Machine Head: Taming the 100+ Track Monster of ‘Is There Anybody Out There?’

Nail The Mix Staff

Alright, let's talk about a session that’s not for the faint of heart: Machine Head’s colossal track, "Is There Anybody Out There?" If you’ve ever felt overwhelmed by track counts, this one will make your jaw drop. We’re diving deep into what makes this song a beast to mix, thanks to insights from co-producer Joel Wanasek, who wrestled this monster into a chart-topping hit. Forget your simple guitar-bass-drums setup; this is a whole other level of production.

The original session ballooned to over 160 tracks, eventually condensed to a still-massive 115 for the mix. This isn't just about quantity; it's about the sheer diversity of elements, from intricate drum micing to lush orchestrations and a boatload of sound design. If you’re ready to see how a modern metal epic is constructed (and how you can learn to mix one yourself), buckle up. You can even get your hands on these very multitracks and see Joel mix it for 12.5 hours straight over at Nail The Mix.

Deconstructing the Drum Mayhem

First off, the drums in this session are a universe unto themselves. We’re talking a serious amount of microphones and options, which means a ton of tonal possibilities but also a lot to balance.

Multi-Mic Madness: Kicks, Snares, and Overheads

Let's break down the drum mic setup because it’s pretty comprehensive:

  • Kicks: Not one, but two main kick mics (Kick 1, Kick 2), each blessed with its own sub kick. Plus, an SM91 inside for that clicky attack. That’s a lot of low-end information to blend and control.
  • Snare: You’ve got options here with two snare top mics and a snare bottom. This allows for incredible flexibility in dialing in the perfect crack and body.
  • Overheads & Cymbals: A three-mic overhead setup (Far Left, Left, Right) captures the overall kit image. Spot mics for the ride cymbal and, interestingly, both a right and a left hi-hat mic, offer precise control over these often-tricky elements.

With so many sources, careful phase alignment and EQ strategies are crucial to avoid a muddy, undefined drum sound.

Taming the Toms and Room Ambience

This drummer doesn’t hold back, utilizing five toms, and he plays all of them. This means your tom tracks will be busy with fills, requiring careful gating, EQ, and panning to ensure each hit cuts through without overwhelming the mix. Then there are the room mics, which sound fantastic and offer a natural sense of space. In a metal mix, especially one for a band like Machine Head, you'll likely lean on samples, but blending in these well-recorded room mics can add a layer of realism and depth that samples alone can't provide.

Automation: The Key to Dynamic Drums

A critical aspect of mixing drums this complex, especially in a dynamic song like "Is There Anybody Out There?", is automation. For instance, in sparser sections like verses, you might automate the overheads and room mics, perhaps even easing off on sample augmentation on the kick, to let the natural kit sound breathe. This prevents the drums from sounding static and overly processed, allowing for a more organic feel when needed and full-on power when the song demands it. This level of detail can really test your drum mixing abilities.

The "Baked-In" Power of the Bass Tone

The bass guitar in this track comes in pretty "baked," meaning the tone was largely dialed in during recording. It's a hard-picked, aggressive sound that sits well from the get-go. This is a good reminder that a killer source tone makes the mixing process much smoother. Less fixing, more enhancing!

Beyond Guitars: The World of Post-Production

This is where "Is There Anybody Out There?" truly ventures into epic territory. The sheer amount of post-production elements elevates it far beyond a standard metal track. We're talking:

  • Lo-fi pianos
  • MIDI loops
  • Heartbeats
  • Big snares & "Big Ass Booms"
  • Sub drops
  • Full orchestra (both real and programmed)
  • Downlifters & Uplifters
  • Electronic hi-hats & percussion
  • Pulse kicks
  • Marching snares
  • Synth builds
  • Tambourines
  • Explodes & Reverse cymbals

Yeah, it's a lot.

Sound Design Galore: Booms, Drops, and Orchestral Hits

Mixing these elements is a unique challenge. Many are impact sounds – booms, uplifters, explodes – that are very transient-heavy. Sounds with significant sub-bass content, like explosions or sub drops, will fight for space with your kick drum and bass guitar. Careful EQ carving and potentially sidechain compression are your friends here to ensure these impacts add excitement without muddying the low end.

Blending Real and Programmed Orchestration

The track features around 20 tracks of live strings, including violas and violins, with different parts and pannings. These were then layered with programmed orchestral elements. The philosophy here is that the real orchestra provides the dynamics and human feel, while the "fake" (programmed) orchestra adds that epic, massive, cinematic quality. Blending these seamlessly is an art form in itself, requiring attention to levels, panning, and reverb to make them feel cohesive.

The Challenge of Impact Sounds in the Mix

The post-production isn't just background noise; it's integral to the song's vibe, adding immense flavor and taking it to another level. Removing these elements makes the track feel significantly emptier. The skill lies in making them audible and impactful without overwhelming the core instruments.

Conquering Quad-Tracked Guitars

Now for the guitars – and of course, Machine Head brings the heavy with quad-tracked rhythm guitars. This means four distinct rhythm guitar performances, creating an undeniably thick wall of sound.

Dual Mics, Double the Trouble (and Tone!)

Each of these quad-tracked parts was recorded with two classic microphone choices: a Shure SM57 and a Sennheiser MD 421. That means you’re potentially dealing with eight tracks of rhythm guitars before you even get to leads or overdubs! This offers incredible tonal flexibility – you can blend the distinct characteristics of the 57 (mid-range punch) and the 421 (often a bit fuller, with more low-mid response) to taste. However, it also means more phase relationships to manage and more tracks to wrangle. Sometimes, you might find yourself favoring one mic over the other or even muting some layers to maintain clarity in a dense mix. There’s also a dedicated track for a Whammy dive, adding another layer of guitar color.

Tour Bus Tones: Recording on the Road

Here’s a cool behind-the-scenes tidbit: all the guitars and bass parts were recorded by the band on tour, using an interface and a laptop on their tour bus. They’d send tracks back and forth with Joel, who was compiling the master session and working on co-production and post-production. This just goes to show what’s possible with modern recording technology, even in unconventional environments.

Pop-Inspired Vocal Production in Metal

The vocal production on "Is There Anybody Out There?" is another area where the track shines, borrowing heavily from pop production techniques to create a massive, engaging sound.

Layering for Impact: Doubles, Quads, and Harmonies

Robb Flynn delivered a powerhouse performance, and the session is packed with vocal layers – nearly 40 tracks!

  • Main Vocals: The core screaming vocals are raw and intense.
  • Printed Effects: Some vocals came with cool printed effects straight from the studio.
  • Doubles & Quads: For the choruses, things get serious. Verses might have doubles, but the choruses feature quad-tracked vocals – two panned left, two panned right, and a double up the center. This creates an immense, wide, and powerful vocal sound.
  • Harmonies & Layers: Joel encouraged Robb to explore falsettos, low octaves, and other layers, treating it much like a pop vocal session. The result is a rich tapestry of vocal textures, including gang vocals and cool vocal swells.

No Auto-Tune, Just Raw Performance

Refreshingly, there's no Auto-Tune on these vocals. It's 100% real, showcasing the band's commitment to authentic performance and musicianship – a cool thing to hear in modern metal.

The Power of Open-Mindedness in the Studio

The extensive vocal layering and experimentation highlight Robb Flynn's open-mindedness in the studio. He was receptive to trying new approaches, stacking tracks, and pushing the boundaries of what might be considered "typical" for a Machine Head song. This collaborative spirit is key to achieving such dynamic and interesting results.

The Bigger Picture: More Than Just a Metal Song

"Is There Anybody Out There?" is a testament to how creative post-production, intricate layering, and a willingness to experiment can transform a song. When Joel first received the basic tracks (bass, guitar, drums, vocals), he was inspired to add his own flavor. Robb Flynn gave him the green light to go wild, even with elements never before heard on a Machine Head record. The result, after much collaboration and refinement, is a track that’s dynamic, orchestral, and packed with ear candy, proving that metal can be so much more than just riffs and growls. It even charted in the top 40 on active rock radio!

This session is a masterclass in modern metal production, showcasing how to build a song from the ground up into something truly epic. It’s a study in managing complexity, making bold creative choices, and ensuring every element serves the song.

Want to dive even deeper and mix this colossal Machine Head session yourself? You can get access to the full multitracks, plus watch Joel Wanasek mix "Is There Anybody Out There?" from scratch, explaining every decision along the way, exclusively on Nail The Mix. It’s an incredible opportunity to learn from the pros and hone your own mixing chops on a real-world, hit metal song. If you're serious about taking your metal productions to the next level, exploring sessions like this is invaluable. Check out Nail The Mix to unlock a world of in-depth mixing knowledge.