Chapter 3: The Controlled Experiment

The "Heaviness in Metal Music Production" project employed a novel research design to isolate production variables in ways previous studies could not. By providing identical source material to multiple producers, we created a controlled environment that discovered philosophical differences rather than variations attributable to recording quality or performance.

The Test Track: 'In Solitude'

The foundation of the experiment was 'In Solitude', a five-minute composition created specifically for this research.¹ The song incorporated elements from various metal subgenres: it featured blast beats, technical sections, a half-time breakdown, and atmospheric passages. This varied arrangement provided producers with a comprehensive setup to demonstrate their approach to heaviness across different musical contexts.

Following composition, the song was recorded professionally. The multi-track session² provided to producers included:

• Complete drum recordings with both raw and time-aligned versions;
• MIDI trigger tracks³ for kick, snare, and toms;
• High-quality drum sample libraries⁴ created from the recording session;
• Multiple recording setups for all guitars and bass (different amplifiers and microphone combinations, see Figure 3.1);
• Additional direct injection (DI) tracks⁵ for re-amping⁶;
• MIDI data for orchestral elements (strings, brass, synthesizers).

This comprehensive package gave producers maximum flexibility to implement their vision while ensuring all artistic decisions resulted from production philosophy rather than source limitations.

The complete dataset, including multi-track recordings (Figure 3.2), is available for research and educational purposes.⁷

Comparing these mixes is not intended as a competition. A closer examination of each mix instead demonstrates the production techniques that have proven effective for these eight highly respected, Grammy Award-winning producers, each bringing a unique sonic identity to their work. The approaches and methods that work for one producer may not necessarily apply to another. Each of these producers has developed a mixing methodology that succeeds within their own framework. The project aims to document and understand these different pathways to heaviness. Ranking them or determining which is "best" would miss the fundamental purpose of the research.

The "No Reference Mix" Approach

A strategic decision involved providing no reference mix to the producers. While unconventional, this approach ensured each producer's mix represented their uninfluenced vision for how the song should sound. This methodology revealed stark differences and unprecedented insight into their conceptualization of heaviness that might have been obscured had producers been working toward a predetermined sonic blueprint.

Data Collection and Documentation

The research team collected multiple forms of data from each producer:

• Video recordings of mixing sessions;
• Semi-structured interviews exploring their conceptual understanding of heaviness;
• Detailed walkthroughs of their mixing decisions for 'In Solitude';
• Final stereo mixes and individual stem exports.⁸

This multifaceted approach allowed us to compare and verify connections between what producers said about heaviness, how they actually implemented those concepts, and the sonic results of their work. In total, the project collected over 15 hours of video documentation, as well as eight complete mixes and 32 individual stem exports for comparative analysis.

The full video documentation, including producer interviews and mixing session recordings, is available on the project's YouTube channel: https://www.youtube.com/@HiMMP-Research

Endnotes

1. You can listen to our own mix of 'In Solitude' on Spotify: https://open.spotify.com/track/3qk8nfMpCTLHtGSew8oD7O?si=dc064f8fa2fb4bfd ↩
2. A project within a digital audio workstation that allows processing on individual tracks of a recording. ↩
3. A digital protocol for communication between instruments and computers. ↩
4. Pre-recorded and sometimes pre-mixed recordings of individual drum shells or cymbals. ↩
5. Recordings of electronic instruments directly into a sound card or mixing device. ↩
6. A technique that allows re-recording an already recorded performance using different amplifiers or recording chains. ↩
7. All materials can be accessed here: https://huddersfield.app.box.com/s/8gren2ma4kesvf5vwip2axzz1v8sawur ↩
8. Sub-mixes of instrument groups such as drums, bass, guitars, and vocals. ↩