Recording an orchestra is a thrilling yet complex task, offering a rich palette of sounds, textures, and dynamics. Capturing this natural sound as well as the acoustics of the recording space is the ultimate goal, whilst also optimising it for an exceptional listening experience. Here we look at an introduction to the basics of successfully recording and mixing an orchestra.
Pre-production
Understanding the Space and Orchestra
Understanding the recording space is crucial. The size, shape, and acoustics all influence the sound and so an advance visit can help you understand how it reacts to specific sounds and frequencies and therefore microphone choice and placement. Gathering details of the orchestra’s size, instrumentation and section layout if non-standard, can significantly aid planning and acquiring the scores can help you follow along, make notes during rehearsals and recordings, and assist in post-production editing.
recording and mixing an orchestra production music strings woodwind violin brass underscore
Microphone Setup and Logistics
Once you’ve made your microphone choices, you need to determine any limitations on mic and stand placement, especially for concert recordings or video shoots. Some studios will have systems in place for hanging microphones and will almost certainly have the large microphone stands required for capturing orchestral performances. Many larger venues also have microphones in place for such purposes. In either case it is essential to set up a talkback system for communication with the conductor and to meticulously mark your takes and notes on the score.
Team and Gear
Orchestral recordings most often require a team of at least 2 or 3 people, including a producer to follow the score and communicate with the conductor and musicians, an assistant to place microphones and run cables and of course a capable recording engineer. An experienced engineer will have already created an input list which is essential due to the large number of microphone channels required to capture each section and the space. For location recordings, a detailed gear list is crucial to ensure nothing is forgotten and back up systems can often save the day in the event of hardware failure. The cost of such systems is minimal when compared to the cost of the orchestra and venue. If recording a touring production it is often possible to split the microphone feeds to the live mixing desks to save overcrowding the stage as well as time and expense.
Instrument Sections
Orchestras typically consist of the following sections, with the number of players varying depending on the score:
Strings: Violins 1, Violins 2, Violas, Cellos, Double Basses.
Woodwinds: Flutes, Oboes, Clarinets, Bassoons (and others like Piccolo, Alto Flute, English Horn, etc.).
Brass: Horns, Trumpets, Trombones, Tuba (and others like Wagner Tuba, Cornet, Piccolo Trumpet, etc.).
Percussion: Timpani, Snare Drum, Bass Drum, Cymbals, and various other instruments.
Other Instruments: Harp, Piano, Celesta, Organ, and sometimes choirs or modern instruments including electric guitars and synthesisers.
Microphones and Placement
Main Microphones
An orchestra is typically recorded with a set of main microphones positioned high above the conductor and the front of the orchestra. Common setups include:
AB Stereo Pair or Decca Tree: These capture a broad soundstage with detailed string sections.
Outriggers: Omni microphones placed high on the outer edges of the orchestra to widen the image and add space to the recording.
Spot Microphones
Spot microphones, usually cardioid or wide cardioid, are positioned closer to certain instruments or sections to capture more detail. A typical spot mic list includes:
Strings: Violins 1, Violins 2, Violas, Cellos, Double Basses.
Woodwinds and Brass: Flutes, Oboes, Clarinets, Bassoons, Horns, Brass sections.
Percussion: Timpani, various percussion instruments.
Other Instruments: Piano, Celesta, Soloists.
Ambient Microphones
Omni microphones placed or hung higher or further away in the hall capture the natural reverb and audience applause, enhancing the recording’s spatial quality.
Mixing
Balancing Acoustic and Detailed Sound
The goal of mixing is to reproduce the performance of the orchestra in the space in which it was recorded through balancing the room’s acoustics and the orchestra’s overall sound with added detail from individual instruments and sections as required. Listening to reference recordings and attending rehearsals can help you understand the conductor’s balance and the room’s sound.
Processing
Less processing is typically used in orchestral recordings to preserve the natural sound and dynamic range. Common processes include:
EQ: Minimally used to correct and enhance the natural tone of the instruments. Microphone choice will have been made to capture the most natural representation of each section/instrument without adding colour or distortion.
Subtle Compression: Applied to some microphones to control dynamics but not so much as to remove the drama of a powerful orchestral swell. On Ryuichi Sakamoto’s beautiful soundtrack recording for the Bertolucci film ‘The Sheltering Sky’ there is one such swell where distortion can be clearly heard on the final master, so balancing dynamics with performance is a delicate task for even the most experienced of engineers and can be costly if not handled correctly.
Master Channel Limiter/Compressor: Especially for live broadcasts to control overall master bus levels ands keep them within limits.
Reverb: Can be added to enhance the natural acoustics of the recording room using high-quality reverberation units such as a Lexicon 480.
Time Alignment
It is good practise to measure the distance (delay) between spot and main microphones and add delay to the spot mics in the DAW to time-align the signals and avoid phasing. This is to reproduce the recording as if the listener were sitting in front of the orchestra. Whether this improves the sound is subjective and depends on the specific recording and needs of the producer and project.
Live Mix Adjustments
When mixing live, following the score helps anticipate solos and important textures. Use individual channel faders and DCA/VCAs to subtly adjust instrument and section levels, especially in extremely dynamic sections and to maintain a balanced broadcast.
Editing
Linear Editing
Orchestral editing is done linearly, cutting, pasting, and moving all tracks together due to overspill across the main and sectional microphones. For studio recordings, multiple takes can be pieced together if necessary, while concert recordings might involve editing the best parts of several concerts or rehearsals to present the best performance for the listener but always editing all tracks together.
Collaborative Editing
Most conductors and some musicians participate in the editing process, either through listening sessions with the engineer or by providing feedback on initial edits however it is always important to remember that the goal is to produce a recording that works for the listener, capturing the emotion and dynamic power of the orchestra which conveys the composer and conductors intention perfectly.
Recording and mixing an orchestra is a time consuming and yet hugely rewarding process that requires meticulous planning, technical expertise, and a keen ear. Listen to as many recordings as possible to understand the magic, drama and emotion that a well recorded and mixed orchestra can bring to the listener. With these foundational principles, you’ll be well-equipped to embark on your first orchestral recording projects and achieve outstanding results.