Mixing Neck Deep Vocals: Andrew Wade’s Pro Production Tips

Alright, let’s talk about getting those polished, punchy pop-punk vocals that cut through a dense mix – specifically, how Andrew Wade tackled the vocals for UK titans Neck Deep. If you’ve ever wrestled with getting vocals to sit just right, with clarity, power, and that pro sheen, you’re in the right place. We’re diving into some of the key techniques Andrew Wade shared, from initial tracking choices to bus processing and massive group vocals. These are actionable insights you can experiment with in your own sessions.

Want to see Andrew Wade mix Neck Deep’s “Can’t Kick Up The Roots” from scratch? You can, check out the full Nail The Mix session here.

The Foundation: Nailing Neck Deep’s Lead Vocal Tone

Getting a strong lead vocal starts at the source and with smart initial processing. Andrew laid out a straightforward yet powerful chain.

Mic Choice and Taming Nasal Singers

The lead vocals for Neck Deep were captured using a Neumann U 87 microphone set to a cardioid pattern. While the U 87 is a studio classic, it can sometimes emphasize brittleness on higher, more nasally singers. To counteract this and bring out more body, Andrew ran the signal through an 1176 compressor during tracking.

This is a key takeaway: if you’re finding a mic choice a bit too bright or thin on a particular vocalist, a warmer compressor like the 1176 can be a great way to add richness. Andrew noted that for such singers, an LA-2A might actually accentuate too much high-end, making the 1176 or a similar FET-style compressor a better option.

Aggressive Lead Vocal Compression: The 1176 “All Buttons In” Magic

On the mixing side, Andrew applied another 1176 to the lead vocal track, this time with some pretty aggressive settings. He was getting around 7-10dB of gain reduction, really clamping down on the dynamics to ensure the vocal stayed upfront and consistent.

The settings for this 1176 were:

• Input: Around 33
• Output: Around 21
• Attack: 4 (medium-fast)
• Release: 7 (fastest setting)
• Ratio: “All Buttons In” mode (often called “British Mode”)

That “All Buttons In” mode is legendary for its aggressive, harmonically rich character. It’s not a subtle effect! Andrew admitted this isn’t his typical go-to, but he landed on it by experimenting – a great reminder that presets are just starting points. Keep tweaking until you find something that truly excites you. For more on how different compression styles can shape your metal tracks, check out our Metal Compression Secrets guide.

Layering Power: Doubles and Backups

Pop-punk often relies heavily on vocal layers for impact. Here’s how Andrew approached Neck Deep’s doubles and backups.

Consistent Compression for Doubles

For the vocal doubles, Andrew used the exact same aggressive 1176 settings as the lead vocal. While he sometimes opts for less compression on doubles, in this case, consistency was key to achieving the desired powerful, unified sound.

The Secret Weapon: Taming Sibilance in Backups

This is a fantastic tip: Andrew de-essed his backup vocals heavily. You could see the de-esser working overtime on these tracks. Why? To prevent any stray ‘S’ or ‘T’ sounds from clashing with the lead vocal or with each other, especially if their timing isn’t perfectly aligned. This technique, famously used by Mutt Lange, ensures the main vocal remains the clear focus, while the backups provide support and width without adding distracting sibilance or sounding muffled.

EQ and Tuning for Backups

To further clean up the backups and help them sit well in the mix, Andrew employed a significant bass roll-off. The backups were also tuned quite aggressively. While super-tuned vocals might sound unnatural on a lead, they can work perfectly for backups, especially when the lead vocal has a more natural feel. For the choruses, the backups were tripled and panned hard left and right to create a wide, enveloping sound.

Gluing it Together: Vocal Bus Processing

With relatively few main vocal tracks (three in this case), Andrew could effectively use bus processing to shape the overall vocal sound.

The De-Esser and EQ Dance

A core part of Andrew’s vocal bus chain involves a de-esser followed by an EQ. He used an SSL-style EQ to add a high-end boost for that desirable shine and air. His philosophy is that if you’re going to boost the highs, you must control the sibilance effectively with a de-esser before the EQ. This allows for a consistently bright vocal without harsh ‘S’ sounds jumping out.

• De-Esser First: Andrew typically places the de-esser before the sweetening EQ. The idea is to tame the sibilance on the raw signal, so the EQ boost doesn’t then exaggerate it.
• Finding the Balance: Too little de-essing, and the ‘S’s will be piercing. Too much, and you risk giving the vocalist a lisp. Careful listening is crucial.
• Alternative Orders: While Andrew prefers de-essing before EQ, some engineers de-ess after compression, or place a de-esser after corrective EQ but before character EQ. The goal is to manage sibilance effectively without sacrificing clarity. For more in-depth strategies on vocal EQ, our EQ Strategies for Mixing Modern Metal page has you covered.

Bus Compression for Cohesion

To further glue the vocals together, especially when everything kicks in during the choruses, Andrew applied light compression to the vocal bus. This helps to control the overall level and ensure the chorus vocals don’t become overwhelmingly louder than the verses, achieving about 5-6dB of gain reduction with a pretty quick attack.

Adding Space: Reverb

A touch of reverb, mixed in at around 20%, provided space and dimension to the vocals without washing them out.

Creating the Crowd: Group Vocal Strategies

Group vocals are a hallmark of the pop-punk sound, and Andrew had some cool tricks for making them sound huge and authentic.

Simulating a Live Show Vibe

Instead of relying heavily on reverb for the group vocals, Andrew used a long delay to create the sense of a large space, like a crowd at a show. The actual group vocals were a blend of different performances:

• The “Rabble”: Takes of people yelling and shit-talking the parts, mimicking how a real crowd (who mostly can’t sing) would sound.
• The “Singers”: Takes of those who could actually sing the parts more melodically.
  Blending these created a more genuine and energetic concert atmosphere. He even layered in samples of ambient restaurant noise and clinking mugs to enhance the “bar” or “party” feel for certain sections.

To Compress Individually or As a Group?

When it comes to compressing group vocals, Andrew mentioned he often experiments:

• Compressing the Group Bus: This can sound more natural, as the compressor reacts to the summed energy of all voices, creating a pumping effect when people shout over each other.
• Compressing Individual Tracks: This provides more control and can lead to a “nicer,” more polished sound as each voice is tamed individually.

A modern approach he’s also been using, inspired by Bill Stevenson, is to record many individual takes (even 30-40 people, one at a time), then stem them out and compress those individual tracks before summing. This gives maximum control and allows for easy muting or turning down of any problematic takes.

Bringing It All Home

Mixing powerful, modern vocals like Neck Deep’s involves a blend of smart tracking choices, aggressive yet controlled compression, strategic EQ, and creative layering. From the “all buttons in” 1176 on leads to heavily de-essed backups and layered group shouts, Andrew Wade’s techniques offer a wealth of ideas.

These are the kinds of pro insights you get when you join Nail The Mix. Imagine watching producers like Andrew Wade, Will Putney, or Dan Lancaster build these sounds from the raw multitracks, explaining every plugin, every setting, every decision. That’s what NTM is all about. You get the multitracks, you get the session, you get the knowledge.

Ready to see these Neck Deep vocal techniques in action? Check out the full Neck Deep mixing session with Andrew Wade. And if you’re serious about taking your mixes to the next level, explore how to Unlock Your Sound: Mixing Modern Metal Beyond Presets.