Wage War’s Vocal Production: U87, Lo-Fi & Aggressive Chains

Wage War. The name itself screams power, and their vocals, particularly those from frontman Briton Bond, are a huge part of their sonic assault. Ever wondered how Andrew Wade, the producer behind some of their massive tracks, wrangles those aggressive screams and crafts those unique vocal textures? We dove into a session breakdown with Andrew himself to pull out the key techniques used on their track "Low." Get ready to take some notes, because there are some killer insights here, from lo-fi whispers to full-bore screams.

The Unexpected Lo-Fi Intro: More Than Just a Filter

The track "Low" kicks off with a distinct, almost unsettling lo-fi whisper. You might think it's some fancy plugin, but the reality is much more hands-on and characterful.

The "Amazon Mic" Magic

Andrew revealed that the core of this sound came from a simple, inexpensive microphone he "stole" from a friend – something you could probably find on Amazon. The real trick? The physical performance. Briton's mouth was right up on the mic, with his breath directly hitting the diaphragm. This close proximity and the way the air interacts with that specific (likely not high-end) mic creates a texture that, as Andrew points out, you just can't perfectly replicate with a plugin filter. You can get close, but that tactile, breathy intimacy is unique to the source.

Processing the Whisper

Of course, it wasn't just the mic and performance. Some strategic processing helped shape that intro:

• Initial Filtering: A high-pass filter was used to clean up the super low-end rumble, ensuring it didn't muddy the mix later.
• Heavy Compression: This is where the real shaping happened. The whisper was slammed with a compressor, aiming for -10dB to -15dB of gain reduction. The goal wasn't subtle dynamics control; it was to annihilate the transients, creating an incredibly even sound and even introducing a slight, desirable distortion. For more on how to use compression to shape sound, check out our metal compression secrets beyond just making it loud.
• Character EQ: To further enhance the lo-fi vibe, an EQ was used, notably boosting around 2.29 kHz, giving it that distinct, almost telephone-like quality.

This combination of a specific mic, close proximity, and aggressive processing is a great reminder that unique sounds often come from creative source recording, not just in-the-box tricks.

Capturing the Core Scream: Gear and Environment

When it came to Briton Bond’s signature screams, the approach was, as expected, professional and focused on capturing a pristine, powerful signal to then manipulate.

The Right Room and Mic

A crucial starting point was the recording environment. Andrew emphasized that Briton was in a "dead ass room" – meaning a room with minimal reflections or reverb. This is key for modern metal vocals, as it gives you a clean, direct sound to work with, allowing you to add spaciousness and effects later without fighting the room's natural acoustics.

The microphone of choice for these main vocals was the venerable Neumann U 87. A studio staple for a reason, the U 87 is known for its clarity, detail, and ability to handle high SPLs, making it a great option for aggressive vocals. This was fed into a high-quality preamp (Andrew mentioned it could have been his UTA or Chandler unit) and then into an outboard Empirical Labs Distressor, which likely provided the first stage of compression and character before even hitting the DAW.

In-the-Box Aggression: Wage War's Plugin Chain

With a solid recording in the bag, the in-the-box processing focused on enhancing the aggression and ensuring the vocals cut through the dense mix.

The Power of Stock Plugins: Pro Tools Compressor

Interestingly, a key element for the aggressive sound and further distortion came from the stock Pro Tools Compressor (BF-76 or similar Avid comp). Andrew set the attack time incredibly fast. This pushes the compressor to react so quickly to transients that it starts to audibly distort, acting more like a limiter and adding a gritty edge to the screams. This was layered on top of the initial compression from the outboard Distressor.

Bus Processing for Cohesion and Clarity

The individual vocal tracks were then likely sent to a vocal bus for further group processing:

• Smart Bus Compression: The bus compressor was set up to react more significantly when multiple vocal layers (like doubles or triples) were present. On a single vocal line, it might only show 1-2dB of gain reduction, but when the stacks hit, it would clamp down harder, helping to glue them together and control their overall level. This dynamic approach keeps the main vocal feeling impactful while taming the combined energy of layered parts. Dive deeper into how compressors can glue your mix elements with our guide to metal compression.
• Essential Bus De-Esser: Layered aggressive vocals can quickly lead to harsh sibilance ("s" and "t" sounds). A de-esser on the vocal bus is crucial here. Even if individual tracks are de-essed, the stacking effect can make sibilance problematic again. Taming it at the bus level keeps the overall vocal smooth.
• EQ for Presence and Clarity: To help the vocals cut, a common but effective trick was employed: an EQ boost around 5 kHz. This adds presence and intelligibility, helping the vocals sit on top of the mix. Even if the overall vocal bus level is turned down a bit, this presence boost ensures it doesn't get lost. Explore more EQ strategies for your mixes on our EQ hub page.
• Adding "Air" with VMR Revival: For that final touch of high-end polish, the Slate Digital VMR Revival plugin was used. This plugin is great for adding smooth, "airy" ultra-high frequencies without sounding harsh, giving the vocals a subtle lift and professional sheen.

The "Demoitis" Dilemma & Vocal Direction Gold

Beyond the technical chain, Andrew shared some valuable insights into working with vocalists and the sometimes-tricky subject of demo vocals.

When Demos Win: The Case of "Low"

For "Low," some of Briton's demo vocal takes were actually used in the final version. Why? Because the performance and vibe on those demos were simply superior to some of the re-tracked versions. This brings up "demoitis" – the phenomenon where artists (or even producers) get so used to the sound and feel of a demo that new, technically "better" recordings can feel "stale" or "wrong."

Andrew's advice is to trust your engineer, especially if they’ve only heard the demo and the new takes a limited number of times. They have a fresher perspective and can often judge more objectively which performance truly serves the song best. If your bandmate or producer says the demo had something special, they might just be right!

Guiding the Perfect Take: Less is More

When directing a vocalist, Andrew strongly advises against giving a laundry list of corrections between takes. A vocalist trying to remember five different things to change on specific words will be thinking, not performing.

Instead, give one general note that targets the overall issue. Are they under-pronouncing? Not aggressive enough? Too aggressive? Give them that single piece of feedback and let them internalize it for the next pass. This keeps them in the performance mindset and usually yields much better results.

Adapting the Chain: Handling Different Vocal Sources

It’s also worth noting that while the core plugin chain for the main screams was robust, it was adapted for the demo vocals used in the final mix. The primary difference was needing to EQ out some "ultra crispy highs" or a specific "super high frequency" that was present in whatever mic was used for the demos, ensuring they blended well with the U87 recordings. The same aggressive stock Pro Tools compressor/limiter was also applied to these demo tracks to maintain a consistent aggressive character.

Bringing It All Together with Nail The Mix

The vocal production on Wage War's "Low" is a masterclass in combining raw performance, smart gear choices, and aggressive-yet-controlled processing. From the unique character of a cheap mic pushed to its limits for the intro, to the polished power of a U87 chain for the main screams, every decision serves the song. And let's not forget the crucial human elements like knowing when a demo take has the magic and how to effectively direct a vocalist.

These are the kinds of deep-dive insights you get with Nail The Mix. Imagine watching Andrew Wade build this vocal chain from scratch, explaining every plugin choice and every knob turn. With Nail The Mix, you get exactly that – access to the raw multitracks from massive songs and hours of instruction from the actual producers who mixed them.

If you're serious about elevating your metal productions, understanding these nuanced techniques is key. You can learn more about the Wage War session specifically and get your hands on the multitracks by checking out Nail The Mix: Wage War. And if you're ready to truly transform your approach to mixing, explore our comprehensive courses like Unlock Your Sound: Mixing Modern Metal Beyond Presets. Don't just read about it; see it happen and try it yourself with the Wage War session on Nail The Mix!