It's interesting how different also a classical piece can be mixed. It's always a pleasure to work with good material and the execution on this is very good. My take on this was to get the Piano right (spot v.s. centre pair) and also to get the right balance between the centre mics and the out-riggers for the orchestra. Using mor of the spot mics makes for a more impressive sound, but to my ears it losses some of the great warmth of the recording, especially the piano. To some degree a matter of preference I guess. I also like what "Dangerous" did too. Not using much of the spot mics means that the balance between the piano and the orchestra is more determined by how the piano and the orchestra is positioned relative to the mics.
Very enjoyable listen. I think you managed the spacial balance very well. The enclosed performance as a whole is imaged realistically and tastefully. For me ears and my ears alone, I would probably like a little more focus on the piano. By that I mean, I feel the individual notes are moving around a little and not anchored. A small thing really. Oh, lastly I'm hearing a resonance in the low mids (most noticeable with the horns). I found a sharp eq cut at 428Hz seemed to control the problem without any noticeable side effects.
Thanks! I fiddled with EQ trying to contain the horns, but the only thing that worked without disturbing everything else was to work with the phase of the wind mics, so I went with that only and managed to keep all mics it completely without any EQ, compression or even automation, so the performance dynamics is completely intact (which, on such quality equipment is a great plus, when it works ...).
Very true. Adjustment of the phasing had the greatest impact with my mix. No eq or comp on the individual tracks but six out of ten of them I inverted the phase.
