Areia users - where do you set "Dynamic Range" knob?

I like maxing out the dynamic range on libraries that give the option. Then I never feel the need to fiddle with CC11.

This isn't really a tip/pointer, just my experience.

I find Areia's default OOTB setting for the Dynamic Range knob to be too high. Specifically, because I find that library quite... how do I put this... "German Engineering"-sounding. Like it's too precise when it was performed, and how sometimes I feel like the dynamic layers and the round-robins aren't THAT different between each other. This is especially evident, to my ears, in the short articulations it features.

Hence, why I almost always set the DR knob (which is basically the Expression value, just proportionally instead of linear) to a lower value to make those differences that are there more pronounced, but not quite at recording-levels, since at that point the library becomes too stuffy to my sense of aesthetics. Usually I oscillate between 20-30% - but it really depends on the moment.

The more "heavier-performed" articulations like Tremolo might benefit from a slightly higher Dynamic Range that goes beyond what was recorded, but it's something that I can't gauge in advance too much, I feel. I just have to try it.

However, since it seems you are fine with the timbre differences at the recorded levels, you probably don't need to introduce too much volume differentiation on top of what there in the recorded material (unless the scenario you're in really calls for it).

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The rare times where I basically let the DR knob at its default is when I am layering it in with more characterful libraries, where Areia's job is to provide one or two of its Mic positions to fill out the sound or make it slightly punchier, but only on higher velocities/dynamics - usually with the Violas and the Basses, sometimes the Celli, and where I don't want it to make itself known too much (thus, the Modern mix isn't suitable for those scenarios). Or it's when I need it to quickly jump in volume between low and high dynamics.

The way I approach things when either layering or matching libraries is less about figuring out which library is "dominant", and more figuring out what the role of each library is - or more precisely, which characteristics do I need in a certain scenario that I feel are missing at that exact moment, and what do I want to achieve by introducing that particular instrument, and then going with the library that matches that the best, based on my previous experiences. Do I need to add a sense of room? Do I need energy? Do I need focus and detail? Do I need to break up the monotany? Do I feel like the performance is lacking life and needs a soloist that "makes a mistake" juuust to make it less robotic?

In that sense, I find that choosing one library to be "dominant" might be helpful up to some point, but then it becomes similar to mixing - making sure everything sort of works with everything else, and that the proper elements are making themselves more obvious, while things that shouldn't aren't being disruptive. And that the elements themselves are set-up properly to support each other (and if they aren't, to tweak things either in levels, dynamics or frequencies in case you have a library where the room isn't too flattering or is being too overpowering - taming the frequencies, the tail, separating the microphone positions into their own tracks and then handling them separately). And if it's still not working, replacing/removing one or more libraries.

So, for example, I find that Areia's low-end ensembles can work really well with adding a bit of energy and punchiness to other more classically-sounding libraries, which might be too reserved in certain contexts. Especially because Areia doesn't feature TOO many recorded players in the lower-end ensembles (compared to, say, the Violins, which I personally find too large-sounding in the product - and why I wish, memes aside, that it had a, smaller, Violins 2 section). So you can use it almost as a corrective tool for other libraries.

Or to give another example, when trying to get Areia and Tokyo Scoring Strings to play nicely with each other, for me, means that I decrease the Dynamic Range in Areia and increase it for TSS (that one basically loads at its recorded levels by default, similar to Areia at 0%). And because I find TSS at its default state to lack in dynamics a bit, I increase them there, and decrease them in Areia to both match them a bit closer, as well as set them both to my aesthetics preferences. And then tweak things from that starting point as required.

Here's also something that might be interesting to think about: load four instances of the same ensemble, but load only one mic position for each one. Then set the Dynamic Range somewhat differently for each of them - where the closer mics have more dynamic range, or the further away mics do. See how the articulations behave!

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I personally think that approaching the topic of mixing/matching or layering of libraries with a "scientific" method is sort of missing the point (here I understand "scientific" as trying to find The One Setting To Rule Them All, and working off spreadsheets and hard data - like how many dynamic layers there are, etc - too much). There's just too many variables in play - and something that can work "in theory" just might not mesh well sonically due to timbre or stylistic inconsistencies.

But sometimes, those exact inconsistencies might be desireable! Something that is disruptive at higher volumes (and dynamics) might add "that something special" at lower volumes (and dynamics), where you won't perceive the new sound source as such, but as soon as you take it away, you feel like you've lost something. You might find that, if you crank up the Dynamics, but then introduce the instrument at lower volumes overall, will add just enough nuance, but then tuck itself away at lower volume'd dynamics. And I feel like this is where automating the DR knob can be really helpful, making it easier to control that. Sometimes I do wish that Areia had a "only load up dynamics up to here" knob for all articulations.

So, I feel like you just have to spend the time to experiment - in solo contexts, in light mixed contexts, in "drowned in the mix" contexts. So far, I feel like Areia has to be handled a bit carefully at times, and that whatever setting you choose for it, it has to fit the context. The Modern mix can be a life-saver if you need it to poke out in dense tapestries of sound, but can be devastating in more softer passages.

I feel like in its juiced up state via the Modern Mix, Areia will have serious issues close to its recorded dynamics if you're moving from loud to quiet - and this is probably where higher values of the Dynamic Range setting can be valuable, but might run into the timbre differentiation problems I mentioned earlier in this text. The Classic Mix, and the microphone positions, are way more malleable - but can be either memory hungry, or have difficulties providing sufficient punch unless you add some "oomph" via your own processing, and where I feel like I have to use something that's closer to what was recorded - but adding just a bit more range helps in most scenarios I've tried at least.

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That is to say, I used a bunch of words to basically say "Iunno, just try stuff, sometimes it even works".