Character of the mix
A big band has four sections: saxes (2 altos, 2 tenors, baritone), trumpets (4–5), trombones (4, including the bass trombone), rhythm section (piano, guitar, upright bass, drums), plus any soloists and vocalist. The mix must reproduce the balance of the orchestra as in the hall: tight sections, wide dynamics (from pianissimo to full tutti), soloists in the spotlight, a rhythm section that is clear but not dominant. Mix with little processing: the miking and the arrangement do almost everything.
Typical balance
| Element | Level relative to the mix (tutti) |
|---|---|
| Soloist (sax, trumpet) | −4/−6 LU |
| Trumpets | −6/−8 LU |
| Saxes | −7/−9 LU |
| Trombones | −7/−9 LU |
| Upright bass | −9/−12 LU |
| Drums (ride, snare, kick) | −8/−11 LU |
| Piano and guitar | −11/−14 LU |
During solos the section faders come down (or the arrangement does it) and the soloist comes up 2–4 dB.
EQ
- Horn sections: HP 60–100 Hz (trumpets 150 Hz), control harshness at 2–4 kHz in trumpet fortissimos, trombone body 200–500 Hz.
- Baritone sax and bass trombone: define the bottom of the harmony together with the upright bass; watch for mud at 150–300 Hz.
- Upright bass: 60–120 Hz body, 700 Hz–1.5 kHz note definition.
- Drums: defined ride (3–8 kHz), soft kick, snare with brushes or sticks natural.
Dynamics
- Minimal compression; riding of sections and soloists.
- Upright bass: light compression (2–4 dB) to even out the notes.
- Mix bus: none or 0.5–1 dB.
Space and stereo image
- Typical layout: saxes in front, trombones behind the saxes, trumpets in the back row; in stereo, saxes and trombones distributed from left to right, trumpets spread wide.
- Rhythm section: piano on the left, upright bass center or center-right, guitar on the right, drums in the center with overheads.
- A common reverb (hall or plate 1.8–2.5 s) for the whole orchestra, larger sends for the sections further back.
Reference loudness
Master −16/−12 LUFS, true peak −1 dBTP, LRA 8–14 LU, crest factor 12–16 dB. Pop-swing productions (modern crooners) sit at −11/−9 LUFS.
Reference tracks
Count Basie Orchestra “April in Paris”, Duke Ellington “Take the 'A' Train”, Buddy Rich Big Band “Channel One Suite”, Gordon Goodwin's Big Phat Band “Hunting Wabbits”, Michael Bublé “Feeling Good” (pop-swing).
Common mistakes
- Compressing the sections as in a pop track: the crescendos are lost.
- Drums too loud, as in a rock mix.
- Different reverbs for each section: fragmented orchestra.
- Harsh trumpets in the tutti without dynamic control.
Starting settings
| Parameter | Value | Why |
|---|---|---|
| Compression | Minimal, section riding | Orchestral dynamics. |
| Soloists | +2/+4 dB during solos | Protagonists. |
| Common reverb | Hall/plate 1.8–2.5 s | Orchestra in the same space. |
| Mix bus | 0–1 dB | Dynamics intact. |
| Master loudness | −16/−12 LUFS | Breathing room. |
Frequencies to watch
| Range | What to do |
|---|---|
| 60–120 Hz | Upright bass, baritone sax, and bass trombone: bottom of the harmony without mud. |
| 150–300 Hz | Buildup of the horns' low registers. |
| 2–4 kHz | Trumpet harshness in fortissimos. |
| 3–8 kHz | Ride and drum definition. |
Example chain
| Step | Tool | Settings | Why |
|---|---|---|---|
| Sections | Sax, trumpet, trombone, rhythm buses | Light EQ | Balance. |
| Soloists | Spot mic → EQ → riding | 0–3 dB | Spotlight. |
| Space | Common reverb | Sends for depth | Coherence. |
| Master | Light EQ → safety limiter | −16/−12 LUFS | Dynamics. |
How to check the result
- Master crest factor 12–16 dB; LRA 8–14 LU.
- Tutti short-term 5–10 LU above the piano passages.
- Upper bass band (120–250 Hz): no more than 2 dB above the Bass band.
- Correlation +0.3/+0.8.