All the best,
PolarBear
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@Dietz said:
As pointed our several times during the last few years, these "panning problems" are nothing than a natural occurance of any source in any room. Due to resonaces in a room (and within the instrument itself, too), certain frequencies appear to be louder than others, although they are at the same level at their source.
Make a simple test: Listen to a slow sine-sweep on your favorite monitors. You will hear the tone wandering around, although neither you nor the speakers move.
The same happens while a musician plays on a stage or in our studio: Both the instrument and the microphone are painstakingly positioned by our recoring team, but the laws of acoustics make the sound change its perceptibel volume.
HTH,
[...]
Edit: Hey, should reverb take care some of that problem combined with monoizing?
Hi, the whole 'orchestral placement' deal is really taking up far too much of my time as well at the moment.
I'm using great samples and good plug-ins (Waves S1, Altiverb and PSP Neon) but I am struggling to really get the depth and positioning accurate.
I was reading a mixing book yesterday which mentioned compressing individual instruments in a busy mix to help place them more effectively. Apparently the more consistent volume allows the ear to focus on a specific source more easily.
Now I know that compression is considered to be a bit of a double-edged sword when it comes to orchestral production but perhaps it might help in this case.
A related question: So if you do want to narrow the width and then pan (and you're using the samples in Hosts on slave computers), at what point do you guys perform the narrowing? Do you narrow it at the source (in the host/slave computer) or do you do it in your DAW? Or does it make a difference? I guess I have the same question about panning? At the source or at the DAW?
Thanks for you help,
Mahlon