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Post by wreck on Aug 9, 2013 9:20:09 GMT -6
I use the Brainworx m/s EQ thing a lot. When in mixing stuff that I didn't record or produce. Sometimes "stereo" synths or pads are just barely stereo...like a lot of the information is actually mono or in the middle. You can use the m/s EQ to treat just the center channel and get some muck out of the way of the vocal or snare or whatever is there but the sides of the signal stay true to the original sound. Used judiciously it can be quite effective. Sometimes it's pretty cool to really tweak a sound and let it get phasey...mono be damned. Make em twist their heads around!!! I find myself using m/s processing more like this ^. Cleaning out and focusing the middle. The sides tend to really spread out nicely after the mid has been cleaned up. From reading posts on the subject it seems mose people are using an m/s eq to give the sides more presence but I rarely have a need to boost the highs. I absolutely believe this. Probably the best way to use it. As I have made clear, I am new to m/s processing so I just jumped in and started at the extremities as an amateur would. I will now focus on the middle. Although, rolling off the low end on the sides is still money for me - for now anyway. A year from now someone will probably throw that comment in my face when I say that rolling the low end off in the sides is the worst thing one can do. |
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Post by Deleted on Aug 9, 2013 18:47:37 GMT -6
Well,
M/S processing is not really a trick, it is just "stereo math", acoustics ....
A handy tool for manipulation when it comes to practical problems of stereo processing. Your product will be a LR stereo format, but in the mix you want to have mono compatibility in almost all cases, there is an awful trend of nearly mono end consumer products on the market (the 'stations' - reminds me of the mono tube radios in the kitchen or dining room, lol.....) - so you have to watch out for this.
On the creative site of things, you do pan essential parts of a classical band mix towards the center. Like bass, snare/bass drum, lead vox, lead intstruments, to meet listening expectations, prominenting things etc...and on the other hand, you fake room into your mix. Widen the mix, stereo spread etc...
Whatever helps you achieving your sonical goals should be known, you want processing to be not obvious to the listener in many cases. So knowing about this stuff is essential. As is knowledge about psychoacoustics. After i modded my first 1994 SPL stereo vitalizer (no, it did not sound good, more like a "synthesizer effect" kind of box) to become a useful tool that instantly catched the ears of a sound engineering friend right at the first test, i wanted to know instantly, how this kind of stuff really works. It was a bit like black magic. But in the end, it is signal processing, analog or digital math and knowledge about acoustics and human perception.
The mid channel is in the focus of human perception, even if we listen with our ears in LR stereo. The brain does the trick. In fact, stereo is OVERRATED. The time, stereo devices hit the consumer markets, there were many people, who could not even listen in stereo. They were so used to listen to mono music as soon, as there were no actual musicians in sight, that they really had to *learn* how to listen to a stereo.
So, for example in mastering, but if you work with busses and stereo single source tracks as well, manipulating in MS coding can be a way to process things more in the way the brain works with signals. This can be a bit more intuitive, and might even be less obstrusive and feel more natural. If you get used to the way this works, you might find new ways of usage. Not only eqing, but simple volume changes, dynamics, even reverbs and musical reverb and echo effects or saturation/distortion effects, whatever. I even developed a vst filtered M/S stereo chorus effect once, just for fun.... :-)
Best regards,
Martin
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