Left To Suffer: Mixing Crushing Low-End & Synths with Kingdom of Giants

Ever cracked open a session from a band like Left To Suffer and wondered how to tackle those earth-shattering low tunings? Or maybe you've faced the challenge of blending intricate programming with heavy guitars like in a Kingdom of Giants track? Well, you're in the right place. We’re diving into the raw multi-tracks for Left To Suffer's "Disappoint Me" and Kingdom of Giants' "Wayfinder," both mixed by the incredibly talented Matt Thomas, to give you a taste of the mixing adventures that await. These aren't just songs; they're masterclasses in modern metal production challenges.

Left To Suffer's "Disappoint Me": Conquering the Low-End Abyss

Left To Suffer is a band that defines heavy. Their track "Disappoint Me" is a prime example, and getting these raw multi-tracks is a goldmine for any aspiring metal mixer. Let's break down what you're up against.

Wrestling with Ultra-Low Tuned Guitars

First off, the guitars. We're talking seriously low tunings here. You get the rhythm guitar DIs, which is awesome for flexibility. But then, there’s also a pitch DI an entire octave lower, just in case the initial tuning wasn't deep enough! The immediate challenge, and it’s a big one, is figuring out where the hell to place the bass guitar and the kick drum in the mix. When guitars occupy that much low-frequency real estate, every decision about your EQ strategy for the low-end becomes critical. You'll need to carve out space carefully, perhaps using dynamic EQ or sidechain compression to ensure the bass and kick can punch through without turning the mix into mud. The lead guitars add another layer, with "spooky" vibes that need to cut through without clashing.

Building a Foundation with Brutal Bass

The bass tracks include a DI and a processed version. This processed tone is already sounding super brutal, which is a great starting point. The real work will be getting it to sit perfectly with those incredibly low guitars. It’s not just about loudness; it's about finding the right harmonic relationship and separation so each element has its own space while contributing to the overall weight.

Drums: Clarity in the Chaos

The drum recordings for "Disappoint Me" are fantastic – very well-engineered. You've got a punchy kick, a cracking snare, and toms that are already strip-silenced, saving you some initial cleanup. What's particularly cool for heavy music is the inclusion of spot mics for the China, Stack, and Splash cymbals. This is crucial for ensuring all those fast accents cut through and drummers don't hunt you down. You also get well-recorded overheads, a super punchy drum room, and a mono room mic, giving you plenty of options to craft a massive and clear drum sound.

The Magic of Sub Bass and Ear Candy

One of the standout features of Matt Thomas's mixes, and something you'll get to play with here, is the incredible sub work. We're talking hits, booms, smashes, sub impacts, and risers that add immense depth and power. The challenge? Integrating all this sub-frequency information into a song that's already incredibly low-tuned and fast-paced.
You’ll find a wealth of ear candy: damage loops, sub explosions, and atmospheric textures. Some of those subs are described as "filthy," almost like 808s you'd hear in a trap song. A key takeaway here is the likely use of saturation on these low-end elements. Saturation can add harmonics that help these deep sounds translate on smaller speakers and cut through a dense mix without just being a muddy rumble. Managing everything under 100Hz will be your primary mission here.

Vocals: Raw Power and Flow

The vocalist in Left To Suffer is phenomenal, with a ridiculously good, infectious flow. The raw vocal tracks don't sound heavily compressed on the way in, which gives you maximum control. You get main vocals (straight dubbed) and various scream layers. The focus here will be on harnessing that raw energy, ensuring the flow remains clear and impactful, and using compression to keep things consistent without squashing the life out of the performance.

Kingdom of Giants' "Wayfinder": Production, Programming & Dual Vocals

Next up is "Wayfinder" by Kingdom of Giants. This track, while still heavy, presents a different set of mixing puzzles. It's packed with production, cool effects, and the fun of working with two distinct vocalists.

From DI to Dominant: Crafting Your Guitar Tones

Unlike the Left To Suffer track, "Wayfinder" gives you only guitar DIs – no pre-printed amp tones. This is fantastic practice! It forces you to dive into your favorite amp sims (like Neural DSP, Amplitube, or STL Tones) or even re-amp if you have the setup. Your mission is to craft tones that serve the song, from the rhythm chugs to the atmospheric leads. This is where you truly learn the art of guitar production, not just mixing.

Making Programmed Drums Hit Hard

The drums in "Wayfinder" are programmed, and you get the MIDI. This is a common scenario in modern metal. The challenge lies in making these programmed drums sound powerful, realistic, and integrated. You might experiment with different drum samplers (like GetGood Drums, Superior Drummer, or Steven Slate Drums), tweak velocities for humanization, and process them to fit the song's more produced, almost industrial vibe.

Weaving in Synths and Industrial Textures

This song has a distinct vibe, with a lot of programming, beats, sub elements, risers, and impacts that lean towards an industrial sound, reminiscent of some '90s influences. Matt Thomas's programming is top-notch. The trick will be to blend these electronic and industrial components seamlessly with the rock and metal core of the band. This is about creating a cohesive sonic landscape where every element has its place and purpose.

The Two-Vocalist Tightrope Walk

"Wayfinder" features two vocalists, plus gang vocals. This instantly ups the complexity of your vocal mix. You'll need to ensure both lead vocalists sound badass and distinct, carving out space for each and ensuring they complement each other. The track also features plenty of vocal stacks and effects, offering a deep dive into vocal production techniques. While the raw tracks sound pretty consistent, possibly with a touch of light compression on input, there’s still plenty of dynamic range to work with.

Why These Diverse Mixing Challenges Skyrocket Your Skills

Mixing Left To Suffer is a lesson in low-end management and raw aggression. Mixing Kingdom of Giants is an exercise in blending heavy tones with intricate production and dual vocals. Each song throws a unique set of problems at you. And that’s exactly what you need to get better, faster.
If you spend a whole month on just one song, you might perfect that one style. But if you tackle 20 different songs with varied challenges, you’re rapidly expanding your problem-solving toolkit. This is how you truly hone your craft.

Get Your Hands Dirty with These Mixes (And So Much More!)

Feeling inspired to tackle these beasts? You absolutely can. Both the Left To Suffer and Kingdom of Giants multi-tracks are available for you to mix when you join Nail The Mix.
When you sign up for Nail The Mix for Left To Suffer, you don't just get these killer multi-tracks. You also get to watch the original mixer, Matt Thomas, break down his entire process in a live-streamed session, showing you exactly how he achieved those powerful, polished sounds. Plus, you get access to Mix Lab (a vault of quick mixing tips), Portfolio Builder (more multi-tracks to practice with), and a killer community.

These sessions, like the one featuring Left To Suffer and Kingdom of Giants, are designed to push your boundaries and teach you the real-world techniques used by top metal producers. If you're serious about taking your mixes from "pretty good" to "pro-level," there's no better way than to learn from the best, using actual session files from major artists. Want to truly unlock your sound and go beyond presets? This is how.

Happy mixing!