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Re: OT: final mixing and mastering of film score....hints?
Yes, that's correctly understood. In the first post I actually left
out the last note, that the mix will become left-right reversed. If
you care about that you could reverse it back to the original. It's
not such a complex routing and the step for step instruction is all in
my first post. But please note that it is a classic mastering
technique for stereo format. Not a recommendation for mixing film
music ;-) It can be used to optimize experienced detail resolution
and to achieve mono compatibility in a stereo master.
Greetings from Sweden
On Mon, Feb 13, 2012 at 6:33 PM, andy butler <firstname.lastname@example.org>
> Per Boysen wrote:
>> 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.
> So all of the trick is to make you hear the mix
> There's no way to get the original mix back with that combination.
> It's almost an implementation of a regular "shuffler", but weirded up:
> adding A and B equally gives you the classic "sides" signal, ready to mix
> with the mono "center"...except that the whole result is now L<>R
> well, if it works......it's good