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Re: OT: final mixing and mastering of film score....hints?
On Mon, Feb 13, 2012 at 9:50 AM, andy butler <firstname.lastname@example.org>
>> On 7/22/64 11:59 AM, Per Boysen wrote:
>>> you might want to make the stereo perspective extreme, because there
>>> may come sync sound and dialog in the middle. There are plugins to
>>> broaden or narrow a stereo image but you can do it manually as well
>>> (with better control) by setting up this routing matrix: Clone the
>>> signal into three channels. Revers stereo image for channel one, phase
>>> invert and lower the level a tiny bit for channel two and make channel
>>> three mono. Now, these three channels is your tool to achieve all
>>> kinds of stereo perspective, from the broadest that sounds wider than
>>> physical speaker positions to a punchy and focused up-your-face mix,
>>> and you get full mono compatibility in the package. The process also
>>> opens up for tricks like processing different parts of the stereo
>>> image differently (level balancing, EQ, compression).
> hi Per,
> any chance you can put that into equations?
> In English, I can't even work out how you'd mix the 3
> "channels" to regain the original mix.
> (or is that the point?)
The point is not to regain the original mix. The point is to change it
a bit. The listening experience of a mix treated this way is better
definition both for content and stereo image. The technical
achievement is that the mix becomes safe for mono playback, meaning
that levels won't come out differently in mono compared to hearing it
in stereo. If expressed as a signal addressing scheme the workflow is:
1. Split the main output into three parallel channels.
2. Set up the processing for each one of those three parallel channels
as explained above.
3. Merge the three processing channels into the final master.
Here's what you do in detail by a more technical description:
Ch A: Reverse stereo channels. Ch B: Invert phase. Now, when two
channels of reversed phase play back through the same playback channel
they nullify each other and the sum is silence. BUT here we made one
of them stereo reversed, which means that only the audio that is mono
- i.e. middle of stereo image - becomes nullified. Merging A + B gives
us a "hole in the middle" stereo image. The deepness of the black hole
and the width of the experienced stereo field depends on how you set
the levels of these two stereo busses. My finding is that 1 dB lower
for the phase inverted Ch B works best for the music I do (-1 dB that
is). Now enter Ch C, the "monofied" split, and fill up that hole in
the middle with this one. If the orignal mix is good this should stay
at 0 dB as Ch A.
Greetings from Sweden