Emmure’s “Flag Of The Beast” Raw Power: A Production Teardown

Alright, let's dive into some serious sonic aggression. We're cracking open the raw multi-tracks for Emmure's "Flag Of The Beast," a track that originally hit Nail The Mix back in July 2017. This beast was produced and mixed by the one and only Wizard Blood, with Jeff Dunn handling engineering. And let me tell you, this session is a goldmine, especially if you're looking to dissect how raw power and intricate production co-exist.

These are the raw tracks, folks – no plugins, barely any leveling. It's all about the source. And if you’re a Cubase user, pay close attention, because the level of detail Wizard Blood and Jeff Dunn poured into this session using Cubase is something else. We're talking a masterclass in meticulous production. Get ready to explore what makes these tracks hit so damn hard right out of the gate, and how you can apply these insights to your own heavy mixes. If you want to hear the final mixed version and see how Wizard Blood put it all together, you can check out the full Emmure "Flag Of The Beast" Nail The Mix session.

Crafting Programmed Drums That Actually Slam

First up, the drums. Now, you might hear "programmed drums" and brace yourself, but hold on. These are exceptionally well-programmed drums. Emmure has the legendary Mark Castillo behind the kit, a drummer who hits so hard he’s been known to literally break cymbal stands (the metal part, not just a joint!). So, if they went programmed, it was likely a strategic choice, probably for time. But the key takeaway here is how damn good they sound and, more importantly, why.

The "Playability" Factor is King

The absolute number one rule for programming drums that don't suck? They have to be playable by a real drummer. All the fills, the intricate patterns, the ghost notes – they feel human because they could be played by a human. This is crucial for realism. Guitarist Josh Travis, a phenomenal musician in his own right, is credited with programming these, and his understanding of rhythm and feel shines through.

Dynamic Details & Groove

It’s not just about hitting the right notes; it's about how they're hit. The velocity work here is fantastic. You can hear the subtle variations in hits, the dynamics in the rolls, and the overall groove that makes the kit breathe. To get programmed snare rolls, especially intricate military-style marching parts, to sound this dynamic and not sound like a machine gun takes serious skill and attention to detail. This isn't just plopping samples on a grid; it's sculpting a performance.

Building the Kit: Samples and Room Sound

The foundation sounds are solid. You've got your kick, snare top and bottom, four toms, hat, rides, splash, crashes, and Chinas. But what really elevates these programmed drums is the cymbals and rooms.
Instead of a generic stereo overhead track, every cymbal group (crashes, Chinas, hats, rides) is separated. This gives you immense control in the mix.

Then, you have dedicated room mic tracks – "Shells Room" and "Shells Far." These are super important. They add the space, depth, and that sense of largeness that makes the kit sound like it's in a real environment, gluing everything together. Even with samples, capturing or emulating convincing room tones is a game-changer. You can always enhance these with your own samples, but the provided tracks give you an incredible starting point. If you're looking to truly Unlock Your Sound: Mixing Modern Metal Beyond Presets, understanding how to build a drum sound from the ground up, even with samples, is vital.

Capturing Emmure's Guitar & Bass Aggression

Let's talk about Josh Travis. This guy is a force of nature on guitar. He’s one of those players who just has "the touch," conjuring a monstrously heavy and percussive tone that’s instantly recognizable.

The Josh Travis Touch: More Than Just Notes

The rhythm guitars in "Flag Of The Beast" are a perfect example of how it's not always about complexity, but execution. These are largely open-note, seemingly simple riffs. But try replicating that level of precision, that percussive attack, that sheer power, and that badass tone in a single take. It's harder than it looks.
Many guitarists can shred for days but struggle to lay down rhythm tracks with this kind of authority. It's like the "Walk" by Pantera or "Back in Black" by AC/DC – simple riffs that so many bands butcher because they miss the feel, the power, and the nuance. Josh reportedly tracked all the guitars for the album in an insanely short amount of time, like a couple of hours, nailing most of it in one take. That's confidence and skill.
When you have that much force and percussiveness in the raw tracks, your job as a mixer becomes so much easier. For insights on how to sculpt such powerful raw tones, check out these EQ Strategies for Mixing Modern Metal.

That "Dirty" Bass DI: Why It Works

Josh Travis likely handled the bass on this track too. Listening to the bass DI by itself, you might notice it's pretty distorted, maybe even a bit clipped. Your first instinct might be to cringe. But hold up – hear it with the drums. It just works.
That grit adds an inherent aggression that perfectly complements the music. Let's be real, for a band like Emmure, you're going to distort the bass anyway, right? So, having some of that character baked into the DI from the start isn't a problem; it's a feature. It means the aggression is there from the source, which is always preferable. Plus, there's a solid low-end foundation to work with. When you're dealing with such aggressive DIs, knowing how to control them with Metal Compression Secrets becomes even more important to make them sit right without losing their power.

Vocal Evil and Production Candy

No Emmure track is complete without Frankie Palmeri's signature vocal delivery. And then there are the layers of synths and effects that add that extra dimension of modern metal production.

Frankie Palmeri's Raw Vocal Power

Frankie is one of those vocalists who just sounds inherently evil. His performance on "Flag Of The Beast" is raw and intense, reportedly also nailed with minimal takes. The tracks capture that menacing quality perfectly, providing a potent focal point for the aggression.

Adding Motion and Atmosphere with Synths & FX

Beyond the core instruments, this session is loaded with cool production elements:

• "Ticks": These subtle, rhythmic clicking sounds weave in and out, adding a layer of constant motion and unease to the track. They might seem small, but they contribute to the overall texture significantly.
• Layered Leads: There's a cool moment where a "Saw Lead" synth line perfectly matches a guitar melody. This kind of layering is a classic production trick that takes a simple line and transforms it into something more ethereal, spooky, or just plain bigger. It stops being "just a guitar" or "just a synth" and becomes a unique sonic texture.
• Samples & Pads: You'll find distorted pads and various samples, possibly from movies or TV shows (or custom-made), that add to the dark atmosphere. Think bass drops, percussive hits, and ambient textures that fill out the soundscape.

This intricate layering of synths, samples, and FX is a hallmark of modern metal production and a big part of what makes this session so deep.

The Cubase Deep Dive for Power Users

As mentioned, this session is an absolute treasure trove for Cubase users. Wizard Blood and Jeff Dunn constructed "Flag Of The Beast" within Cubase, and the level of detail in their organization and processing chains (which you can explore in the full Nail The Mix session) is incredible. If you want to see how top-tier producers push Cubase to its limits for heavy music, this is your chance. It’s a masterclass in intricate production, showcasing how to build aggressive, powerful mixes from meticulously crafted raw tracks.

This unboxing just scratches the surface of Emmure's "Flag Of The Beast." It's a testament to how crucial solid raw tracks are – from expertly programmed drums that feel human, to guitar and bass performances dripping with aggression, and carefully crafted layers of vocals and synths.

If you're itching to get your hands on these multi-tracks and see exactly how Wizard Blood sculpted them into a finished metal monster, then you need to check out the full "Flag Of The Beast" session on Nail The Mix. You'll not only get these incredible raw tracks but also watch Wizard Blood mix the song from scratch, explaining his every move. It's an unparalleled look into the making of a modern metal behemoth. Join the Nail The Mix community and take your productions to the next level. Happy mixing!