Josh Schroeder’s King 810 Choir Vocal Mix: Layers, FX & Cohesion

Getting massive, ethereal choir vocals to sit right in a dense rock or metal mix can be a serious headache. Throw some synth layers into the equation, and things can get messy fast. But when it’s done right, like in King 810’s track “Alpha and Omega,” it adds a whole new level of power and atmosphere. We got a peek into how producer Josh Schroeder tackled this, transforming David Gunn’s vocals into an awe-inspiring choir presence without swamping the other elements. This is the kind of detailed, real-world mixing insight you get every month at Nail The Mix, and we’re going to break down some of Josh’s key moves.

Building the Choir: More Than Just One Voice

To achieve that colossal choir sound for King 810, Josh didn’t just rely on a single vocal track. It was all about smart layering, starting with David’s core performance and building from there.

First up, you have the main vocal, which in this case was already printed with some effects Josh initially thought might involve a vocoder. But the real magic for the choir effect starts with dedicated harmony layers. Josh specifically isolated one “Ah” part from David’s layered vocals, which served as a foundational human element for the choir. He then extended and reinforced this with a synth choir.

Synth Choir Power: Kontakt & Old School Samples

To give the choir that epic, almost religious scale fitting the song’s themes (think “Alpha and Omega,” abandoned churches, and all that powerful imagery David Gunn brings to their videos), Josh turned to a synth choir. He used an older version, Kontakt 4, loaded with choir samples that he believes came with Komplete 6. Even though it’s an older setup, it proves that you don’t always need the latest and greatest to get killer results. The synth choir’s role was to pick up where the sung “Ah” left off, providing a sustained, ethereal bed.

Unifying the Choir: The Magic of Group Processing

So, you’ve got your sung harmonies and your synth choir. How do you make them sound like one cohesive, massive entity rather than a jumble of separate parts? Josh’s secret weapon here is group processing. He bussed David’s “Ah” harmony and the Kontakt choir parts together, treating them as a single unit.

This is a super effective trick. By processing multiple elements through the same effects chain, you trick your ears into perceiving them as a unified sound. It’s the same principle as sending your drum room mics to a reverb and then compressing them together – it glues everything into a more cohesive sonic picture. For a deeper dive into how compression can shape your metal mixes, check out our Metal Compression Secrets guide.

Here’s what Josh threw on that choir bus:

Pitch Shifting for Depth and Air

First in the chain was some pitch manipulation. Josh added octaves to the combined choir signal.

• Octave Down: This thickened up the low end, giving the choir serious body and weight.
• Octave Up: This added some air and shimmer to the top end.

The result? A much fuller, richer sound. While it can introduce a slightly more robotic character, especially when layered, the overall effect is a powerful thickening that makes the choir sound immense.

Pod Farm Distortion: For That Vintage Creep Factor

Next up, distortion! And not just any distortion. Josh reached for an old favorite: Line 6 Pod Farm. Why Pod Farm? Predictability and character. He knows exactly what it’s going to do and loves the way it can make things sound like an “old record.” For “Alpha and Omega,” he was chasing a specific vibe – think early, slightly unsettling cylinder recordings of Christian songs. That bit of grit and analog-style degradation from Pod Farm helped achieve this unique, creepy-yet-powerful texture.

It’s this kind of creative effect choice that can really set a mix apart. If you want to see more of Josh Schroeder’s unique processing techniques on King 810 material, you definitely need to check out the King 810 & Tallah NTM session.

Sculpting with EQ: Carving Space in the Chaos

With all these layers and effects, things can get boomy or start fighting with other elements in the mix, especially when you’ve got intense screams and heavy instrumentation to contend with. That’s where EQ comes in. Josh used EQ on the choir bus to carve out space, ensuring the choir had its impact without muddying up the low end or clashing with other crucial frequencies. This is critical for clarity in a dense metal mix.

Adding Dimension with Delay

Finally, a touch of delay was added to the choir bus. This wasn’t about a distinct, rhythmic echo, but more about creating a sense of space and ambience. The delay helps the choir “bounce off the walls,” giving it more dimension and helping it sit within the mix as a larger-than-life presence.

Beyond Effects: The Song’s Dynamic Journey

It’s important to remember that all this processing serves the song. The chorus of “Alpha and Omega” is sonically huge, but Josh highlighted the dynamics within that section. There’s a push and pull between the intensity of the screaming vocals delivering those crazy lyrics (“I’m the powers that be, I’m Christ crucified on the T”) and the more melodic, empowering, almost hymnal quality of the “I’m the alpha and the Omega” lines where the choir really shines. The effects work to support this emotional and sonic journey, making each part hit harder.

The Art of the Rabbit Hole (And When to Pull Back)

Josh candidly admits that he sometimes goes down “rabbit holes” with processing, trying out different things and occasionally doing “plenty of times more than what’s needs to be done” (his words, not ours!). He mentions getting lost in things like a Kemper EQ at times. And you know what? That’s okay. Experimentation is a vital part of finding unique sounds and developing your own style.

Going down these rabbit holes from time to time is a valid way to approach your art. The key is to be mindful and not get lost in them all the time, ensuring you’re always serving the song.

Bringing It All Together for That Epic King 810 Sound

Crafting those massive King 810 choir vocals isn’t about one magic plugin. It’s about:

• Smart Layering: Combining real vocal harmonies with synth choirs.
• Cohesive Bus Processing: Using pitch shifting, distortion (like the characterful Pod Farm), EQ, and delay on a group bus to meld the layers.
• Serving the Song: Ensuring the effects enhance the lyrical themes and dynamic shifts.
• Embracing Experimentation: Not being afraid to try things and go down the occasional rabbit hole.

These are techniques you can start experimenting with in your own metal productions right now. Imagine getting to watch pros like Josh Schroeder build these kinds of sounds from scratch, explaining every plugin choice, every fader move, and every creative decision. That’s exactly what Nail The Mix offers. You get the raw multitracks from massive songs and watch the original producers mix them, live. It’s time to stop just reading about it and start learning how to Unlock Your Sound: Mixing Modern Metal Beyond Presets.