DIMMU BORGIR “Vredesbyrd” | Metal Mix Hall Of Fame

Ever cranked a track that just feels monumental, where every part hits exactly when it should, and the whole thing is an absolute journey? That's Dimmu Borgir's "Vredesbyrd" from their 2003 monster, Death Cult Armageddon. This isn't just a killer symphonic black metal track; it's a masterclass in mixing, particularly in how to use automation and dynamic shifts to create something truly epic. Eyal Levi from URM Academy and Nail The Mix recently broke this track down for the Metal Mix Hall Of Fame, and the insights are too good not to share.

Now, before we dive in, a quick heads-up: this album dropped in 2003. As Eyal points out, you can't listen with 2024 ears expecting today's polish. Some things might be done differently now, but its brilliance and groundbreaking impact are undeniable. Produced and mixed by the legendary Fredrik Nordström (with Dimmu's own Shagrath assisting, and Nail The Mix's own Henrik Udd as an assistant engineer!), this track sold over 100,000 copies in the US alone – a massive feat for a black metal band on Nuclear Blast at the time.

So, what makes the mix of "Vredesbyrd" (roughly "Wrath's Burden") so damn effective? Let's get into it.

Setting the Stage: Full Force and Thematic Power

Right from the get-go, "Vredesbyrd" doesn't mess around. There's no gentle intro; it’s an immediate onslaught of vocals, a real 65-piece orchestra (the Prague Philharmonic, no less!), and the full metal band. The main theme, carried prominently by the orchestral brass, hits you square in the face. This theme isn't just a one-off; it's the backbone of the song, returning in direct repetitions and super creative variations.

An interesting artistic choice is the Norwegian vocals. You might not understand what Shagrath is screaming unless you speak Norwegian, but the aggression, the evil, the seriousness – it all comes through. Sometimes, not understanding lyrics in this style of epic, operatic metal can actually enhance the vibe, letting the phonetic quality of the words become another percussive, textural element. Think Rammstein's "Du Hast" – the German language itself adds to the brutality for non-German speakers.

The Automation Masterpiece: Keeping Momentum Sky-High

If there's one word to describe the mix approach here, it's dynamic. This track is an automation playground, and it's key to how it maintains relentless momentum.

Shifting Focus: The Dance of Elements

The genius of this mix lies in how it constantly shifts your focus by subtly (and sometimes not-so-subtly) adjusting levels. This isn't about setting faders and forgetting them; it's about actively guiding the listener's ear.

• Brass & Guitars: The main brass theme is king in the intro. But then, around 24 seconds, the vocals drop out, and guitar leads take over. Notice how the brass theme dips in volume, becoming a supporting element. The rhythm guitars also get a slight bump here.
• Kick Drum Power: When the vocals are present, the double-kick, while there, isn't overpowering. But when those vocals and the main orchestral theme quiet down for the guitar lead section, the kicks come up. This is classic. You've lost vocal energy, so you compensate with rhythmic drive from the drums to keep the energy from sagging. This is easily done in any DAW like Pro Tools, Logic Pro X, or Cubase by drawing in volume automation on your kick tracks or drum bus.
• Rhythm Guitar Placement: The rhythm guitars are a great example of strategic placement. They're not always blasting at full volume. When the vocals and orchestra are leading, the guitars sit back a bit, providing foundation and drive without muddying the main melodic information. Then, in other sections, they step right into the foreground. This careful balancing act ensures that key melodic themes, whether from the orchestra or vocals, remain clear. If everything is loud, nothing is. This principle is especially important when you balance guitars and bass in a mix to avoid a muddy low-end. For more on how EQ strategies can help carve out space for each element, check out our guide.

Fill Power: Transitions That Slam

You know those drum fills that just make you want to air drum like a maniac? "Vredesbyrd" is loaded with 'em, and they're mixed for maximum impact.

• The 44-Second Wallop: There's a fill around 0:44 that's noticeably louder than a preceding one. The toms are huge and cut through everything. If you've ever mixed dense metal, you know toms can get buried easily. Making them this prominent is a deliberate choice, punching you into the next section. It’s a key part of dialing in aggressive drums that feel dynamic and powerful.
• Space and Impact: Later in the song (around 2:50), there's a transition where the entire band drops out except for a massive drum fill. This use of silence and then a powerful, isolated fill is incredibly effective. It's a different approach to the earlier loud fill, varying the technique to keep it fresh.

To get your fills to hit this hard, you might automate the volume of your tom tracks or even your drum bus. Some engineers use parallel compression, blending in a heavily compressed version of the toms to add sustain and aggression without losing transient punch. Check out some advanced metal compression secrets here to explore these ideas.

The Riff: Unleashing the Beast

Around the 1:50 mark, the song transitions into what Eyal calls "the riff" – that one central, badass part that everything builds towards. And man, does it deliver.

Guitars to the Front!

This is where the rhythm guitars are at their absolute loudest and most dominant. All the classic metal mix elements are firing: pummelling double bass, a clearly audible distorted bass (crucial for that low-end power, often achieved with plugins like SansAmp or Darkglass emulations), and those grinding guitars. The fact that the mix holds back on this full-on guitar assault until nearly two minutes in makes its arrival incredibly satisfying.

The orchestral elements take a backseat here, just sustaining tension while the guitars lay down the law. It’s a total shift in priority, showcasing the band’s raw power.

Vocal Effects: Adding Character Without Stealing Focus

During "the riff," the vocals get an interesting treatment. They sound almost lo-fi, more constrained in their frequency range.

• Lo-Fi Creep: This isn't a hi-fi, full-frequency vocal. It's creepier, and sonically, this helps the massive guitars stay massive. If the vocals were equally huge and wide, they'd fight the guitars. This could be achieved with some aggressive EQ filtering (think a hard band-pass with something like FabFilter Pro-Q 3) or by using saturation plugins (Soundtoys Decapitator, FabFilter Saturn) to add harmonic distortion and then EQing to taste.
• Ping-Pong Punch: Right as "the riff" kicks in, there's a perfectly placed ping-pong delay on a vocal phrase. It's a one-shot deal, used for maximum impact. This is the kind of ear candy that, when used sparingly and at the right moment, is far more effective than slathering effects everywhere. You can set this up easily with most stock delay plugins in your DAW, routing it to a stereo track and ensuring your L/R delay times create that bounce.

Orchestral Grandeur and Sinister Vibes

The Prague Philharmonic isn't just window dressing; it's integral.

From Theme to Atmosphere

The orchestra's role evolves. Initially, it carries the main themes. In other sections, like the halftime evil-sounding part (around 1:10), it becomes more of a vibe-setter, with the hi-hats, chinas, and toms taking a more percussive lead alongside the guitars. The mix cleverly highlights these cymbal and tom articulations – they're not just part of a drum kit sound; they define the feel of that section.

Full Soundtrack Mode

Later, around 3:30, the orchestra truly takes over. The guitars get quieter, and it goes into full-on epic soundtrack mode. They save this full-blown orchestral showcase until later in the song, making it another "moment." As the orchestral layers build, the metal elements recede, allowing the cinematic scope to fully unfold. Again, this is all down to careful automation, likely on group busses for both the band and the orchestra. Getting this interplay right is a hallmark of great orchestral metal production.

Key Takeaways for Your Own Metal Mixes

So, what can you steal from "Vredesbyrd" for your next production?

1. Be Intentional with Foreground, Middle Ground, and Background: Don't just set levels. Constantly ask yourself what element should be leading the listener's ear at any given moment. Use automation like a spotlight.
2. Always Maintain Momentum: Even when sections change drastically in feel or instrumentation, ensure the energy flows. If something drops out (like vocals), something else needs to subtly pick up the slack (like kicks or guitar presence).
3. Strategic Ear Candy Wins: That one perfectly placed vocal delay or that super loud fill is way more powerful than a mix cluttered with constant, distracting effects. Choose your moments.

The level of detail and thought in the arrangement and mix of "Vredesbyrd" is a testament to the skill of Fredrik Nordström and the band. It’s about making every part count and guiding the listener through a dynamic, engaging experience.

Want to see how pros like Eyal Levi, Fredrik Nordström, and Henrik Udd craft these kinds of monumental metal mixes in real-time? At Nail The Mix, you get to watch world-class producers mix actual songs from bands like Gojira, Meshuggah, and Periphery from scratch, explaining every plugin, every fader move, and every decision. You even get the multitracks to practice on yourself! If you're ready to go beyond presets and truly unlock your sound in modern metal mixing, it’s the place to be. Dive deep and start making your mixes hit harder.