Wow
I read your article with interest. And of course I know all the important facts of physics in connection with hearing and especially with our brain, which not only hears physics, but also mixes it violently with made experiences.
While reading I thought more and more, hopefully this man with the hobby samples has not charged himself something that gives him especially additional problems in life. Fortunately, you wrote "Happy Mixing" at the end.Reading "Happy" relaxed my built up worries ;-).
It's especially interesting how different people approach mixing differently. As we know there is not THE way and most importantly it's the result that counts in the end. Beginners don't have it easy because they are at the beginning of their way, which ist first to find. At the same time, one says do it this way and another says the opposite. As another option besides the more technical approach above, I'll allow myself to show my workflow here.
How I do it
I think my approach is quite different from yours, dear Maker. I usually draw a stage plan - that is, where the instruments should be placed. Then - speaking of the Synchron Player - I try to set the desired stage location for each instrument (acoustically) with the various microphone signals, the panners (even without extra reverb) and with the monitors. To do this, I actually always start with the default (Preset) setting.
The volume of the individual instruments does not interest me at this point!
If all instruments are provided with the articulations (midi-wise) and correctly distributed on the stage, I render all instruments to audio files. Now I'm free of midi problems, I'm not tempted to change anything here and there - you have to finish work once.
In Wavelab I bring all instruments (audio-Files) to the same RMS average volume.
Now all instruments have the right position (L,R, front, back) and are equal in volume.
In the following audio mix, the main thing is to bring the different instruments of all levels into the "right" volume ratio. Due to the treatment in Wave-Lab, the strings, for example, are largely in tune with each other, but you have to find the right setting between the instruments in front and in the back. Again, I do this alone through my taste, my hearing, my feeling. Since I myself record(ed) many live concerts and am now 62 years, my brain knows approximately how the volume ratios present themselves in orchestras. So I never think about dBs. I turn the knobs until it's right for me. I darken rear instruments or lighten front ones until it's right for my hearing and tast, because I had an idea bevor mixing what I want to reach. Nevertheless, my approach to self-control: I always compare with similar recordings that I think are good. I therefore accumulated many references over all the years.
Of course, if you work the way I do, it's important to have good monitoring and, above all, to know it well. Because with it you make decisions and these should of course be the right ones.
By the way, you can find my latest result at VSL: it's only a few days old (Laudate Exultate..;-) and the Video
Now I wish you much success with your way and above all, that you are satisfied with your results or in other words happy mixing as well.
With kind regards
Beat