![]() ![]() ![]() There are spots (accent mics) that may need to come in and out. The players are spread over a large space and no static balance is ever going to work perfectly. There’s no such thing as a ‘true’ vantage. ![]() Mixing for a solo instrument or small chamber group is generally pretty static: once you’ve got the balance, levels and positioning you shouldn’t really need to do anything. So our job is first and foremost not to leave any evidence we were ever there. We trust that the player got it right-dynamics, timbre and all. Of course, you mix in classical as well, but not as dynamically. Placement, EQ, effects are all part of that vocabulary. Mixing in pop (a generic term I use) is absolutely part of the creative process. Mixing in classical music-and especially so in chamber or solo music-isn’t at all like the process of mixing popular music of any form. In this article, I’m going to describe the process of making both a stereo mix and a Dolby Atmos mix. I was recently asked to record two pieces of piano music played by my friend Jason Hardink (pianist with the Utah Symphony). In a sparse recording where big panning moves aren’t appropriate what does Atmos bring to the project? Mixing in Stereo In this article Michael Carnes, reverb guru and the man behind Lexicon and Exponential reverbs, shares his experience of mixing a solo classical piano recording to stereo and to Dolby Atmos. ![]()
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