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Post by Johnkenn on Dec 29, 2020 20:44:02 GMT -6
Anyone do this? I’ve used a compressor in M/S to bring up the side for a little more width, but it’s never really occurred to me to do it with something like Pro-Q3. I’m gonna play around with this, but can you roll off a little bottom on the sides to make the center pop?
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Post by seawell on Dec 29, 2020 21:15:57 GMT -6
I like to do it on synth pads that are really full range. Keep the lows up the middle and eq highs to the sides.
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Post by EmRR on Dec 29, 2020 21:30:52 GMT -6
can you roll off a little bottom on the sides to make the center pop? Sure. The native plug in DP has a sweepable HPF on the side signal, I use it on ambient stereo room pickup a lot to shape the bass focus. |
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Post by the other mark williams on Dec 29, 2020 21:35:37 GMT -6
Anyone do this? I’ve used a compressor in M/S to bring up the side for a little more width, but it’s never really occurred to me to do it with something like Pro-Q3. I’m gonna play around with this, but can you roll off a little bottom on the sides to make the center pop? yeah, I use EQuilibrium to do this fairly often. |
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Post by wiz on Dec 29, 2020 22:37:06 GMT -6
Absolutely, dipping the mid at say 180 hz and you’ll get a great idea of how this helps
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Post by schmalzy on Dec 29, 2020 23:42:59 GMT -6
I do a bit (as appropriate and necessary) of what the cats in this threat have already mentioned.
I'll often hi-pass the sides of drum overheads to keep the shells more "at home" while grabbing a little more width. This works especially great on X/Y overheads and is less common for me on ORTF or spaced pair overheads. I'll do something similar in the midrange of a room mic pair looking to accentuate the spread of whatever - probably the snare - and de-accentuate something else - probably the cymbals.
Distorted electric guitar pairs will sometimes benefit from a reduction in upper mids in the middle channel and low mids on the side channel. Just a little bit of EQ in these sorts of ways can make a world of difference to keep the guitar feeling huge without overpowering a vocal
I also do some m/s EQ on ambience channels that need to be loud but shouldn't be distracting. EQ the distracting/masking stuff out from the locations you hear it and leave it in the other channel.
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Post by drbill on Dec 30, 2020 10:43:49 GMT -6
I've tried many times. I can never get it where I really like it MORE than traditional approaches. Always sounds a little "unreal" to me - for lack of a better term.
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ericn
Temp
Balance Engineer
Posts: 15,014 
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Post by ericn on Dec 30, 2020 16:45:26 GMT -6
I've tried many times. I can never get it where I really like it MORE than traditional approaches. Always sounds a little "unreal" to me - for lack of a better term. Yeah, even with a linear phase EQ you have to be careful. It’s kind of like a steer by wire car with a bug, sure you point it slightly left, but your doing hard donuts to the right. |
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Post by nomatic on Dec 30, 2020 20:23:09 GMT -6
If you don't go more than 1/2 a bd it can be fine. Try a touch of 400 HZ in the side...
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Post by nick8801 on Dec 30, 2020 21:38:00 GMT -6
Dig it on tracks, but you have to be careful on a mix.
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Post by EmRR on Dec 30, 2020 22:04:32 GMT -6
If you don't go more than 1/2 a bd it can be fine. Try a touch of 400 HZ in the side... Yeah 1/4-1/2 dB is the territory on mixes many times. |
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Post by mitchkricun on Jan 1, 2021 11:19:54 GMT -6
If you don't go more than 1/2 a bd it can be fine. Try a touch of 400 HZ in the side... Love this! Thanks! Side note... I picked up Waves Factory Spectre on sale and it does Stereo and M/S frequency dependent saturation. Really worth checking out. Just a touch of hi shelf in M/S can really add some subtle life to stereo sources, including mix bus. |
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