Mix character
Very dense distorted guitars (often tuned lower: D, C, B, 7- and 8-string), drums with a powerful, precise kick (often reinforced or replaced with samples), bass that ties guitars and kick together, sung vocals or growl/scream. Space is scarce: every element has to be carved out in frequency. The subcategories change the priorities: thrash (mid-focused, cutting guitars), death (heavy low end, growl), metalcore (breakdowns, clean vocals and screams), djent (8-string guitars, syncopation, a very tight sound).
Typical balance
| Element | Level relative to the mix |
|---|---|
| Rhythm guitars (together) | −3/−5 LU |
| Vocal | −6/−8 LU |
| Snare | −8/−10 LU |
| Kick | −9/−11 LU |
| Bass | −9/−11 LU |
| Cymbals/overheads | −12/−15 LU |
EQ
- Guitars: HP 80–120 Hz (higher with very low tunings), LP 10–12 kHz, cut 200–400 Hz (mud), control the "fizz" at 6–8 kHz and the harshness at 2–4 kHz; dynamic EQ on the palm mutes at 100–200 Hz.
- Bass: split into two layers: clean sub (below 100–200 Hz, mono) + distorted layer (mids 500 Hz–2 kHz) that blends with the guitars.
- Kick: click +2/+4 dB at 3–5 kHz to cut through the double bass drum, short body at 60–90 Hz.
- Snare: body 200 Hz, crack 3–6 kHz; reinforcement sample.
- Vocal: growl in the mids (500 Hz–2 kHz), scream with presence at 2–5 kHz; HP 100–150 Hz.
Dynamics
- Drums: samples to even out velocity, compression and parallel.
- Guitars: no compression (the distortion compresses); dynamic EQ for the palm mutes.
- Bass: compression 4–8 dB, consistent level.
- Vocal: compression 8–12 dB.
- Mix bus: glue 2–3 dB.
Space
- Quadruple-tracked guitars (two per side) for the wall; bass, vocal, kick, snare in the center.
- Leads and solos in the center or slightly off-center.
- Short reverbs on the drums; longer delays and reverbs on the melodic vocal parts.
Layering
- Guitars: 4 rhythm takes (same parts), possibly with different amps per side.
- Kick: mic + sample (click and body) aligned.
- Vocal: doubled screams, clean vocals with harmonies in the choruses.
Reference loudness
Modern metal −9/−6 LUFS; more dynamic productions (prog, doom) −11/−9 LUFS. True peak −1 dBTP, crest factor 6–9 dB.
Reference tracks
Metallica "Enter Sandman", Gojira "Stranded", Architects "Animals", Bring Me the Horizon "Can You Feel My Heart", Meshuggah "Bleed" (djent).
Above all, compare the definition of the double bass drum and the mud at 200–400 Hz.
Common mistakes
- Guitars without an HP: the bass disappears and the kick gets smeared.
- Kick with a long body: at 200 BPM of double bass drum the hits blur together.
- Too much distortion on the guitars: less definition, not more power.
- Vocal too low in the wall.
Starting settings
| Parameter | Value | Why |
|---|---|---|
| Guitars | HP 80–120 Hz, LP 10–12 kHz, 4 takes | Defined wall. |
| Kick | Click +2/+4 dB at 3–5 kHz, short decay | Readable double bass drum. |
| Bass | Clean sub + distorted layer | Stable low end and grit. |
| Vocal | 8–12 dB | Present in the wall. |
| Master loudness | −9/−6 LUFS | The genre's level. |
Frequencies to watch
| Range | What to do |
|---|---|
| 60–90 Hz | Short kick body; clean bass sub. |
| 100–200 Hz | Guitar palm mutes: dynamic EQ. |
| 200–400 Hz | Mud of the guitar wall: −2/−4 dB. |
| 3–5 kHz | Kick click in the double bass drum. |
| 6–8 kHz | Fizz of the distorted guitars to be controlled. |
Example chain
| Step | Tool | Settings | Why |
|---|---|---|---|
| Drums | Mics + samples → bus → parallel | 2–4 dB + parallel | Precision and impact. |
| Guitars | Bus → EQ → palm-mute dynamic EQ | HP/LP | Clean wall. |
| Bass | Sub/distorted split → compression | 4–8 dB | Link between guitars and kick. |
| Vocal | EQ → compression → saturation → delay | 8–12 dB | Clear vocal. |
| Master | Glue → clipper → limiter | −9/−6 LUFS | Level. |
How to check the result
- Master crest factor 6–9 dB.
- Low-mid band (250–500 Hz) no higher than the Bass band.
- Correlation +0.1/+0.5 (very wide guitars); above +0.9 below 150 Hz.
- Presence band (4–8 kHz): no fizz peak beyond 4 dB over the references.