Mixing Oli Sykes’ Raw Vocals: Dan Lancaster’s BMTH Techniques

Oli Sykes’ vocals are a defining element of Bring Me The Horizon’s sound – raw, powerful, and always cutting through the mix. Ever wondered how those massive vocal productions come together? We got a peek into Dan Lancaster’s process as he tackled Oli’s vocals, and it’s packed with actionable insights for your own metal mixes. Forget overly complex chains; Dan’s approach is about smart, musical decisions, layer by layer. Let’s dive into how he builds that iconic BMTH vocal sound.

Starting Strong: Nailing the Lead Vocal

Before you even think about stacks of harmonies, the lead vocal needs to command attention. Dan Lancaster’s first instinct with Oli’s main vocal track? It needs to be “spanked.”

Taming Brightness and Adding Grit with Distortion

Oli’s raw take was noted as being quite bright. Instead of just reaching for an EQ to dull it down, Dan’s move was to “break it up a bit with some distortion.” This is a classic trick to add harmonic complexity, body, and character, effectively reshaping the tonal balance while adding attitude.

• What to try: Experiment with saturation plugins, from subtle tape emulation to more aggressive distortion units or even bitcrushers on a low blend. The goal isn’t to obliterate the vocal, but to add texture that helps it sit in a dense mix and smooth out harsh high frequencies by introducing new harmonic content. This kind of controlled aggression can make a vocal feel louder and more present without actually eating up headroom.

Crafting Ambience: Reverb & Delay

With the core tone shaping up, it’s time for space. Dan reached for a “bog standard” reverb, emphasizing that for a lead vocal with long, simple melodic notes, you can get away with more noticeable ambience.

• Reverb Choice: A plate, hall, or versatile algorithmic reverb can work wonders. The key is to find a decay time and color that complements the track without washing out the vocal.
• Delay for Depth: Simple delays, timed to the track, can add rhythmic interest and depth. For a straightforward melody, a quarter-note or eighth-note delay can fill space beautifully.

Dan’s approach here is musical: if the vocal melody is complex and fast, heavy delays and reverbs will create mud. But for Oli’s sustained notes, there’s room to play. This highlights the importance of tailoring your effects to the specific performance.

Building the Vocal Wall: Layers and Harmonies

Once the lead vocal is sitting pretty, it’s time to build the supporting cast. Bring Me The Horizon is known for their expansive vocal arrangements, and Dan shows how to bring these layers to life.

The Power of Simple Melodies & Space for Layers

Dan notes that a simple lead melody, like the one he’s working with, leaves “so much space” for additional layers and harmonies. This is a crucial production insight: sometimes, less is more in the lead part to make room for a richer overall vocal texture.

Panning for Width: The “Main Pan” Trick

When adding backing vocals and doubles, creating width is essential. Dan mentions using the “Main Pan” shortcut in Pro Tools (holding Alt+Shift while adjusting the pan knob on a selected track to pan all selected tracks identically, or Alt+Shift+Ctrl to pan them symmetrically outwards from the center). This is a quick way to spread your vocal layers across the stereo field.

• Actionable Tip: Don’t just hard pan everything left and right. Experiment with varying degrees of panning for different layers to create a more immersive and less cluttered stereo image. Some layers might sit at 30% L/R, others at 60%, and key doubles or harmonies wider at 80-100%.

Individual Treatment for Backing Vocals

A key takeaway from Dan’s process is that not all vocal layers are treated equally. He dives into specific backing vocal tracks, like one sung by Jordan Fish, noting it was likely recorded on an Shure SM7B.

• Tackling SM7B “Harshness”: The SM7B is a fantastic mic, but depending on the vocalist and the performance, it can sometimes have a harshness or a particular emphasis in the upper mids (often around 2-5kHz). Dan specifically points this out and EQs the track to smooth it out before blending it in. This targeted EQ approach is vital for clean, powerful vocal stacks.
• Processing for Effect: Some backing vocals are “dreamy” and call for more noticeable effects – perhaps a longer, more modulated reverb or a creative delay. Dan treats these almost as separate sound design elements, giving them their “own thing.”

He emphasizes pushing an effect hard initially to clearly hear what it’s doing, then pulling it back to a level where it’s “just highlighting” the part or adding the desired texture.

Advanced Vocal Touches: Beyond Basic Balancing

Getting a great vocal sound isn’t just about levels and basic EQ. It’s about giving each part its own character and ensuring everything glues together.

“Vibe” with Unique Processing Per Layer

Dan gets bored with just panning. He likes to give individual parts their own “vibe.” This means some layers might get a completely different reverb, a flanger, a chorus, or a unique distortion type. This avoids a homogenous, boring vocal stack and adds interest.

• Example: For “dreamy” layers, he suggests they “want a thing, some sort of fun thing going on.” This could be a lush Valhalla Shimmer-style reverb or a wide, slow chorus effect.

The “Spank”: Getting Vocals to Pop

While Dan mentions “spanking” the lead vocal early on, this concept applies to making any vocal element cut through. This usually involves strategic compression to control dynamics and add punch.

• Compressor Choice: For an aggressive “spank,” an 1176-style FET compressor is a go-to for many. For smoother control, an LA-2A optical compressor might be preferred. Often, it’s a combination of both in series!

Pro Tools Power Moves: Automation Visibility

Dan shares a nifty Pro Tools shortcut: using “I minus” (likely referring to the hyphen/minus key, possibly in conjunction with modifiers depending on keyboard focus modes) to quickly show automation lanes. Constantly checking and tweaking automation (volume, pan, effect sends) is part of what makes a vocal mix dynamic and exciting.

The “Why” Behind Dan Lancaster’s Vocal Mixing Choices

Understanding the reasoning behind a producer’s decisions is as valuable as knowing the techniques themselves.

Inserts vs. Sends for Effects: Creative Control

Why use reverbs as inserts on some backing vocal tracks instead of on sends? Dan explains it’s often easier and allows him to create a very specific, unique effect for that particular layer without it being influenced by, or influencing, the main vocal effects. If he wants a backing vocal to have a completely “different space” or a heavily effected sound, an insert gives him direct control. He doesn’t want to just “shove him all through the [same] reverb. It’s boring.”

Quick Decisions, Detailed Work

Dan’s workflow involves making quick decisions for each vocal element but also getting “really, really detailed.” This balance is key. He doesn’t overthink basic processing but isn’t afraid to zoom in and give each harmony or layer the specific attention it needs to shine. This is especially true for tracks with distinct timbral issues, like the “full voice harshness” on another SM7B-recorded backing vocal, which gets its own tailored treatment.

Bringing Oli Sykes’ Vocal Intensity to Your Mixes

Dan Lancaster’s approach to mixing Oli Sykes’ vocals for Bring Me The Horizon is a masterclass in building powerful, modern metal vocals. It’s about:

• A Solid Lead: Ensuring the main vocal is impactful with controlled dynamics and characterful processing.
• Strategic Layering: Using doubles and harmonies to create width and depth.
• Individualized Treatment: Not applying a one-size-fits-all approach; each layer gets the processing it needs to serve its purpose.
• Creative Effects: Using distortion, reverb, and delay not just technically, but musically, to enhance the emotion and vibe of the song.
• Efficient Workflow: Making quick, confident decisions while still paying attention to the fine details.

These are techniques you can start applying in your own productions right now. But imagine seeing this level of detail unfold across an entire Bring Me The Horizon track, from drums and bass to guitars and synths.

At Nail The Mix, you get exactly that. Every month, you get the multitracks from huge metal songs and watch renowned producers mix them from scratch. If you want to see how professionals like Dan Lancaster build these massive sounds, check out the exclusive Bring Me The Horizon “Drown” mixing session with Romesh Dodangoda on Nail The Mix. You can also explore comprehensive courses like Unlock Your Sound: Mixing Modern Metal Beyond Presets to deepen your understanding of these techniques. Don’t just read about it; see it happen and try it yourself with the actual session files from Bring Me The Horizon!