Thread Rating:
  • 0 Vote(s) - 0 Average
  • 1
  • 2
  • 3
  • 4
  • 5
Haendel - Mix by Olli H
#1
I have no idea how this should sound or should not sound. So I just followed my instinct.

With this one there was no need to use de-esser with vocals. Maybe every classical singer has a built-in de-consonanter.


.mp3    Haendel-Olli-H.mp3 --  (Download: 4.83 MB)


.mp3    Haendel-Olli-H-2013-09-02.mp3 --  (Download: 4.83 MB)


Reply
#2
I admit that I don't listen to classical music too often; so just like you, I only follow my own taste and I can say that instruments sound perfect and that's our goal as mixers, isn't it? I think that it wouldn't be too difficult to find this piece on the internet and to compare the different instruments levels.

I agree about the built-in deesser in classical singers hehehehe!!! maybe that's why I never had a future to become a tenor Big Grin
mixing since April 2013
Reply
#3
The mix has nothing to complain about. Classical music is mostly about the piece that is played and what level of orchestra is playing it. However listening to your mix i got the feeling as if the parts were recorded seperatly as it didnt have that big hall feeling from classical music. I think you could have a bit more of a longer reverb. This might maybe not be the rule for smaller orchestras like this one, but I will check out this multitrack later today as im supercurious.

Regards ;D

Also, no wonder there is no need for de-essing when the singer doesnt ever say any word with "s" Tongue
Reply
#4
I think hittin the compressor or limiter little less so its there but doesnt draw attention, and adding a bit of semi long reverb will make things shine.
Maybe turn the cembalo down a tad if thats possible and little less deeps from the strings.
People wjo listen to classical music are in the habit of usin the volume knobs, as so many purist (read: no limiter or compression) recordins exist, where the master engineer earned easy money :-)
Old ears, old gear, little boy inside love music and sounds and my wife, not necessarily in that order
Reply
#5
Thanks for listening
(26-08-2013, 04:47 PM)PrincessCakeJ Wrote: However listening to your mix i got the feeling as if the parts were recorded seperatly as it didnt have that big hall feeling from classical music. I think you could have a bit more of a longer reverb. This might maybe not be the rule for smaller orchestras like this one, but I will check out this multitrack later today as im supercurious.
Good point. I'll test a little longer tail, but with this kind of music it should be extremely natural. I wonder if my plugins can do it.

(26-08-2013, 04:47 PM)PrincessCakeJ Wrote: Also, no wonder there is no need for de-essing when the singer doesnt ever say any word with "s" Tongue
Maybe that's how the built-in de-esser works. Smile I think the singer should practice de-essing more for at 0:50 and 1:04 there is something left that reminds me about good old ess-sound.

Reply
#6
(27-08-2013, 12:55 PM)Voelund Wrote: I think hittin the compressor or limiter little less so its there but doesnt draw attention, and adding a bit of semi long reverb will make things shine.
Thanks for good comments. I'll try those. Actually I wasn't using so much compression, but I'll check it and maybe I'll try to lessen it.

(27-08-2013, 12:55 PM)Voelund Wrote: Maybe turn the cembalo down a tad if thats possible and little less deeps from the strings.
Cembalo is quite difficult as I didn't like how it sounded in other mics, so I wanted to bring some body to it. I'll practise more...

(27-08-2013, 12:55 PM)Voelund Wrote: People wjo listen to classical music are in the habit of usin the volume knobs, as so many purist (read: no limiter or compression) recordins exist, where the master engineer earned easy money :-)
There are different needs. I understand that those who have dedicated listening rooms want's to have huge dynamics and 30 dB differencies in level, but if one want's to listen classical music also in the background or in TV, then there's probably different rules.

Anyway, I'll go to local library to borrow some classical cd's and I'll do another version.

Reply
#7
Ohgod Cembalo is probably my least favourite instrument. It sounds annoying and is used in most of the nonsense baroque music. If you manage to make the cembalo sound pleasent you will be crowned master!

As for compression etc, i dont think it should be used at all. If the orchestra is playing as intended, the volumes should all be perfect. However i can imagine that the hollywood producers use compression on some parts to give a bit more impact. Hans Zimmer uses alot of processing and compression on the drumsounds so i've heard him say.

But there are no rules ;D
Reply
#8
(28-08-2013, 07:49 PM)PrincessCakeJ Wrote: As for compression etc, i dont think it should be used at all. If the orchestra is playing as intended, the volumes should all be perfect. However i can imagine that the hollywood producers use compression on some parts to give a bit more impact. Hans Zimmer uses alot of processing and compression on the drumsounds so i've heard him say.

THis is interesting theme. Legendary Al Schmitt does not use EQ at all when mixing, but he is in position to record everything in perfect space, perfect gear, perfect mic position, perfect players and perfect ears (although quite old).

I think the same could apply here. If everything is perfect in recording situation, there's no need to use compression or to add reverb. Air is one of the best compressors and good room creates the most beautiful blend. But if the room is a little bit smaller, and mic is closer to instruments, mic placements done in extreme hurry and players are not of the absolute top quality, I think the situation is different. Something needs to be fixed in the mix. But what? I don't know. I'm trying to learn it. Or trying to learn to hear it...

I'll post soon another version.

I was surprised that it could be so fun to mix classical music. Eventhough there's cembalo...

Reply
#9
Indeed it is fun ! Eq, level and verb is your friend I think. One thing you could use is the fact that a locut produces phase issues just over where you cut, thus givin you, whether wanted or not, a hole in the sound, over the locut, which you can adjust with the q. That is if multiple mics are recordin, as is the case here. Good luck !
Old ears, old gear, little boy inside love music and sounds and my wife, not necessarily in that order
Reply
#10
Ive done some Classical production, but obv not that good. An important thing to keep in mind is the positioning of the orchestra in the room. As you can se in this picture http://library.thinkquest.org/5116/image...eating.GIF this is sortof the distribution you should look at.

Now in this track "(If it's of any use, here are the rough measurements I took from the main ORTF pair on the day: 130cm to the violin 1/2 spot; 120cm to the viola/cello spot; 220cm to the vox spot; and 240cm to the front M&S pair.)"

You can se that there is like a 1,5 meter difference maybe between the Vox and the Violin spot, that means its 1,5/330 ~ 4,5 ms difference. So basically one should adust the timings accordingly. I think i adjusted the timing of all the tracks with about 30 ms and put them inbetween there, to give it a bit bigger sound.

Anyway point being that most important is distance and position when mixxing so its like the real deal.
Reply