ABSTRACT
This chapter contains interviews with US-American producer Andrew Scheps (Metallica, Black Sabbath, Bon Jovi, Red Hot Chili Peppers) about his interpretation of heaviness in metal music and his approach to mixing ‘In Solitude’. Scheps views heaviness as a dynamic concept shaped by changes in perception. He noted that songs once considered heavy can lose their impact as listeners become accustomed to them or when heavier productions emerge. Musically, Scheps highlighted the importance of distortion, pointing out its historical use in ‘heavy’ classical music, such as in the bowing instructions for string instruments. From a production perspective, distortion enhances sonic density and significantly contributes to the perception of heaviness. Sonic weight is equally critical. Scheps highlighted the unique challenges of mixing contemporary metal, particularly the limited sonic space, and the need to scale down the size of instruments traditionally associated with weight in rock music, such as the kick drum and bass. In modern metal, the kick drum emphasizes precision and a prominent click, while the bass primarily supports the guitars, which carry the bulk of the sonic weight. Scheps emphasized the role of palm-muted picking in achieving heaviness on the guitar, as it accentuates the low-end bloom. He also argued that slower tempi, by allowing greater emphasis on the bottom end, are generally more effective for achieving a sense of heaviness. The dense arrangement of ‘In Solitude’ presented particular challenges for Scheps. His usual distortion-heavy mixing style created issues with clarity and separation, compelling him to address the differences between mixing metal and other genres of popular music.
