Silverstein’s “Burn It Down”: Raw Tracks & Creative Mix Approaches

Silverstein. The name alone brings to mind raw emotion, driving riffs, and those undeniably catchy hooks that stick with you for days. Their track "Burn It Down" is a perfect example of their signature sound, blending aggressive energy with melodic sensibility. Ever wondered what goes into crafting a track like that from the ground up? Well, thanks to Nail The Mix, we got an exclusive peek at the raw multi-tracks, and let me tell you, there’s some gold in there for any producer looking to up their game.

These aren't just any stems; they're the actual building blocks mixed by the acclaimed Sam Goana for a Nail The Mix session. Let’s dive into what makes these tracks tick and how you can approach mixing them.

Peeking Under the Hood: Silverstein's "Burn It Down" Session Files

Cracking open the session for "Burn It Down" reveals a well-organized and impressively recorded set of tracks. It’s clear a lot of thought went into capturing the energy of the song.

Drum Powerhouse: From Shells to Smashed Loops

The drum setup is comprehensive. You've got your "strip drums" – likely the core kit pieces. Then, a selection of spot mics, including dedicated mics for hats and Chinas, which gives you a ton of control over the metallic sizzle and attack. Multiple room mic options and overheads are also present, offering flexibility in shaping the overall drum ambience and space. Add a shaker and a mono tambourine to the mix, and you've got a solid rhythmic foundation.

But here’s a super cool bit: there's a separate track, almost like a production recording, that's a heavily processed, almost looped-sounding drum beat. It’s raw, gritty, and adds a unique texture. Chances are, this was a creative element recorded separately – maybe by taking the main drum bus, smashing it with compression, and then flying it back into the session where needed. The cool part? The raw recording of this drum beat is also included, giving you a playground to recreate or reinterpret this effect.

Bass Tone: Solid and Compressed from the Start

The bass track appears to have some compression already printed on the way in. This isn't uncommon and often helps achieve a consistent low-end foundation right from the source. It means you're starting with a bass sound that's already got some punch and control, letting you focus more on how it glues to the drums and guitars.

Guitar Layers: Stereo Rhythms and Printed Character

When it comes to guitars, you’re getting stereo printed left and right rhythm guitar tracks. These sound tight and wide. While DIs for lead or other melodic guitar parts aren't apparent, crucially, Rhythm DIs are available. This is fantastic news, as it gives you the option to re-amp or run them through your favorite amp sims if you want to sculpt the core rhythm tone further or blend it with the provided amped tracks. The other guitar layers seem to be printed with their effects, ready to be blended into the mix.

Vocal Intensity: Catchy Hooks and Stacked Harmonies

No surprise here, the vocals are a major highlight. Shane Told's performance is, as always, super catchy and dynamic. The session includes a "decent sized vocal stack," with background vocals also stereo printed. These BGVs are likely either double-tracked or processed with stereo effects to give them that width and polish. The raw energy and the melodic hooks are all there, waiting for you to make them shine.

Sonic Spice: FX and Ear Candy

To round things out, there are dedicated effects tracks: a classic bass drop for impact, a sweep for transitions, and a tremolo effect for some movement and texture. These are the little production details that can really elevate a mix and add that professional sheen.

Mixing "Burn It Down": Techniques to Elevate Your Sound

Having these raw tracks is one thing; knowing what to do with them is another. Here are a few ideas inspired by the session:

Recreating That Crushed Drum Groove

That unique, smashed drum loop is a standout element. With the raw recording of that beat provided, you have a golden opportunity to experiment.

• Heavy Compression: Try parallel compressing the raw drum loop. Blend in a heavily squashed version (think high ratios, fast attack/release on compressors like an 1176-style plugin) with the original for thickness without losing all definition.
• Saturation: Add some grit and harmonics with saturation plugins. Tape emulations or distortion units can bring out new character.
• Aggressive EQ: Don’t be afraid to get surgical or make bold EQ moves to shape the tone of the loop. Maybe you want it to be super lo-fi and telephonic, or big and boomy.
• Flying It In: Just like they probably did, once you’ve crafted your perfect loop, bounce it and fly it into key sections of the song for maximum impact.

Carving Space for Those Killer Vocals

With vocals this catchy, you want them front and center.

• Lead Vocal Focus: Use compression to even out the dynamics between the screamed and sung parts, ensuring every word is clear. Consider serial compression (two compressors doing less work each) for smoother results.
• Harmony Sweetening: For those stereo background vocals, use subtle stereo widening, chorus, or precise delays to make them spread out and support the lead without cluttering it. EQ them differently from the lead to help them sit in their own space.
• Reverb & Delay: A well-chosen plate reverb or a stereo slap delay can give the vocals depth and dimension, helping them sit in the mix beautifully.

Working with Pre-Baked Guitar and Bass Tones

Since the bass and some guitars come pre-processed, your job shifts slightly.

• Balance is Key: Focus on getting the levels right between the printed guitars, the bass, and your DI-processed rhythm guitars (if you choose to use them).
• Enhancement, Not Overhaul: For the printed tracks, think subtle EQ to help them fit with everything else, or perhaps a touch of bus compression on the guitar group to glue them together. The heavy lifting on tone shaping is already done.
• Rhythm DI Power: Don't underestimate those rhythm DIs. They are your ticket to full tonal control if you want to craft your own signature Silverstein-esque rhythm sound using amp sims like Joey Sturgis Tones Toneforge or various IRs (like those from Bogren Digital).

Your Turn: Mix Silverstein with Nail The Mix

Hearing about these tracks is cool, but actually getting your hands on them? Even better. You can do just that with Nail The Mix. Subscribers get access to these very Silverstein "Burn It Down" multi-tracks, and the chance to watch Sam Goana himself mix the entire song from scratch in a live, interactive session.

Plus, there was a killer mix contest associated with this session, with a prize package that included:

• A Jay-Z Microphones Black Hole TWO
• Empirical Labs Arousor and Big Freq EQ
• Korneff Audio's entire plugin collection
• The Joey Sturgis Tones Toneforge Bundle plus one plugin of your choice
• Two Drumforge plugins of your choice
• The Impact Studios Isolation Bundle
• A Bogren Digital IR pack

Talk about an awesome incentive to practice your chops on a fantastic song!

These opportunities to dissect and mix pro-level sessions are invaluable. You get to see how the sounds were captured, how they fit together, and then apply your own creative vision. Whether it’s recreating that insane drum loop, dialing in the perfect vocal chain, or just learning how a pro like Sam Goana approaches a dense, energetic mix, there's a ton to learn.

If you’re serious about improving your rock and metal mixing skills, getting access to real-world sessions like Silverstein's "Burn It Down" is a game-changer. Check out Nail The Mix to see what’s cooking this month, and if you're looking to build a solid foundation, the Unlock Your Sound: Mixing Modern Metal Beyond Presets course is an amazing resource. Dive in, get those faders moving, and make some noise!