Yes, I’ll second that! Rather than post a bunch of screen shots, I’ll just describe what I did, based on guidance here and some other articles I found on other forums.
Based on Tom’s advice, as previously discussed, I bought the very tall stand and placed it about 12 feet from the conductor, and some of the musicians were actually in front of the conductor on the stage. It also seemed to be about the right distance to get a good Stereo Recording Angle based on the ORTF mic configuration. So that’s basically the input side. Mics into MR816csx into my old laptop running Cubase 4.5. I had set up a template with two mono tracks going to left and right on the output track. So I just had to hit the record button. I tried to peak somewhere around -12 db, based on the dress rehearsal, but I think I hit about -9 at the highest point, so I had plenty of overhead.
I then copied the whole Cubase project from the laptop to my deskside running Cubase 8. I did not change anything about left and right panning - the left mic is hard left and the right mic is hard right. I cut the tracks so the applause was in separate segments. Then I selected all of the audio segments with the orchestra in it on both channels and normalized to zero. I’m now thinking I should have normalized left and right separately. Maybe somebody has a thought on this. After all, the gain was set manually by me looking at the input levels I was getting in dress, so they weren’t necessarily equal in any way.
Processing after that was basically equalization, loudness, and reverb. With equalization, I was primarily trying to boost the bass a little. They had four basses; probably could have used more in the loud sections of Scheherazade. I do most of this in Ozone 5, and my first try was to boost the bass in Ozone, but I wasn’t happy with the fact that I was also boosting timpani, which were really too loud in the peaks of Scheherazade. I thought it was strange that they placed the timpani right behind the first violins, and close to the front of the stage, but talking to the Executive Director, that was just done by custom for this orchestra. It was a guest conductor who didn’t want to break their normal routine. So then I gave up on that approach and instead boosted the bass in the right channel only, as the basses were on the far right, and it had less of an effect on the timpani.
For loudness, I first tried using a hard limiter on the master channel. Looking at the wave images, it was obvious that the peaks were all coming from the percussion (and this is always the case), so I just wanted to get those down without affecting other dynamics. But something about the hard limiter sounded harsh to me. So I instead used the Maximizer in Ozone. Reading the manual, it describes the function as an algorithm that anticipates peaks by looking ahead and then applying psychoacoustic science to lower the peaks in such a way as to make the lowering less noticeable. If you think about it, a limiter in the digital world is just a model of the circuits developed to do that before we even had digital. And it now makes sense to me that now that it’s all digital, it could be done in entirely different and more satisfying ways. So instead of applying a limiter, I found that the Ozone plugin sounded a lot better. And I set the point of starting to limit at -7db, which seems extreme, until you look at what is in those last 7 decibels, which is all percussion transient peaks.
And last, for reverb, since the hall was largely full, and my mics were not so far from the stage (and cardioid), I added some reverb. I tried all the versions in Cubase, but it sounded best with the reverb supplied by Ozone. As someone said in another forum, you don’t really need to put Hall convolution on something that was already recorded in a hall; you just need a light simple reverb.
In the end, I still felt the recording was missing “body”, and I added a small wide hump of midrange in the equalizer of the Cubase master channel.
No compression anywhere, but limiting as I’ve described.
So that’s it; would love any comments.