Mixing classical music live - with Carsten Kümmel # Video 2: Mixing Symphonic Orchestras

[@michaelharrison8019]

Absolutely fantastic. This man is a genius. I have learned so much invaluable information from these lectures. I hope there will be more. Thank you

[@eierschaedl]

Maybe the best video about mixing a classical orchestre out there

[@carstenkummel8038]

Dear Valentin, thank you very much.

[@michaelmikejameswillliams8373]

Thankyou for sharing. I borrowed some of your ideas for a recent Orchestra Gig I did. Worked well. Got good reviews. Thankyou again.

[@mothergrid-magazine]

You‘re very welcome!

[@michaelmikejameswillliams8373]

Learnt so much. Thank you.

[@mothergrid-magazine]

@@michaelmikejameswillliams8373 You‘re welcome!

[@istrunfa]

Incredible information! One of the greatest audio information I ever came across in KZbin. Thank you

[@jean-philippeedel3861]

What a lesson ! Thank You so much for your work that help a lot !

[@christianschneidawind5620]

Hallo Carsten, großartiges Video! Eine Stelle hat mich jedoch getriggert, bei 36:37 hast du gesagt, dass der Panorama Mix mit Shelf und Delay Mono kompatibel ist, was es aber ja durch das Delay nicht ist im Bereich von 1-3kHz. Habe ich das richtig interpretiert, dass es dort mit dem Delay Auslöschungen gibt oder warum sollte es nicht so sein?

[@mothergrid-magazine]

@@christianschneidawind5620 Wir haben‘s mal weitergeleitet!

[@carstenkummel8038]

Lieber Christian, vielen Dank. Es ist Dir sehr gut aufgefallen. Bei der ersten Stufe des Panoramas haben wir ja ein Delay von 0,25ms. D.h. eine erste Auslöschung bei 2kHz. 2kHz ist aber schon durch den Shelving Filter abgesenkt. Damit ist der Kammfilter nicht mehr stark. Ja, es gibt eine Subtraktion, aber eben keine Vollständige. In der Theorie nicht perfekt, in der Praxis kaum nennenswert. Ich hoffe, dies beantwortet Deine Frage

[@simeonogden387]

Great series thank you, It'd be really useful if you could explain (or show) a little more about the relationships of your close, medium and distant reverbs. Your explanations are very good about how each in theory should be programmed but it would be nice to see the relationships / ratios between each unit.

[@carstenkummel8038]

This I let my ears decide. But i. g. The return of the Fx raises appr. about 2dB from front to rear. Decay Time: typical values are: 2,4s - 2,7s - 3s; PreDelay: 70ms - 40ms - 10ms (I know, that is more than in the real world:-)); ER to Decay Decay -6dB - -3dB - 0dB; High Cut; 8kHz - 5kHz - 3kHz

[@olajideparis]

I’ve used those monitors in a studio in Berlin once. What are they?

[@bertrandolf9733]

@@olajideparis ME Geithain

[@mashzmash]

If you are feeding reverberation in to monitors on stage, how do you know when you have sent enough or too much to feel natural? Do you ask musicians for feedback during the sound check?

[@carstenkummel8038]

No, I usually don't. I just walk on stage and have a listen if I would feel embedded

[@LanceHamright]

Wow!!!!

[@oskarwroniewicz]

55:51 - quick recap

[@littlestudio1287]

Hello Carsten, great video! I wonder what would you do if an instrument should be in the center? Sending to L and R and one or two of the delayed channels? Best, Igor

[@carstenkummel8038]

Hi Igor, yes L and R. Thank you

[@littlestudio1287]

@@carstenkummel8038 Thanks!

[@kinglam1367]

Could anyone tell me what's the monitor? Thanks in advance

[@carstenkummel8038]

It is a Geithain

[@diegoreis6584]

Hi Carsten, Thank you so much for sharing such great info... One thing that I didn´t get is what do you send to the 3/3 panning positions since 3/3 equals to 1, which I assume it would correspond to hard left or right?

[@carstenkummel8038]

Hi Diego, 1/3, 2/3 and 3/3 are only names for the signal where they should be localized. 3/3 means it should be localized to the fully left or fully right position. For that (for example to the left side) you give the signal to the bus (L) and to the us (3/3L).

[@diegoreis6584]

@@carstenkummel8038 That makes total sense... Thank you so much!

[@morganbelle357]

Hey Carsten and everybody, great videos, i am really enjoying them. But i think there happened an editing mistake in the Panorama Part: i assume the correct delay Values should be 0.3ms,0.6ms and 0.9ms for the 1/3, 2/3 and 3/3 Busses and not 0.3ms, 1.6ms and 0.9ms? @Carsten: Super Videos! Ich hab mir (allerdings schon vor diesen Videos) Karten für Hans Zimmer in München im April besorgt. Freue mich und bin schon sehr gespannt! :) Viele Grüße aus Detmold/Bielefeld, Morgan

[@carstenkummel8038]

Hi Morgan, yes you are right. I said it wrong. It is 0.6ms on 2/3

[@brucepackard5890]

Wonderful series - I discovered it last night and have now watched them all - thanks so much. One question (although I would love to ask hundreds) - when mixing a classical symphony orchestra, it seems that you choose NOT to do any adjustments during the performance, but rely entirely upon the players - is that correct, or am I misunderstanding?

[@carstenkummel8038]

Dear Bruce, thank you for your interest. If I have the chance in musical questions it is always better to speak with the conductor and let the orchestra correct the things. But of course that is dreamland in most cases. Directly in live shows of course I have always to readjust. But in my live performances the adjustments are 95% only balances

[@MrPilarek]

Hi Carsten, do you use the LPF to control high-frequency leakage?

[@carstenkummel8038]

I am not to much afraid of leakage. So I don't

[@isaax961]

what console is that?

[@mothergrid-magazine]

mario navarro It‘s a Stage Tec Aurus - stagetec.com/de/produkte/audio-mischpulte/aurus-platinum/aurus-platinum-konzept.html

[@tracyeaves4847]

Is the delaying, time aligning and such apply to recording as well?

[@carstenkummel8038]

yes, it does

[@curly_]

[@payzdez]

Audio - mono?!

[@mallorga1965]

Does anyone know about those monitors?

[@carstenkummel8038]

They are Geithains

[@user0000user]

Look for ME Gaithain (ME 901K1)