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| quote: | Originally posted by Raphie
panning implies STEREO, so doesn't adhere to MONO.
I am sorry i sound a bit aggetated, but these kind of threads, pop up here all the time. "yeah my bass sounds much better now i use the mono maker" etc. EVER thought about panning laws and how much LOUDER a summed mono signal is compared to a stereo one.
Really most people here have no clue, don't bother to learn the basics and read and explore, they just let their mind wander free with stupid theories and hearsay....... |
Fuck. I've been trying to avoid this but here goes, and I have a feeling it's going to get juicy....
Not quite sure what you're trying to explain, but I think you're saying that mono summing affects levels of the volume of individual tracks ans their pan value are ignored.
While you're right to some extent, the specific nature depends on the panning law at hand;
If you're on a 0db (non compensated) panning law as a global or track specific setting then, yes, to a degree there will be a difference in from the levels of those tracks panned hard left or right when they are mono summed. It won't make a huge difference to those panned only small or even medium amounts (don't forget it's logarithmic) but it may for those with a lot of pan value.
However, and this is where it gets interesting, if you have you're panning law set to -3db compensated, the difference in all circumstances is negligable, meaning that if you set levels while in mono, then pan in stereo they should be very close and only need minor adjustments when back in stereo.
Now, back to the subject of mono monitoring:
To do it in a mthos of "good practise", get a basic mix in stereo to hear your sounds or at least work in stereo for the producing/arranging. Either save this project as another name (0.l etc) or boucne the audio file for refence. I think it's good to have an instinctive mix of the project to look back on at any point.
Then when you start the mixing process, start by:
1, make the master mono (via plugin or whatever your daw allows to do it) or hit the mono switch on your monior control.
2, Switch of one monitor, and face it directly.
3,Now that all the tracks are dead-center in terms of pan value, this will help in finding the appropriate frequency space for each instrument/sound. If you can hear all instruments loud and clear under these circumstances your EQing must be right in terms of frequency separation.
4, now switch back to Stereo and turn on the other monitor anbd resume normal monitoring and pan, effect and play with your knobs as desired.
5, to regular checks back to mono to make sure not too much is disappearing between the two whenever adjustments are made.
As a side note, if you're going to do this sort of mixing process or check, then IMO, you're better off using the -3db compensated panning law. This is because, at the 0db panning law, a doubling of power (from hard panned instruments switched to mono) leads to a +3 increase in db. So -3 db compensated law keeps the stuff in the middle from being twice as loud as the stuff on the sides when we sum to mono.
It will also avoid problems if ever you have to bounce to mono tracks when mixed with stereo tracks (don't ask).
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