When used effectively, microphone balance can be useful when it comes to adding depth and focus to your compositions. In this article we'll be looking into how you can combine some of these microphones to not only enhance your compositions, but to give you a better understanding of the Mic Mixer in general. The final intention being that you can then confidently adjust the mixer to your own personal preference.
By default, the SSO has 3 microphone positions: Close, Tree & Ambient.
With the additional mics and mixes, you will get access to some extra microphones: Outriggers, Close Ribbons, Stereo Pairs & Galleries. As well as this you'll also receive the Jake Jackson stereo mixes, which are pre-mixed combinations.
|Close||This will give you closest sound to the instruments, you will hear significantly less of the hall, but much more detail, focus and 'bite'.||✕|
|Tree||The default microphone in most Spitfire libraries. This microphone is situated above the conductors head, giving a strong representation of the hall and room, whilst maintaining instrument focus.||✕|
|Ambient||These microphones will give a great amount of room and hall, perfect for adding ambience and depth to your mix.||✕|
|Outriggers||Similar amount of room to the Tree mics, but with significantly more width. The Outriggers are extremely effective for use in the Brass and String families, due to their position on the sound stage.||✓|
|Close Ribbon||Similar to the Close in placement, but using a ribbon microphone - producing a much warmer and well rounded tone.||✓|
|Stereo Pair||Somewhat similar to the Tree and Outriggers in sound, but with less focus than the Tree, and not quite as much width in comparison to the Outriggers.||✓|
|Gallery||Recorded way up in the galleries, these microphones give the absolute greatest amount of room possible, a huge representation of the AIR Lyndhurst hall!||✓|
|Leader||Unique only to Symphonic Strings, this microphone is placed close to the leader of the section, capturing a direct signal with minimal ambience. Great to use for a smaller sounding section, or bringing in a melody in the middle of a busy passage.||✓|
The AIR Lyndhurst Hall & Placement
Getting Started With Combinations
The best way to explain combinations would most likely be in the form of audio examples, so we'll work with a small snippet from a composition written using only the SSO. The snippet utilises each family and can hopefully display the vast differences and combinations you can achieve through the mic mixer.
An important note when combining and balancing microphones is to imagine where the "focus" is in your composition. Do you have a solo Flute line that needs some clarity? Do you want your percussion to sit as far back in the mix as possible? Maybe it is both! A good starting point is to listen to a composition that is similar in style to your own, and really try to 'hear' where the instruments are sitting in the mix. Whilst microphones often cannot achieve all of this alone, they can certainly give you a good starting point!
This mix focuses more on the standard early 'Hollywood' sound, which has a beautiful sense of room and distance, but still maintains a good amount of clarity in all key areas of the composition. The main microphones used are Tree and Ambient, however the Brass dials in a lot of the Outriggers. As well as this, the Harp is using a large amount of the Close signal, something very common in a Hollywood mix.
If you are intending to use more of your own reverb, it's safe to say that Close signal could be a good idea. The Close mics are by far the 'dryest' available in the SSO, thus allowing you to apply more of your own verb without completely washing out your mix. It's worth noting that the Close mics are understandably much more narrow in comparison to the others, so dialling in some of the 'roomier' mics is still recommended!
This mix is perhaps a more extreme example of the distant sounding microphones available. It is very wet by nature, and not as focused as the previous examples. Whilst this example does give a great representation of the Air Lyndhurst hall, it will probably sound a little too wet for most people! Comparing this to the Close mix is quite staggering!
Technical Tips & Tricks
By default, each microphone is assigned to a CC number, meaning that you can control these through faders or on your MIDI Controller. The CC values for these microphones are as follows:
STEREO WIDTH & PAN
Another handy tool built into the interface is that you can choose to pan and enhance the stereo image of the microphones. Above the mic mixer, selecting this icon on your interface will open up stereo width and pan, select the microphone you'd like to change and then edit away! This will only apply to the default microphones and not the expansions.
MIC SPECIFIC OUTPUTS
Another helpful tool on the interface is the ability to assign individual microphones to different outputs within Kontakt, which can come in very useful if you'd like some extra control over signals when mixing. You can access this by simply right-clicking the respective letter beneath the faders.
MIX BY ARTICULATION
When an articulation is selected, you can 'save' a specific microphone mix to it by selecting this icon on the interface. Handy when it comes to things such as dialling more close signal into your short articulations for more bite. Try it yourself!
You can use certain keys on your computer whilst dragging the sliders to change the way they behave.
Shift: More precise control whilst dragging.
ALT: Prevents the microphone from loading/purging.
Ctrl/Cmd: Reset to 100% levels upon release.
Q: Should I still use Reverb with all these mics loaded?
A: Whilst in some of the more 'distant' mixes you may not feel you need to, you still absolutely can. A little extra 'glue' reverb can go a long way! Reverb will almost certainly be needed on a Close mix.
Q: Following this, which reverbs would you recommend for use with the Spitfire Symphonic Orchestra?
A: Christian Henson recommends "VSS3 Native" by TC Electronic, whereas Jake Jackson often favours the "Worcester Hall" preset in Altiverb. We do have a couple of handy YouTube videos on the subject, which can be found here and here.
Q: I'm limited when it comes to CPU power and/or RAM, is there a workaround?
A: There are multiple ways that you can approach this, perhaps one of the more popular would be to use a 'freeze' and 'unload' function in your DAW once you've activated the microphones. Another option is to export the stems separately for each microphone, and then do the mixing/balancing in another session - as would be done with a real orchestral mix!
Q: Where can I hear some more examples of the SSO balanced with the microphone mixer?
A: Andy Blaney is well known for using only microphone mixes in his Spitfire demos. Look out for his demos on the product pages, as well as on the official SoundCloud page here.
If you have any other questions please feel free to leave a comment below!