Fleshgod Apocalypse: Stefano Morabito’s Symphonic Mix Approach

Mixing Fleshgod Apocalypse? Yeah, that’s not your average Tuesday afternoon gig. We're talking true symphonic death metal – a wall of brutal guitars, blast beats, AND a full-blown orchestra. It’s the kind of mix that can easily turn into a muddy mess, making it feel like the "Dark Souls of mixing" for some. But fear not, because we got a peek into how Stefano Morabito tackled "The Violation" during a Nail the Mix session, and his approach to taming this beast is seriously insightful, especially when it comes to making that orchestra shine.

Orchestral Foundations: Building from the Bottom Up

When faced with a dense arrangement like Fleshgod's, knowing where to start with the orchestral elements is key. Stefano doesn't just throw faders up; he has a system.

Strategic Instrument Ordering

His method is all about building a solid foundation. He starts by organizing and then mixing the orchestral tracks from the lowest registered instruments to the highest. Think of it like constructing a building – you need the ground floor solid before you add the upper levels. For "The Violation," this meant starting with the hefty double basses, then moving systematically through the cellos, violas, and finally, the various violin sections. This bottom-up approach helps ensure each layer has its space before the next is introduced.

Sculpting the Low End: Double Bass Treatment

First up: the double basses. These provide the orchestral weight, but they can also contribute a lot of unwanted rumble. Stefano dives right in with some targeted EQ. He’s looking to bring out clarity and definition, which often means making some careful cuts. He identifies and reduces some of the "meat" – those low-mid frequencies that can cause muddiness – and also shelves off the extreme low-end. The goal isn't to make them thin, but to make them clear and focused. This is a crucial first step in laying the orchestral groundwork. For more tips on taming muddy frequencies, check out our EQ strategies for mixing modern metal.

Adding Weight and Character to the Orchestra

With Fleshgod Apocalypse, the orchestra isn't just background dressing; it's a lead voice. This means treating it with the respect and power it deserves, a different approach than you might take when synths or strings are purely atmospheric in other metal subgenres.

The "Beef" Philosophy: Why Add Lows You Might Cut?

Interestingly, after cleaning up the double basses, Stefano mentions adding some "beef" back into other string sections. This might seem counterintuitive – why add low-end if you're concerned about mud? He clarifies that he might address overall low-frequency buildup later, on the main strings bus, if needed. But for individual elements, he wants them to sound full and impactful on their own first. It's about making each section sound like itself before it joins the larger ensemble. This approach ensures the orchestra has power, even if some surgical EQ is applied to the group later to make it sit with the metal band. The priority is the orchestra's integrity.

Embracing Imperfection: The "Nintendo Orchestra" Avoidance

Here’s a killer tip for making sampled or heavily programmed orchestras sound more realistic. Stefano points out that the violas in "The Violation" are intentionally programmed to be slightly out of tune. It’s a subtle touch, but it makes a huge difference. He mentions that composer Francesco Ferrini has a method of programming perfect parts and then strategically adding "defects" to certain instruments. This prevents the orchestra from sounding too sterile or, as Stefano puts it, like a "Nintendo orchestra." Listening in solo, it might sound a bit off, but in the context of the full arrangement, it adds a layer of realism that perfectly tuned samples often lack. Smart!

Refining the Higher Strings and Dynamics

Once the lower and mid-range orchestral elements are taking shape, attention turns to the higher strings and ensuring everything sits dynamically.

Sweetening Violas and Taming Bows

For the violas, beyond the "out-of-tune" character, Stefano focuses on their tonal quality. He aims to "sweeten" them, noting that they can sometimes have too much high-frequency harshness. A key part of this is reducing the audibility of the bow scraping across the strings, which he feels has a better sound in violins and cellos. The goal is a viola sound that is mellow, a bit "empty" in a good way, yet sweet, allowing it to fill its specific role without grating.

EQing Violins with Precision (Spectrum Analyzer)

When it comes to the violins, especially with multiple layered parts like "18 violins," precision is crucial. Stefano pulls up a spectrum analyzer to help guide his EQ moves. This visual aid helps pinpoint problematic frequencies, especially in the extreme high end, allowing for surgical cuts to remove harshness or unnecessary air without gutting the essential character of the violins. He applies similar treatment to other violin layers, including violin frills, aiming for consistency while letting each part speak.

Dynamic Control: Compressing Violin Frills

Some orchestral elements, like violin frills or short, accented passages, can have a wide dynamic range – jumping out of the mix at times and getting lost at others. For a part like the violin "thrills" in "The Violation," which pops in and out with significant volume spikes, Stefano reaches for a compressor. The idea isn't to squash the life out of it, but to gently control those peaks. This ensures the frills are consistently audible and impactful without being jarring. This is a classic application of compression in a metal mix to manage dynamic parts. He notes that these parts gave him trouble in the past, so he's prepared to tackle them.

The Guiding Philosophy: Let the Mix Lead

Throughout the process, Stefano emphasizes an important overarching concept: the mix often guides you. He mentions starting from scratch and not being entirely sure where the mix will end up. Instead of forcing a preconceived notion, he listens to how the elements interact and lets the song dictate the next moves. If it feels like it needs more low-end impact (not sub-bass, but "beef"), he adds it. This fluid approach, choosing techniques appropriate for what you're working on, is crucial, especially with complex arrangements. He waits to add overall reverb or bus compression until the balance between the single parts is established.

Mixing symphonic metal like Fleshgod Apocalypse is undoubtedly a challenge, but Stefano Morabito's methodical and musical approach breaks it down into manageable steps. From strategically ordering and EQing the orchestral low-end to adding character with subtle imperfections and carefully managing dynamics, it's all about serving the song and letting each element shine. These techniques give you a fantastic insight into how a pro handles such an epic production.

Want to see Stefano build this entire mix from the ground up, explaining every plugin, every EQ sweep, and every fader move? You can get your hands on the multi-tracks for Fleshgod Apocalypse's "The Violation" and watch the full mixing session over at Nail The Mix. Imagine applying these kinds of pro-level insights to your own mixes! At Nail The Mix, we bring you into the studio with world-class producers every month. If you're serious about taking your metal mixes to the next level, and want to learn how to truly unlock your sound beyond presets, then come see what it's all about. Dive deeper into the Fleshgod Apocalypse session right here!