The Haunted’s Preachers Of Death: Inside The Raw Multi-Tracks

Ever wondered what goes into the raw, unadulterated sound of a seminal melodic death metal band like The Haunted? We got an exclusive peek at the multi-tracks for their killer song "Preachers Of Death," produced and mixed by the legendary Russ Russell. This session, featured on Nail The Mix, offers a goldmine of insights for any producer looking to craft heavy, impactful metal. Let's dive into what makes these tracks tick, right from the source.

The beauty of these raw tracks is their potential – a fantastic starting point, as Eyal Levi noted, with "no plugins, just some very basic levels." It's a testament to great recording, and a playground for you to shape.

Deconstructing The Haunted's Drum Sound with Russ Russell

The drum kit for "Preachers Of Death" is an absolute beast, captured with meticulous detail. What's fascinating is that this is the same drummer (Adrian Erlandsson), same producer (Russ Russell), and same studio as the At The Gates "The Chasm" sessions, yet the sonic goal was entirely different.

The Philosophy: Precision Meets Raw Power

While the At The Gates drums aimed for a raw, nasty, ambient, and dark vibe, The Haunted's drums were engineered for a more precise, tight, and modern sound. The goal, as Russ intended, was to achieve this modernity without falling into the trap of an overly processed, "steroid metal" production. This philosophy is key if you're looking to unlock your sound and mix modern metal beyond presets, focusing on intentional sonic choices.

The drumming itself is a masterclass in taste. The fills, while sometimes complex and "naughty," are always perfectly placed, serving the song with hooky, memorable moments. They aren't just flashy; they each have their own character and purpose.

Key Drum Mics and Their Roles

Let's break down the arsenal of microphones used to capture this performance:

Kick Foundation (In, Out, Sample)

You get the standard pairing: a Kick In mic and a Kick Out mic. The "Kick In" provides a totally workable, clean, natural sound. Of course, for this style of aggressive metal, sample reinforcement (a Kick Sample track is provided) will likely be crucial to get that consistent punch and click.

Snare Stack (Top, Bottom, Sample, "Snare Jazz")

A similar approach is taken for the snare: Snare Top, Snare Bottom, and a Snare Sample for reinforcement. An interesting addition is the "Snare Jazz" track. This isn't your typical snare mic; it acts almost like a short, subtle snare-specific reverb or room sound, giving the snare a little extra length and character. It’s a cool trick to add unique space without washing out the transient.

Cymbal & Kit Capture (Overheads, Hat, "Head" mic)

The Overheads and Hat mics are vital. You'll notice tiny imperfections left in the performance, which is a deliberate choice. Many producers, Russ included, leave these nuances to remind the listener they're hearing a human, albeit a very tight one. The overhead waveforms show that the main drum hits aren't overwhelmingly loud, which is excellent. With a bit of careful compression or limiting, you can emphasize the cymbals' sparkle and potentially reduce snare bleed if you choose.

There's also a mysterious "Head" mic, which turns out to be a sort of mono room microphone, likely capturing a focused image of the kit.

Crafting Ambience: The Power of Room Mics (Room, Far Room, Mono Kit, Ambient)

This is where things get really interesting. You have multiple room mic options:

• Room: This sounds like it was compressed on the way in, already giving it a certain character.
• Far Room: This one is noticeably distorted and heavily compressed. Don's assume this is a mistake! When you receive tracks like this from an experienced producer, it’s intentional. Distorted room mics are often used to blend in for attitude and aggression, adding a layer of grit and excitement that clean mics can't provide.
• Mono Kit: A great option for adding punchiness and a focused center to the overall kit sound.
• Ambient Room: As the name suggests, perfect for dialing in more diffuse ambience.

Blending these various room mics offers incredible flexibility in shaping the drum kit's overall size and vibe. Mute them, and the kit sounds direct; bring them in, and it explodes with life and aggression.

Production Sweeteners: "Boomer," "Pod Sub," and "Big Hit"

Beyond the standard mics, Russ Russell employed some production tricks like "Boomer," "Pod Sub," and "Big Hit" tracks. These are likely sampled or synthesized sounds layered in to enhance specific moments. For instance, the "Big Hit" track seems to be used to make certain snare hits, especially in the intro, explode like a "snare bomb," while the "Boomers" on downbeats add significant weight and impact. These are classic techniques for making key moments hit even harder.

Dialing in The Haunted's Aggressive Bass Tones

For the bass, you're given a versatile set of tracks: a Bass DI, a Bass SansAmp, and an SVT track.

The Trifecta: DI, SansAmp, and SVT

The Bass DI is your clean, fundamental tone. It's full-range but will likely need some compression to even out the dynamics.
The Bass SansAmp provides that classic gritty, distorted character many metal basslines rely on for presence and cut.
The SVT track offers another flavor of amp drive, likely with more tube-like warmth and saturation. It's described as "nasty and beautiful."

Blending for Impact Without Mud

The key with these bass tracks is the blend. While the SansAmp and SVT deliver incredible distorted tones (and interestingly, the distortion itself acts as a form of natural compression), you'll need to carefully balance them with the DI. Too much of the aggressive SVT, for example, might start to clash with the low-end of the guitars. Finding that sweet spot using EQ strategies for mixing modern metal is crucial for a powerful yet clear low end.

Machine-Like Rhythm Guitars and Soaring Leads

The Haunted is known for its guitar work, with Ola Englund holding down guitar duties. The tracks do not disappoint.

The Foundation: Tight Dual-Tracked Rhythms

You get two main rhythm guitar tracks (one panned per side) and their corresponding DI tracks. The playing is incredibly tight and machine-like, a hallmark of Ola's style. Even riffs that might sound simple due to open notes are deceptively difficult to play with such precision across two performances. The DI tracks offer flexibility if you want to re-amp or use amp simulators to craft your own tones.

Melodic Mastery: Leads, Harmonies, and "Twinkle"

The melody guitars and leads showcase that distinct Swedish understanding of chord movements and impactful melodic phrasing. The vibrato is excellent, and there's a real sense of ownership over the instrument. It's noted that the slower, more expressive lead parts can often be harder to nail than fast, shreddy sections because they require immense control and nuance. Keep an ear out for a "twinkle" effect on some of the chorus leads – a subtle but effective touch.

Capturing Powerful Metal Vocals

The vocals feature a doubled main line with a few strategically placed additional doubles. They aren't overly layered, proving that "insane every time" isn't necessary for impact.

Strategic Doubles and Initial Compression

The vocals sound well-recorded and appear to have some outboard compression printed on the way in. This is a nice touch, as it helps control dynamics from the get-go. However, you'll likely need to apply further compression and EQ to make them sit perfectly in a dense metal mix. The tracks include main vocals panned left and right, along with some vocal effects (VFX).

Mix "Preachers Of Death" Yourself with Nail The Mix

This deep dive only scratches the surface of what these raw multi-tracks offer. Imagine having these very tracks from The Haunted, recorded and produced by Russ Russell, open in your DAW. That's exactly what you get with Nail The Mix.

By signing up for the May 2019 session featuring "Preachers Of Death," you not only get these incredible multi-tracks but also the chance to watch Russ Russell himself walk you through his entire mixing process for this song. Plus, as a special bonus for that period, you also received the tracks for "The Chasm" by At The Gates – two iconic bands, one incredible learning opportunity.

If you're ready to get your hands dirty with professional-quality raw tracks and learn from the best in the business, head over to Nail The Mix and start honing your metal mixing skills. Happy mixing!