Blessthefall’s Background Vocal Magic: Tyler Smyth’s EQ & FX Techniques

Ever crank a Blessthefall track and get hit by that wall of perfectly layered vocals? Those soaring highs, gritty screams, and atmospheric textures don't just happen by accident. We got a peek into how producer Tyler Smyth (Dangerkids, I Prevail, Falling In Reverse) approached mixing the intricate background vocals for Blessthefall, and it’s packed with killer ideas you can try in your own metal productions. If you've ever struggled to make your backing vocals sit right, add impact, or just sound huge, then listen up. These aren't just generic tips; they're specific approaches used on a real-deal track, and you can even grab the multitracks for this Blessthefall session on Nail The Mix to try them yourself.

Making Backups Sit Right: EQ Strategies

One of the biggest challenges with background vocals is getting them to support the main vocal without cluttering the mix or, worse, fighting for attention. Tyler has a slick way of handling this.

The "Backup-Only" EQ Cut

Here’s a gem: when dealing with problem frequencies in vocals, Tyler might sweep and find those annoying resonant spots, but he won't necessarily cut them from the main vocal take. Instead, he’ll apply those cuts only to the backup vocals.

Think about frequencies around 3kHz. That’s a key area for intelligibility and presence. You usually don’t want to hack that out of your lead vocal. But on backups? It’s a different story. By strategically cutting those presence frequencies (and other problem spots he identified by sweeping) just from the backup layers, he pulls some of that forwardness out.

Why do this? It’s a clever way to make the backups feel more like backups. They recede slightly, allowing you to turn them up louder in the mix. This means they fill out the sonic space more effectively and provide a thicker texture without adding more of that already present (and sometimes painful) resonance from the main vocal. It’s all about creating space and definition. For more foundational knowledge on carving out space with EQ, check out these EQ strategies for mixing modern metal.

Dialing in the "Oohs and Aahs": Atmosphere and Vibe

Beyond the main sung backups, Blessthefall’s sound often features those atmospheric "ooh" and "aah" layers. These aren't just about hitting notes; they're about creating a mood.

Adding Depth with Atmosphere

For these more ethereal vocal layers, Tyler focuses on making them "really vibey." A key tool here is cranking up the "atmosphere" on these tracks. This usually means generous sends to reverbs and delays, creating a wash that sits behind the main elements. He also plays with the input level of these effects to get them to react just right. The goal for some of these parts? Tyler describes it as going for that "creepy factor," an unsettling but cool texture that adds a unique emotional layer to the song.

He even mentions that one of the extra screamy tones you hear at the end of a song is actually him, added to get that specific aggressive character he was looking for. Sometimes, if you want it done right (or just want a particular flavor), you gotta lay it down yourself!

Extreme Effects for Impact: Lo-Fi and Swirls

Sometimes, subtlety is overrated, especially in heavy music. Tyler isn’t afraid to get aggressive with effects to make certain vocal parts really stand out or create a specific, jarring emotion.

The "Unkind" Lo-Fi Treatment

For a particularly intense vocal section, Tyler aimed for a sound he described as "so weird and harsh and just unkind." This isn't your smooth, polished pop vocal, folks. To achieve this, he reaches for the SSL Channel plugin.

His starting point is often the "VOS Two" preset (a Chris Lord-Alge preset). But here’s the trick: he then turns off most of the EQ. What he does like from this preset is how the high-pass and low-pass filters are set, and the gate is already configured nicely for him. This creates a focused, aggressive, and somewhat degraded sound.

To take it over the top? He’ll sometimes do it twice – essentially doubling down on the processing to make it even more extreme. This kind of lo-fi, filtered, and gated sound can make a vocal performance feel like it's being spat through gritted teeth, perfectly matching an overzealous or aggressive delivery.

Creating "Creepy Factor 5000" with Chorus

To further enhance that "creepy factor" on certain vocal layers, Tyler turns to chorus and modulation effects. One of his go-to's is the UAD Studio D Chorus, which emulates a classic Roland chorus unit known for its rich, swirling textures.

If you're not in the UAD ecosystem, don't sweat it. Tyler also gives a shout-out to Soundtoys Microshift. This plugin is legendary for creating wide, detuned, and modulated vocal sounds that can go from subtle thickening to full-on otherworldly weirdness. These kinds of effects are perfect for making those atmospheric layers even more unsettling and expansive.

Bringing It All Together (And Taking It Further)

So, crafting those Blessthefall-esque background vocals involves a thoughtful blend of:

• Strategic EQ: Cutting frequencies on backups that you’d leave in the main.
• Atmospheric Enhancement: Using reverb, delay, and level adjustments for vibey "oohs and aahs."
• Aggressive Lo-Fi Effects: Employing plugins like the SSL Channel with specific presets and modifications for a harsh, impactful sound.
• Modulation Magic: Using chorus like the Studio D or Soundtoys Microshift for wide, "creepy" textures.

These are some seriously cool techniques that Tyler Smyth uses to build those complex and powerful vocal arrangements for Blessthefall. You can take these concepts and start applying them to your own mixes today.

Want to see exactly how Tyler Smyth puts these ideas (and many more) into practice, decision by decision, on an actual Blessthefall track? At Nail The Mix, you get to watch top-tier producers like Tyler mix real songs from bands like Blessthefall, from start to finish. You get the raw multitracks, access to a massive community, and hours of in-depth tutorials. It's the closest you can get to sitting in on a real session. Check out the Blessthefall session with Tyler Smyth and if you're ready to go beyond presets and truly elevate your productions, explore how you can unlock your sound mixing modern metal.