Sean O’Keefe’s Fall Out Boy Guitar Mix: Subtle EQ & Texture

Alright, let’s dive into the world of Fall Out Boy’s guitar tones, specifically from their track “Lake Effect Kid.” We got a peek into how the legendary Sean O’Keefe (the man behind the console for this banger) approached them in this Nail The Mix session. If you’re expecting a mountain of plugins and crazy processing, you might be surprised. Sean’s method is often about subtlety and letting well-recorded parts shine, which is a masterclass in itself. The challenge? Making those intricate rhythms, layered tones, and leads pop without trampling the all-important vocals.

The “Less is More” Philosophy for Fall Out Boy Guitars

Fall Out Boy isn’t your typical chug-chug metal band. Their guitar work is full of interesting rhythms and textures. Sean’s approach respects this, focusing on enhancing what’s already there rather than completely reshaping it.

Starting with Solid Raw Tones

A recurring theme in Sean’s workflow is the power of a great source tone. If the guitars sound good at the recording stage, a lot of the heavy lifting in the mix is already done. For “Lake Effect Kid,” the raw guitar tracks were already in a pretty good spot, which meant he didn’t need to wrestle them into submission.

Resisting the Urge to Over-Process

It’s easy to get caught up in adding plugin after plugin. But Sean demonstrates a more reserved approach. Sometimes, a few key moves are all it takes. This is especially true for guitars that aren’t meant to be the sole dominant force but rather a crucial part of a larger sonic tapestry.

Tackling the Chorus Rhythm Guitars: The Core Sound

For the main rhythm guitars in the chorus, Sean’s process was surprisingly straightforward, focusing on a couple of key plugin choices to bring out their best.

The Foundational Neve EQ High-Pass

First up, Sean often has a Neve EQ plugin (emulating the classic hardware he used for years) on his guitar tracks, even as part of his template. A go-to move here is engaging the high-pass filter.

• Why 160Hz Works: He specifically mentions setting the high-pass filter to around 160Hz. Now, this isn’t just a sharp cutoff. The characteristic of this particular Neve filter (as he describes it) includes a slight resonant bump below the 160Hz cutoff point. This unique behavior simultaneously tightens up the low-end by removing unnecessary sub frequencies (the “garbage,” as he puts it) while adding a subtle punch just above the cut. It’s a classic trick to clean up guitars without making them sound thin. For more insights into EQ strategies, check out our EQ hub page.

Adding Character with Crane Song Phoenix

With the basic tonal shaping from the EQ in place, Sean then reached for the Crane Song Phoenix plugin. This plugin is renowned for adding analog-style saturation and harmonics.

• Subtle Enhancement: He notes that the Phoenix “seems to do something cool,” especially on guitars. It’s not about drastic distortion, but more about adding a touch of vibe, warmth, or “glue” that can make the guitars feel a bit more exciting and sit better in the mix. He simply blended it in to taste.

Blending with Drums and Bass – The Initial Litmus Test

Once these initial moves were made, Sean’s next step was to hear the guitars in context with the drums and bass. This is crucial. A guitar tone might sound amazing in solo, but the real test is how it interacts with the rhythm section. For these chorus guitars, they fit right in without much more fuss.

Giving Verse Guitars Some “Attitude”

The verse guitars in “Lake Effect Kid” apparently needed a bit more character, a bit more “attitude” as Sean put it.

Leveraging Consistent Processing

To start, he copied the Crane Song Phoenix plugin settings from the chorus guitars over to the verse guitars. This provides a nice, consistent base texture between the different guitar sections.

Strategic EQ for Impact

Beyond the Phoenix, these verse guitars received some additional EQ. While the exact moves weren’t detailed minute-by-minute, the goal was to “push” them a bit more, likely to help them stand out and provide the desired energy for the verse sections. This could involve boosting certain mid-frequencies or adding a bit more top-end clarity, depending on what the part needed.

A Touch of Reverb (When and Why)

Interestingly, Sean also had a send to a general guitar reverb on these verse tracks. He admitted he doesn’t often use reverb on guitars, and even in this case, he felt he “could take it or leave it.” The reverb was blended in very subtly. This is a good reminder that effects don’t always need to be obvious. Sometimes a barely-there reverb can add a touch of space or depth without washing out the guitar tone.

The Perils of Over-Notching: A Word of Caution

One of the most valuable insights from this session was Sean’s take on EQ notching, especially for guitars like Fall Out Boy’s.

When Notching Becomes a “Slippery Slope”

Sean mentioned that some people had trouble with these guitar tones, possibly overthinking them. He cautioned that aggressive notching (scooping out multiple specific frequencies) can be a “slippery slope.” You identify one problematic frequency, then another, then another, and soon you can end up with a hollowed-out, unnatural sound.

Trusting Your Ears Over Habit

This is particularly relevant if you’re used to mixing heavier genres where extensive EQ notching on guitars is more common to make space for pummeling drums and aggressive vocals. For tracks like “Lake Effect Kid,” where the guitars are more about texture and melody, such heavy-handed EQ might not be necessary or even detrimental. If the guitars sound good and sit well, don’t feel obligated to notch out frequencies just because it’s a common practice in other contexts. Trust what your ears are telling you in the context of that specific mix.

Bringing It All Together (And Learning More!)

Sean O’Keefe’s approach to mixing Fall Out Boy’s “Lake Effect Kid” guitars is a masterclass in effective, subtle enhancements:

• Start with Great Source Tones: Less intervention is needed later.
• Use High-Pass Filters Wisely: The Neve-style 160Hz high-pass with its characteristic bump can clean up and tighten guitars beautifully.
• Add Character with Saturation: Plugins like Crane Song Phoenix can provide subtle warmth and vibe.
• Context is King: Always check your guitar tones with the bass and drums.
• Be Cautious with Over-Notching: Don’t let it become a neurotic habit, especially if the raw tones are solid. Sometimes, subtle EQ and compression techniques are all you need to make guitars sit perfectly.

Want to see exactly how Sean O’Keefe dialed in these tones, balanced them against Patrick Stump’s iconic vocals, and brought the entire “Lake Effect Kid” mix to life? You can get your hands on the full multitracks and watch the entire 6+ hour mixing session by checking out the Fall Out Boy session on Nail The Mix.

When you join Nail The Mix, you don’t just get one session. You unlock a massive archive of similar mix walkthroughs from industry giants, plus access to Mix Lab, our Portfolio Builder, an exclusive community, and so much more. It’s your chance to learn directly from the pros who mixed the albums you love. If you’re looking to truly elevate your productions beyond presets and generic tutorials, explore how you can Unlock Your Sound: Mixing Modern Metal & Beyond Presets.