Hi Falcon, with the reverb it would be nice to try and create some depth, at the moment it sounds like the players are sitting right next to you. [img]images/icons/smile.gif[/img] Also try Simon Ravns eq trick and subtract around 3db of eq from 1350kHz and 2900kHz to lessen the synthiness. (You could also try the 1khz mark too)
Its up to you if you want to emulate a traditional seating arrangement, perhaps pop the violins on the left and basses on the right? Widening to the panning will make the piece sound \"bigger\" too, as long as the panning is not too extreme.
Hi Falcon, you\'re welcome. Please remember that I am far from being an expert myself and can only comment on what I perceive and also pass on info from the many experts here.
After listening a few times it sounds like the attack of the strings is a bit sudden so as you said, really ride the CC11 expression controller to soften the attacks. I think there is a GPC controller assigned for attack on most (maybe all?) GOS patches too so perhaps try that.
A couple of times the piece got quiet and then built up again, it almost sounded like the master volume had been turned down and back up though. For crescendo/descrendo try doing each, one track at a time. SOrry if this is obvious.
The horn sounded nice, perhaps try popping it over to the left and back a bit, in its traditional position?
One way to really bring life to a mix is to work with placing the instruments in different areas of your sound canvas. It will also help bring clarity to the instruments too as they are not trying to fill the same space in your speakers. This basically means panning things left to right and placing them front to back. Generally if you turn down the dry signal of a reverb the instrument will start to sound more distant. I generally leave orchestral percussion quite wet with little dry signal and it really sounds like it is at the back of the hall.
It really helps to follow orchestral seating arrangments when doing orchestral stuff as over hundreds of years the best placement has been worked out for the respective instruments. I know you that already know this, just dont forget to do it with your midi instruments too. [img]images/icons/wink.gif[/img]
doing my chiming in thing. I do believe Scott hit all the points I would have. I\'m listening on headphones at the moment and that is usually where I find things to be over panned, but not in this case. With such a smaller intimate piece I think you can afford to space them out a bit. As far as the verb goes, it wasn\'t that big an issue to me. I would try and slide the instruments around first and then re-examine. The most important thing would be his comment about the swells sounding like they were done with volume rather than cc11 or velocities. Follow his suggestion and you\'ll get much smoother transitions. As to the horn, that could use a tad more verb and backed up a bit (jeez, I\'m just parroting mr cairns now so I\'ll shut up!) Good start though chum. Now let\'s hear some original stuff.