Going battery powered and not using a laptop eliminates need to tether to wall and the extra cords. Even using a laptop, you’ll want to have it situated where it issn’t in the way. I have a bunch of snakes I use for accomplishing this. Whirlwind makes reasonable priced snakes that hold up well and are easy to see channel numbers in low light. Proco is also good, but not as easy to see in low light.
Always tape down all cords. Leave no part untapped. Also, always tape off recording area. Some people can be unaware of the mics and accidents happen. Because my back bothers me from time to time, I invested in a gaff gun. This provides a quick way to tape down a long cord run (without having to bend over or get on one’s hands and knees). I’d like to congratulate whoever invented that thing. It’s brilliant.
Comments about the mix in the link (I only listed to the first few minutes):
Nice overall job. Your first foray into remote recording produced results that far surpassed my first try. I do have a few minor comments for your consideration. Stereo image seems a tiny bit stretched. This is a very minor comment and is not worth adjusting, just noting for next time. Was the layout of the group wider than a 96 degree angle coming from the ORTF array?
One reason you had to bump the bass is that you were using a mic with a card pattern, which inherently rolls off the low end. Omnis typically don’t have this problem. Everything we do in recording is balancing a bunch of trade offs. The low end roll off is worth it for the ease and consistently good overall sound ORTF delivers. EQ - I’m not sure the high freq cut is fully helping you. It seems like you’ve removed a little too much here - there’s not enough air to the sound. Also - I don’t get enough sense of the hall. Also - how much did you compress (or adjust loudness with Ozone?). What is average RMS or LUFS?
On your other question on peaks and dynamic range. The process I use is as follows. I bring the level up in WL so that I’m peaking at -0.3. Then I use hard limiting. In my case, I use the Precision Limiter in the UAD bundle. Any hard limiter should work. Then I use WL gain adjustment to add say 3-5 db of gain. I use the WL gain plug in so that it’s a precise process. I listen carefully to see how the peaks were handled. May need to horse around with settings and redo it. If I really need to bring the peaks down a lot, I try to do 2-3 passes of the limiter, rather than one pass with a massive reduction. After this, then I use WL’s loudness normalize function. I typically aim for -17 LUFS (I’ll go with lower average levels if the recording is to be submitted in a competition). I see that you have the light version of WL, so you could probably do the same using RMS as your scale. Won’t be much different. I can’t comment on Ozone as I have no experience with it.
I have also used volume automation as well as multiband compression. However, these are more difficult to do (at least for me). Running through a hard limiter with a precise increase in gain is easy. If the limiter is good, it should sound good. Often this is a process of trial and error. I use the undo button frequently. I also put plugins in/out of signal path for A/B comparisons. Your ears are the ultimate guide. I probably use volume automation in WL in 30% of my recordings. Your WL essentials might have this. I often use to adjust the volume of applause relative to the piece. If the piece is at -17, I set the applause for -20 or -21. I hate it when applause is as loud as or louder than the song. Just doesn’t seem right. I also use volume automation when I’m failing at hard limiting. And then if volume automation fails, I reach for the multiband compressor - assuming it’s just a narrow freq that’s too loud.
Overall - you should be very happy with the quality of your recording. Nice job!
If you want - feel free to put the raw files up. I’ll process them and send them back to you for your review.