Humanity’s Last Breath: Brutal Guitar Tones with Buster Odeholm

Let’s face it, the guitar tones from Humanity’s Last Breath are absolutely colossal. They’re the kind of ridiculously heavy, ultra-low, and devastatingly precise sounds that define a genre. Ever wondered how Buster Odeholm, the mastermind behind HLB (and Vildhjarta), sculpts these sonic behemoths? We got a peek into his process as he dialed in a fresh, brutal tone using amp sims, and it’s packed with insights you can apply to your own productions.

Forget just slapping on a high-gain preset; Buster’s approach is about meticulous signal chain construction and understanding how each component interacts. If you’re ready to dive deep into crafting modern metal guitar tones that truly punish, let’s break down his method. And if you want to see exactly how producers like Buster build these tones from the ground up in a full mix, Nail The Mix is where you can watch it happen.

The Foundation: A Killer DI and Smart Amp Sim Choices

Before you even think about distortion, Buster emphasizes a critical starting point: the Direct Input (DI) signal.

It All Starts with the DI

As Buster puts it, “the DI is everything.” A clean, strong, and well-recorded DI signal is paramount. If your source DI is great, it’s going to sound great through most amp sims and processing chains. Don’t skimp on getting this right!

Amp Sim Power: Neural DSP Nameless

For this particular tone, Buster opts for the Neural DSP Archetype: Nolly, specifically using the “Nameless” amp model. Importantly, he bypasses the Nameless’s built-in pedal and cab sections, choosing to use only the raw amp head simulation. This gives him maximum flexibility to pair it with his preferred external tools.

Cab Simulation: Two Notes Torpedo and Ryan Harvey IRs

For the speaker cabinet emulation, Buster’s go-to is Two Notes Torpedo Wall of Sound (TSE). His impulse response (IR) of choice? The “Ryan Harvey stuff,” known for its super subby character – the same cab IRs he used on the Humanity’s Last Breath album. This choice is crucial for achieving that signature low-end depth.

Strategic Pre-Amp Shaping for Maximum Impact

What you feed into an amp sim is just as important as the amp sim itself. Buster meticulously sculpts the DI signal before it hits the Neural DSP Nameless.

The Crucial Role of Pre-Amp EQ

“A lot of people don’t really EQ the DI,” Buster notes, “they kind of just hope for the best going into the amp.” His philosophy is different: “I’m more about changing or being able to have control over all parts because the amp will react a certain way to frequencies. So just fuck with the frequencies and you’ll get what you want.”

• Taming “Scratchiness”: He identifies and tackles harsh, “scratchy” frequencies in the high-mids (often found around the 5kHz-10kHz range) using an EQ like FabFilter Pro-Q. By pinpointing these with a narrow Q and pulling them down before the amp, the resulting distortion is significantly smoother and less fatiguing. For more on surgical EQ moves, check out these EQ Strategies for Mixing Modern Metal.
• Low-End Control: He also pays attention to the low-end content of the DI, ensuring it’s tight and controlled before hitting the amp to prevent excessive flabbiness.

Pre-Amp Compression for Dynamic Control

To even out the performance dynamics, especially with heavily pitch-shifted guitars that can cause sudden volume spikes, Buster inserts a compressor before the amp sim. This helps to provide a more consistent signal to the Nameless, leading to more predictable distortion characteristics. Dive deeper into Metal Compression Secrets to understand how to tame aggressive performances.

Dialing the Amp and Post-Processing Finesse

With the DI signal primed, it’s time to hit the amp and then further refine the tone with post-amp processing.

The Amp: Neural DSP Nameless

Buster starts dialing in the Neural DSP Nameless amp head, focusing on getting the core gain structure and character right.

Post-Amp Saturation & Blending: TSE 808 via Blue Cat PatchWork

Here’s where things get interesting. After the Nameless amp, Buster inserts Blue Cat Audio’s PatchWork. Within PatchWork, he loads:

1. TSE 808 (Tube Screamer emulation): This pedal is placed after the Nameless amp head.
2. Two Notes Torpedo Wall of Sound (Cab Sim): This follows the TSE 808.

The key here is that Buster uses the mix knob on the TSE 808 plugin (within PatchWork) to blend its effect. He doesn’t want the 808 at 100%. This means the TSE 808 isn’t acting as a traditional pre-amp boost to tighten the input of the Nameless. Instead, it’s processing the already distorted signal from the Nameless head, adding its own flavor of saturation and EQ shaping, which is then blended in before hitting the Torpedo cab sim. This allows for a unique layered distortion texture.

Taming Low-End Bloom with Dynamic EQ

Even with pre-amp low-end control, high-gain tones can sometimes develop an excessive “bloom” or resonance in the low frequencies post-amp. Buster tackles this with a dynamic EQ after the cab sim, setting it to clamp down on specific problematic low frequencies only when they become too prominent. This keeps the low-end powerful but controlled.

Strategic Mid Treatment and Character with FabFilter Saturn

After the main EQ shaping, Buster often reaches for FabFilter Saturn. “It just makes everything better,” he remarks. While he might cut some mids with a standard EQ post-cab if they sound “weird,” Saturn can be used to add back character, harmonic richness, and pleasing mid-range complexity in a more musical way than static EQ boosts. He notes how it can help fill in dips in the frequency spectrum.

Buster’s Philosophy: Total Tonal Control

Buster Odeholm’s approach isn’t about finding a magic preset. It’s about a deep understanding of signal flow and how each stage influences the next.

• EQ the DI: Don’t underestimate the power of shaping your guitar signal before it hits the amp.
• Control Frequencies, Control Amp Reaction: The amp sim will respond differently based on the frequencies you feed it. Manipulate these to achieve your desired distortion character.
• Embrace Creative Processing: Using tools like Blue Cat PatchWork to blend effects like a post-amp OD (TSE 808) opens up a wider palette of sounds.

Get This Tone: Key Takeaways and Plugin Chain Summary

Want to experiment with Buster’s method? Here’s a recap of the signal path and core principles:

Signal Path at a Glance:

1. Pristine DI Signal
2. Pre-Amp EQ (e.g., FabFilter Pro-Q: cut harsh highs, control lows)
3. Pre-Amp Compressor (to even out dynamics)
4. Neural DSP Nameless (Amp Head section only)
5. Blue Cat Audio PatchWork:
   • TSE 808 (Tube Screamer, using its mix knob to blend effect)
   • Two Notes Torpedo Wall of Sound (Ryan Harvey Cab IRs)
6. Post-Amp EQ (e.g., Dynamic EQ for low-end bloom, general shaping cuts)
7. FabFilter Saturn (for character, saturation, and harmonic richness)

Core Principles:

• Start with an impeccable DI.
• Be aggressive and surgical with your pre-amp EQ.
• Consider unconventional uses of familiar tools (like a post-amp blended OD).
• Use dynamic processing (compression and dynamic EQ) to maintain control.
• Leverage saturation to add vibe and character.

Dive Deeper with Nail The Mix

Watching Buster Odeholm explain his thought process is one thing, but imagine seeing him apply these techniques to craft the monstrous tones for Humanity’s Last Breath and Vildhjarta in a complete mix! On Nail The Mix, you get exactly that opportunity with the HLB & Vildhjarta session.

You’ll get access to the original multitracks and watch Buster mix the song from scratch, explaining every decision and plugin choice. It’s not just about the ‘what’; it’s about the ‘why’ behind every move these world-class producers make.

Ready to go beyond basic tutorials and truly refine your heavy mixing chops? Explore our in-depth courses like “Unlock Your Sound: Mixing Modern Metal Beyond Presets” and get your hands on exclusive sessions from artists like Humanity’s Last Breath. Join the Nail The Mix community and take your metal productions to the next level.