Fredrik Nordström’s Bring Me The Horizon Kick Drum Formula

When you think of iconic metal albums, Fredrik Nordström's name inevitably pops up. The man behind the console for bands like Soilwork, Dark Tranquillity, In Flames, At The Gates, Architects, and Opeth, Fredrik has shaped the sound of modern metal. So, when he sat down to revisit and recreate his mix of Bring Me The Horizon's "Chelsea Smile" for Nail The Mix, we knew we were in for some serious insight. This time, we're diving deep into how he sculpted that powerful kick drum sound.

Interestingly, because "Chelsea Smile" is over a decade old, Fredrik had to recreate parts of the session. While some original elements were usable, the kick drum approach involved blending the original with some of his current go-to tools. Let's break down his process.

Taming the Beast: Initial Kick Drum EQ

Fredrik's first step with the original acoustic kick drum track was to address any problematic frequencies. He doesn't just slap on a generic EQ curve; he gets surgical.

The Sweep and Destroy Technique

His method is a classic for a reason:

1. He grabs an EQ plugin.
2. He sets a very tight Q (narrow bandwidth).
3. He boosts the gain significantly on that band.
4. Then, he sweeps the frequency up and down while the kick plays.

The goal? To find any frequencies that sound particularly "annoying," boxy, or resonant in a bad way. Once he identifies a culprit, he flips the gain from a boost to a cut, effectively notching out the offensive sound. This targeted approach cleans up the kick without hollowing out its fundamental character. For more in-depth strategies on carving out space, check out our EQ Strategies for Mixing Modern Metal guide.

Enter the "T-Rex": Fredrik’s Secret Weapon Sample

Here’s where things get exclusive. To get the kick closer to the vibe of the original "Chelsea Smile" mix, Fredrik brought in one of his own custom kick drum samples. This isn't one you'll find on Fredman Digital (yet, anyway!).

He calls this particular kick kit the "T-Rex," a humorous nod to his wife – "so short arm and she's so mean and she's so big!" This custom sample, part of an unreleased drum kit (bass drum, snare, toms – no cymbals, as he prefers to handle those separately), was chosen because it simply felt right and closer to the original than other options.

What's cool is that this sample is pretty much good to go as-is. Fredrik notes there's no processing on it because it already has the character he wants. Having a personal library of killer-sounding samples that no one else has is a definite advantage, allowing for a unique sonic signature.

Blending for Power: Finding the Kick Drum Balance

With the EQ'd acoustic kick and the "T-Rex" sample ready, the next step is blending. How does Fredrik find that perfect balance? Simple: he listens.

He typically starts by listening to the samples, then the acoustic kick, and then combines them. For "Chelsea Smile," the main pillars of his kick sound are:

• The Shure SM91 microphone on the acoustic kick.
• His custom "T-Rex" sample.

There’s also a Neumann U67 on the acoustic kick and another sample described as a "Far Beyond Driven ribbon base drum" sample, which is used very subtly, primarily to add a little bit of click and attack to the overall sound.

If you were to peek at his Pro Tools mixer, you'd see the SM91 and the "T-Rex" sample doing most of the heavy lifting in terms of level. The U67 is present, and the "Far Beyond Driven" sample is mixed in much lower. The key is that each element contributes something specific, and the blend is all about what serves the song.

Gluing It Together: Kick Bus Processing

Individual track treatment is crucial, but Fredrik also pays attention to the kick drum group (or bus). All four kick tracks (SM91, U67, T-Rex sample, Far Beyond Driven sample) are routed to a master bus where he applies some overall shaping.

Master Kick Bus EQ & Compression

On this kick bus, he uses a Waves SSL EQ plugin, making a few key moves:

• Boosting a bit of treble.
• Adding some high-mid.
• Cutting a little around 400Hz (often a trouble spot for muddiness).
• Boosting around 60Hz for that low-end punch.

There's also some compression on this bus, again likely from a Waves SSL-style plugin. He notes that this processing "really brings it to life," but emphasizes not overdoing it, as there's already been processing on the individual tracks. This subtle bus compression helps glue the different kick elements together and control dynamics. For more on taming and shaping dynamics, our Metal Compression Secrets page has you covered.

Fredrik’s approach is about making many small, effective moves rather than drastic, crazy ones. He might cut some annoying high-end from the SM91, then supplement that with the character of a sample. It's all about targeted adjustments.

Mix with Your Ears, Not Your Eyes

One of the most valuable insights from Fredrik is his philosophy on interacting with plugins. He often uses a physical control surface (he mentions his "decom command unit") for EQs and compressors.

Why? Because it forces him to use his ears. When you're tweaking knobs on a controller, you're not staring at the plugin's graphical interface. You're listening to the changes. He admits that if you saw the EQ curve on the screen sometimes, it might look "totally crazy," but if it sounds good, it is good.

The visual aspect of plugins can fool you. You might see a big boost and think, "Oh, that's too much," even if it sounds perfect. By relying on a tactile interface, Fredrik, coming from an era of large-format consoles, gets into a flow where he's just listening and reacting, not "playing a video game" with a mouse.

Nail That Bring Me The Horizon Kick

Fredrik Nordström’s approach to the Bring Me The Horizon kick drum in "Chelsea Smile" is a masterclass in combining classic techniques with modern tools and a keen ear:

• Surgical EQ on acoustic sources to remove problem frequencies.
• Strategic sample layering with custom, high-quality samples like his "T-Rex."
• Careful blending by ear, focusing on what each element contributes.
• Cohesive bus processing with EQ and compression to glue it all together.
• Above all, trusting your ears over visual cues.

These are powerful techniques you can apply to your own metal productions. Want to see Fredrik Nordström apply these techniques and many more as he mixes "Chelsea Smile" from scratch?

You can get your hands on the full Nail The Mix session with Fredrik Nordström, plus the multi-tracks for "Chelsea Smile" by Bring Me The Horizon, by clicking here. Witness every decision, every plugin, and learn directly from a legend. If you're serious about elevating your metal mixes, explore how you can Unlock Your Sound and Mix Modern Metal Beyond Presets.