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Old 7th May 2020
  #9
Here for the gear
 

Quote:
Originally Posted by deedeeyeah View Post
i like it quite a bit,

less the composition but the audio in terms of spectral balance and total amount of efx/room sound.

what i like less is the lack of depth, the stereo picture/localisation, that there are several sections/instruments without much definiton in general/get drowned in the orchestra occasionally and don't match in terms of room sound - the soloist i find often too loud/doesn't sit in the mix.

also, the soloists starting out in the audience doesn't do anything valuable and the change in position doesn't get reflected in the mix; i admit this is difficult to achieve in stereo though!

btw:what kinda pa was there btw? 2.0, 5.1? and is this a downmix from surround or the mix you did in stereo? was this just to document the concert or destined to be released as a commercially available dvd/for streaming? if the latter, i don't get why the live performance was recorded and not the rehearsal: it's just too noisy!

in a nutshell: for this composition, performed in this venue, i would have used vastly more mics - no comment on the lights/video, none of my business...
Thanks for chiming in deedeeyeah:
The PA is mono, basically 6 2way speakers permanently mounted inside columns left and right that support the balcony.
Since the intent of this production was to document the concert, promote the ensemble on Vimeo and YouTube, the mix is stereo only. If I was only doing audio, I would have had more time to mount mics in the middle or back for rear pickup.
In retrospect, I should have automated the panning and reverb of the singer, so that she starts out distant and center, then evolves into a fixed position left of the conductor. I did the mix first, then cut the video. It would have been nice to do a surround production on this I admit, that would be much better.