20 May
2016
20 May
'16
1:41 a.m.
On Thu, 19 May 2016, at 17:07, Ralf Mardorf wrote:
On Thu, 19 May 2016 16:18:44 +0200, William Light
wrote:
Dismissing a technique just because you've never personally used it is
short-sighted. While I don't have 30 years of experience under my belt,
I'm far from a neophyte, and I find M/S processing to yield results that
are difficult to reproduce with "just pan pots".
I am curious to know what sort of "more enhanced techniques" you speak
of. Never can know too many, after all.
-w
On Tue, 17 May 2016, at 15:45, Jörn Nettingsmeier
wrote:
In more than 30 years of audio recording I _never_ used M/S processing.
M/S microphone technique is something else and is useful, because it
does cause a mono-compatible signal, due to not being based on travel
time, but instead it's based on intensity. To "exaggerate" a signal by
intensity with a mixing console, just pan pots are required. IOW Jörn
is right, if you have full access to the individual components, you
could use pan pots instead (more than one channel completely to the
left and the other completely to the right is impossible), resp. you
could use more enhanced techniques to widen or "shape the stereo image
subtly". "Natural" stereo hearing is much based on travel time as well
as intensity. But: M/S processing is really only useful when
you are remastering a
stereo mix without access to the individual components, or maybe if
you are dealing with stereo mic recordings as part of a larger mix.
If you are creating a multitrack mix from individual channels, M/S
buys you exactly nothing that couldn't be done better and more
precisely in the individual channels.
Disagree vehemently, M/S processing gives very natural control of the
stereo image. I find that I use M/S EQing when I want to shape the
stereo image subtly and M/S compression when I want to exaggerate it or
make it more exciting. Regards,
Ralf
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