Advice on stereo panning of the orchestra

Hi to all.

I've recently revisited this work to create a more accurate mock-up, and just wondered if I could get some tips on my stereo panning and mixing/mastering.

It's all be created in MuseScore, with some of the extended instrument libraries from Spitfire, Berlin and Cinesamples. 

The score is designed for MIDI mock-up only.

I tried to pan the instruments to roughly where they would be in a real orchestra, though I'm not sure I like having the high strings ranged left and the low strings right.

On 5/26/2025 at 11:48 AM, Alex Weidmann said:

Hi to all.

I've recently revisited this work to create a more accurate mock-up, and just wondered if I could get some tips on my stereo panning and mixing/mastering.

It's all be created in MuseScore, with some of the extended instrument libraries from Spitfire, Berlin and Cinesamples. 

The score is designed for MIDI mock-up only.

I tried to pan the instruments to roughly where they would be in a real orchestra, though I'm not sure I like having the high strings ranged left and thet levels reduced, master level reduced, stereo panned)

I've actually been thinking about this a lot lately.

I was studying the film scores and other orchestral recordings of the '90s in particular and trying to figure out, aside from things like tape, what made them sound the way they do. In researching it, I found that in the way it was recorded, mostly owing to technology of the time, is that the stereo field actually has a strong center.

I don't think one gets the best results by trying to pan the orchestra precisely to where they would sit in real life, because it creates an image that is just too wide for a stereo recording. Which is a 2 dimensional thing, unlike the 3D sound you would experience if you were actually seated in a hall.

It's like bass. As you mentioned, the low strings being off center feels wrong on a recording. I usually use a mono summing plugin to put the basses right in the middle. That's not "realistic", but it's what works for a recording.

What you can do, is pan the orchestra basically according to its seating, but then use a mono plugin to slightly reduce the overall stere field by around 15% or so. You can still tell that the instruments are panned, but they all have more of a center image than they do "out of the box".

Thanks, that's a good tip!

I asked another professional composer about this, and he suggested placing the 2nd violins on the right.

So I proposed this arrangement to Bing AI, and it responded:

- **Modern Standard (1st & 2nd Violins Together on the Left)** – Most contemporary orchestras place **both violin sections on the left**, with **violas center-right** and **cellos further right**.
- **Historical Setup (1st Violins Left, 2nd Violins Right)** – This **antiphonal arrangement** was common in **early 20th-century orchestras**, particularly with conductors like **Mahler and Stokowski**, as it enhances **stereo separation** and **call-and-response effects** between violin sections.
- **Film & Studio Mixing** – Many **virtual orchestras** use the **split violin approach** to create a **wider stereo image**, especially in cinematic scoring.

On 6/7/2025 at 5:28 AM, AngelCityOutlaw said:

I don't think one gets the best results by trying to pan the orchestra precisely to where they would sit in real life, because it creates an image that is just too wide for a stereo recording. Which is a 2 dimensional thing, unlike the 3D sound you would experience if you were actually seated in a hall.

On this point, Bing AI said the following:

### **Considerations for Virtual Orchestration**
- **Traditional vs. Modern Balance** – If aiming for a **historical or cinematic** sound, splitting violins left/right can add **depth**. If replicating a **modern concert hall**, keeping both violin sections left is more authentic.
- **Stereo Width & Reverb** – Hard panning can feel unnatural; using **subtle stereo positioning** with **reverb** helps maintain realism.
- **Genre & Style** – Classical recordings often favor **natural seating**, while film scores may exaggerate stereo separation for dramatic effect.