Christopher Tin
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Q

Mr. Tin,

First of all, bought the full score to Calling All Dawns a few years ago, and I just want to tell you that studying the orchestration of that song cycle was one of the best choices I made as a student composer. Thank you.

I have two questions: I know you have not published the full score to A Drop That Contained the Sea, but I do not think I have been as touched listening to a piece of music as I had listening to Waloyo Yamoni, and I would love to study the orchestration. Is it possible to get a copy of the score?

Second (sorry for taking up all this space): If you mix your own tracks, how do you generally approach mixing choir and orchestra for clarity, as opposed to solo voice and orchestra?

Huge fan. Please continue to inspire.

Sincerely,

Jeffrey Wu


Christopher Tin responded on 07/12/2015
A

Thanks Jeffrey... appreciate you writing!

I'm still working on the full score of Drop, but it should be forthcoming. Glad you got something out of studying CAD though. Drop is waaaaaaay more detailed from an orchestration standpoint!

I work with professional engineers for mixing, but for mixing choir and orchestra, typically with classical choirs you don't want to mess around too much with the natural acoustics of the recording space. That means you don't mess with EQing, panning, etc. Typically I'll double vocals to thicken them up--sometimes I'll reverse the stereo image so that it's a little thicker. (What drives me crazy is choral recordings where you can very clearly hear the men on one side and women on the other, and there's no blend between the two sides. Mormon Tabernacle Choir does this, and I have a hard time listening to it.)

With non-choral vocals (e.g. Soweto Gospel Choir) the singers are typically close mic'd, doubled, and panned hard left and right.

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