11-01-2014, 10:26 PM
My musical background is in classical performance and composition, however the only time I've ever mixed classical music before was an experimental method of mixing for recording a live concert straight to tape - we had around 60 mics set up around the hall, combinations of close mics and overheads, and there were actually six of us mixing simultaneously - one for each section of the orchestra, and then a final person submixing, as we followed the score to anticipate and clarify the individual instruments as we saw fit. A great exercise to try, but a hell of a lot of phase issues!
Anyway, life story over, here's my take on the Handel. I feel the way to go about this is as simple and natural as possible. I just made use of the 480L for a little more space, I wanted to give this the sound of a traditional concert chamber, rather than a large, dry space. Compression-wise, it's very, VERY slight (as one would want for baroque performance) with just a gentle levelling compressor on the vocals, and the SSL Buss Compressor on a nice slow, subtle setting for the master, peaking at about 3dB reduction at the loudest parts.
So let me know what you think.
Anyway, life story over, here's my take on the Handel. I feel the way to go about this is as simple and natural as possible. I just made use of the 480L for a little more space, I wanted to give this the sound of a traditional concert chamber, rather than a large, dry space. Compression-wise, it's very, VERY slight (as one would want for baroque performance) with just a gentle levelling compressor on the vocals, and the SSL Buss Compressor on a nice slow, subtle setting for the master, peaking at about 3dB reduction at the loudest parts.
So let me know what you think.
