Mixing For an Orchestra
On this page I am going to be researching how mix brass and strings, as I am inexperienced in mixing these instruments. I hope that researching into how professionally mix these instruments will give me guidelines that I can follow and lead me to create a tidy and clean mix. I will not be researching how to mix timpani and the choir as I already have some experience in mixing these tracks and I believe I do not need any further research no them. For an explanation on how mixing tools such as EQ and compression work please visit my ‘How to Mix and Make Music’ sub-heading under my Year 1 collaborative project.
| Instrument | Panning | Cutting Frequencies | Boosting Frequencies | Compression Tips | Reverb |
| High Strings (Violin and Viola) | For high string make sure to cut low end frequencies below 80Hz, this will avoid a muddy rumble within the mix of the track. Cut frequencies around 205Hz to remove mid-low end frequencies that may cause a muddy mix. When Equalising strings you may notice that the higher string frequencies peak around; 2.5kHz, 4.6kHz and 7kHz. These frequencies should be cut out using EQ, as these frequencies will stand out in the mix and strain the listeners ears. Any other higher frequencies outside of the ones I have mentioned should also be cut out using a narrow EQ. | Adding a narrow boost around 100Hz to 150Hz will add more texture to the strings without muddying up the mix. Boosting frequencies around 380Hz with a wider EQ can help add more texture and fullness to your strings. | The compression techniques I will talk about here can also be applied to low strings such as the cello and double bass. Strings sound better when they are compressed with delicacy, using a soft knee and a ratio between 1,5:1 and 2,5:1. Strings are often compressed in professional mixes around 2-3dB. For strings you can often apply a long attack time of 40-80ms, as well as a long release time between 80-120ms. | The reverb techniques I will talk about here can also be applied to low strings such as the cello and double bass. A short decay time on your strings will make the instrument sound bigger in the mix, however a longer decay time will make the strings sound more lush. A reverb decay of around 4 seconds often works well when applying reverb to strings. To avoid the reverb muddying up the mix, first adjust the pre-delay parameter to let the attack of the strings play first. Allowing the attack and reverb to kick in at the same time will cause a blurred and muddy sound within the mix. | |
| Low Strings (Cello and Double Bass) | For Low strings with rich tones it is important to cut any frequencies below 80Hz, as avoiding this may cause a muddy mix due to how low the frequency is. Another way to avoid a muddy mix with low end strings is by removing frequencies from 250Hz to 1kHz, otherwise the middle range frequencies may intercept with other mid range frequencies within the mix. Furthermore creating a messy and muddy mix. | To make the low strings comfortably sit within the mix, make a boost around 1-6kHz. This will give the low strings more character and texture, play around with the equaliser to decide the best frequency boost that best suits your own music. When equalising your low strings try and boost frequencies around 6-8kHz to give the instrument a sense of clarity and presence within the mix. Making another boost around 8-12kHz will give the low strings an airy texture within the mix. | Same techniques as high strings | Same techniques as high strings | |
| Brass (French Horn, Tuba, Trombone) | If you want to remove some of the sharper tones from the instrument a small cut around 3kHz (cut around 2dB), this will remove some of the rough texture of the brass. However making this cut in the mix may remove some presence from the brass. | If you have made a cut around 3kHz cut in your mix, you may want to make a boost in your EQ around 10kHz (boost around 2dB) to make up for the loss of presence. Boosting frequencies around 10-12kHz, can make the instrument sound much brighter however boosting it much can give the brass a shrill tone. Boosting brass around 3kHz can give your horns are very edgy sound, therefore you should handle this frequency range with care. | Do not add to much compression with brass otherwise it will sound robotic and unnatural, as brass requires a lot of dynamic range due to the power of their dynamics. Compression settings that typically work on vocals often work on brass well. Start compressing your brass by setting up a 3:1 ratio with a fast attack speed between 5-10ms as well as a slow release between 80-100ms. If you want you brass to have high energy use a 3-6dB gain reduction from loudest dynamic peak in your mix, however if you want a more mellow track try and use only 3dB. When compressing brass make sure the attack speed is not too slow, otherwise the notes of the brass will play before the compressor kicks in. This will lead to a punchy spit in the mix as the acoustic sound of the brass will be compressed late. |
Source List
Carter, M., 2014. Easy To Follow Tips For Mixing String Instruments. [online] TalkinMusic. Available at: <https://talkinmusic.com/tips-for-mixing-string-instruments/> [Accessed 26 May 2022].
Schulze, M., n.d. Miking The Horn Section. [online] Recording Magazine. Available at: <https://recordingmag.com/resources/recording-info/mics-miking/miking-the-horn-section/> [Accessed 26 May 2022].