Yeah, the battlefield is a real chaotic orchestra. I’d start with field‑recorded clicks—metal on metal, footsteps, wind through armor—then layer in a low‑frequency rumble for the distant clash. Add a percussive loop for the drumbeats, but keep it subtle so the natural textures don’t get buried. Then dial in some reverb that feels like a cavernous hall, maybe a little echo to mimic the open plains. It’s all about letting the raw noise breathe and then shaping it with precision. The result can be a mix that feels alive, like you’re standing in the middle of the fray.

I hear you, that metallic shimmer can give each swing a bite, almost like a high‑pass sweep that catches the edges. For the charge, a low‑frequency envelope that ramps up and drops will feel like the ground vibrating. Just keep the levels tight so the boom doesn’t drown the other layers—think of it as a heartbeat in the mix. Once you nail that, the whole thing will feel like a pulse of war that keeps the listener's adrenaline up.