Mixing Jonny Craig’s Iconic Vocals: Erik Ron’s Slaves Method

When you think of powerful, emotive vocals in modern rock, Jonny Craig's name is bound to come up. His performance on the Slaves track "I'd Rather See Your Star Explode" is a prime example – raw, passionate, and incredibly dynamic. Producer Erik Ron was behind the console for this one, and he shared some killer insights into how he approached mixing those legendary vocals. Fun fact: Jonny apparently laid down these vocals in a mere 15 minutes! Talk about being ready to go.

This session was Erik and Jonny's "first date," as Erik put it, but the result was pure magic. The song itself carries a heavy message about not giving up on people, and Erik aimed to convey that intensity while showcasing Jonny's unique vocal character. If you're looking to elevate your own vocal mixes, especially for rock and post-hardcore, Erik's techniques are gold. Let’s dive into his vocal chain and philosophy for this Slaves track, featured in a session available on Nail The Mix.

The "Less is More" Approach to Vocal Doubles

One of the first things Erik Ron emphasizes is his selective use of vocal doubles. While some producers double everything – verses, choruses, the whole nine yards – Erik takes a more nuanced approach. For him, over-doubling, especially on verses, can strip away the unique character and subtle inflections of a lead vocal. He wants to preserve that "sadness" and raw emotion that a singer like Jonny Craig brings.

Of course, doubles have their place. Choruses, harmonies, and octaves? Those get the doubling treatment to add width and impact. But the primary lead vocal? That often stands alone to let its personality shine through. It’s about capturing those irreplaceable moments in a performance, not forcing conformity.

Crafting the Lead Vocal: Erik Ron's Go-To Chain

Alright, let's get into the nitty-gritty of Erik's lead vocal chain for Jonny Craig. He starts with a dry, centered vocal and then methodically builds it up.

Prepping the Canvas: EQ First, Character Always

Erik is a firm believer in placing EQ before compression in his vocal chain. Why? To sculpt the tone and remove any problematic frequencies before they hit the compressor and potentially get exaggerated.

His goal is a bright, crisp, almost pop-style vocal that cuts through the mix and ensures every lyric is intelligible. Here’s a peek at his EQ strategy:

• Low-Cut Filtering: Standard procedure to remove unnecessary rumble and mud.
• Mid-Range Scoop: He specifically mentions taking out frequencies around 1kHz. This is a common area that can make vocals sound boxy or "honky." He’s not a fan of overly "warm" vocals, preferring clarity.
• High-Mid Boost: A boost around 4-5kHz helps the vocal cut and adds presence.
• Adding "Air": This usually involves a gentle boost in the very high frequencies (10kHz+ with a shelf EQ) to give the vocal that open, airy quality.

The aim of all this EQ work? To make you feel the emotion, to hear the "crying coming out of his voice," as Erik describes it, and ultimately, to understand the lyric. Because if the listener can't connect with the words, what's the point?

Taming Dynamics: The Power of Compression

Don't be afraid to compress vocals! Erik Ron certainly isn't. He likes to "squash" vocals to get them sitting consistently in the mix. It's important to note that Jonny's vocals were already getting some compression on the way in during tracking. The recording chain was a Manley Ref Card microphone going into a Shadow Hills Gamma preamp, then into an 1176 compressor before hitting Pro Tools.

In the mix, Erik continues to apply compression. He hits the vocal pretty hard, but the key to making it sound natural and not overly "effected" is using a fast attack and fast release. This allows the compressor to catch peaks quickly and then get out of the way, maintaining clarity and punch without audible pumping.

Silencing Sibilance: The Unsung Hero De-Esser

Once you start brightening up a vocal with EQ, sibilance (those harsh "s" and "t" sounds) can become an issue, leading to ear fatigue. Erik’s secret weapon here is surprisingly simple: the stock Pro Tools De-Esser. He calls it his favorite on the planet, and it's free with Pro Tools!

He typically starts with the stock setting around 7kHz. The "range" control, which determines how much gain reduction is applied, is adjusted based on the singer. For Jonny Craig, who has a slight natural lisp that almost de-esses himself, not a ton of de-essing was needed. Erik views the de-esser as an "extra layer of compression" that just feels great and smooths things out.

Adding Depth and Space: Erik's Go-To Effects

With the core vocal tone dialed in, it's time to "get it wet" with effects. Erik sets up his effects on aux tracks, sending to them at unity gain and controlling the amount of effect by adjusting the return fader of the aux track.

Reverb: The Classic Plate Sound

For vocal reverb, Erik reaches for the UAD 140 Plate Reverb. He’s a big fan of UAD plugins and finds that a plate reverb is generally a great choice for vocals, offering a smooth and natural-sounding ambiance that doesn't cloud the mix. How much reverb you use is purely to taste.

Thickness Without Phase: The Slap Echo Trick

This is a really cool technique Erik uses to thicken up the lead vocal without resorting to traditional doublers or chorus effects, which can sometimes introduce phasing issues. He uses the Soundtoys EchoBoy delay plugin set to a very fast delay time: 16th note triplets.

At typical song tempos, this translates to around 50-60 milliseconds (he mentions 56ms in this case), which is almost fast enough to be comb filtering, but just shy of it. The result is a subtle thickening effect that makes the vocal sound fuller and more robust in a very natural way.

Creating Ambiance: Strategic Delays

Beyond the slap, Erik employs longer delays to create depth and space. He humorously calls his main delay send "Echo Pro," named after an old Line 6 hardware delay unit he used to own.

The "Echo Pro" Vibe

• Mix: The delay plugin (often EchoBoy again, but could be any versatile delay) is set to 100% wet.
• EQing the Delay: Crucially, Erik EQs the delay return, taking out a lot of the high frequencies. The goal is to feel the delay rather than distinctly hear every repeat. This helps it sit back in the mix.
• Reverbing the Delay: He'll often send some of the delay return to a reverb as well. This "soaks up" the delay, making it less direct and more diffuse, blending it beautifully into the sonic landscape.

The Quarter Note Space Creator

From the same send feeding the "Echo Pro" delay, Erik also sets up a straightforward quarter-note delay. This is your more traditional, audible delay that adds rhythmic space and depth.

He emphasizes that he rides these delays throughout the song, automating their levels depending on the section. A quiet verse might have more subtle delays, while a big chorus might feature them more prominently.

Handling Vocal Doubles

When doubles are used (like on choruses or specific phrases for emphasis), Erik has a simple but effective panning strategy. He typically pans the double slightly off-center, often 10 to 15 units to the right (or left, depending on preference and what other elements are panned). He also mentions that he will sometimes de-ess these doubles, just like the lead, likely if they are contributing too much sibilance after being stacked.

The Result: A Vocal That Connects

Erik Ron's approach to mixing Jonny Craig's vocals for Slaves' "I'd Rather See Your Star Explode" is all about enhancing the raw emotion and power already present in the performance. By focusing on lyric clarity with meticulous EQ, controlling dynamics transparently with compression, and then artfully applying effects for thickness and space, he crafts a vocal that truly connects with the listener.

These techniques – from the "no double" verse philosophy to the specific plugin choices and settings for EQ, compression, de-essing, and time-based effects – offer a fantastic blueprint for anyone looking to improve their rock vocal mixes.

Want to see exactly how Erik Ron dials in these settings and makes these decisions in real-time? You can watch him mix "I'd Rather See Your Star Explode" from scratch, using the original multitracks, over on Nail The Mix. It’s one thing to read about it, but seeing a pro like Erik work through a mix is an invaluable learning experience. If you're serious about taking your productions to the next level, check out what Nail The Mix has to offer and explore courses like "Unlock Your Sound: Mixing Modern Metal Beyond Presets" for even more in-depth knowledge.