Ok, I will bite.

This is hard because each has a dynamic range within the perspective.

I cannot limit this to 100dB

All instruments will be a 6 feet distance.

Then after this, point out specifics and I will address it.

Basically, I know where this is going..but let us establish a reference to begin with.

All instruments will be considered acoustic, in a freespace area as in a wheat field.

Piano 54 to 97
Pedal Harp 47 to 88
Bassoon Bb 59 to 85
Bassoon Contra 64 to 90
Oboe 63 to 92
Trumpet 61 to 122
Trombone 63 to 118
Cello 51 to 95
Violin 49 to 98
Flute 52 to 97
Picc, flute 67 to 112
Tuba 70 to 113
Sousaphone 74 to 118
Sousaphone (blatted) 127
concert bass drum 48 to 121
Tympany 53 to 119
French horn clean 66 to 103
French horn dirty (no hand, blasted) 68 to 119
Bass Vio. 55 to 88
Bowed 61 to 91
Clarinet 58 to 97
English horn 62 to 94
Guitar 57 to 85
Hard strummed 89
Snare brushed 49 to 99
Snare stick (2B) 51 to 121
Snare shot rim 124

Slapsticks (one shot) 124

Pipe organ (in hall) 42 to 145 (64 foot pipe full bordo)

This is based on my actual measurements in my notes from ppp to FFF (FFFFF when noted as in "blatting the horn of the sousaphone)

any others?

;) Ok getting a better picture, I knew it was tough, you know what I am after..So like a teeter-totter these levels will have to be controlled, but not compressed. In the old days, before a VCA existed, even before gain riding was practical, dynamics were handled in real time by performance. Orchestra, was set back, conducted in a special way, singers would approach the mic, and other instruments, background singers too, were made to fit by space. It is interesting that all this fit into a dynamic range of less than 50db. Many great 40's, 50's, and early 60's recordings were done in this manor. No, you won't be able to enjoy this wide range music at a dinner party, or in your car, but will need a nice hefty system. But your ranges are helpful in calculating a perspective that will allow them to fit, I suppose amplified rock will be at the -.5dbfs range eh? Oh, got the bottom covered, sorta like the sizzle of a riveted cymbal, trickling brook, or ocean surf. You bit, now chew, no close micing here. Learned it from a guy who did a great recording at Ark Tech U. No I am not that old, re: 40's.
Thanks,
--Rick

When recording full scale symphonic, the conductor (that usually has a hard time with this) will try to make the performance "recording friendly".

An idea of this is that Bassoons simply cannot at FFF balance with a 22 piece clarinet section. At most you may have 3 bassoons and 1 contra. They will be masked always when the rest of the band goes to mezzo forte' or forte'. Mezzo Piano the bassoons can deal (band wise) they have to be at mezzo Forte'. When the band is at mezzo forte', bassoons to balance would need to be at Forte' fortissamo...(FF) hence if the conductor tries to make the performance "recording friendly, the authenticity of the performance will be a stake. It was clear to me that this was unacceptable quickly. I had a meeting with the conductor and he invited me to conduct. I actually rearranged the seating so that the contra bass clarinetist that had a solo in the full register of the horn, could be audible at all times during said solo. The highest note of the contra bass clarinet is like smashing balls to perform. Most difficult to get it to even play. Takes a huge diaphram and tons of wind to get the note to propagate at all. (Most people that play the contra bass clarinet are very large people...that it what it takes) Seating arrangement modification was a must. I had to put the bones on a riser and make them point into the stands, I changed a few things, most memorable was the concert bass drum and the proportion of the head to rear wall and to the corner to transduction. I had to retune this instrument to 36hZ for one work, 37.8 for another. We wanted an authentic reproduction as to the score. When I read the score, I could see what needed to be done and I has a very willing conductor to work with. HE would not have been so forthright except, not only I spoke his language, I could play 70% of the instruments on stage at a level of compentance that he respected. I also knew the works and the one I did not know, the actual composer was on site!

It was a fun experience and I look forward this spring to doing it again.

The recording received many rave reviews. I am most happy with it.