Microphone Blending Strategies for Sampled Orchestra Arrangements

When composing primary orchestral music, how do you combine microphone positions? Do you use only close microphones, or do you create a combination? I’m asking because of reverb problems and later processing that needs to be applied.

In this case, I’m specifically working with the Orchestral Tools Berlin Series, so I’m interested in how you generally approach composing with natural (not hybrid) orchestral samples, especially if all sections have been recorded in the same studio (I believe that also influences the decision).

Thanks.

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Microphone Blending Strategies for Sampled Orchestra Arrangements