Mixing Insight

[mazz]

One thing I'm finding about mixing orchestral music is that it can be a different animal than mixing pop music. I'm not talking about bombastic trailer electro-orchestral stuff but strictly orchestral music.I've been studying a lot of classical orchestral scores lately (Mahler, Mozart, Beethoven, Debussy, etc.) and there are lots of textural things done inside the orchestra that aren't meant to be "heard" as discrete parts but they add up to a certain texture that is supporting a melody. If one were to mock up one of these scores with samples and try to mix it with a "pop" ear and aesthetic, it would be a mess. Of course, these are the best composers ever so they know how to write this stuff to work and not be mud, add to that a conductor that is "mixing" the orchestra while they're playing and it's a different animal but good food for thought, IMO.We could probably do a whole other long thread on mixing orchestral mockups. Ern would probably get carpal tunnel sharing all his knowledge on this, though! Cheers!MazzPS: A plug for Nick's magazine, Virtual Instruments. They have a MIDI mockup interview with a working composer every issue and it's pretty darn instructive. More good info!

[frodo]

May 8, 2008, 2:18pm, wodinlord wrote: I mix a lot at very low volume- Totally agree.It's very much easier to get something to sound good while listening at a low volume.And, - before anyone asks what that 'low' is exactly, - I'd say down to about 50-52 db, C weighted slow response, although 63-65 feels very comfortable also.And never never over 85... - until next timefrodo

[wodinlord]

May 8, 2008, 2:36pm, frodo wrote:May 8, 2008, 2:18pm, wodinlord wrote: I mix a lot at very low volumeAnd never never over 85... Well, I must admit that when the mix is done and it's time to enjoy it - I will Shatter that 85 db limit. LOL For short periods of course. Wodinlord

[ernstinen]

May 8, 2008, 2:18pm, wodinlord wrote: I mix a lot at very low volumeHey! You beat me to it by two shakes of a lamb's tail! BAAAAA! Quote:Also, the "other room" trick is a great one.Ditto, Mazz! I wuz gonna mention that one too. I didn't know that was common knowledge --- thought I figured that out by my lonesome! Ern

[Mark Kaufman]

Hard knocks? They are best recorded with two mics, one close and one for room ambience, no compression and a touch of reverb.

[wodinlord]

May 8, 2008, 4:00pm, lyle wrote:Hard knocks? They are best recorded with two mics, one close and one for room ambience, no compression and a touch of reverb. See, another technique I thought I had all to myself, but NOOOOOOOOO...Wodinlord

[ibanez468]

Yeah, glen has a knack for startin' a thread and watchin' it take off!

[ggalen]

May 8, 2008, 5:35pm, ibanez468 wrote:Yeah, glen has a knack for startin' a thread and watchin' it take off! Thanks, ibanez.Yet, I really don't know why that has happened. It's primarily the contributors that do it, of course, not me. I guess there are a lot of people on the forum interested in some of the same things that I am!

[ernstinen]

May 8, 2008, 3:42pm, wodinlord wrote:Over 30 years ago, I went to college to learn about recording and still ended up having to teach myself. But, I do have a degree from the Recording School of Hard Knocks!Once again, ditto for me! I went to a recording arts school about 20 years ago. I already had a bachelor's in Hard Knocks, but thought I could learn from a pro.Well --- the owner/teacher couldn't even do a simple punch-in of a vocal. Seriously! It took him an hour to find the spot, when I could have done it in 30 seconds. (He knew a lot about technical stuff, like aligning a 24-track machine and electronic circuitry, but simple musical knowledge was not his strong point ). --- Needless to say, the vocalist was quite, er, peeved. I was young and intimidated by hanging around "the pros," so I kept my mouth shut (for once! ).If anyone would ask me whether to spend a big chunk of $$ on a recording arts school, or spend the same amount on your own gear, I wouldn't hesitate for a second --- Buy your own damn studio and learn by trial and error! The exception would be if you weren't very musical, but had a strong talent for the technical side of electrical engineering. SOMEONE'S got to fix and maintain all that gear! Studios love to have at least one person like that around, to help out the creative types with great ears who can barely tie their own shoes. Ern

[liamkelly]

Good thread. Thanks for sharing, guys.Very stupid question : the 'other room' thing. Do you literally mean to let the track play through the monitors and listen in another room? Like through the walls?Sorry - told you it was a stupid question.Liam