yes, actually I have, but I wanted you to say it for everyone else because everyone has been advising you to not use compression at all on an orchestral piece.

as long as you know that everyone is advising you not to use compression but you're choosing to use compression anyway - that's really all I wanted to point out.  I wasn't sure you realized that you were still using compression as long as you have ozone on your master bus, and wanted you to know that you are.


carry on. 

hmmm.  so you disabled the compressor in Ozone?

If you really do understand what you're doing with Ozone, then that's OK, but I just want to be sure you do understand.

just because the "brick" doesn't occur until the timps kick in doesn't mean you aren't compressing all other instruments.  it just means that the timps are getting LIMITED, but compression is still being used on the entire output at ALL times on ALL instruments unless you disabled the compressor in ozone.

ok.  I just didn't want to publicly and blatantly say you didn't understand...

this time!

Hey Janet, a little busy next few days, but I promise I'll make that template for you on the weekend! I'll set a reminder in my phone. I want to try this out and see how it sounds!

It seems this is about two issues. Panning for orchestral instruments and mix levels are getting out of control.

With any piece of music no matter what the instrumentation I always find it a good idea to start the mix at the point of the music where the music is the loudest and most of the instruments are in and where the music is really going for it. (In Sonar, setup a loop at the required point and just let it cycle through the loop while you mix)

This may happen right at the start but even with a pop song it might not be until the first chorus and with a classical piece it might be half way through so start there.

It's a matter of getting a great blend of all the instruments right at that point and it is possible to mix all the instruments of the orchestra and get just the right level on the mix buss at this point. It should only be just coming close to 0db FS at this point. Then you can apply a compressor if needed and it should only just be kicking in on the loudest parts.

(When the timps and everything is mixed well the level does not have to go through the roof at all. Your mix is poor if this is happening)

Usually once you have your loud sections done the rest seems to take care of itself. And yes for an orchestral piece those quieter sections may be a lot quieter but thats OK as it the nature of the music. You may want to do some automation to bring up quieter parts. (In mastering, some extra level can be put in here too)

But start with the hardest, loudest and busy parts first then all will be well. Many people make the mistake starting a mix (of any project) right from the start and they get that right but when all hell breaks loose they are in trouble! You will never get these compressor settings correct until you look at the loud parts of the music first.

MIX TIPS

At these very loud sections start with all the heavy low end stuff first and mute the rest. These things include, the orchestral bass drum, timpani, double basses, low end horns such as trombones even french horns etc. Get all these things balanced, sitting well and keeping about 3 db clear of 0db FS. The bring back the rest of the orchestra. Higher strings, woodwinds, tuned perc etc. You will find all the remaining stuff will easily blend in without major changes to overall levels. They might go up 2 or 3db hence the reason to leave some headroom for them while doing the heavier stuff first.