
Mixing Silverstein Guitars: Sam Guaiana’s Lead & Rhythm Approach
Nail The Mix Staff
Ever wrestled with getting your lead and rhythm guitars to sit just right in a dense metal mix? It's a common headache. You want those leads to soar and cut through, but not at the expense of your massive rhythm tones. We got a peek into how Sam Guaiana tackled this exact challenge when mixing Silverstein's track "Burn It Down," and he dropped some serious knowledge bombs, especially on making those octave leads shine and a killer trick for a massive, expressive chorus lead.
If you're looking to elevate your guitar mixing game, let's dive into some of Sam's techniques.
Taming Lead Guitars: The Foundation for Clarity and Punch
Sam's approach to the initial lead octave parts in "Burn It Down" started with addressing common issues and then enhancing what was already there.
Choosing Your Weapon: Amp Sims Rule the Day
While Sam mentioned his Kemper might have been used for tracking, he’s a big fan of amp sims, particularly the STL Tones plugins – so much so that he eventually sold his Kemper because the plugin suite offered incredible flexibility and all the tones he needed. For these octave leads, the specific amp sim isn't as critical as the processing that follows. The key is a solid starting tone.
Sculpting with EQ: Initial Cleanup for Boxiness and Fuzz
Lead guitars, especially octaves, can often come in sounding a bit "boxy" or carry some unwanted fizz. Sam's first port of call is to tackle these issues head-on.
- Dealing with Boxiness: He jumps in with an EQ, likely something surgical like a FabFilter Pro-Q.
- Taming Top-End Fuzz: One of his first moves is to roll off that high-end "fuzz." He specifically mentions using a "Course 24" setting, which points to a steep 24dB/octave high-cut filter. This aggressively removes harshness without dulling the essential character of the lead. If you're struggling with fizzy guitars, try a steep high-cut on your EQ.
- Cutting Unnecessary Lows: For leads, especially those sitting higher in the register, a build-up of low-end just muddies the mix. Sam employs a wide Q to take out a "decent amount" of this "rumbly business."
- Targeted Problem Frequencies: You'll often see small, precise EQ cuts in his workflow. These are typically reactive moves – if a specific frequency is poking out or sounding "offensive" later in the mixing process, he’ll dive back in and notch it out. For more on these foundational EQ moves, check out Carve Your Core: EQ Strategies for Mixing Modern Metal.
The SSL Brightness Boost: Making Leads Pop
Once the cleanup is done, it's time to make those leads command attention. A go-to move for Sam is grabbing an SSL E-Channel style EQ (plugin or hardware).
His target? 8kHz.
He gives it a gentle nudge, and suddenly, the leads "pop out." He emphasizes that even though it’s essentially a frequency-specific volume boost, it’s incredibly effective for bringing out the enjoyable character of the guitar. Don't be afraid to experiment with boosting this area – Sam himself admits to sometimes going "more" on that 8kHz and loving the result.
The "Big Lead Trick": Crafting an Expressive Centerpiece
Now for the real ear candy in the chorus of "Burn It Down." Sam calls this "the huge deal," a lead that's designed to be more than just a guitar line – it's an "expression," almost like a vocal.
Beyond Guitar: The AlterBoy Transformation
This distinctive sound wasn't achieved with a standard guitar tone. Here’s the magic:
- Mono Source: It starts with a mono guitar track.
- Dual Little AlterBoys: This mono signal is then fed into two instances of Soundtoys Little AlterBoy.
- One is pitched down.
- The other is pitched up.
- These are then panned to create a wide stereo image.
- Built-in Distortion: Sam cranks the distortion built into the Little AlterBoy plugins, adding a significant amount of grit and character. He even mentions liking it with even more distortion.
This combination transforms a simple mono guitar into a massive, harmonically rich, and wide lead sound that truly sings.
EQing the "Vocal" Lead: Embracing Character
Because this lead is treated like a focal point, the EQ approach is a bit different:
- Corrective, Yet Characterful: While there are still corrective EQ moves, Sam noted an "offending frequency" that he actually used to his advantage. Instead of completely cutting it, he harnessed it to help the lead poke through the mix. This is a pro move – sometimes what seems like a flaw can be a unique characteristic.
- Retaining Body: Unlike the earlier octave leads, he was "less crazy cutting out low end" on this track. Why? Because it's meant to have "boominess" and "feeling," much like you'd want from a lead vocal. It needs to hit with some weight.
Automation for Impact: Syncing with Vocals
To ensure this special lead gets its moment, Sam uses automation. When the main vocals kick in, this lead gets a subtle volume bump – about half a dB (0.5dB). It's a small move, but just enough to say, "Hey, pay attention to me for a second." This highlights the importance of leaning into production decisions to emphasize key musical moments.
Want to see exactly how Sam dials in these EQ settings and automation moves? The full Silverstein "Burn It Down" mixing session on Nail The Mix shows you every click.
Adding Depth and Movement: Supporting Elements
Beyond the main lead hooks, Sam uses other guitar layers and effects to create a full and engaging soundscape.
Bridge Tones and Reverb as an Environment
In the bridge, a simpler, cleaned-up octave lead comes in. This part is designed to interact with a specific reverb:
- ValhallaRoom: The lead is sent to ValhallaRoom to create a sense of space.
- Post-Reverb EQ: Interestingly, Sam EQs after the reverb. He wanted the combined sound of the guitar and the reverb to be brighter, so he boosted 8kHz on the processed signal. This makes the reverb itself part of the guitar's bright character, rather than just a tail. The reverb isn't just an effect; it’s "existing just to be a room for this guitar."
Subtle Panning and Textural Elements
To keep things interesting without being distracting, Sam incorporates subtle movement:
- Auto-Panning: A slow, tempo-synced auto-pan might be used on some lead elements to give them a gentle sweep across the stereo field.
- "Trem" Guitar: For added texture in the chorus, he created a "trem" sound. This was likely made by taking a played chord, chopping it up, then processing it with a doubler plugin and a filter. It's not a prominent part, but it peppers in movement in the background, adding to the overall size and complexity of the mix.

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Bringing It All Together (And Learning More!)
Sam Guaiana's approach to mixing Silverstein's guitars is a masterclass in making deliberate, impactful choices. From foundational EQ cleanup to creative vocal-like lead processing, every move serves the song.
Key takeaways include:
- Solid Foundations: Start with good source tones (amp sims like STL Tones are great) and clean up problem areas (boxiness, fizz) with surgical EQ like FabFilter Pro-Q.
- Strategic Brightness: Use tools like an SSL E-Channel EQ to add that 8kHz pop that helps leads cut.
- Creative Effects: Don't be afraid to transform sounds with plugins like Soundtoys Little AlterBoy for unique, expressive leads.
- Context is King: Treat different elements differently. A background octave might get heavy low-cuts, while a "vocal" lead retains its body.
- Reverb as Part of the Tone: Consider how effects like ValhallaRoom interact with your source and EQ them together.
- Subtle Automation & Texture: Use volume automation and background elements to add polish and interest.
These are fantastic techniques you can apply to your own mixes. But imagine seeing Sam Guaiana actually implement these ideas, explaining his thought process every step of the way, using the actual multitracks from Silverstein. That’s what Nail The Mix is all about. You get to watch world-class producers mix hit songs from scratch, and even download the raw tracks to mix yourself.
If you’re ready to go beyond presets and truly unlock your sound in modern metal mixing, diving deep into sessions like Sam’s Silverstein mix is the way to do it. Happy mixing!
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