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Hi everyone,
I'm trying to put a Vienna made playback together with a "real" singer (pop-"epic"). I've some problems to find the right balances and adjustments in reverbation, loudnes and so on.
The Question is: are there any good examples for me to hear or some pages/workshops/information with tips and open knowledge :)
I havent found any examples on the Vienna page so far. Is there anyone with experience who could help a little bit.
(I'm using Samplitude with its Variverb)
Hi Fastel
The best tip is probably to search for music in the net which is similar to yours and then observe how it is mixed.
Normally we can differ two possibilities of mixing soloists with orchestras.
1. They are mixed in the "same room" (with the same reverb (IR)). This is the way how a lot of classical music is recorded and mixed. Either your virtual listener is sitting up in the balcony and he is listening to the soloist. They all - the soloist and the orchestra - are sounding far away. Example far
A bit more interesting - in my "ears" is to mix a soloist a bit closer to the listener so that he is sitting in row 3-5. The distance of the orchestra can be a bit overdone. That helps the soloist to be even more a soloist. Example closer.
Here is a nice excerpt of a real soloist/orchestra... I personally love such differences (close-far-situations) in a mix.
2. They are mixed in "different rooms". Most pop songs are done this way. While the orchestra is mixed as it normaly is (for example in a concert hall) the soloists only get a tail (without room (ER)) to have the voice close and intimate with a lot of breath. Here the reverbs are often Algo-types. Often plate reverb-presets are used. A predelay of 100-150ms or even more keeps the voice dry (and close) for a moment (the tail follows later this way). As an example the Celtic Woman or Céline Dion...or... The sound is often how the image on the screen: The orchestra is far away and the soloist is close. Keep in mind that also a huge of compression can be necessary because the singer should sing very close to the microphone so that no (recording-)room is on the signal as well. So you need to catch a huge range of dynamic. Two or more compressors in a row can solve this problem nicely.
Hope this information helps to go a step foreward. If you share an example of your music I can give you more detailled tips depending on your problems.
Best
Beat
