Mixing Patrick Stump’s Fall Out Boy Vocals: Sean O’Keefe’s Approach

Patrick Stump's vocals are undeniably iconic and the driving force behind countless Fall Out Boy anthems. Getting that signature sound – powerful, clear, and dripping with attitude – is a masterclass in vocal mixing. We got an inside look when producer Sean O'Keefe (The Used, Hawthorne Heights) mixed Fall Out Boy's "Lake Effect Kid" on Nail The Mix, and he dropped some serious knowledge bombs on how he tackles these stellar vocal tracks.

What’s super interesting is that Sean’s approach isn’t about overcomplicating things with a million obscure plugins. In fact, he leans on some surprisingly common tools, but with a refined workflow that extracts every ounce of potential. Let's dive into how he gets those Fall Out Boy vocals to sit perfectly in a dense rock mix.

The "Secret Weapon" Everyone Uses: CLA Vocals

It’s almost a running gag in the production world: the Waves CLA Vocals plugin. So many pros use it, yet many feel a bit sheepish admitting it. Sean O'Keefe is not one to shy away from a tool that works, and he often turns to CLA Vocals, particularly when starting a mix.

"A lot of times in my template I'll use the CLA, the vocal suite on a lead vocal," Sean admits. His go-to preset? "Start Me Up."

Why does this plugin get so much love (even if it's sometimes covert)?

• Speed to Excitement: The CLA Vocals plugin can get a vocal sounding "close to the finish line out of the gate," as Sean puts it. This is crucial for maintaining excitement and momentum during a mix session, especially when you want to quickly get a vibe going with drums and vocals.
• BGV Hero: It’s particularly amazing for background vocals, which can be a ton of work to process individually. This plugin streamlines that process significantly.
• Fixer-Upper: Sean notes it’s especially effective if your vocal was recorded with "a whatever microphone through a whatever mic pre converter." It can add the polish and control that might be lacking from the source.

However, there's a caveat. If you're working with a pristine vocal recording captured through high-end gear, the CLA Vocals plugin can sometimes be "way over the top." You'll likely need to dial back its intensity.

For "Lake Effect Kid," while Sean demoed the CLA Vocals plugin, he ultimately opted to build his vocal chain from scratch – partly an "ego thing," he jokes, wanting to craft it his way. But the initial nod to CLA Vocals shows its power as a fantastic starting point or a quick solution. Watching pros utilize even popular, accessible plugins is one of the many insights you gain from seeing full mix sessions, like the Fall Out Boy "Lake Effect Kid" session available on Nail The Mix.

Sean O'Keefe's Custom Vocal Chain for Patrick Stump

When building Patrick Stump's vocal sound from the ground up, Sean’s philosophy is clear: make the vocal pop, ensure it’s crystal clear, and let it ride confidently on top of the instrumental bed. He often starts by getting a general sound across the entire vocal track, then, if needed, duplicates the track to create specific settings for different sections like verses and choruses – perhaps backing off effects in the verse or juicing them up in the chorus.

Here’s a breakdown of his plugin chain for the verse vocal:

Taming Aggression and Adding Control

Patrick's vocals have an inherent aggressive quality, which is awesome, but can sometimes introduce frequencies that "hurt your ears."

• Oeksound Soothe2: This is Sean's first port of call to tackle any harshness. He describes Soothe2 as a "real-time active EQ" that dynamically dips out aggressive resonances. He typically plays with the "depth" knob, sometimes pushing it to extremes to really hear what it’s doing before settling on a musical setting. For instance, he pointed out how Soothe2 effectively caught the aggressive "get" in the word "forgetful," smoothing it out without losing impact.
• Limiter (e.g., FabFilter Pro-L 2): Next in line is a limiter, but not for aggressive smashing. Sean uses it subtly as a "safety check" to catch any stray peaks, ensuring it's "not doing much" but providing a safety net.

EQing for Clarity and Presence

Achieving vocal clarity is paramount, and EQ strategies for mixing modern metal are key.

• First EQ Pass (FabFilter Pro-Q 3 implied): Sean applies some initial EQ moves to enhance presence and clean up the low end.
  • A boost of around 3dB at 5kHz, plus some energy in the "upper mids/lower treble."
  • A gentle cut to remove "low-end crap" – essentially a high-pass filter to eliminate unnecessary rumble.
  • He emphasizes the balancing act: how bright can you make the vocal to cut through, versus when does it become thin and overly aggressive?

Adding Character and Weight

With the vocal controlled and clear, Sean starts adding character.

• Crane Song Phoenix II (Saturation): This saturator is used subtly to add a bit of weight and fullness. Sean appreciates how it "somehow brings out the fullness in a subtle way."
• Waves CLA-76 (Compressor): Even though Patrick’s vocal is already quite compressed from the recording stage, Sean brings in the CLA-76. He’s not looking for heavy gain reduction here; instead, it’s about character compression. He finds it "subtle but not really," meaning it imparts an important, albeit not drastic, character.
• Thermionic Culture Vulture (Distortion/Saturation): For a bit more grit and aggression, Sean turns to the Culture Vulture. He uses it with the mix knob set quite low, blending in just a touch of its characterful distortion. "It's such a cool plugin," he remarks. "It adds character aggression and you just blend it in. I dig it."

Final Shaping and Polish

A few more tweaks bring the vocal to its final processed state before time-based effects.

• Second EQ Pass (FabFilter Pro-Q 3 implied): Sean felt the vocal needed a bit more body and top-end shimmer.
  • A boost around 140Hz to add some warmth and body.
  • A push in the mid-range around 1.5kHz for presence.
  • A touch more air with a 10kHz boost.
• De-Esser: A simple de-esser is applied to tame any sibilance that might have been accentuated by the previous processing.

The Power of Subtle Moves: Before & After

Individually, many of Sean’s plugin choices and settings are quite subtle. But as he demonstrates, "together they do something important." When comparing the fully processed vocal to the unprocessed version, the difference is striking.

Soloed, the unprocessed vocal might not sound "bad," but the processed version has significantly more presence, control, and a polished character. The real test, however, is in the context of the mix. When the drums are brought in:

• Processed Vocal: Stays "loud and proud," sitting authoritatively on top of the drums.
• Unprocessed Vocal: Tends to "swim in and out," getting lost or fighting with the instrumentation.

This perfectly illustrates how a series of well-thought-out, sometimes subtle, processing steps can make a vocal truly command a mix. Seeing this kind of meticulous chain-building and hearing the A/B comparisons in real-time is invaluable, and it’s exactly what you get when you dive into the full Fall Out Boy mixing session on Nail The Mix.

Sean O'Keefe's Mixing Workflow Insights

Beyond specific plugin choices, Sean shared some interesting aspects of his general mixing workflow:

• Mixer View Dominance: Unlike many producers who live in the edit window, Sean spends almost all his time in the Pro Tools mixer view. He navigates the song using markers that show up as buttons on his console (likely an SSL Duality or similar). "I almost never look at the edit window," he says. "I see a lot of guys mix only from this window [the edit window] and I have no idea how they're doing it. It drives me insane."
• Linear vs. Sectional Mixing: When actively mixing, Sean typically plays the song all the way through, making adjustments as he goes. For demonstration purposes, he might loop sections. His approach can vary:
  • For foundational elements like drums, lead vocal, and bass, he often works linearly from the beginning to the end of the song.
  • When dealing with full instrumentation, he might start at the last chorus and work his way backward. This can be a strategic move for managing headroom.

Bringing Patrick Stump's Vocals to Life

Sean O'Keefe's approach to mixing Patrick Stump's vocals for Fall Out Boy's "Lake Effect Kid" is a fantastic blend of practical efficiency and detailed sonic sculpting. Key takeaways include:

• Don't shy away from powerful, quick tools like CLA Vocals for a fast start or for tackling background vocals.
• Build a custom chain with purpose: Soothe2 for harshness, strategic EQ for clarity and presence, saturation (Phoenix II, Culture Vulture) for character and weight, and compression (CLA-76) for vibe and control.
• Remember that multiple subtle processing moves collectively create a significant impact, especially when getting vocals to sit right in a dense mix.

These are actionable techniques you can start experimenting with in your own productions today.

Want to see Sean O'Keefe build this entire vocal sound, piece by piece, and mix the entire "Lake Effect Kid" track from scratch? Dive into the full session, get your hands on the multi-tracks, and learn directly from the pros who craft the sounds you love. Check out Nail The Mix to unlock your sound and learn mixing techniques beyond presets and gain access to a wealth of knowledge, exclusive plugins, and a vibrant community of fellow producers.