Jens Bogren’s Septicflesh Orchestra: Epic Metal Mixing Techniques

Mixing a full orchestra into a dense, fast-paced metal track like something from Septicflesh can feel like trying to tame a hydra. So many instruments, so many microphones… where do you even begin? It’s easy to get bogged down in tiny details and lose sight of the big picture. But legendary producer Jens Bogren (Opeth, Amon Amarth, Dimmu Borgir) has a "broad stroke" philosophy that helps him craft those epic, cinematic orchestral sounds without getting lost in the weeds. We got a peek into his approach during his Nail The Mix session for Septicflesh's "Portrait of a Headless Man", and it’s packed with actionable insights you can use in your own productions.

Let’s dive into how Jens wrangles the orchestral beast and makes it roar alongside pummeling guitars and blast beats.

Understanding the Orchestra: Hierarchy and Mic Blending

Before you even touch a fader, it helps to understand a bit about orchestral recordings. Jens points out that there's a natural hierarchy within sections – like first violins having a lead player who often uses more vibrato, while others play more plainly, following their lead. This inherent dynamic is part of the sound.

Balancing Close Mics and Room Mics (Trees)

When it comes to the actual mixing, Jens starts by separating the close microphones from the "trees" (room or ambient microphones). This gives him independent control over the direct sound and the spaciousness of the recording.

He noticed that the tree mics often have a naturally wider stereo image. His goal is to create a cohesive sound, so he might:

• Tuck in elements within the trees: For instance, subtly narrowing the double bass in the room mics.
• Widen the close mics: This helps the direct sound match the spaciousness of the trees, creating a more unified orchestral image.

Widening the Orchestra: MS EQ Techniques

To achieve that impressive stereo width, especially on the close-mic'd elements, Jens often turns to Mid/Side (MS) EQ. This isn't just about panning; it's about shaping the center and aural peripheries of your sound.

Setting up MS EQ for Stereo Enhancement

Here’s a common approach Jens uses:

1. Isolate Mid and Side: On an MS EQ plugin (he mentions using one where Channel 1 is Mid (M) and Channel 2 is Side (S)), you can process these components independently.
2. Widen by Reducing Mid: He gently lowers the M signal. Because the overall level is perceived by both M and S content, reducing the Mid makes the Side information relatively louder, thus widening the stereo field.
3. Add Sheen to the Sides: To enhance the width and add a touch of air, he often boosts the high frequencies (top end) on the S signal. This brings out the spatial details and makes the orchestra feel more expansive.

This kind of MS EQing can add a fantastic sense of dimension without making the mix sound artificial. For more foundational knowledge on EQ, check out our EQ Strategies for Mixing Modern Metal hub page.

Creating Space: The Magic of Scoring Hall Reverb

You might think that an orchestra recorded in a beautiful scoring room wouldn’t need much extra reverb. But Jens often adds his own carefully chosen reverb to create a specific character and help the orchestra sit better in a dense rock or metal mix.

Jens Bogren's Go-To: The Todd AO IR

His favorite for most orchestral work? The Todd AO scoring stage impulse response (IR). This legendary Los Angeles hall (sadly no longer with us) has a sound that, according to Jens, is incredibly effective for getting a big orchestral sound that still fits well within pop and rock contexts. He’s tried many others, including grand halls and churches, but Todd AO consistently delivers. He often uses a plugin like Altiverb to host this IR.

Setting Up Your Reverb Send

Jens typically sets this up on an auxiliary (aux) track:

1. Create a Stereo Aux Track: Name it something descriptive, like "Strings Wind Alti."
2. Route Audio: Send audio from your orchestral busses (e.g., a sum of the direct mics, and perhaps a separate send from the tree mics) to this aux track.
3. Insert Reverb: Place your reverb plugin (like Altiverb with the Todd AO IR) on the aux track.
4. Set to 100% Wet: The reverb plugin’s mix control should be at 100% wet, as you'll control the reverb amount with the send levels.
5. Blend to Taste: Adjust the send faders from your orchestral tracks to the reverb aux to dial in the desired amount of space. Jens often starts by feeding more from the direct mics than the tree mics.

Don't Forget to EQ Your Reverb!

Reverbs, especially lush hall reverbs, can add unwanted low-mid buildup or muddiness. Jens often follows his reverb plugin with an EQ to sculpt the reverb tail, perhaps rolling off some lows to prevent boominess and ensure it doesn’t clash with the bass guitar or kick drum.

Taming Dynamics: Strategic Compression for Orchestral Elements

Orchestral performances are incredibly dynamic, which is beautiful but can be challenging when fitting them into a consistently loud metal mix. Jens employs compression strategically to even out passages and ensure everything stays audible without crushing the life out of the performance.

The Power of Phase-Linear Compression

For overall orchestral busses, Jens might reach for a phase-linear compressor. This type of compressor is designed to minimize phase shift, which can be crucial when dealing with complex, multi-mic'd sources like an orchestra, helping to maintain clarity and focus. He might even use different instances or settings for the tree mic bus versus the sum of the close mics.

Multiband Compression as a Transparent Leveler

Another tool in his arsenal is multiband compression. He describes this as the "most transparent type of compression known to mankind" when used subtly. The goal isn't aggressive smashing, but rather to act as an intelligent leveler, gently controlling specific frequency ranges that might jump out. This is particularly important for metal, where you need the orchestra to hold its own without becoming overpowering. For a deeper dive into how the pros use compression, explore our Metal Compression Secrets hub page.

Any further dynamic control needed beyond this initial "broad stroke" compression will often be handled with detailed automation.

Pushing Close Mics Harder for Air

An interesting trick Jens mentions is potentially compressing the sum of the close mics a bit harder than the tree (room) mics. This can bring up the detail and sustain in the direct sound, making the overall orchestral presence feel a bit more "airy" and defined, while the room mics retain more of their natural dynamics and space. He notes achieving up to 3dB of gain reduction that is still very transparent and musical, emphasizing the importance of phase coherency.

Considering Parallel Compression and Saturation

While not always necessary, Jens isn't averse to using parallel compression for added punch or even some subtle saturation or distortion to help the orchestra cut through or to give it a certain character, depending on what the mix needs.

The "Broad Stroke" Philosophy in Action

Throughout his process, Jens emphasizes that these initial steps are about getting a good starting point. He’s not obsessing over every single flute line or individual cello articulation at this stage. Instead, he's focusing on the overall blend, width, space, and dynamic consistency of the entire orchestral section.

He acknowledges that mixing the orchestra in isolation is one thing; making it work with thundering rhythm guitars, a powerful bass, and aggressive drums is another. He fully expects to revisit these orchestral settings once the rest of the metal band is in the mix, making adjustments so everything glues together. It’s about ensuring the orchestra sounds great on its own, especially for passages where it might be more exposed, but also making sure it can stand its ground (or strategically sit back) when the full band kicks in. (And yes, he jokingly calls the bassoon "probably the most ugly instrument in the world next to bass," which just shows that even the pros have their instrumental quirks!)

These techniques provide a fantastic framework for tackling orchestral mixing in your heavy productions. It's about smart, big-picture moves that create a powerful and cohesive sound.

Want to see Jens Bogren apply these techniques and many more, explaining every decision as he mixes "Portrait of a Headless Man" by Septicflesh from scratch? You can get access to the full multi-track session and watch Jens work his magic on Nail The Mix. If you're serious about elevating your metal mixing skills, seeing pros like Jens break down their entire workflow for songs like this one from Septicflesh (and Amon Amarth in the same bundle!) is invaluable. Check out the Amon Amarth/Septicflesh NTM experience here and discover how you can unlock your sound beyond presets.