Chamber music and solo piano

Character of the mix

In classical music the “mix” is above all recording: a main pair (AB, ORTF, Decca tree) captures the ensemble in the hall; spot and ambient mics are added at a low level for definition and space. The mixing work consists of balancing these mics, aligning them in time, choosing the amount of hall and reverb, and controlling dynamics without compressing them. The goal is fidelity to the performance: natural balance between the instruments, real timbre, full dynamics.

Microphone balance

Spots must be delayed to align them with the main pair (sound reaches the spot first: 1 m of extra distance = about 2.9 ms). Without alignment the instrument sounds “doubled” and forward.

Solo piano

• Close pair (above the strings or at the curve of the case) for definition + a more distant pair for the hall; alignment between the two.
• Minimal EQ: optional HP 25–30 Hz, control 200–400 Hz if the hall is boomy, no strong treble boosts.
• Mechanical noises (pedal, dampers) are normal: reduce them only if they are distracting.

EQ

• Small moves (±1–2 dB, wide Q).
• HP 20–30 Hz for hall rumble and traffic.
• Correct hall resonances with narrow cuts of 2–4 dB only if evident.

Dynamics

• No compression in the pop sense. Use manual riding for extremely soft (+1/+3 dB) or very loud passages, keeping the proportion.
• In mastering: safety limiter only on the loudest peaks, 0–1 dB.

Space and stereo image

• The hall is part of the sound: natural reverb; if the hall is dry, a convolution reverb of a concert hall (1.8–2.5 s) at a low level.
• Natural stereo image: the solo instrument in the center or at its stage position; in a string quartet first violin on the left, second violin center-left, viola center-right, cello on the right.

Reference loudness

Master −23/−16 LUFS (soft passages must stay soft), true peak −1 dBTP, LRA 10–20 LU, crest factor 15–22 dB. Classical music is not brought up to pop loudness: platforms play it back lower and listeners adjust the volume.

Reference tracks

Glenn Gould “Goldberg Variations” (1981), Krystian Zimerman “Chopin Ballades”, Emerson String Quartet “Beethoven Quartets”, Martha Argerich and Mischa Maisky (cello and piano sonatas), Deutsche Grammophon and ECM New Series recordings.

Common mistakes

• Compressing or limiting to “make it louder”: the dynamics are lost, and they are the music's expression.
• Spots too loud and not aligned: unnaturally close instruments.
• Obvious artificial reverb on top of an already reverberant hall.
• Unnaturally cutting out the performers' breathing noises.