Ok Ok - Im a bit (well, a lot) of a Noob when it comes to giving my tracks that 'spacial' feel.
I dont really get how to to Pan correctly (if I seperate a track - and pan one left and one right - it sounds central again )

I obviously dont understand the basics with how to get my pads filling the void and creating that spacial sound.

I also dont know how to get the same sound to be distinctive in both speakers - am I missing something simple or is there an art to it?

I would love it if some kind TranceAddict would spend a few minutes writing up the basics and what I need to do.... lets call it

Stereo For Dummies!

PS - I tried a search and couldnt find anything

Thanks

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Here you go:

http://www.tranceaddict.com/forums/...threadid=498378

Lots of tips in there.

You might also want to try inverting the phase of one of your channels. This'll enable you to get a really wide, upfront sound. By also adding/removing stereo separation and a small amount of delay (2 to 10ms) on the left or right channel, you can get some interesting dynamics.

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quote:

Originally posted by kadomony You might also want to try inverting the phase of one of your channels. This'll enable you to get a really wide, upfront sound. By also adding/removing stereo separation and a small amount of delay (2 to 10ms) on the left or right channel, you can get some interesting dynamics.

And wind up losing the sound completely when the track gets played on a mono club system...

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Yeh there is this one track that sticks out (can't remember just yet) but the stereo seperation is used in such a way that it literally feel like the bass is crawling into your ears.

I have no idea how it was done, maybe will have to post the song one day but I've never heard a bass effect like this in my life, a remix of some popular female vocal track.

imagine we had a stereo field:
-100 <- Center -> +100

i don't pan anything important more than about +-40, the rest i fill up with stereo effects or extra layers which aren't essential. i keep bass entirely mono below 250-300hz or so. it's good to avoid having stuff with a solid low end in stereo, or you generally lose it in a club.

drums i will rarely pan more than +-15, unless it is a shaker loop or light bongo sounds or something. in such cases i might go out to about +-20 or so, but not much further or you will lose mono compatibility. snare i will rarely pan more than +-5. if it has a lot of low end i will not pan it at all. the main high hat i will pan a little bit further. shakers i will push right out to +-15-20. it's important to keep the frequencies balanced though. eg. don't pan ALL your highhats and shakers to the left, then pan your bongos to the right. i will usually pan highats and shakers in opposition to eachother.

the above is, of course, talking about the panning of dry sounds. you can use stereo effects wherever you want...

Last edited by echosystm on Jan-08-2009 at 05:46

quote:

Originally posted by kadomony You might also want to try inverting the phase of one of your channels. This'll enable you to get a really wide, upfront sound. By also adding/removing stereo separation and a small amount of delay (2 to 10ms) on the left or right channel, you can get some interesting dynamics.

Inverting the phase is not a good idea. Delay is good though but should be used with care. It's best to delay between 10-30ms. And even better to pitch shift one channel slightly as well.

There are some professional, released tracks that use a phase inversion on some sounds like bass. Not sure how they sound on a club system, but why would producers do this if they want those sounds to be heard on such a system? Of course, it's possible that they're just meant for the home listener, but I don't see that happening because of the amount of tunes I hear it in.

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www.misterfalconmusic.com

quote:

Originally posted by kadomony You might also want to try inverting the phase of one of your channels. This'll enable you to get a really wide, upfront sound. By also adding/removing stereo separation and a small amount of delay (2 to 10ms) on the left or right channel, you can get some interesting dynamics.

this should by NO means be done on masterchannel. these are efex than can be set on diferent elements in the track but NOT the master imo. if u already have some sort of stereo efex on lets say your main lead, this might ruin the whole sound of it and make it back to mono or even eliminated totaly if ur very unlucky. u loose total control over your tracks and efex with this.

i must also admit that i like tracks that sounds almost mono on all the instruments except one or two like main lead and some drum.

Chorus and flanger effects can also make a track sound very wide.

quote:

Originally posted by kadomony There are some professional, released tracks that use a phase inversion on some sounds like bass. Not sure how they sound on a club system, but why would producers do this if they want those sounds to be heard on such a system? Of course, it's possible that they're just meant for the home listener, but I don't see that happening because of the amount of tunes I hear it in.

I doubt it. If you phase reverse once channel of a bass sound you will lose all mono information when it's mixed down to mono and lots of phasing when you play in stereo. It's as simple as 1 - 1 = 0. I don't know why you can't seem to comprehend that.

quote:

Originally posted by palm this should by NO means be done on masterchannel. these are efex than can be set on diferent elements in the track but NOT the master imo. if u already have some sort of stereo efex on lets say your main lead, this might ruin the whole sound of it and make it back to mono or even eliminated totaly if ur very unlucky. u loose total control over your tracks and efex with this. i must also admit that i like tracks that sounds almost mono on all the instruments except one or two like main lead and some drum.

definitely not on master, i'm saying for individual instruments.

quote:

Originally posted by Eldritch I doubt it. If you phase reverse once channel of a bass sound you will lose all mono information when it's mixed down to mono and lots of phasing when you play in stereo. It's as simple as 1 - 1 = 0. I don't know why you can't seem to comprehend that.

Well, I'm checking out some tracks on a phase scope and they are reading hard anti-phase on certain sounds. I suppose you could put a mono/slightly widened bass underneath the anti-phased sounds so you dont lose all the sound from the anti-phased instruments.
Check out Gift - Learning the Art. The entire bassline is out of phase. Sure you can apply delay to L and R channel of an instrument but at a certain point you're going to hit the waveform's anti-phase time. At which point, it'll sound the widest it can at the risk of losing mono compatibility for some of the frequencies.

http://www.deezer.com/track/learnin...al-mix-T2580148

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