Spiritbox “Holy Roller” Guitars: Daniel Braunstein’s DI & Layering Techniques

Ever found yourself staring at a raw DI guitar track and wondering, "Am I even allowed to process this before it hits an amp sim?" If you're chasing those monstrous, aggressive, yet crystal-clear guitar tones like the ones on Spiritbox's "Holy Roller," the answer is a resounding YES. In a detailed walkthrough, producer Daniel Braunstein (who mixed the track) revealed how he shapes and sculpts DI signals to achieve maximum impact, proving that what you do before the amp can be just as crucial as the amp itself.

We got a killer look into his session for "Holy Roller" on Nail The Mix, and he dropped some serious knowledge on getting those guitars to sound massive. Let's dive into some of Daniel's key strategies.

The Foundation: Dialing in the DI Signal

Daniel's approach to the "Holy Roller" rhythm guitars, played by the incredibly tight Mike Stringer (who recorded his parts at home directly into his Universal Audio Apollo), starts way before they even see an amp – a virtual one, that is.

Why Process DIs? Aggression and Clarity

Daniel emphasizes the luxury of using software amps: you can manipulate the guitar signal extensively before it hits the virtual amp, much like stacking an arsenal of pedals in front of a physical amp. His goal? To inject more aggression and bite, and to subtly tame transients for a smoother, "sludgier" delivery that suits the song's heavy groove.

Pre-Amp DI Chain for "Holy Roller"

Before the signal reached the main amp sim, Daniel did some crucial tone shaping:

1. Initial EQ Boost: He started by adding some top-end to the raw DI. This wasn't about making the DI itself sound perfect, but about driving the amp sim harder in specific frequencies to bring out more character.
2. Neural DSP Archetype & Overdrive: Daniel reached for a Neural DSP Archetype plugin (using the default cab and head combo – a testament to how good stock sounds can be!). He loaded up his "Spiritbox preset" and, crucially, engaged the built-in overdrive pedal.
   • Treble Boost on Overdrive: He cranked the treble on this virtual overdrive pedal. This, combined with the initial DI EQ, was like creating a custom "Tube Screamer kind of situation" – designed to tighten the low end and push the upper-mids for that aggressive edge.
   • Transient Softening: This pre-amp gain staging also helped to "soften out" the pick attack. For a sludgy riff like "Holy Roller," he didn't want overly pointy, sharp transients ("bam, bam"). Instead, this process smoothed the picks, making them feel weightier and "slugger."
   • No Amp EQ/Cab Changes: Interestingly, Daniel didn't use any EQ on the amp model itself or change the default cabinet settings within Archetype at this stage. All the shaping was happening before or within the pedal component of the amp sim.

The Secret Weapon: Octave Layers for Ultimate Beef

Here’s where things get seriously heavy. To give the guitars that "big brick wall sound" and even more beef, Daniel employed a classic but highly effective layering trick:

• Copy & Pitch Shift: He took the main rhythm guitar takes, duplicated them, and then used Pro Tools' Elastic Audio to pitch-shift these copies down a full octave.
• Amping the Octaves: These new octave-down tracks were then run through a similar Neural DSP Archetype amp setting. However, for these sludgy layers, he took off the overdrive pedal that was used on the main DIs and added a bit more gain on the amp itself.

The result? These octave layers provided an immense, sludgy foundation that significantly enhanced the weight of the guitars, reduced any unwanted "buzzy top end," and contributed massively to the track's overall power.

Sculpting the Combined Tone: Strategic Guitar Bus EQ

With the main and octave guitars dialed in, Daniel then processed them together on a guitar bus. This is where he meticulously shaped the overall character using multiple instances of FabFilter Pro-Q. If you're looking to up your EQ game, check out these EQ Strategies for Mixing Modern Metal.

Initial Shaping: High-Pass, Low-Pass, and Bite

The first EQ on the bus established the general tonal balance:

• High-Pass Filter (HPF): Set relatively low, around 40Hz. Daniel wanted to keep the guitars "thumpy and basey," so he didn't aggressively cut the lows here.
• Low-Pass Filter (LPF): He was careful not to roll off too much high-end initially, as he liked the "cool and metallic" sound and the "buzzy top end" that was present.
• Presence Boosts: Small, targeted boosts to add bite and clarity – a little at 2kHz, a bit more at 4kHz, and some "sizzle" up at 10kHz.

Iterative EQing with FabFilter Pro-Q

Daniel's workflow often involves adding new EQs to build upon the sound, rather than constantly tweaking earlier ones. He used three more FabFilter Pro-Q instances on the guitar bus:

1. Addressing "Tinniness": The next EQ aimed to tackle a slightly "tinny" or "scratchy" quality and add more body. He made subtle adjustments, emphasizing that he doesn't want to see a super uneven frequency spectrum in the analyzer (though he cautions against "mixing with your eyes"). This move, even if small (around 0.7dB boosts), made a big difference in context with the drums and bass, helping the guitars sit better.
2. Presence and Level: A third Pro-Q instance brought in a little more presence, this time closer to 2kHz, along with a slight volume boost via the plugin's output.
3. Final Polish – Breaking Rules: The fourth Pro-Q was about "breaking rules" and reacting to what the mix needed. Here, he added more 5kHz for air, some 200Hz for warmth, and interestingly, took away some of the 2kHz he had previously boosted. This highlights an important mixing concept: your EQ decisions are cumulative and often about constant refinement.

Adding Width and Special Touches

Beyond the core tone and EQ, a few more elements contributed to the final sound:

Subtle Stereo Widening with Waves S1 Imager

To give the guitars a bit more space, Daniel used the Waves S1 Imager. He stressed that this tool can be "dangerous," so he used it sparingly to push the guitars "just a hair" wider. He also made sure to bring the gain down slightly on the S1 plugin itself to maintain level consistency.

Accent Overdubs: Pick Scrapes

To make sure those killer pick scrapes in the riff really cut through, Mike Stringer provided them as separate overdubs. Daniel treated these differently:

• He ran them through the Neural DSP Archetype amp sim but used a creative "cab into a cab" approach. He mentioned initially forgetting to mute the amp sim's own cab, effectively running one cab sound into another. This happy accident resulted in a sound that really poked out and didn't get lost in the main rhythm guitar tones.

Creative Filtering: The Filtered Guitar Break

For a filtered guitar section, Daniel used the same Archetype amp sound as the main rhythms but engaged a filter effect. He pointed out that he used the default preset for the filter, emphasizing that default settings are often overlooked but can be a great starting point, as they usually represent what the plugin designers consider an optimal sound.

Strategic Automation for Dynamics

While Daniel generally uses minimal automation on guitars, he highlighted a key spot in "Holy Roller" – a "little breakbeat section." Here, only the octave-down guitars play. To make this section distinct, he:

• Brought up the volume of the octave guitars.
• Automated the high-pass filter on these octave guitars to sweep upwards, making them sound thinner and more focused for the break.

Key Takeaways for Your Own Mixes

Daniel Braunstein's approach to the "Holy Roller" guitars is packed with actionable insights:

• Don't be afraid to process DIs heavily before your amp sim. Use EQ and virtual pedals to shape the tone going in.
• Octave layers are your friend for adding immense weight and "sludge."
• Iterative EQing on your guitar bus allows for fine-tuned control as the mix develops.
• Subtle widening and creative effects on overdubs can add professional polish.
• Embrace default presets sometimes – they can be surprisingly effective.
• Strategic automation can bring dynamic life to your guitar parts.

Want to See This in Action?

Reading about these techniques is one thing, but seeing a pro like Daniel Braunstein actually dial them in on the real multitracks is another level. In his Nail The Mix session for Spiritbox's "Holy Roller", you can watch him build this monstrous guitar tone from scratch, explaining every click and decision.

If you're serious about elevating your heavy mixes, Nail The Mix gives you unparalleled access to the sessions and workflows of a-list producers every single month. Plus, if you're looking to build a rock-solid foundation in mixing modern metal, be sure to check out our comprehensive course, "Unlock Your Sound: Mixing Modern Metal Beyond Presets". Get ready to transform your guitar tones!