Start building your template

For the first point, we must work with subtractive EQ on each instrument. We are going to focus on the mid and low registers to control the 'muddy area'.

In the second point, the goal is to improve the mix, making the entire orchestra sound better.

Finally, at the stem level, we are going to master the tracks by adding a bit of brightness, more saturation, a new level of compression, etc

Let's examine the first point and see what Marc does:

ABOUT TRACKS

Balance

The first task at this point it's about balance, which should be understood as the natural volume that the sections would have in a real orchestra. Genarally, the woodwinds have the lowest volume. They serve as a section for color and texture. This does not imply a lack of melodic capabilities; on the contrary, they are quite agile instruments overall. However, they are the instruments with the least projection in the entire orchestra, regardless of the specific characteristics of each instrument.

Secondly, we have the string section.

They are the most homogeneous because they maintain the same projection capacity throughout their dynamic range (which is notably large), and their timbre does not vary between registers (unlike the woodwinds). Therefore, the strings must be more louder than the woodwinds when filling an orchestra with the standard number of instruments it typically includes

Thirdly, the brass section is the loudest compared to the other sections. Simply observing the number of brass instruments and their placement in the orchestra reveals their powerful capabilities.

This is without considering the percussion section, which is the most diverse group, featuring the most pronounced differences in projection (comparing a triangle to a pair of timpani, for example, is not feasible), as well as in terms of tuned percussion and its sound variations, such as the celesta, xylophone, or harp.

Finding the balance is a challenging task, yet it's one of the most important steps in creating your template. You need to dedicate time to ensure it's done correctly.

Marc begins the task by analyzing the staccato cello section, but feel free to use any method that works best for you and your listening preferences.

You can adjust the balance using the gains (as Marc does) for greater control.

Panning

Once the balance has been resolverd, we must proceed with the panning.

It's worth pausing here to note that the libraries, being recorded, already have panning.

However, it's beneficial to widen the panning a little bit to create more space between instruments and to accentuate the positions in which the instruments are placed.

Pay attention to work with stereo combine panning.

Equalization (EQ)

As we have said, within the tasks in the Track point, now comes the EQ, which will be in charge of eliminating the muddiness and avoiding frequency stacking.

In general, we'll clean the bass with a high-pass filter and apply a subtractive EQ between 200 and 300 Hz (-2, -3 db)

This is not a strict rule but rather a guideline, as this frequency range is typically where the muddy area is found.

We will do this for each instrument, one by one. Again, it can be laborious work, but it's necessary if we want to improve our orchestral sound.

Saturation

By adding a little saturation, we will gain in sound quality, approaching a more analog timbre. Making the sound more cohesive, brighter and a bit wider.

ABOUT GROUPS

The goal here is to improve the mix. We will set up the groups, reverbs through the FX track, compressors, etc.

let's take a look how.

The groups will go to the stems to be mastered there. Now, it's time to mix, but it's very important to stay organized in this step to maintain order and efficiency.

Let's see how Marc does it:

Stems