Spiritbox ‘Holy Roller’: Daniel Braunstein’s Mix Bus Processing

Ever find yourself staring at your master fader, wondering what the actual pros are slapping on their mix bus? How many plugins are too many? Or too few? It's the eternal question for us audio folks. Well, for Spiritbox's absolute monster of a track, "Holy Roller," mixer Daniel Braunstein didn't just follow a rulebook – he pretty much set it on fire to get a sound that’s as unique and crushing as the band itself.

We got a peek into his session, specifically his mix bus chain for "Holy Roller" (which you can dive into fully on Nail The Mix's Spiritbox session), and it’s a masterclass in using EQ, compression, saturation, and limiting in ways that are both subtle and totally over-the-top. Let's break down how he crafts that aggressive, yet controlled, sonic identity.

Breaking Down the "Holy Roller" Mix Bus Magic

Daniel's approach is all about enhancing the raw energy of the track. You'll notice his 2-bus is clipping. His take? "Sue me, I don't care." This sets the tone for a chain that’s less about pristine, by-the-book processing and more about vibe and power.

Starting Subtle: Foundational EQ Moves

Before the heavy hitters, Daniel lays some groundwork with a few EQs.

Cleaning the Lows: FabFilter Pro-Q 2

First up is a FabFilter Pro-Q 2. The main job here is a high-pass filter, shaving off most of the rumble below 30Hz. However, he strategically lets a little bit of that super-low energy (down to around 22-25Hz) sneak through. Why? To give the subsequent compressor something to react to, adding a bit of movement.

The "Accidental" EQ: Waves REQ6

Next in line is a Waves REQ6. Interestingly, this one isn&#39t doing a ton. Daniel admits it was likely a leftover from their writing template, an artifact from trying to make things sound right on unfamiliar speakers. It ended up providing a very subtle lift in the low-mids. Sometimes, happy accidents just work!

Sweetening with the Maag EQ4

Then comes the Maag EQ4, a plugin beloved for its musicality. Daniel uses it for a few key enhancements:

• A boost at 47Hz for some of that nice, subby low-end weight.
• A cut around 390Hz to tackle a bit of mid buildup that was creeping into the song.
• A lift at 3kHz to add some presence and bite.
• The classic 16kHz "Air Band" shelf, pushing that super high-end sheen all the way up.
  These are all relatively small adjustments, but they contribute to the overall clarity and punch. If you're looking to get a better handle on how EQs like this shape your tone, exploring different EQ strategies for mixing modern metal can be a game-changer.

The Heart of the Beast: SSL G-Master Buss Compressor

This is where things get serious. The SSL G-Master Buss Compressor (or a plugin emulation) is the "main guy" in this chain. Daniel isn't shy about hitting it hard.

Why Slam It?

For Daniel, slamming the master bus compressor is crucial. He believes if you're not doing it, you're missing out on a ton of energy, life, and, counterintuitively, control. It helps glue the mix together and tame wild dynamics, especially in a dense, aggressive track like "Holy Roller."

Key Settings for Aggression

• Fast Attack: This is key. He wants to grab those floppy, huge transients and crush them quickly, making the drums snap harder and tightening up the entire mix.
• Auto Release: For "Holy Roller," he used the auto release, admitting it might have been turned on by accident when he started. He mixed into it, so he stuck with it. He notes that often he'll manually set the release around 9 o'clock or even faster.
• Drive: The drive on this compressor is also a big part of the sound, adding character.
  The goal is a glued, energetic sound without being "floppy or weak or wobbly." This kind of aggressive bus compression is a staple in heavy music, and understanding how to wield it is vital. For more on this, check out some metal compression secrets beyond just making it loud.

Adding Grit: FabFilter Saturn for Saturation

To give the mix a little more crunch and a subtle tonal shift, Daniel reaches for FabFilter Saturn. He uses the "Warm Tube" preset, specifically the "Bass Four Bands SM" mode. It’s a subtle move, taking the mix from super Hi-Fi to something a tiny bit more "taped-out" or harmonically richer. This is a personal preference thing, designed to make the mix sound different, not necessarily "better" in an objective sense, but more aligned with his vision for the song.

The Final Polish: iZotope Ozone for Mastering Touches

The last major piece of the puzzle is iZotope Ozone. Daniel uses a couple of its modules to check his work and bring the track to its final loudness.

Smart Referencing with Tone Match

He uses Ozone's EQ Match feature not as a crutch, but as a reality check. He'll load in several reference mixes he admires (mentioning "Royal Beggars" by Architects as one for this track), let Ozone analyze them, then analyze "Holy Roller." Ozone then generates an EQ curve to make his mix sonically resemble the reference.
Crucially, he doesn't just blindly apply it. If it suggests a massive, crazy curve, that's a sign to go back and fix things in the mix itself. He also selectively ignores parts of the suggested curve – for instance, if it tells him to dip high-end he likes. For "Holy Roller," it indicated he was missing a touch of mids.

Loudness and Limiting: The Ozone Maximizer

Next, the mix hits Ozone's Maximizer, set to IRC IV Modern mode. His ideal scenario? No limiting at all, preferring to achieve loudness through clipping if he can get away with it.
True Peak limiting is engaged, which he stresses is super important for streaming platforms to avoid inter-sample peaks that can cause clipping after upload (a lesson learned the hard way on a previous mix for Spotify).
He checks his loudness with the Nugen MasterCheck plugin, aiming for around -8 LUFS for this track. While acknowledging that platforms like Spotify normalize to -12 LUFS and Apple Music to -14 LUFS, he balances delivering a competitively loud mix to the client with what's suitable for streaming.

A Nod to Transients

A little bit of Transient Emphasis is also dialed in within Ozone, subtly helping the transients poke through, especially when limiting is involved.

The Braunstein Method: No Rules, Just Results

Throughout the breakdown, Daniel’s philosophy is clear: it’s about what sounds good for the song, not about adhering to arbitrary rules. From letting the 2-bus clip ("Sue me!") to his "non-existent" gain staging (his words, with a laugh!), he focuses on achieving a specific sonic identity that complements the artist and the track. It’s about using tools like EQ, compression, and saturation in ways that serve the music, even if those ways are unconventional.

Want to See More Pro Mix Breakdowns?

Hearing about these techniques is one thing, but imagine watching Daniel Braunstein actually build this mix bus chain, tweak those EQs, and slam that compressor in real-time, explaining every decision. That's exactly what you get with Nail The Mix.

Every month, NTM members get the raw multitracks from massive songs (like this very Spiritbox "Holy Roller" session) and watch the original producer mix it from scratch. It’s an unparalleled look into how pro metal mixes are crafted. If you're serious about elevating your productions and want to learn how to unlock your sound by mixing modern metal beyond presets, seeing these techniques applied in context is invaluable. Stop guessing and start learning from the best in the business.