ABSTRACT
This chapter contains interviews with Swedish metal producer and guitarist Fredrik Nordström (In Flames, At the Gates, Dark Tranquility, Arch Enemy, Opeth, Dimmu Borgir) regarding his interpretation of heaviness in metal music and his approach to mixing ‘In Solitude’. Nordström attributed heaviness to a combination of sound and performance qualities. Sonically, he emphasized low-end weight, achieved through down-tuned guitars supported by the bass, which he viewed more as a complementary element than a standalone instrument. This sonic weight was crucial for eliciting a physical response from the listener. Another defining characteristic was sonic density, achieved through compression to create a cohesive sound that felt unified, which Nordström likened to a ‘big tank moving forward’. Nordström noted that heaviness is not exclusive to metal, pointing out that it shares similar frequency curves with a classical symphony orchestra. On the performance side, aggressive and angry delivery was beneficial for conveying heaviness. He believed that even low-fidelity productions could achieve a heavy sound if the performances were strong and expressive. A solid interplay between bass and guitars served as the foundation of a heavy mix, with Nordström emphasizing that the quality and synchronization of performances should already be present in the recorded tracks. He argued against relying on excessive editing or quantization, as these interventions could diminish heaviness by creating an artificial sound or reducing the perceived size of the mix due to the absence of micro-rhythmic deviations. Nordström’s mix of ‘In Solitude’ stood out for its captivating simplicity. Processing was applied sparingly and strategically, resulting in a mix that is heavy, powerful, and transparent, effectively conveying the essence of the performances.
