Meshuggah’s ‘Monstrocity’: Raw Multitracks & Mixing This Live Titan

Nail The Mix Staff

Alright, let's talk about a band that needs no introduction to the world of heavy music: Meshuggah. Their sound is a force of nature – complex, crushingly heavy, and meticulously crafted. Ever wondered what it's like to get your hands on the raw ingredients of such a sonic onslaught? Well, back in March 2017, Nail The Mix subscribers got to do just that with the multitracks for "Monstrocity," originally produced and mixed by the legendary Tue Madsen.

But here's the kicker that sets this session apart: "Monstrocity" is a live studio recording. Yeah, you read that right. A band playing at this level of technicality, capturing that energy live in the studio. It's a testament to their skill, and it presents a unique set of challenges and opportunities for any mix engineer. Let's dive into what makes these multitracks so special and how you might approach taming this beast.

The "Live in the Studio" Challenge: More Than Just Bleed

Recording a band like Meshuggah live in the studio is no small feat. We're not just talking about a bit of cymbal bleed in the tom mics. We're talking about the raw, unadulterated energy of the full band performance, captured with an incredible array of microphones. This means you're dealing with a different kind of animal compared to meticulously isolated studio tracks.

The upside? You get an organic feel, a sense of interplay between the musicians that's hard to replicate otherwise. The challenge? Managing that bleed and harnessing the raw power without it turning into a muddy mess. You'll notice some initial light gating on the snare and toms in the session, just to help navigate the unboxing, as Eyal Levi points out in his walkthrough. This is a common first step when dealing with live drums to gain some control before diving deeper. The session also comes with sensible bussing already in place – kicks, snare, toms, cymbals, rooms to a drum bus; guitars to a rhythm bus, etc. – which helps manage this monster session from the get-go.

Deconstructing the 'Monstrocity' Drum Arsenal

Tomas Haake's drumming is legendary, and this session provides an incredible insight into capturing his performance. The raw drums sound fantastic – clear, detailed, and powerful. Your job is to preserve that detail while making it hit even harder.

Kicks: Power and Precision

Forget a single kick mic; here you get a left kick and a right kick (Kick 1 and Kick 2), each captured with multiple microphones. This already tells you something about the precision Meshuggah operates with. You’ll find:

  • A 901-style mic (likely a Sennheiser e901 or similar boundary mic), great for capturing the clicky attack and beater sound from inside the kick.
  • A 602-style mic (think Sennheiser e602), known for its beefy low-end punch.
  • An RE20 (Electro-Voice), a studio classic that often provides a well-rounded, natural kick sound. Eyal notes this sounds like the dominant kick in the raw tracks.

Blending these options gives you incredible control over the final kick tone. Want more click? Push up the 901. Need more thud? The 602 is your friend. The RE20 provides a solid foundation.

Snare and Toms: Cutting Through the Chaos

As mentioned, the live nature means there's bleed. The provided gates are a starting point. The key with Meshuggah's snare and toms is to maintain that sharp attack and distinct tonal character amidst the glorious cacophony. You'll have plenty of raw material to work with to carve out their space.

Cymbals and Overheads: Capturing the Air and Space

The overhead setup is interesting: Overhead Left, a second Overhead Left (OH L2), and Overhead Right. This suggests a specific micing approach, perhaps a main stereo pair with an additional spot or wider mic on one side to capture a particular cymbal or overall spread. Experimenting with the balance and panning of these will be crucial for achieving a wide and detailed stereo image for the cymbals.

The Secret Weapon: Amped Drums and Room Mics

This is where things get really exciting. Beyond the close mics, you get "Amped Drums" and a host of room mic options. These aren't just for subtle ambience; they're character pieces.

  • Amped Drums: These tracks feature the drum sounds re-amped through something, adding unique noises and textures. They're not meant to be the primary sound but can add incredible grit and distinct character.
  • Room Mics: You've got several flavors:
    • "Amp Head" (a unique, perhaps distorted room sound)
    • "Road" (likely a robust, full-sounding room)
    • "Heirloom Mics" (described as very distant, perfect for that far-off explosive sound)
    • "Distant" (another option for spaciousness)

Eyal demonstrates how these room and amped tracks sound almost confusingly weird on their own. But when you blend them back into the main drum mix? Magic. They add all the life, glue, and the feeling of a drummer absolutely smashing it in a real space. Mute them, and the drums suddenly sound lifeless. Don't underestimate these tracks! Judicious use of EQ can help shape these ambient layers to fit perfectly without cluttering the mix.

Bass Tones: From Clean DI to Aggressive Distortion

Dick Lövgren's bass provides the thunderous foundation. The session gives you a wealth of options:

  • Bass DI: Your clean, fundamental starting point. Tight and precise.
  • Distorted Bass (Line): A dedicated track of gnarly distorted bass.
  • Bass Pick: This likely refers to a signal captured to emphasize the aggressive pick attack, possibly another DI processed for clank or a specific mic.
  • Sennheiser MD 441 Mic: A high-quality dynamic mic often used on bass cabs for its detailed and full-bodied capture.

You essentially get three distinct flavors of distorted bass to blend with the clean DI. Why would you only use the clean DI when you have these killer tones? While you could re-amp the DI yourself, you're getting the actual sounds used on the record, crafted by Tue Madsen. It's a fantastic opportunity to see how these layers interact to create that signature Meshuggah low-end grind.

Guitar Mayhem: Crafting Meshuggah's Wall of Sound

And now, the guitars. Prepare for an avalanche of tracks. We're talking quad-tracked rhythms, each with a smorgasbord of amp and mic options.

An Amp Buffet for Each Guitar

For each of the four rhythm guitar performances, you get signals from:

  • Rectifier (likely a Mesa/Boogie Dual or Triple Rectifier)
  • Engl (a staple in modern metal)
  • Torp (Eyal wasn't sure what this was, but noted it wasn't a main sound, more of a flavor track)
  • C Watt (likely a Hiwatt, described by Eyal as "crazy sounding, like a black hole– expect something unique and textured!)
  • Marshall

That's six different amp signals per guitar part, times four rhythm tracks. Do the math: that’s 24 tracks of rhythm guitar tones to blend! This isn't about finding the one perfect mic on an amp; it's about having a palette of "tone ingredients." Some are mainstays, others are textural. The C Watt, for instance, might be blended in subtly for its unique character, while the Rectifier and Engl provide the core punch.

Utilizing DIs: Your Tone, Your Way (But Consider the Source)

Of course, you also get the guitar DIs. You could go wild with your own amp sims and re-amping. However, with such a rich selection of expertly captured real amp tones that were actually on the album, it's highly recommended to dive in and work with what Tue Madsen provided. These are the sounds that make "Monstrocity" what it is.

Blending for Cohesion and Power

The art here is in the blend. How do you take 24 tracks of rhythm guitar and make them sound like a cohesive, monstrous, quad-tracked wall of sound? Careful gain staging, EQ, and potentially some strategic bus compression to glue them together will be your best friends. This is where you get to play producer and sculpt the final guitar character.

Lead Guitars and Vocals: Adding the Final Touches

Beyond the rhythmic complexity, there are melodic and vocal elements to integrate.

Intricate Leads and Printed Effects

Fredrik Thordendal's lead work is instantly recognizable. In this session, you get stereo leads that are harmonized, with effects (FX1 and FX2) already printed onto the tracks. This means you're working with the effected sound, which can be great for consistency but requires you to make it sit right in the mix as-is. Expect those signature "drony," otherworldly Meshuggah solos, including some cool four-part harmonies with very dissonant, cool textures. There's even a lead part that has a clear fade-out point, a nice little hint from the production.

Iconic Vocals: Layered for Impact

Jens Kidman's vocals are iconic. Here, you'll find doubled and even tripled vocal tracks. Even in this "live-ish" recording environment, layering the vocals like this was the right move to give them the necessary power and presence to cut through such a dense instrumental mix. Your job will be to blend these layers, ensuring clarity and aggression.

The Mixing Philosophy: It's All About the Blends

As Eyal points out, while the track count is immense, the song's arrangement isn't overly complex in terms of instrumentation: drums, bass, rhythm guitars, some lead guitar, and vocals. It's a standard metal band setup. The real complexity, and the real fun of mixing this session, comes from the sheer number of options for each instrument.

This mix is all about the blends. It’s a deep dive into how different microphones, amps, and ambient layers contribute to a massive, cohesive sound. There aren't necessarily "correct" options, but there are choices that will lead you closer to that signature Meshuggah power. You need to take your time, listen critically, and hunt for the right balance of everything.

Ready to Tackle "Monstrocity" Yourself?

Working with multitracks like Meshuggah's "Monstrocity" is an incredible learning experience. You get to hear what truly world-class performances and raw recordings sound like, straight from the source. This particular session, with its live recording approach and wealth of tonal options, offers a unique window into the production genius of Tue Madsen and the sheer power of Meshuggah.

If you're fired up to get your hands on these tracks and see how Tue Madsen himself mixed "Monstrocity" from scratch, you can grab this session and his full mixing masterclass over at Nail The Mix. It’s an unparalleled opportunity to learn from one of metal's finest.

At Nail The Mix, we believe in learning by doing, with real songs from real artists. It’s more than just presets; it’s about understanding the decisions and techniques that go into crafting professional metal mixes. If you're looking to unlock your sound and take your mixes beyond presets, diving into sessions like this Meshuggah monster is the way to do it.

So, fire up your DAW, download the Meshuggah "Monstrocity" multitracks, and prepare to sculpt some serious metal. Happy mixing!