Ask about Mono vs. Stereo
- Thread starter WeissSound
- Start date
You can use a "ping pong delay" on a mono track... you don't need things to be on a "stereo track" to use "stereo fx"...
and I am not sure exactly what you are refering to with "stereo widener", but most of them will work on mono tracks unless you are talking about the type that deal with m-s processing...
And if you are talking about "stereo" as simply recording your single mic onto a "stereo track", then YOU ARE NOT RECORDING IN STEREO AND YOU ARE WASTING YOUR SYSTEM RESOURCES BY DOING SOMETHING THAT AMOUNTS TO BEING THE SAME EXACT SONIC RESULT TRACK THAT WOULD HAVE RESULTED FROM USING A "MONO" TRACK... PLUS, USING A "STEREO" TRACK LIMITS YOUR ABILITY TO PAN EFFECTIVELY! (and a "stereo widener" will have ABSOLUTELY ZERO EFFECT!)
(I put "mono" and "stereo" in quotes because recording on a "stereo" track does sot mean you are RECORDING "stereo" or achieving a "stereo" result)
---------- Post added at 11:06 AM ---------- Previous post was at 11:04 AM ----------
You are lacking some understanding of "stereo audio", "mono audio", "stereo tracks" and "mono tracks"
A large soundstage would have a more obvious effects on the (anti)correlation between left and right mics, that's true.
But, that's a long way off it having no effect. If the mics are spaced out to the same width as human ears (especially if the recording is at 192kHz) then recording in stereo will sound completely different in all situations.
If the mics are spaced at, say, a fifth of that width then degree of phase differences would be reduced by a factor of 5, but that's still well within the threshold of what we can detect.
bandcoach
Zukatoku - Mod Scientist
So in short
Mono = One source of sound
Stereo = Two spaced sources of sound
this can be achieved using AB micing techniques or XY micing techniques - look these up to understand them better but the picture below should give you an initial insight
NRNC PRODUCTIONS
New member
We all are playing with SOUNDS. If you aply any change to your signal and sounds good , you did a good job.
It's not about mono stereo thing anymore.Maybe ,if you considering mono compatibility.
It's not about mono stereo thing anymore.Maybe ,if you considering mono compatibility.
WeissSound
Engineer
Apologies for the late reply here, I've been super busy.
What you want to do is make sure your record is "mono compatible."
When a stereo track is played back over a mono playback system the left and right sources are summed together. You can check this by summing your left and right while monitoring to see what happens. If key elements disappear, then the record won't translate well.
Additionally, mono compatibility doesn't merely apply to mono playback. It also reflects how the sound will reproduce when stereo playback speakers are not placed appropriately - particularly when the speakers are very close together. Like in a laptop.
Hope that made sense.
---------- Post added at 12:20 AM ---------- Previous post was at 12:15 AM ----------
Traditionally with dance music the lead synths combine with vocals to form the primary movement of the record. The lead synth is often enhanced by some kind of spatial processing. When the vocal is in, it's not as important to have a strongly centered synth lead - just enough so that the vocal has context. You can support the lead with side information like reverb/delays/whatever - so the stereo listener gets to have their cake and eat it to. Big lead, and big vocal. But the mono listener in the club just needs the essentials. When the vocal is not in, that lead is essentially going to take the vocal's place, so it's going to need to have that mono compatibility. This is why when you look at engineer's mix sessions they look like etch-a-sketch boards. All those issues are best resolved through automation.
---------- Post added at 12:22 AM ---------- Previous post was at 12:20 AM ----------
The best way to record a vocal is generally going to be mono. Unless you are using two microphones to do something effecty or different. But 99% of the time - one voice, one mic, one mono track.
---------- Post added at 12:31 AM ---------- Previous post was at 12:22 AM ----------
Unless you are using two mics, whether you record onto a stereo track or not, you are making a mono recording. A stereo track just means two of the exact same feed being created. By that token, you can easily go from a mono to a stereo track - simply by copying the mono track. It's still going to be a mono playback, but now you have two of them. It's kind of like saying "should I use the number eight, or the number 8?" "Well, you can turn eight into 8, but you can't turn 8 into eight." It's the same thing either way.
You certainly can use a ping pong delay by sending your vocal out an aux channel and bringing the delay up on a stereo return. It's a much more effective way than using the delay as an insert on your vocal channel anyway, because it gives you unique control over the delay. For example: If you were to put the delay on your vocal channel, and then put a distortion effect afterwards, you will get distortion on both the vocal and the delay. But if you use an aux to buss out a mult of your vocal and put the distortion on the return channel you can have distortion on your delay, but keep your vocal perfectly clean. Now you have a much more interesting sounding delay.
Uh... oh yeah, a stereo widener isn't gonna do squat to a vocal that was captured with one mic.
S
swishbricks
Guest
Stereo is the best
ijam Beats
New member
Two monos = stereo
JoshHPMusic
New member
Stereo is more fun.
acetheface954
Active member
True but its not a real challenge. Getting everything to sound well perceived in mono?...lol now that can be torture.
ROBICHEAUX
New member
I was asking as a general question to everyone what is the typical way you pan your sounds in the mix? I've been producing for about a year but I hardly ever touch the pan because I'm scared of f'ing things up.
You hear "mono" signals with both ears, too.
Hunter2847
New member
This should help me
