Machine Head: Crafting Aggressive Quad-Tracked Guitar Tones

When you think Machine Head, you think massive guitars. That thick, aggressive, and articulate wall of sound is a hallmark of their style. A huge part of achieving that sonic weight comes from quad-tracked guitars, but taming and shaping four layers of high-gain riffage into a cohesive force is no small feat. We got a peek into how Joel Wanasek tackled this challenge during a Nail The Mix session, and the insights are pure gold for anyone wrestling with heavy guitar mixes.

Let’s dive into some of the key strategies Joel employed to get those Machine Head guitars hitting hard and sitting right.

Setting the Stage: It All Works Together

Before even diving deep into the guitars, Joel emphasizes the importance of the foundation – getting the bass and kick drum locked in “like a glove.” This synergy creates movement and drive that the guitars need to complement. But, as he rightly points out, Machine Head is a guitar band. You don’t truly know how “badass” your low-end is until those guitars come roaring in. So, with the bass sounding solid, it was time to bring in the quad-tracked beasts.

Mic Check: Why the SM57 Often Wins for This Vibe

First up, mic selection. The session tracks offered both Shure SM57s and Sennheiser MD421s. While MD421s have their place and some engineers (like the legendary Colin Richardson) work wonders with them, Joel often finds himself gravitating towards the trusty SM57 for guitars. In this Machine Head context, he quickly found the SM57s provided a more immediately usable and preferable starting point. Sometimes, sticking with the classics is the way to go.

Taming the Beast: Controlling Low-End Woes in Quad Guitars

Quad-tracking guitars can quickly lead to a buildup of low-frequency energy, often described as “movement” or “cabinet resonances.” This uncontrolled low-end can make your mix feel flabby and undefined, something Joel immediately picked up on.

The Problem: Unwanted Rumble and Resonance

Joel identified a “boomy” quality, especially in the low end, where certain cabinet resonances or room sounds weren’t “jiving.” This kind of uncontrolled energy can suck the punch right out of your guitars if left unchecked. If you take out too much with EQ alone, you risk losing the body and impact.

Quick Control with Limiting

One effective first step Joel demonstrated was to use a limiter, like the Waves L1, to gently tame these excessive peaks in the low end. This isn’t about squashing the life out of the guitars, but rather about evening out those wilder moments and providing a more consistent signal to work with. This kind of dynamic control can be a lifesaver for taming unruly tracks. For more on how compression and limiting can shape your metal tracks, check out these metal compression secrets.

Surgical EQ for Low-End Clarity

After initial dynamic taming, it’s time for EQ. Joel stressed cleaning up the “mess” first. By soloing the guitars and using a parametric EQ, he carefully swept through the low frequencies to identify and attenuate those problematic resonances. The result? A much tighter and more focused low-end, as Joel put it, the difference was “night and day.”

Sculpting the Monster: Strategic EQ for Machine Head’s Guitars

With the low-end under better control, the next phase was all about shaping the core tone. Joel’s initial assessment was that the guitars, despite the initial cleanup, still sounded a bit “dull” and had an “endless bottom end” that needed further attention.

Clearing the Mud: Addressing “Endless Bottom End”

The first order of business was to tackle that pervasive low-end. This typically involves high-pass filtering to remove sub-bass that doesn’t contribute positively to the guitar tone, and targeted cuts in the low-mids (around 200-400Hz) where mud often accumulates. Getting this right allows the actual “note” of the guitar to shine through.

Injecting Presence and Note Definition (Mid-Range Magic)

Joel was after “more note, but not low mid note,” specifically seeking more “presence.” He found this by boosting in the upper midrange, somewhere around the 1.5kHz to 2kHz area. This is a classic spot to bring out pick attack and the harmonic content that helps guitars cut through a dense mix without sounding harsh.

The 4kHz Power Boost: Cutting Through with Authority

One of the standout EQ moves Joel made was a significant boost around 4kHz. “Yes. I just boosted 4K. That happened. That really happened,” he exclaimed. This frequency can be a game-changer for guitar presence and aggression, helping it slice through the mix and lock in with the attack of the kick drum (the “click”) and the articulation of the bass (the “swank”). It’s a bold move, but when it works, it really works.

Adding Top-End Sheen (Without Unnecessary Fizz)

Interestingly, Joel noted that these particular Machine Head tracks didn’t suffer from excessive “fizz” in the high frequencies, so a drastic low-pass filter wasn’t necessary. However, they were “dull” and “basey,” requiring a lift in the top end to bring out air and detail. He mentioned that while he might usually filter down around 6-8kHz on some guitars, these needed more. This could involve a high-shelf boost or a broad boost with a parametric EQ in the 8kHz-14kHz region to open them up.

The Art of Micro-Adjustments and Unmasking

Throughout the EQ process, Joel emphasized the importance of minute adjustments. “Sometimes 0.1dB really matters,” he noted. He meticulously swept frequencies, not just listening but also “feeling” for that sweet spot where the guitar locked in perfectly with the bass and kick. He also highlighted how a small, precise cut can make a huge difference by addressing masking frequencies – for instance, a tiny dip in the high-end cleaned things up considerably without losing aggression.

The Result: A Cohesive Wall of Guitar

By systematically addressing mic choice, taming unruly low-end with limiting and EQ, and then strategically sculpting the midrange and top-end, Joel transformed the quad-tracked Machine Head guitars. The goal is to make these multiple layers speak as one massive, articulate, and powerful entity that drives the song forward. Each step, from broad strokes to tiny tweaks, contributes to that final, crushing guitar sound.

Learn From the Pros, Mix Like a Pro

Witnessing a seasoned pro like Joel Wanasek dissect and rebuild a massive guitar tone like Machine Head’s is an incredible learning experience. These techniques – focusing on the SM57, taming low-end with limiters and EQ, and making strategic boosts at key frequencies like 4kHz – are all things you can apply to your own metal productions.

If you want to see exactly how Joel dials in these tones, explaining every decision and plugin choice in real-time, you need to check out the full Machine Head Nail The Mix session. Each month, Nail The Mix gives you the raw multi-tracks from huge metal bands and a masterclass from the original producer who mixed the record. It’s an unparalleled opportunity to learn from the best in the business. And if you’re looking to deepen your understanding of modern metal mixing beyond just presets, be sure to explore resources like Unlock Your Sound: Mixing Modern Metal Beyond Presets.