How to Mix Orchestral Music: Mixer Routing & Workflow

In recent times film scores have often relied on textures and unique sound pallets more than the traditional leitmotif of earlier scores. This article will explore unique sound worlds that make scores stand out by studying two of the most exciting and distinctive composers of today. Ludwig Göransson and Hildur Guðnadóttir.

Hey all, Alex here! Today, I want to start talking about how to mix orchestral music, starting from the very core: understanding the mixer and learning how to organize it in an orchestral setting for improved workflow.

In the first part, we looked at how we can use atmospheres and pads to create a new sense of depth and interest in your cues. This time around, it’s time to add some more impact and energy to otherwise calm and static musical passages.

In this 4 part tutorial series, I will take you through some practical and easy, yet super effective steps to make your themes more interesting, more cinematic and powerful.

Here are 9 mixing mistakes I’ve noticed many beginners do while starting to produce music (and I must admit – I did all of them myself!). I will also include ways to rectify these problems so that you can start becoming a better music producer, and also some audio and visual examples.

In this video walkthrough, I explain how I apply reverb to make my orchestral tracks sound bigger and more lush by giving you an in-depth view of how I’m using it in an orchestral track I composed.