Chapter 6: The Hyperreal School

In contrast to the naturalistic philosophy stands the hyperreal approach: a production methodology that uses technology to create performances and production aesthetics that transcend natural limitations. Championed prominently by Buster Odeholm, Adam Getgood, and Josh Middleton, this school represents a fundamental reconceptualization of metal production, where heaviness is engineered with technological precision rather than just captured.

Emergence and Philosophy

The hyperreal approach developed alongside digital recording technology, particularly with the advent of Digital Audio Workstations (DAWs) that enabled unprecedented editing precision and powerful audio processing. While early metal production sought to document band performances, the hyperreal philosophy embraces the studio as an instrument itself that creates sounds that would be physically impossible to achieve in a live setting.

Ultimate tightness, even beyond human capabilities, is the foundation of maximum sonic weight¹ and impact, explains Odeholm, articulating the central tenet of this approach. Consistent with hyperreal philosophy, these producers believe that eliminating every microsecond of performance inconsistency allows the combined sonic elements to achieve maximum power. Getgood describes the resulting sound as 'mechanical yet musical', a seemingly paradoxical quality that characterizes modern extreme metal production.

This philosophy has been particularly influential in contemporary technical death metal, deathcore, djent, and progressive metal, where extreme precision has become not just a production value but a compositional element itself.

Technical Implementation

Hyperreal production employs numerous specialized techniques to achieve its characteristic sonic impact:

1. Phase-Aligned Transients: Perhaps the most radical departure from traditional mixing is Odeholm's approach to phase relationships. He precisely aligned the transients² and even waveform cycles of kick drum, bass, and guitars, rather than accepting the natural timing variations between instruments. 'I edit down to the sample level for phase alignment', Odeholm explained, 'something that cannot be accomplished with even the tightest but unedited performances'. This creates the sensation of a single, massive sonic event rather than separate instruments.
2. Extensive Sample Augmentation: While naturalistic producers use samples selectively, hyperreal mixing often employs multiple layers of samples to construct the ideal drum sound. Jens Bogren (who bridges both schools in some respects) described using four distinct kick samples in his mix of 'In Solitude', each serving a specific sonic purpose. Middleton took an even more decisive approach by completely replacing the kick, snare, and toms with programmed samples to achieve his specific vision for the sound.
3. Template-Based Workflow: Hyperreal producers often develop sophisticated processing templates³ that embody their signature sound. Odeholm employed tone-matching EQ⁴ extensively to capture the spectral characteristics of his preferred sounds and apply them consistently across projects. This ensures his productions maintain a consistent sonic identity regardless of the source material: a practice he defended as creating a reliable "sonic brand" that clients specifically seek out.
4. Split-Band Processing: The hyperreal approach employs highly targeted processing to isolate and enhance specific frequency bands. Odeholm's kick drum treatment exemplifies this methodology: he used a perfectly consistent one-shot sample exclusively for sub-bass, bass, and mid frequencies while retaining the original kick recording for high-frequency detail. This hybrid technique ensures consistent low-end impact combined with natural performance variation in the attack portion.
5. Multiband Dynamic Control: All hyperreal producers employed sophisticated multiband compression⁵ on guitars to control palm-muted⁶ resonances without compromising overall tone. Middleton described the outcome as creating a 'linear sausage shape' of guitar sound that produces a waveform with remarkably consistent spectral content regardless of playing technique or note choice. This creates the wall-of-sound effect characteristic of modern metal production.

The "Meta-Instrument" Concept

The defining characteristic of hyperreal production culminates in what we will explore in Chapter 7 as the "meta-instrument" concept, where guitars, bass, and drums blend into a single unified force. Getgood describes the resulting sound as one cohesive entity that creates a singular sonic impact beyond what is possible in acoustic reality.

Effectiveness and Application

The research demonstrated that hyperreal approaches excel at creating specific qualities valued in modern extreme metal:

• Exceptional clarity in fast technical sections;
• Maximized perceived loudness and density;
• Consistent impact, regardless of performance complexity;
• An impossibly precise, almost superhuman quality.

These characteristics are particularly effective in subgenres like technical death metal, deathcore, and djent, where compositional complexity demands exceptional clarity to be properly appreciated. As Getgood noted, certain musical ideas simply cannot be properly conveyed without the precision that hyperreal production provides.

Challenges and Limitations

Despite its effectiveness, hyperreal production faces criticism for potentially sacrificing emotional connection in pursuit of technical perfection. Even Odeholm acknowledged this limitation, particularly regarding vocals: 'Vocals are of minimal importance for heaviness to me', he admitted, sometimes seeing them as detracting from the instrumental impact. This perspective highlights the potential trade-off between technical impressiveness and emotional resonance.

Additionally, the hyperreal approach requires exceptional technical expertise and significant time investment, which makes it less accessible to developing producers or bands with limited resources. As Dave Otero noted, while acknowledging the power of hyperreal techniques, 'It's a question of appropriate application. Not every band needs or benefits from this approach'.

'If you're talking about being as heavy as possible, then the hyperreal approach is definitely the way to go'.

The hyperreal philosophy views heaviness as something to be constructed through meticulous engineering rather than simply captured. When implemented skilfully, it creates a distinctive form of heaviness that has become the defining sound of modern extreme metal.

'Certain frequencies hit in a certain way, everything in phase... you get that fist in your ear when guitar, bass, kick transients all land together'.

'It's just more abrasive, like a chainsaw to the ear, as opposed to a freight train rolling over you or something like that. I guess it's like different ways of being killed in a horror film; it can still be heavy and aggressive but in a different way'.

Endnotes

1. Pronounced bass response that increases physical perception and contributes to heaviness. ↩
2. The attack portion of sounds that contain energy peaks, particularly in percussive signals. ↩
3. Preset signal routing and preparation setups in music production. ↩
4. Equalizers that capture frequency response of one signal to transfer to another. ↩
5. Compression applied to specific frequency bands rather than the entire signal. ↩
6. A playing technique where the performer mutes strings with their picking hand. ↩