Mixing Music The Right Way

About the author


My name is Glen. I've been in the audio world for over 15 years. I love reviewing audio equipment and solving audio related problems.

John - January 24, 2018


Very useful, however, no one is ever talking about the symphony orchestra, where all of these parameters multiply manifold. Mixing with sample libraries is yet another dimension, since samples are not equally good sounding so they need equalization, particularly high strings and wood winds. That means that each track has to be equalized separately. Mixing strings is tenuous at best, since unwanted noises and harmonics compound when one adds each compartment into the mix. For ex., first group of violins added to by the second group of violins, then violas, then the cellos and finally bases. Bases in particular add terrible ballast to the mix, unless one either diminishes them or cuts their lowest spectrum. But then the mix sounds, well, basless, which damages the harmonic structure. At any rate, except Pejrolo’s book (which is not about mixing), no one treats digital orchestral mixing in depth. I have at least 3 books about mixing, all very thorough and good, but they only are about the rock band. Anyway, just my 2 cents about the desert out there and lack of attention payed to us, orchestral authors.
Best, John.

    Glen - January 24, 2018

    Thanks for the comment John. You’re right, mixing orchestral elements is incredibly challenging. I must admit, I only use a limited amount of orchestral elements in my tracks!

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