Main Pickup microphones

The main pickup microphones in an orchestra recording is the group of microphones capturing the whole stereo image of the orchestra. It can be a stereo pair of microphones or an array of them, usually referred to as the tree. This term comes from the recording technique developed by the engineers in Decca Recording Company in 1954. There are several versions of this array, but the most common in many orchestra recordings is formed by three microphones suspended on a T-shaped steel structure above the conductor. Hence the name, the Decaa tree.

Spot Microphones

This term refers to the microphones positioned on individual instruments of the orchestra. The purpose of the spot microphones is to reinforce the sound of certain sections of the orchestra or to highlight instruments, bringing them forward in perspective from the main pickup.

Static Mix

The first step in mixing classical recordings is to get a feel for how the piece sounds; for that, the best approach is to start with a simple mix using the faders without any automation. Knowing that you have the correct gain structure on your tracks is super helpful for getting the right balance in the mix. Once we have all the tracks working, the main pickup will do most of the job, so raising their faders will give a good sense of the orchestra’s overall sound.

As we mentioned before, spot microphones can be used if there are elements in the orchestra that need more presence. However, having the entire orchestra covered with dedicated microphones doesn’t mean that we need to use them all. It’s a matter of managing the microphone spills to create a mix that breathes. Understanding the role of each instrument in the piece being recorded will help make the right decisions. It’s also essential to pan these tracks according to the location of those elements in the main pickup, so the mix’s stereo image isn’t blurry.

EQ

Classical recording aims to capture the instrument’s natural sound. That’s why choosing the right microphone for each section is paramount. Spot mics are not as close as close-up mics in pop recording sessions. This means they don’t require much EQ to restore or balance their sound. However, sometimes they need some adjustments. The important part is to make gentle EQ moves of no more than 4 dB. Bear in mind that all the microphones are picking up a bit of everything, so you are not only applying the EQ to one microphone but also affecting everything else.

Having said that, high-pass filtering is used consistently in all classical mixing. This is important for cleaning up low-frequency content during a busy microphone session. Rumble and low frequencies from the orchestra build up across the different microphones, so using gentle high-pass filters up to 100 Hz on the spot mics can help achieve a clearer mix.

Compression

The nature of classical recording is to preserve the orchestra’s natural dynamics. That’s why most of the dynamic movement of the tracks is really obtained by moving the faders or automating them. Having said that, applying gentle buss compression in the main mix, or tape-type compression, can help glue the final mix. It can also be helpful to include a limiter as a safety precaution if the piece is very dynamic and could cause the mix to clip.

Automation

Whether you are mixing in analogue or digital, automating faders is critical to achieving a natural-sounding mix. It’s all about bringing elements back and forth and managing microphone spills.

Due to the amount of spill in the microphones, slow increments and anticipation in fader moves are essential to avoid significant volume changes. Usually, movements no bigger than five dBs from the static mix will be required, although there might be exceptions. One example is the percussion microphones. Since this section is not usually played continuously, it can pick up movements or unwanted noises from the player. Also, bringing them up too much too early can sound unnatural and overpower the orchestra. However, a different approach might be needed if we are talking about a big band orchestra setup where the drums need to drive the song.

Mixing Orchestra with Sonimus

From everything explained above, it’s easy to identify N-Console as the best tool to help you mix your classical recordings. Its gain staging capabilities, filtering section and plenty of saturation levels allow for keeping all the tracks in check. The tone of N-Console is round but subtle, tying everything together. The Crossover feature in the plugin’s channels and buss instances adds depth to the mix, and with the EQ profile in the buss instance, you can add the final touch to your master buss.

Add Tuco in your mix buss with some tape-like compression, and you get instant warmth and cohesion in your final mix.

Do you mix classical music? What Sonimus plugins do you use for it? Let us know in the comments and follow our blog to learn more about mixing techniques and how to get the best out of Sonimus products.