Mixing FEMME

While mixing the songs, I had checked the phase of each mic to make sure there was no phase cancellation issue and a limiter to make sure the songs' integrated LUFS is approximately -16LUFS. I also left around 3 seconds at the end of each song to let the listener subside from the previous song and get ready for the next one. I hope that the listener would listen the album according to the order.

To get a a sweet balance in between the direct sound and room sound, I chose to combine the AB Spaced Pair and ORTF Stereo Mics. The AB gives a very decent stereo image; the ORTF picked up most of the direct sound, that's why I added a little bit of the ORTF to replenish the direct sound from the choir.

One of the problems I had during mixing the song "Glow", was the pedal of the Piano was recorded very clearly by the two Piano close mics. I couldn't do much without changing the tone of the Piano, so I could only put a High-Pass filter at around 90Hz and pull down the close mics and turn up the Dummy Head, as the Dummy Head was being placed in an audience perspective, close to the piano.

In the song "Gnothi Safton", the stereo mics had the same issue: when the boomwhackers were hitting the ground, there was a transient bass frequency created. I had to get rid of it by turning up the Low-cut filter up to 80Hz.

To have a control over the clapping part in one of the songs, I put a slightly heavier compressor on the closest mics (ORTF), to make sure the section doesn't ruin the dynamic range of the song.

It had been hard during the mixing, as my school doesn't have plug-ins like RX6 to reduce unwanted sound in the recording. The mixing would've been at a higher standard if those plug-ins were available.