Classical music is known for its nuanced sonics—from the wide dynamics all the way to its vast range in the frequency spectrum. With that comes a unique set of challenges for sound engineers when recording, mixing, and mastering classical music.
Choral music, as a classical subgenre, also has specific engineering challenges that revolve around the nuances of a live vocal ensemble performance.
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In part one of this article, we delve into what makes a classical recording different from modern music productions. With the added insight of iZotope’s Education Director and seasoned mastering engineer Jonathan Wyner, we explore the unique characteristics that define how classical music has been recorded, mixed and mastered over the years. For part two (stay tuned!), we walk through how I used Ozone 8, RX 7, and Exponential Audio reverbs to engineer a classical choral album I recently recorded, mixed, and mastered (featuring Los Angeles-based choral ensemble Tonality and their album entitled Sing About It.)
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Though this series takes a deep dive into choral music subgenre of classical music, we will be covering other aspects of the vast world of the classical genre in the near future. Stay tuned!
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Mixing and mastering contemporary vs. classical music
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Contemporary and classical music rely on the same basic fundamentals to bring the music to life—from the use of microphones and an audio interface/recording device to record the musical performance, the need for a mixer or a DAW to achieve the proper mix balance of the sound sources, all the way to the goal of achieving optimal loudness and balance in between tracks to create a cohesive classical album.