a more aggressive wave of alternative metal, which takes downtuned riffs and groove from Helmet (drop D) and Faith No More.

The ingredients: 7-string guitars or 6-strings in very low tunings (Deftones and Slipknot go beyond drop D), simple, syncopated palm-muted riffs, hip hop groove (swung sixteenth notes, syncopated kick), 5-string bass with a percussive and slap sound (Fieldy), DJs and samplers (scratches, samples, synths), vocals alternating rap, melodic singing and screams, and lyrics about personal anguish, anger and alienation. Guitar solos are almost absent, replaced by effects (Whammy, delay, noises).

After the decline of the mid-2000s, the genre enjoys a revival in the 2020s (Tallah, Ocean Grove, Kim Dracula, Bad Omens, Spiritbox, Sleep Token, Loathe) with modern production and trap influences.

Scales and keys

Natural minor (Aeolian)

• Formula: 1 2 b3 4 5 b6 b7. In D (drop D): D E F G A Bb C.
• Chords: i Dm, III F, iv Gm, v Am, VI Bb, VII C.
• Use: melodic choruses (Linkin Park, Papa Roach), i–VI–III–VII progressions.
• Real example: Linkin Park — In the End (Eb minor/Bb, a four-chord piano progression; transcriptions vary).

Phrygian

• Formula: 1 b2 b3 4 5 b6 b7. In D: D Eb F G A Bb C.
• Characteristic note: b2 (Eb) on the open string.
• Use: “single-note” riffs with the minor second, the Korn/Slipknot sound.
• Real example: Korn — Blind (downtuned riff with chromaticism).

Chromaticism and dissonance

• Use: minor-second clusters, riffs with dissonant notes between the guitars (Korn: Munky and Head play different parts a semitone apart), tritones.
• Real example: Korn — Freak on a Leash (harmonics and dissonances on the high strings over the bass riff).

Minor pentatonic and blues

• Formula: 1 b3 4 5 b7 / + b5. In D: D F G A C / D F G Ab A C.
• Use: groove riffs in the Limp Bizkit and RATM style, vocal rap flows.

Phrygian dominant and harmonic minor (System of a Down)

• Phrygian dominant: 1 b2 3 4 5 b6 b7 (in D: D Eb F# G A Bb C). Harmonic minor: 1 2 b3 4 5 b6 7.
• Use: Armenian and Middle Eastern melodies of System of a Down (Daron Malakian): augmented second, abrupt changes.
• Real example: System of a Down — Chop Suey! (melodies with harmonic minor/Phrygian dominant colors).

How to choose

• Heavy riff: Phrygian or chromaticism on the lowest open string. Chorus: Aeolian. Rap groove: pentatonic/blues. Exoticism (SOAD): Phrygian dominant and harmonic minor.

Harmony

Function

Simple, repetitive harmony: riffs on a single downtuned note with chromaticism (i–bII), loops of 4 minor chords in the melodic choruses, second dissonances between the guitars. Many songs on two chords.

Single-note riffs

• Low open string repeated in palm mute with a syncopated “hip hop” rhythm; the notes above (b2, b3, b5) add color.

Melodic choruses

• Aeolian progressions (i–VI–III–VII), open chords with the ninth, sometimes supported by piano or synth.

Tunings

• Drop D, drop C, D standard and lower tunings on 6-string; 7-string in A standard (Korn: A D G C F A D, a whole step below standard 7-string tuning: as reported by many sources) or drop G.

Voicing

• Downtuned power chords, minor-second dyads, harmonics, clean chords with delay in the verses.

Typical progressions

Rhythm and groove

Midtempo 4/4 (90–110) with a hip hop groove: slightly swung sixteenth notes (54–58%), syncopated kick, a strong snare on 2 and 4, stops and silences; extremely heavy half-time parts, “bounce” rhythms (Limp Bizkit), rapped sections over an almost boom bap beat. The guitars play syncopated riffs that leave room for the rap. A human but “heavy” feel.

Drums

Role

Groove drums: a crossover between metal and hip hop. Models: David Silveria (Korn), Joey Jordison (Slipknot, also with double kick and blasts), Abe Cunningham (Deftones), Rob Bourdon (Linkin Park), John Dolmayan (System of a Down), John Otto (Limp Bizkit).

Kick

• Syncopated as in hip hop: e.g. steps 1, 4, 7, 11 (x..x..x...x.....); in unison with the downtuned riff in the heavy passages; double kick in Slipknot.

Snare

• A strong 2 and 4, sometimes with a layered hip hop sample; ghost notes and flams; half-time in the breakdowns.

Hi-hat and cymbals

• Hi-hat in sixteenth or eighth notes, open (“trashy” sound), china and crash on the accents.

Percussion

• Additional percussionists (Slipknot), loops, samples.

Interaction

• The drums leave room for the rap (emptier verses) and for the DJ; open cymbals in the chorus.

Sections

• Intro with sample/scratch → rap verse with groove → pre-chorus with stops → full sung chorus → bridge with breakdown → final chorus.

Fills

• Short and funky, sometimes no fills but stops.

Sounds

• High, “crack” snare (Korn: small, tight snare), kick with click, trashy cymbals; sampled drum loops.

Typical mistakes

• Groove too straight (the hip hop swing is missing); breakdowns without pauses.

Bass

Sound

5-string bass (Ibanez, with loose strings), percussive and slap “clanky” sound (Korn's Fieldy played with very low strings and a high, almost percussion-like sound), or a full, distorted bass (Chi Cheng, Paul Gray).

Role

• Unison with the guitars or funk/hip hop groove; in the rap verses, simple, heavy lines.

Relationship with the kick

Syncopated interlocking; the slap bass occupies the upper mids (2–4 kHz), leaving the sub to the kick and the low guitars.

Examples

• Korn — Blind; Limp Bizkit — Break Stuff; System of a Down — Aerials.

Harmonic instruments

Rhythm guitar layering (modern metal)

• Quad tracking: 4 separate takes of the same riff (never copies: you need the micro-differences for width), two per side: L100 + L80 and R100 + R80 (or all four at L100/R100 if you want maximum width).
• Different amps per side or per pair: for example Mesa/Boogie Dual Rectifier + Peavey/EVH 5150 (or their simulations), or the same amp with two different cabinet IRs (Mesa 4x12 with V30 + Marshall 1960 with Greenback). Sound On Sound suggests, for live-recorded guitars, two amps with contrasting/complementary tones panned hard left and right.
• Double vs. quad: double tracking (L100/R100) is more defined and “tight”; quad tracking is bigger but less precise. Thrash and technical death prefer 2 very precise tracks; modern metalcore, deathcore and djent often use 4 tracks or 2 tracks + re-amp.
• Always record a DI: it lets you re-amp and change the sound in the mix.
• Leads and harmonies: center or L30/R30 (third harmonies, one per side), with delay and reverb; the rhythm stays dry.

Nu metal specifics

• 7-string guitars (Ibanez Universe and RG7, Korn, Limp Bizkit, Slipknot) or downtuned 6-strings (Deftones in drop C/drop B; Linkin Park in drop C#/drop D and D standard on various songs), Mesa Rectifier, Peavey 5150, Marshall JCM amps; DigiTech Whammy (Wes Borland, with Tom Morello as an influence), delay and flanger.
• The two guitars often don't double each other: one plays the low riff, the other noises, harmonics or dissonances (Korn); in the choruses they return to quad tracking.
• Clean parts with chorus and delay in the verses (Deftones, Linkin Park).

DJ and sampler

• Scratches, samples, synths and pads (Joe Hahn, DJ Lethal, Sid Wilson), an identity-defining element of the genre.

Melody and vocals

Vocals

• Alternation of rap, melodic singing and screams: Jonathan Davis (plaintive, scat, screams), Chester Bennington (powerful melody and scream) + Mike Shinoda (rap), Chino Moreno (whisper and scream), Serj Tankian (theatrical, operatic), Fred Durst (aggressive rap), Corey Taylor.
• Simple, “whiny” melodies, cathartic choruses.

Backing vocals

• Doubles, harmonies in the choruses, filtered vocals (telephone/megaphone effect), rap ad-libs.

Effects

• Filtered (band-pass), distorted, doubled vocals; screams with heavy compression.

Instruments

• 7-string guitars or downtuned 6-strings.
• 5-string bass.
• Drums, sometimes additional percussion.
• Vocals (rap, singing, screams).
• DJ (turntables), sampler, synths.

Drum patterns

Synths and sounds

• Prophet-5 V — Pad and synth: Dark pads and supporting leads (Linkin Park).
• Mellotron V — Strings and choirs: Sampled, melancholic atmospheres.
• Augmented Strings — Strings: Orchestral intros and choruses.
• Emulator II V — 1980s sampler: Lo-fi sampled sounds and 'stabs' like those of nu metal DJs.
• Piano V — Piano: The piano intros and loops of Linkin Park (In the End).

Song structure

Form (3:00–4:00)

Mixing and mastering

Sonic goal

Enormous lows and groove: thick, wide downtuned guitars, percussive bass, drums with hip hop attack, the rap vocal up front and intelligible, DJ elements well separated. References: Korn — Follow the Leader (1998), Linkin Park — Hybrid Theory (2000, mixed by Andy Wallace), Deftones — White Pony (2000), Slipknot — Iowa (2001).

Kick

• EQ: HP 30 Hz; +4 dB at 50–60 Hz; −6 dB at 350 Hz; +4 dB at 3–5 kHz. Compression 4:1, 4 dB; sample.

Snare

• EQ: +2 dB at 200 Hz; −3 dB at 700 Hz; +5 dB at 4–6 kHz (high crack); compression 6 dB; short room.

Hi-hat and cymbals

• HP 400 Hz, −2 dB at 4 kHz; trashy but not harsh.
• Drum bus: 4:1, 4 dB.

Bass

• Slap/percussive: HP 35 Hz; +3 dB at 60–80 Hz; −4 dB at 400 Hz; +4 dB at 2–4 kHz; compression 8 dB. Full: bass split as in metal.

Guitars

• Quad L100/R100 + L80/R80; EQ: HP 60–80 Hz (7-string); −3/−4 dB at 200–350 Hz; +2 dB at 1 kHz; −2 dB at 3 kHz; LP 10 kHz. Dynamic EQ at 80–150 Hz.
• Noise/harmonics guitars: L50/R50 with delay.

Rap vocals

• Chain: EQ (HP 100 Hz, −3 dB 300 Hz, +4 dB 3–4 kHz) → 1176 (8 dB) → LA-2A (3 dB) → de-esser → saturation.
• Dry, center, very present; ad-libs L/R.

Sung vocals/screams

• Doubles L15/R15, short plate, delay throw; screams with 10 dB compression.

DJ and samples

• Scratches at L30 or R30, HP 200 Hz; samples with automated filters.

FX

• Band-pass filters (telephone vocal), delay, short reverbs.

Buses and groups

• Guitar bus with dynamic EQ; “low end” bus.

Sidechain

• Bass and guitars from the kick (dynamic EQ 50–120 Hz).

Master

• Target: −8/−6 LUFS integrated; true peak −1 dBTP.

Common mistakes

• Guitar low end covering the kick and bass; buried rap; groove without swing.

Reference tracks for the mix

• Korn — Freak on a Leash (1998); Limp Bizkit — Break Stuff (1999); Slipknot — Wait and Bleed (1999); Linkin Park — One Step Closer (2000); Deftones — Change (In the House of Flies) (2000); System of a Down — Chop Suey! (2001).

Reference listening

• Korn — Blind (1994)
• Deftones — My Own Summer (Shove It) (1997)
• Korn — Freak on a Leash (1998)
• Limp Bizkit — Break Stuff (1999)
• Slipknot — Wait and Bleed (1999)
• Linkin Park — In the End (2000)
• Deftones — Change (In the House of Flies) (2000)
• System of a Down — Chop Suey! (2001)
• Papa Roach — Last Resort (2000)