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Re: OT: final mixing and mastering of film score....hints?

Don't know about "based on" but historically all this points back at
Alan Blumlein's work in the thirties. I guess you could see the signal
routing I described as an inline version of a Blumlein matrix for
recording with microphones.

Greetings from Sweden

Per Boysen

On Mon, Feb 13, 2012 at 9:29 PM, Ricky Graham
<rickygrahammusic@gmail.com> wrote:
> Per, isn't this technique based on the mid-side (MS) recording method?
> On Mon, Feb 13, 2012 at 5:55 PM, Per Boysen <perboysen@gmail.com> wrote:
>> 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
>> Per Boysen
>> www.perboysen.com
>> http://www.youtube.com/perboysen
>> On Mon, Feb 13, 2012 at 6:33 PM, andy butler <akbutler@tiscali.co.uk> 
>> wrote:
>>> 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
>>> differently.
>>> 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
>>> reversed.
>>> well, if it works......it's good
>>> andy