I’ve created a large orchestral template about a thousand tracks. It has instruments from many manufacturers. Ultimately I want to balance these sounds so they can be used interchangeably.
I have created a folder for each instrument from piccolo to contrabass. I have one instrument per instance of the carrier (Halion, Kontakt, Play). Inside each instrument folder I might have up to ten different flutes, or clarinets depending on the folder. Some are Kontakt, some are Halion Symphonic orchestra or Iconica and a few are independent samplers like East West’s Play.
The intention with this Master Template is to use it as a track depository from where I ma audition and import sounds into other projects.
I might say that each instrument type has its own group which then feeds its a section group (e.g brass, woodwinds) then on to a master Orchestral group. But I want to save adjustments there for actual composing, not set up which I am doing now.
There is a considerable range in the volumes straight out of the box across manufacturers piccolo versus piccolo, timpani versus timpani.
At the moment I am trying to create approximate aural parity - like for like articulation across manufacturers. This is proving to be a challenge. There are several ways to change the volumes. Here I list the most used: In the instrument GUI gain control (if present) , in the Master volume of its player. In Cubase’s pre-gain control, lastly in Cubase’s instrument fader or in the CC1 and 11.
My thinking is that I should use the pre-gain in Cubase. This is because the master volume or GUI volume in each type of manufacturers player, many vary and some GUI may not even have a gain control.
I am pretty useless and understanding the language of Peak volumes, dBs, loudness meters. RMS and all the other lingo, yet I am wondering if the Control Room meters might be used to help objectively balance the sounds of each instrument class (on say sustain notes).
From an engineering perspective what would be the right approach?