You could simply adjust the volume knob on the GPO player for the individual instruments. This is usually how I do it...
I tend to leave them in their default state and use more of the mod wheel to control volume, but if you have a perfect mod performance, but not enough volume, then you could go to the Kontakt player\'s volume knob.
Also, if you are going for a more \"hollywood\" sound, you would want to squash it with compression before mixdown also. This can be done as a master effect on the output bus, or to the individual player\'s channel strip.
I’ve seen several posts by you on this forum, so what I’m going to say may be not what you’re looking for, since you probably have read a great deal about mixing on here, but maybe it might help someone just getting started.
Working on a Mac, I don’t have the luxury of running a lot of GPO instruments at once. However I try to get the levels as close to the final mix as I can with the mod wheel, since the timbre changes quite a bit as it does with real instruments from soft to loud.
Then I record each track to audio, and listen carefully to what I’ve done. This process has often made it necessary to rework or redraw the mod curves on some midi tracks to achieve the right balance, then, record them again.
I try to get a good balance within a section (strings, brass woodwinds etc.) before blending the whole orchestra. But you must keep in mind your final goals, so that you don’t have ie, the brass screaming softly in your final mix. [img]/ubbthreads/images/graemlins/smile.gif[/img]
Then once the audio tracks are laid, I make final small adjustments to levels, pan the instruments if necessary, eq any tracks if needed, although GPO is wonderfully eqed out of the box and usually you don’t have to do much unless you want to separate a solo instrument from the orchestra. Then it’s just a matter of adding reverb (most of the time just one instance, since the entire orchestra hopefully is playing in the same room). [img]/ubbthreads/images/graemlins/smile.gif[/img]
For the most part, it is generally agreed that for the most natural sound GPO doesn’t need much if any compression or other enhancements, although if you’re after that “Hollywood Sound”, have at it. This gets into realms of which I’m not too familiar anyway.
There are hundreds of things you can do in a mix, but listening to the demos, the ones I tend to favor, have little done to them except for the above.
Too much can be said about mixing that to try and narrow it down to a single post might do you more harm than good. Remember that when you mix/master your piece, all you are doing is bringing instruments forward/backward. Sometimes, proper orchestration will do the trick, but often times it requires some mastering skills to make the piece sound as desired.
There\'s a lot that goes into the mix which helps with the overall volume (and sound / balance / pan / fx / etc.) Here are some tips that might help ya out:
<ul type=\"square\">[*] <font color=\"red\"> SEPARATE YOUR FREQUENCIES: </font> That is, don\'t have everything pounding in one freq band. Our ears have limitations on the amount of volume we can perceive through a given \'critical band.\' So spread out sounds, use lows, mids, AND highs! (Check out <font color=\"green\"> Sound Design </font> by David Sonnenschein).
[*]<font color=\"red\"> COMPRESSION HELPS: </font> A lot of people scoff at compression for its destructive effects on the dynamics of your compositions. Err It\'s hard for new comers to understand that louder is NOT a better mix. Use your compression wisely - not too much! It can do wonders for those barely audible dynamics that you feel are necessary to the sound. (Check out <font color=\"green\"> Audio Postproduction </font> by Jay Rose).
[*]<font color=\"red\"> PAN: </font> Don\'t be afraid to SPREAD THINGS OUT! It\'s not how well the instrument(s) sound alone, it\'s all about the balance. Try to tweak your instrument in real-time, if that\'s possible. Very useful and fast.
[*]<font color=\"red\"> FX CAN\'T HURT: </font> For now, focus specifically and only on reverb. You really shouldn\'t be using more than eq, reverb, MAYBE some compression, and of course panning. The trick to this and to all mixes, is to listen to the ENTIRE PIECE, not individual instruments. If you reverb each individual instrument, when you play them all back you will likely get a swampy mess! (Check out <font color=\"green\"> The Mixing Engineer\'s Handbook </font> by Bobby Owsinski)[/list]
I hope this helps [img]/ubbthreads/images/graemlins/smile.gif[/img]
P.S. There are PLENTY of excellent books on the topic of mastering. Just give amazon.com a ring [img]/ubbthreads/images/graemlins/wink.gif[/img]
Thanks a lot, guys. That\'s all pretty much what I had come up with already, but I just wanted to check with others who are perhaps more experienced than me--after all, I\'m a composer, not a audio technician (although I probably should learn everything I can about being one).