Falling In Reverse: Tyler Smyth’s Metal Mix Tricks for Punch & Width

Falling In Reverse. The name alone conjures up a sound that’s aggressive, polished, and undeniably modern metal. Ever listen to their tracks and wonder how they get that insane impact and clarity, even with so much going on? A huge part of that comes down to the mix, and lucky for us, producer/mixer (and the band’s own guitarist/mastermind) Tyler Smyth isn’t shy about sharing some of his go-to techniques.

We got a peek into some of the methods Tyler uses to make Falling In Reverse hits bang, and these are tricks you can start experimenting with in your own metal productions right now. These gems are straight from his workflow, and if you dig what you see here, you can dive even deeper into his entire mixing process for this Falling In Reverse track over at Nail The Mix.

Let’s break down three killer approaches Tyler uses to elevate his metal mixes.

Trick 1: Sidechaining Synths for Maximum Punch (The FIR Way)

Synths and electronic elements are all over modern metal, but getting them to sit right with heavy guitars, pounding drums, and aggressive vocals can be a challenge. Tyler’s solution often involves precise sidechaining, and he’s got a particular way of doing it.

Why Sidechain Synths in Metal?

Sidechaining synths (especially pads, leads, or anything sustained) to elements like the kick drum or even the snare helps create space and rhythmic pulse. When the kick hits, the synth ducks out of the way momentarily, allowing the transient of the drum to cut through cleanly. This adds groove and prevents the low-end from turning into a muddy mess. It can also create that signature “pumping” sound that drives energy in a track.

Tyler’s Go-To: Shaperbox for Precision Sidechaining

While there are tons of ways to sidechain, Tyler often reaches for Cableguys Shaperbox. He’s a fan of programming and MIDI, and Shaperbox gives him the intricate control he craves.

Setting Up MIDI Triggering

Instead of using audio to trigger the sidechain, Tyler prefers MIDI. This gives him pinpoint accuracy.

1. He creates a new MIDI track, often just called “Side Chain.”
2. On the synth track he wants to affect, he loads Shaperbox, specifically the VolumeShaper module.
3. Crucially, he sets Shaperbox to be MIDI triggered. This means the volume shaping will only happen when a MIDI note is received.
4. To generate the MIDI, he’ll often just draw in notes on the “Side Chain” MIDI track, perfectly aligned with, say, the kick drum hits. If the beat is already programmed, he might just copy the kick drum’s MIDI pattern. Cubase users, for example, can use “Edit Hitpoints” to quickly generate MIDI from audio if needed.

Crafting the Perfect Pump: Shape and Timing

Out of the box, some sidechain presets in Shaperbox might pull the volume down too much when not triggered. Tyler points out that you need to ensure the line on the graph (representing volume) sits at the 100% mark (top of the graph) when no MIDI note is triggering it. Otherwise, your synth track will be unintentionally quiet.

For the shape itself:

• He often starts with a quarter-note grid for the pumping rhythm.
• He likes a tight curve: a very fast attack and a fast release. This creates a distinct, punchy ducking effect, almost mimicking how a powerful speaker system might naturally compress and react.
• Don’t get the points on your curve too close, or it can create an undesirable, overly glitchy sound.
• He’ll then tweak the curve’s shape to taste. A super-fast attack and release can be very audible and aggressive. Slowing down the attack or release can make the pump feel a bit “dirtier” or more “laid back.” For the high-energy vibe of Falling In Reverse, a faster, more assertive pump is usually the ticket.

Fine-Tuning with Split-Band Processing

One of the coolest features in Shaperbox that Tyler utilizes is its split-band capability. This means you can apply the volume shaping to only certain frequency ranges. For example, you could have the kick drum heavily duck the low and mid frequencies of a synth pad, but allow the high frequencies (the “air” or “sheen”) to remain mostly unaffected. This gives you the punch and clarity without completely losing the presence of the synth.

Mastering sidechaining and other dynamic tools is key. If you want to dive deeper into how compression shapes modern metal, check out these Metal Compression Secrets.

Trick 2: Creating Epic, Wide Atmospheres for Menace

Atmospheric elements like drones, pads, and soundscapes add depth and mood to metal tracks. Tyler has a slick way of taking these elements and making them feel enormous and immersive.

The Power of Stereo Width in Metal

Wide stereo images make a mix sound bigger and more professional. For atmospheric sounds, pushing them wide can create a sense of space and prevent them from cluttering the center of the mix where vocals, kick, snare, and bass usually live.

Tyler’s Drone Widening Technique

Here’s how Tyler takes a drone sound and expands it to epic proportions:

1. Duplication: He starts by duplicating the original drone track. One will remain relatively dry or be the “core” sound, and the other will be the “wide” version. He might name it something like “Drone Comp Wide.”
2. Plugin Power: On the duplicated track, he’ll insert a widening plugin. He’s been digging Manipulator by Polyverse Music & Infected Mushroom, praising its widener and detune features. The goal here is to make this version as artificially and overly wide as possible, as long as it still sounds good and doesn’t introduce weird phase issues.
3. Blending for Impact: After getting the desired width on the duplicated track, he carefully gain-matches it with the original drone track. Then, he blends the super-wide version back in with the original. This combination of a more centered element and an extremely wide one creates a huge, enveloping sound. He notes that because the widened version is so pushed to the sides, it can often be mixed in louder than you’d think without cluttering the mix, especially when vocals come in.

He also mentions using automation within the drone itself, like drawing in slow pitch bends (e.g., one octave over a few bars using Cubase’s pitch lane) to add movement and an “oscillating” quality before it even hits the widener. This adds another layer of cool, subtle animation.

Trick 3: Master Bus Automation for Dynamic Impact

This one might seem simple, but it’s incredibly effective for adding that final layer of polish and energy, making different sections of a song hit harder.

Adding Energy Without Over-Compressing

Instead of just slamming the master bus with a compressor or limiter to get loudness, Tyler uses subtle volume automation to enhance the dynamics that are already there. This makes transitions feel more impactful and helps guide the listener’s ear.

Subtle Volume Rides for Maximum Effect

The key here is “subtle.” These aren’t massive fader moves; they’re often tiny adjustments that you feel more than you consciously hear.

1. Create Headroom: Tyler might start by slightly turning down the overall master fader (or a gain plugin at the end of his master chain) by a few decibels (e.g., -4dB in his example) to give himself room to push things later.
2. The “Less is More” Approach: When a big section hits (like a drop, a chorus, or a heavy riff), he’ll automate the volume to push up slightly. We’re talking small amounts – maybe 0.5dB to 1dB, or perhaps 2dB for a really exaggerated effect (though he notes he wouldn’t typically do that much).
3. Timing is Everything: Where do you place these boosts?
   • Right on the drop can make it feel like it explodes.
   • Sometimes, a quick lift on a particularly impactful snare hit can give it extra crack.
   • He might even time it with a commanding vocal phrase to give it a little more authority.
     The goal is for these moves to be almost invisible. You don’t want the listener to hear the volume changing; you want them to feel the energy lift. It’s about enhancing the illusion and the emotional impact of the song.

These small, targeted volume automations can do a lot of work for the overall energy of the track, preventing you from having to over-process individual elements. It’s a fantastic way to make your mixes breathe and feel more alive. Fine-tuning how every part of your mix contributes to the whole often involves careful level balancing and understanding how frequencies interact. For more on shaping your sounds, explore these EQ strategies for mixing modern metal.

Bring These Tricks to Your Own Mixes

These three techniques from Tyler Smyth—precision MIDI sidechaining with Shaperbox, extreme drone widening with plugins like Manipulator, and subtle master bus volume automation—are powerful tools you can add to your metal mixing arsenal. They address common challenges in modern metal production: creating punch, achieving immense width, and adding dynamic impact.

Want to see Tyler put these techniques (and many more) into action on an actual Falling In Reverse song? You can watch him mix their track “Voices In My Head” from start to finish, explaining every move, with the Falling In Reverse Nail The Mix session.

At Nail The Mix, we’re all about giving you access to the minds and methods of producers like Tyler Smyth. Every month, you get raw multitracks from a massive band and watch the original producer mix the song live, showing you exactly how they craft those killer sounds. Plus, you get access to a huge library of tutorials and a supportive community of fellow metal producers. If you’re ready to move beyond presets and truly Unlock Your Sound, this is where it happens.