I'd be happy to hear your comments about this mix and how I can improve it. It's my 2nd piece using GPO and my first trying to employ a whole orchestra. Given that I know way more about building houses than writing for an orchestra, I don't think it turned out too badly, but I know it's not traditional. Thank you.
Hello, Janet - How good to find a piece of music from you!
I definitely got the feeling about the hope of spring, just as you intended. Very sweeping and positive. Looks like you you're building music as well as houses now. Feels good doesn't it?
--insert - Why didn't you post this in The Listening Room where Garritan driven pieces are very welcome? This Forum where you've placed your song is fairly new and as yet not visited nearly as frequently as the LR - I think you could go ahead and post this piece there also. I like the thought of the other regulars having a chance to discover this.
The piece has a good dramatic build to it, and the structure was logical and flowed from one section to another very well.
My technical feedback is this - I'm not sure if you used the special Garritan legato feature on the strings? If you have the notes overlapping slightly, and "bracketed" by cc64 events (sustain pedal) you get a less choppy more truly legato sound.
The Piano plays an important part in this, but I feel it could still come down in the mix a bit to play its role. And if it was shifted in the stereo field more to one side, traditionally the left, it would give you a better stereo picture.
The Woodwinds tended to get drowned out a bit too much, and I think it's primarily because the Piano was so predominant.
We all love to use Percussion, and the GPO Tympani sounds so great, one can get enamored of it - but I feel the generous use of it in this brought a bombastic edge to the piece which didn't quite fit. A bit less Tympani I feel would be sit better in the music.
You got into "the red" a bit when you reached the climax of the recording - some distortion was present at the loudest parts. I'm sure that was exaggerated by the compression they use at Sound Click--but I suspect that the master recording may be a bit distorted. You need to set your meters by the loudest part of a recording--let those not get into the red, and then of course the rest will be well within the limits.
Mixing is difficult, and we're all constantly learning more about it. I hope some of this feedback is helpful.
Mostly, I wanted to thank you for a very lovely piece of music.
Randy, thanks again so much for your specific critiques. That helps a lot.
The piano: It is panned about 30% to the left. (perhaps 50% would better reflect where it should be, now that I think about it.) Perhaps because I bounced it in stereo it sounds too stereo, although I did that with all the instruments. So I'm not sure what to do about that.
I recently pulled up the piano in the mix because some said the melody wasn't prominent enough. You're the second person to mention that I pulled it up too much. I'll have another listen to that. It's hard juggling all those instruments, especially when I'm so familiar with the piece now that my ears hear what they THINK they're hearing and not necessarily what others do.
I've had trouble with the cc 64 legato effect. That's one of the things I tried when I got all the static, so I backed off on all the midi data (except cc 11), to get it to work. I've not had success with portamento either, so I need to keep working with those things...
Someone mentioned on another forum about using a different velocity on these instruments to utilize their different tones. But I heard absolutely no difference in tone OR volume when changing it in prv. And when changing the volume in the KP, I couldn't hear a difference in tone. I'm pretty sure he's not using GPO, so it made me wonder if this feature even works with GPO.
I'll look into that timpani too.
I appreciate the listen and critique immensely. Thank you!