If the flute is weak at lowest notes playing fortissimo, is it reflected in recording level or normalized (to what?). Then, they discover, that none of the developers document: what were the original levels played and recorded, how were they premixed/prepanned/EQed and mapped to MIDI numbers and digital signal levels. The problem for the novices is that they are lead to believe, that it's totally possible to learn the instruments, their ranges, levels and balance in orchestral setup, just by buying one (marketed cohesive and complete) orchestral library. That doesn't render the OP's question invalid or unanswearable. It's more about creating a baseline virtual room for myself with proportional balance and then deviating when necessary.Ĭlick to expand.Well, I've noticed that seasoned musicians/mixing engineers/orchestrators love to repeat that truism, even being totally aware it's not very helpfull for the novices.Īnd I fully understand that is their hard earned experience. I will probably always tweak things afterwards but my starting point would be way more balanced than the hodge podge of ranges libraries have out of the box. Then I would just adjust the relative ranges of my sample libraries to match as a starting point for my template. Maybe taking the entire symphonic range from one developer would be good enough for this analysis assuming they don't renormalize / mess up the relative loudness after recording. My hope was something like "Given a standard centered seating in a large concert hall at a fixed position from the most standard symphonic orchestra section sizes, what are the general decibel ranges for a mic recording each section individually at that range." I'm assuming we could pick any famous concert hall, record the numbers at each dynamic level, and use that as a baseline. My intent wasn't to have an absolute number for all section sizes and all configurations for all listening distances. You can use these as rough pointers when developing a sense of balances in music:Ĭlick to expand.I understand where you are coming from. At forte, one strings section is about the same perceived volume as two woodwind instruments. He gives relative indications like: at the dynamic of piano, one strings section is about the same perceived volume as one woodwind instrument. Rimski Korsakov's approach makes a lot of sense too. That way you can develop an understanding and intuition of what the natural balances are. There is no substitute to listening to real ensembles/orchestras, and to recordings. They may be correct for one situation, but unsuitable for all others! That's why absolute numbers will give you a false sense of security. Change one parameter (room, distance to listening position, position on stage, size of the ensemble, dynamic that is played.), and the reference becomes meaningless. A decibel reference will only be a reference for one, very specific, situation. An oboe, listened to from the last row of a large concert hall, does not have the same volume nor amplitude than an oboe listened to from the first row of a small chamber music hall. You could maybe get semi-dependable numbers by measuring in an anechoing chamber from a set distance.
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