![]() Reversing Notion 5 panning handle positions, the effect of : viewtopic.php?p=41023#p41023 It's subjective and there really isn't a "right way". This topic is a study and could go on and on and on. Post-production recording is another issue yet methods I've used have helped avoid going back and redo music parts before mixing-down a project.Įveryone has their own methods when it comes to these tasks. The score does the mixing which definitely makes it easier to focus on the music and not the mixer. So I don't use panning or volume with that instrument library. see- "Treatise on Instrumentation" written by Hector Berlioz.įWIW the EWQLSO platinum library I now use was recorded and balanced with stereo stage positioning maintained and includes the surround-sound environment capabilities. The sonic levels of 1 flute = 40 violins in the real instrument world. However, for most of our needs trial and error with some time testing can work ok.Ĭommon sense and some luck and that's good enough as I see it.Įngineers in studio recording sessions I've been have asked for feedback because of the subjective nature of records.Īlso don't forget that studying the relative dynamic ranges of all instruments is of great importance too.Į.g. Seatingchart.gif (9.03 KiB) Viewed 5914 timesĪs mentioned, audio manipulation is scientific.ĭon't be confused. The amount of send to the reverb also can simulate the distance from the microphone or listener. Set the reverb early-reflection settings to simulate the opposite walls distance in feet. One reverb for the left-side of the stage and one for the right-side. Mixer busses probably are the best place to add these which will allow for reverb panning. If that work I don't know.Īlso picking the type of reverb and/or delay (hall, plate etc.) is subjective. ![]() Less is more however, there is always the vst named D-verb though. You can add more later however, you can't remove it if there is too much. This next part is easier said than done and without adding too much in details I'd just say that subtle sonic changes using only settings that minimize obvious dry/wet signals that ruin the realism and balance should be the goal. ![]() ![]() (the reverb size and reflection settings come next). I then would "pan and level" each instrument as it would be heard from my virtual listener space in the audience. ![]() For years I've just used a seating chart like the image below, and as in the forum topic here dicusses.Ī set of headphones or a (stereo) speaker system that has the proper triangulation (providing the sweet-spot) needed for this task and acting as a virtual observer-listening in an audience I'd pick a perspective (a seat in the hall). ![]()
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