Mix character
Orchestra and choir: space, dynamics, naturalness. The balance is achieved through the orchestration and the written dynamics (pp–ff), not with the fader. With sampled libraries, programming CC1 (dynamics) and CC11 (expression) counts for more than any EQ. With real recordings you balance the main pair (Decca tree or AB), section spots and ambient mics.
Typical balance (full ensemble)
| Element | Level relative to the mix |
|---|---|
| Strings | −4/−6 LU |
| Choir | −5/−7 LU |
| Brass | −7/−9 LU (at climaxes −5/−7) |
| Woodwinds | −10/−13 LU |
| Timpani and percussion | −9/−12 LU |
| Harp, celesta, keyboards | −12/−15 LU |
EQ
- Low end (double basses, cellos, timpani, tuba, organ): soft and broad; HP below 25–30 Hz, control of timpani resonances.
- Choir: the high voices easily dominate the 2–4 kHz zone; the basses need body at 100–300 Hz; light de-essing on the choir bus.
- High strings: control harshness at 2–4 kHz in loud passages with sampled libraries.
- Brass: body 200–500 Hz, bite 1–3 kHz.
- Small, broad moves: ±1–2 dB.
Dynamics
- Minimal or no compression; at most vari-mu 1–2 dB on the master.
- Riding for the extreme passages.
- The crescendo from pp to ff must remain audible: 10–20 LU of difference.
Space
- Traditional orchestral layout: first violins on the left, second violins on the left or facing on the right, violas center-right, cellos and double basses on the right; woodwinds center back, brass behind, percussion at the back.
- Choir: sopranos and altos on the left, tenors and basses on the right, or in an SATB arc from left to right.
- Depth through the ratio of close and ambient mics and a shared reverb (hall 2–3.5 s, pre-delay 20–40 ms); the sections further back get more reverb and less high end.
Layering
- Different libraries for the same section must be brought into the same space (same reverb, early reflections, matching EQ).
- Section reinforcements (e.g. violins an octave higher) are mixed as a single section.
Reference loudness
Classical recordings −20/−14 LUFS (LRA 10–20 LU); epic soundtracks −12/−9 LUFS. True peak −1 dBTP.
Reference tracks
Holst "The Planets: Jupiter", Mozart "Requiem: Lacrimosa", Eric Whitacre "Lux Aurumque", Morten Lauridsen "O Magnum Mysterium", Hans Zimmer "Cornfield Chase" (Interstellar) for the cinematic style; Deutsche Grammophon recordings as a sound reference.
Compare the perceived distance, the balance of the sections and the crescendo between pp and ff.
Common mistakes
- Compressing the master to raise loudness: the crescendos disappear.
- Libraries in different spaces: an incoherent orchestra.
- Choir with sopranos dominating at 2–4 kHz.
- Stereo, bloated orchestral basses.
Starting settings
| Parameter | Value | Why |
|---|---|---|
| Compression | Minimal or none; vari-mu 1–2 dB on the master | Full dynamics. |
| Reverb | Hall 2–3.5 s, pre-delay 20–40 ms | Shared space. |
| Pan | Real orchestral/choral layout | Believable perspective. |
| Programming | CC1 and CC11 on the libraries | Written dynamics. |
| Master loudness | −20/−14 LUFS (epic −12/−9) | True crescendos. |
Frequencies to watch
| Range | What to do |
|---|---|
| Below 25–30 Hz | HP for rumble; soft orchestral low end. |
| 100–300 Hz | Body of the choir basses and low strings. |
| 200–500 Hz | Brass body and tutti buildup. |
| 2–4 kHz | Choir sopranos and high strings: harshness control. |
Example chain
| Step | Tool | Settings | Why |
|---|---|---|---|
| Sections | Strings, woodwinds, brass, percussion, choir buses | Light EQ | Balance. |
| Space | Early reflections + shared hall | Sends for depth | Coherence. |
| Riding | Automation | Extreme passages | Readability. |
| Choir | Bus → light de-esser → EQ | 1–2 dB | Balanced sections. |
| Master | Light vari-mu → safety limiter | −20/−14 LUFS | Dynamics. |
How to check the result
- Master crest factor 14–20 dB (epic 9–12 dB); LRA 10–20 LU.
- ff short-term 10–20 LU above pp.
- Choir high-mid band: no soprano peak beyond 4 dB relative to the neighboring bands.
- Sub and Bass Side/Mid at −15 dB or lower; correlation +0.3/+0.8.