Mastering and Orchestrated Scores

[Gopher]

Whenever I finish a track, I normally do a little post production, usually applying a volume limit to +3db above of normalisation levels (yes, it clips a bit but that isn't that noticable) although this does vary depending on the weather and date.

To you who specialise in computer-based compositions, what kind of mastering or post-production work do you do? I'm only really interested in those who master for orchestrated work, since thats what my "speciality" is, though I'm open to any special techniques and "stuff".

(Incidentally, i never do any EQ work - IMHO that should be controlled by altering the levels of the individual instruments, even though the frequency spectrum differentiation of instruments there isn't clear cut - what is your take on that too?)

[Mrsix]

Allo Gopher!

Well, I have started doing alot more orchestral compositions..
The problem with this is that all of my tracks are recorded from actual instruments.. so I've never had a problem getting things to sound 'realistic'

But with my current project, as I have lots of orchestral bits.. I am struggling.

Lately I have been laying down a few tracks of the same instrument.. so if I have a string section, I will use a general recording of one, then pan another track slightly to the right with a Karlette effect, slightly delayed and Eq'd with some distortion... a classic faux stereo technique, but with a dark and gritty edge. I suppose this goes against classical styles, as it gives a very modern sound.. but im not always into that rustic sound! I like my stuff to sound dark and all my stuff sounds gritty and dirty anyway! So why change a habit of a lifetime...

I've also found it's not worth composing something on keyboard and playing it in a style thats not possible on, say.. a violin.. sounds obvious, but simple things like adding a small break after a few seconds of bowing adds that extra bit of realism.

Oh, and ive been mixing guitar with my cellos to male them sound more natural and realistic. If you mix bowed guitar with a keyboard played cello and use some very subtle and clever mixing, you can make the cello sound like it's actually being played, what with the subtle dynamics, etc..

EDIT - Sorry just realised, there aint no reference to post-production there!!
Erm.. a little bit of high end I spose.. Ive never been a master at masterin'!

Anyway.. thats just what ive learnt the last few months. This project will be the death of me

[gravehill]

Normally I try to get individual tracks as polished as possible to achieve good final mix. For that a great aid is Voxengo SPAN. It's a free frequency analyzer available at www.voxengo.com . Usually I use iZotope Ozone for my mastering and pre-mastering needs but VERY gently.

What I actually do in mastering stage depends a lot on what kind of piece I'm working on. For film music and classical in general, I go for the largest possible dynamic range. So no limiting except if there are some peaks that need taming. Depending on the material it might also be a good idea to apply a high pass filter in the master bus at around 45 Hz or so. This is to remove the excessive low end rumble that you might not even hear without 30000€ mastering speakers.

@Gopher: If you're recording with a digital medium I'd very, VERY strongly advise not to go over 0dB level. I normally master my material so that the peaks are at -0.2 or -0.3dBu. There are actually several reasons for this. Yes, avoiding clipping is one of them. I just don't think it ever sounds good. (Analog distortion is far more acceptable). Another thing is if you're ever going to have a cd pressed in a plant, their equipment will show errors on your master cd every time it goes over -0.2dBu. Also that 0.2dBu difference is not noticeable. Finally if your material is not loud enough, use a limiter. Set it so that the peaks are at -0.2dB like above and adjust threshold. That way you can very often get 10dB more loudness you never knew was there!

I put eq on almost every track. Depending on a piece I might want softer or edgier sound on the same source material (=samples). Especially sampled drums very often lack the balls and that's another situation where eq comes in handy. Also matching the eq curves on channels whose material falls on the same frequency range is normal every day stuff. Finally I filter out the bass frequencies from every track that's not supposed to contain any. I think if I'd have to choose one effect I can't do without, it would be eq.

[reith]

Before responding, just checking if this is about recording live orchestras?

Reith

[Gopher]

Originally Posted by reith

Before responding, just checking if this is about recording live orchestras?
Reith

Nope; my point of view was from putting the finishing touches to a sequenced midi mockup using samplers. But hey, if you know anything about live recording, that would be interesting to know as well. I'm curious as to what, if any, added touches they do to live things.