# Books on Mixing Midi Orchestra



## YoungComposer (Jan 7, 2013)

Hi,

I;m looking to learn more about mixing and improve my mockups. Are there any books (or websites) on the subject of mixing midi orchestra?

I would love to learn more about EQ, Compressors, Limiters, Reverb, Panning and so on.

Any good resources for this? (I'm a beginner)


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## Ryan Scully (Jan 7, 2013)

http://www.amazon.com/Mixing-Secrets-Small-Studio-Senior/dp/0240815807/ref=sr_1_1?ie=UTF8&qid=1357598494&sr=8-1&keywords=mike+senior


Mike Senior - Mixing Secrets for the Small Studio


EXCELLENT book - Comprehensive and pretty much covers all angles of mixing. It is not specific to MIDI Orchestration/Mixing but the information is comprehensive and intuitive. 



Ryan :D


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## mark812 (Jan 7, 2013)

http://www.amazon.com/Guide-MIDI-Orchestration-4e/dp/0240814134/ref=sr_1_1?s=books&ie=UTF8&qid=1357599017&sr=1-1&keywords=The+Guide+to+MIDI+Orchestration (http://www.amazon.com/Guide-MIDI-Orches ... hestration)


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## PhilipeZ (Jan 7, 2013)

I can recommend the guide to Midi orchesration as well! I just bought that book a week ago and have not read in complete, however it offers a quite detailed information on plugins and their usage in Midi orchestration and contains also some plugin reviews. The current version is from 2010 and is up to date I think.
It contains also good information on how to orchestrate and especially on the volume relation between the different instruments which is really necessary to create a realistic mix (I'm just getting started in this as well)

Concerning Orchestration, you also might want to check out this website:
https://www.webdepot.umontreal.ca/Usage ... index.html
It's not nearly as detailed as the book and is about orchestration only, but it's for free.


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## guydoingmusic (Jan 7, 2013)

Check out Pensado's place on YouTube. It's not geared towards "orchestral" music. But, it's very informative and you can take what you learn and apply to other genres as well. 

Another option, find a studio nearby and get to know the engineer. Intern, sweep floors, roll cables... do whatever you have to hang around and learn. Honestly, I learned the majority of what I know (which I'm not saying is a lot) by getting around really good engineers and just watching and listening! Opened up many a door for me. Just a thought.

EDIT: third and final thought here... Hire an engineer to mix one of your projects. Watch and ask tons of questions. 

Hope this helps!


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## kclements (Jan 7, 2013)

I like both the Mixing Secrets and Midi Orchestration books. I can recommend them both. 

Also, I have been learning a lot from Peter Alexander's Visual Orchestration classes. I am through lesson 6 of the first course, and moving on to the second course very soon. I would check them out.

k


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## YoungComposer (Jan 7, 2013)

So it seems to be between the Midi Orchestration Book and Mixing Secrets.

I'm looking for something with tips and information like:

"Violins can sound a bit harsh in this register....An eq of...should be applied at 2000-2500 khz to get rid of so and so"

Or 

"French horn needs a low cut at... to remove the proximity effect, reverb with a long tail, a compressor, limiter, etc."

Does one of those books deal with tips like these?


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## Aquatone (Jan 7, 2013)

YoungComposer,

Just some thoughts after reading your posts…

You are taking the right step by asking for advice. Pensado (mentioned above) had an episode where he talked about listening to certain frequencies. It was a type of ear training. This might help you obtain the mix you want. Isolating frequencies in the spectrum of sound will quickly tell you when and where harshness or fullness exists. From there, it's a matter of deciding how much of which frequency is desired. I say this because two different recordings of, say a violin, will have different frequency balancing or equalization needs.

Melda Productions has an excellent EQ that has a function that allows for listening to a narrow band of frequency, with one click. Really neat and free. It is a wonderful feature to have built into an EQ.

The ear and the mind are the "mixing engineer's" two most valuable pieces of gear, combined with experience and dedication to craft. The "sonic needs" are constantly changing even if you use the same samples or VIs for every piece. Learn to hear the problem before applying any EQ. There used to be this awesome saying, "A great recording will almost mix itself." We have to approach the performance of VIs (and the choice of library) as the "recording" process. If the performance is great, the craft of mixing will be another fun part of the creation.

I assume you have great performances captured and that leads us here…

Mixing is like composing. A musician creates with pitches and timbres etc. A "mixer" creates with frequency and volume balancing etc. So, the mixing is an art unto itself and should be pursued with that thought in mind. Two mixes by two "engineers" will sound two different ways. What makes a mix good or bad is a matter of preference and goal. Try to find your voice in a mix just like you would in a composition. On the way to finding your "style", you might try to impersonate the things you like… obviously. But always be you.

By all means, read and invest in any book even if you realize just one thing within it's pages. Know that there is no "silver bullet" and you must pull from multiple sources, including trusting your own abilities, just like pursuing compositional excellence.

On last thing to remember, there is a guy out there the same age as you who wants to do nothing but be a great recording and mixing engineer. He is dedicating his life and dreams to it like you are dedicating yourself to composing. You might seek this person out. It's very enriching to surround ourselves with talented people that will help us attain our vision. Not to mention a less lonely world.

Sorry, I have no single book recommendation. Paul Gibreath, Bob Owinski and others all have useful books. Google is really handy for looking, along with a trip to a book store. This is advice I have given students of mine and they always impress me with what they take from it. Their practice of the concept is their key to success.

Good luck, enjoy the knowledge you discover and make fulfilling music!


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## Peter Alexander (Jan 7, 2013)

It's different for most every lib.


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## YoungComposer (Jan 7, 2013)

Thankyou Aquatone for such a thorough and detailed response. I think you are definetly right in your approach, and it is much similar to how I approach composition. I literally immerse myself in hundreds of books, sites, YouTube videos, audio examples to learn and home my craft because I love composing. Mixing on the other hand....not my favorite. This is perhaps why I find it so difficult for myself to learn and apply what I know.

I have watched and read tons on the subject but one issue I am having is not knowing the basics and what if the information I am seeking is correct. 

For example, I read that compressors should never be used in orchestral music since it detracts from the overall dynamic range.

Or 

All instrument (besides the bass ones) should have a low cut...but I am not sure why...maybe to clear up the low end? 

But many other questions come to kind like if a mix is too bass heavy, do I use a cut? What is too bass heavy? Etc.

Basically, I have gotten some good tips but very sparatically. I need a solid and beginners guide to mixing midi orchestra. 

I have learned that mixing seems to be harder to learn on your own, and that's why I need a book to help.

Thanks everyone for all your help and I will look into those two options.


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## Aquatone (Jan 8, 2013)

YoungComposer,

Your are welcome. Equalizers, Compressors, Reverbs, Limiters etc. are just tools. Learn what they do on a singular level. Then, use them when needed. Read the history of these devices and why they were created. Every track and every mix is different so, conventions, like you mention, are very broad in scope.

Something that might be helpful, to you, is the Spectrotone Chart from Alexander Publishing. Each instrument of the orchestra has parts of it's range that are color coded. The colors represent shades of timbre like bright or dull etc. At the bottom of the chart is the Grand staff with each pitch and it's frequency. You can make a correlation between the "warm" range of, say a flute, and the frequencies or notes the are that range. When you start trying this you might be able to hear the frequency that needs cutting or boosting. You can even using a piano to find the pitch if you don't want to sweep through the bands of a parametric. Waves has a neat EQ with a keyboard built in. The chart is also handy for orchestration 

As an experiment I made EQ presets based on each instrument on the chart. I selected a target range for each timbre using a parametric band. If I need more of a "warm" or "bright" range, the preset frequency is already there. It worked well. But, the mix might need something different depending on the part or style. It was a good and interesting study, just the same.

As far as compressors, what if you want less of a dynamic range or more/less attack or adding impact? Well, it's a possible tool to get that. Avoiding a compressor eliminates that possibility.

Compressors and EQs started out being used as "corrective" devices. Equalizers, or "balancers of frequency", were used for to correct the sonic difference between the microphone and the source…as best they could. The only standards of judgement were the ear and the physical limitations of the medium (vinyl record groove, excepted tape saturation etc.). The EQ quickly evolved into a shaping or creative tool. In modern production, this has led to a "hyper sonic reality" that is different than what one's ears hear in, for example, a live orchestral setting. Real or altered, all has become fair game. Master the basic functions of a device by reading, practicing, experimenting and (above all) listening. Master the technique of listening. The "conventions" are always changing.

As far as "when is a bass too heavy", it's helpful and instructive to compare to recordings you like. Do this for a while and you will get a feel for what you like. And if needed, you can balance those frequencies with an EQ. Of course, an often overlooked effect is the volume knob or fader.

BTW, I don't think there is an exacting or definitive guide to mixing a MIDI orchestra in print. Perhaps you could keep notes during your journey and write the book. I keep a journal as a personal reference.

When you have more knowledge, you will have more confidence. Then you will have more fun during the mix process.


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## Farkle (Jan 8, 2013)

Another good book in the style of Midi Orchestration and Mixing MIDI orchestras:

http://www.amazon.com/Acoustic-MIDI-Orchestration-Contemporary-Composer/dp/0240520211/ref=wl_it_dp_o_pC_nS_nC?ie=UTF8&colid=2901DTTMFN7JF&coliid=I112ZGE9WIFAMA (http://www.amazon.com/Acoustic-MIDI-Orc ... ZGE9WIFAMA)

This book and Gilreath's book are both fine choices. This choice has an accompanying CD with audio examples, which is very nice. 

Mike


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## YoungComposer (Jan 9, 2013)

Once again thank you for your very helpful input. I have purchased the Gilreath and I'm hoping it can get me started with some basic mixing. I'm sure there are a bunch of other useful tips about mocksups, orchestration and so on which is a plus.

Thanks to everyone for their help. I really appreciate it!


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## guydoingmusic (Jan 9, 2013)

Just gonna throw this out their again for you... 

I think the Gilreath book is a great book. Very informational. Book knowledge is good to have. But will not develop your ears in the mixing world. It will never help you understand what 2:1 compression sounds like with a fast attack... nor will it help you pin point frequencies for eq purposes. Again, nothing wrong with getting the book. That will definitely put you in the right direction for sure.

Pensado's Place. YouTube. Watch his Into the Lair segments. start with the first one and watch them all. He explains things very well. And on the mixing side of things, you will learn much more there than you will a book. It's the same with some of these guys going to the "Full Sail" type of school. Book knowledge is all they have. Practical application is essential in building your ability to actually use a compressor in a way that doesn't kill your mix. You are really missing out and robbing yourself of knowledge by not watching those videos. They are free!!


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## YoungComposer (Jan 10, 2013)

Yes, you are right. Nothing substitutes for practical hands on training. 

Just at the moment, it is really daunting when you don't know the basics. I have ordered the Gilreath bok and I look forward to learning the first steps. 

And thank you for those videos, I am now subscribed to Pensado's Place and they're great. Really informative.


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## guydoingmusic (Jan 10, 2013)

Awesome!! Glad to have helped! Best of luck to you!


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