• Register
  • Help
Results 1 to 4 of 4

Topic: Dynamics for Orchestral pieces?

Share/Bookmark
  1. #1

    Dynamics for Orchestral pieces?

    Hi there,

    I’d like to know if and how you use dynamics during the final mastering of your orchestral pieces.
    For instance, when you realize there is a passage without the necessary loudness do you recalibrate all the volume curves in your sequencer or do you use a compressor? Which one would you recommend?
    Or is it a “crime” to use dynamics for orchestral music?

    WIP

  2. #2

    Re: Dynamics for Orchestral pieces?

    Originally posted by WIP:
    Hi there,

    I?d like to know if and how you use dynamics during the final mastering of your orchestral pieces.
    For instance, when you realize there is a passage without the necessary loudness do you recalibrate all the volume curves in your sequencer or do you use a compressor? Which one would you recommend?
    Or is it a ?crime? to use dynamics for orchestral music?

    WIP
    <font size=\"2\" face=\"Verdana, Arial\">Hi WIP

    It is a crime but often a requirement! I do a lot of music for computer games and TV. Almost always the music is competing with sound FX, dialogue etc. If the music is too dynamic the quiet bits get lost and the loud bits stick out intrusively.

    In terms of tools, a multiband compressor is essential. The Waves Masters bundle of plug-ins is very strong, especially the L2 Loudness Maximiser which has an automatic release control. This is very effective especially on dynamic orchestral material and helps avoid the horrible pumping you get with a lot of maximisers. It\'s also very easy to use. The Waves multiband compressor is also fantastic but not easy to set up for the novice. I don\'t ususally bother with adjusting the volume curves and velocities etc. but I probably should!!!

    It often helps to prepare an audio file of a mix before applying compresion. This means looking for any peaks with the search peaks function you find in most audio editors/DAWs. There might be just one peak in level that is 3dB louder than the rest of the piece and only a few samples long. If you find one, select it (with snap to zero-crossings turned on in your software!) and turn it down. It\'s then tempting to normalize the file which brings the average level up but normalizing isn\'t that kind to audio so it\'s best to bring the level up with a loudness maximiser like the Waves L2.

  3. #3
    Senior Member Bruce A. Richardson's Avatar
    Join Date
    Sep 1999
    Location
    Dallas, Texas
    Posts
    5,755

    Re: Dynamics for Orchestral pieces?

    There\'s no crime in using ANY technology that benefits the final result.

    The only crime, if there is one, is putting the blame for results on the tools instead of the musician at the helm!!

    In fact, most of the esoteric compression designs you see today are based on tricks the pop world borrowed from the orchestral world--not the other way around!! So-called \"bottom up compression\" like used in the Waves C4 and Linear Multiband is a direct lift of a technology used by classical mastering engineers.

    Fear nothing. This is why God and Al Gore invented the undo button.

  4. #4

    Re: Dynamics for Orchestral pieces?

    Originally posted by Bruce A. Richardson:
    This is why God and Al Gore invented the undo button.
    <font size=\"2\" face=\"Verdana, Arial\">Gotta love how Al Gore invented everything HAHAHA

Go Back to forum

Tags for this Thread

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •