Bilmuri’s Modern Metalcore Low End: Subs, Synths & Sidechains

Ever listen to a modern metalcore track, especially something from an artist like Bilmuri, and wonder how they get that incredibly full, yet defined, low end? It’s not just one thing; it’s a carefully constructed series of layers and tricks. We got a peek into how Will Carlson approaches this for Bilmuri, revealing a “metalcore trick” that’s indeed everywhere, plus some killer sub and sidechain strategies. Let’s dive into how you can build a powerful, modern low-end that punches through without turning into mud.

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Laying the Foundation: Sub Bass Strategies

A rock-solid low end starts with a good sub foundation. This isn’t just about making things rumble; it’s about controlled power.

The Classic Sine Wave Sub

Will Carlson’s typical starting point for sub bass is surprisingly simple but incredibly effective. He often duplicates the main DI bass track and layers a clean sine wave an octave below it. This sine wave, often generated by a basic synth plugin, does exactly what the DI bass is doing, providing a pure, round tone that you can easily adjust.

Why a sine wave? It’s all about that super clean, fundamental low frequency. Bass guitars, especially when tuned low like Bilmuri’s drop D, might not consistently produce those ultra-low frequencies (think 30-40Hz) with enough power. A sine wave sub fills this gap perfectly. The key here is a pristine DI bass signal. A clean DI gives you the flexibility to layer effectively without introducing unwanted noise or artifacts.

When Demos Demand: Embracing the 808

For the Bilmuri track discussed, the demo already featured an 808 sample that Johnny Franck (the creative force behind Bilmuri) really vibed with. So, that became the sub layer. This particular 808 was a Splice sample loaded into Logic’s Quick Sampler.

Working with 808 samples can be a bit different than clean sines. Many 808s, especially those from sample packs, come with inherent saturation or distortion. While this can sound cool, Will notes that these more characterful 808s can sometimes be trickier to blend seamlessly into a dense mix compared to a pure sine wave. For this track, the 808 hits were programmed to align with the kick drum, ensuring rhythmic coherence. Logic’s Quick Sampler makes it easy to drag in a one-shot 808, map it out, and get programming.

The “Fuzzy Boy”: Adding Mid-Range Weight with Synth Bass

Here’s that “metalcore trick” you’re hearing everywhere: layering a synth bass not just for sub, but for low-mid “fuzz” that lives with the guitars. Instead of relying solely on low-tuned guitars for thickness, many modern productions, including Bilmuri’s, bring in a synth to create a more produced, almost poppy, yet aggressive texture.

This isn’t about replacing the bass guitar; it’s about enhancing it and adding a specific character to the low-mids that complements the guitars.

Dialing in the Fuzz: ANA 2 and Decapitator

For Bilmuri, this “fuzzy boy” often comes from Sonic Academy’s ANA 2 synth plugin. Will mentioned using the “Electro God” preset as a starting point, then tweaking it – likely adjusting the filter cutoff and some macro controls to fit the track.

But the real magic for the fuzz comes from driving it. After ANA 2, they hit it “very heavy handed” with Soundtoys Decapitator. This adds a significant amount of saturation and harmonics, giving the synth layer that aggressive, fuzzy character that helps it cut through and meld with distorted guitars. If your low-end is feeling muddy or your guitars lack weight, strategically using EQ can help carve out space for layers like this.

The Art of Blending: Smooth Operator

Crucially, this fuzzy synth layer isn’t meant to be a prominent, transient-heavy element on its own. Will emphasizes that he wants this synth to “coast underneath the bass,” not have its individual hits clearly audible.

Think about it: you already have transients from the picked bass guitar. If you used an 808, there are transients there too. If this fuzzy synth also has sharp attacks on every note, you’re just piling up transients, which can lead to a cluttered, muddy low end. The goal is for this synth to provide a sustained texture and weight, almost like an undercurrent, rather than distinct percussive hits. So, be mindful of the synth’s attack and release, and consider how its MIDI notes are programmed to ensure it glues everything together smoothly.

The Ultimate Clarity Hack: Lightning-Fast Sidechaining

This tip is a game-changer for a punchy, clear low end. Will shared what he calls “the best bass sidechain” he’s ever used, a technique he picked up on after seeing Jason Joshua use it.

This isn’t just any sidechain; it’s about a fast and precise ducking action. It’s applied to the main bass bus and any other significant low-end information, like the 808 sub.

Why This Sidechain Reigns Supreme

The beauty of this technique is that it allows you to have a kick drum with a ton of sub-frequency energy and a powerful bassline without them fighting or blowing up your master bus. Every time the kick drum hits, the sidechain compressor momentarily ducks the bass and 808 out of the way.

The result?

• Clarity: The kick drum cuts through cleanly, its transients unmasked.
• Punch: Both the kick and bass feel more impactful because they have their own space.
• Headroom: You prevent the summing of low-frequency energy from clipping your mix.
• Reduced Muddiness: By creating momentary separation, you avoid the low-end soup that can plague heavy mixes.

When done right, this kind of dynamic control achieved with sidechain compression is key to a modern metal sound.

Setting It Up: The Nuts and Bolts

While Will didn’t name a specific plugin beyond showing Logic’s stock compressor in action, the key is using any compressor capable of a very fast attack and release.

1. Routing: Send your kick drum signal to the sidechain input of the compressor.
2. Placement: Place this compressor on your bass bus, and also on your 808 track or any other prominent sub-bass element.
3. Settings (General Guide):
   • Attack: As fast as possible without creating audible clicks. You want it to react instantly to the kick.
   • Release: Fast, but tuned so the bass/808 returns smoothly and doesn’t “pump” unnaturally. Time it to the track.
   • Ratio: Relatively high (e.g., 4:1 to 10:1 or even higher) to achieve significant gain reduction.
   • Threshold: Adjust so you’re getting noticeable ducking (e.g., 3-6dB or more, depending on the material) only when the kick hits.

Turn it on and off, and you’ll hear the difference immediately. The low end becomes cleaner, and each element has its space.

Putting It All Together: Bilmuri’s Low-End Philosophy

Crafting a Bilmuri-esque low end is about smart layering and even smarter processing:

1. Core Bass: A solid DI bass performance.
2. Sub Layer: A clean sine wave or a carefully chosen 808 for foundational weight.
3. “Fuzzy Boy” Synth: An ANA 2 (or similar) synth, heavily saturated with Decapitator, to add low-mid character and blend with guitars.
4. Sidechain City: Aggressive, fast sidechain compression on all low-end elements, triggered by the kick, to ensure clarity and punch.

These techniques, focusing on how each layer interacts and ensuring transients aren’t fighting, are fundamental to achieving that polished, powerful sound common in modern metalcore. You can see these exact techniques and more in action during the Bilmuri “FLUFFER” Nail The Mix session with Will Carlson.

Want to go beyond just reading about these techniques and actually see them applied by the producers behind some of metal’s biggest albums? Nail The Mix gives you exactly that: monthly sessions with world-class producers mixing real songs from scratch, complete with the multitracks for you to practice on. If you’re looking to truly Unlock Your Sound: Mixing Modern Metal Beyond Presets, there’s no better way than learning directly from the source. Dive deeper into the full Bilmuri mixing session and grab the multitracks here.