![]() ![]() Other plug-ins do the same thing, but I like PowerPan's interface the best. ![]() My solution is to go ahead and record VI's in stereo (unless the project itself is mono, as is the case when I'm doing backing tracks for stage), and use VSL's PowerPan to position it in the mix later. And in many cases, instruments are pre-panned. Most other instruments are effectively "mono".īut in the modern world, we have to deal with the fact that most vendors do everything in stereo. For synths, the effects might involve auto-panning or other such stuff that requires stereo - unless going dry and using other effects at processing/mixing time.įor "natural" instruments, the concern should mostly be whether the instrument has a naturally wide field or not. ![]() There are more problems than not, when doing mono collapses of stereo sources. Again - why? Hardware synths - same question. Pianos and organs - mono instruments in the real world yet VI's are stereo. I'm not so worried about losing a hall's ambiance as that can be re-created with ir's or just run through an algorithmic reverb to give a uniform sound/feel to all instruments. What would I lose if I collasped these down to mono tracks, especially for the close samples?Īnd other libraries like VSL and Garritan - are they mono or stereo for their samples? I'd imagine stereo if they are using the Kontakt player or Kontakt itself. I can almost understand it for the samples that are supposed to show position in the orchestra relative to the conductor but why for the close samples - you know where they are miked right at the instrument? This got me to wondering from a mixing point of view about orchestral libraries: why does a product like EWQLSO use stereo tracks for what are essentially mono instruments - winds, brass, etc. Guitar is mono so use a mono track - that type of thing. ![]() I know there have been discussions here about mono versus stereo tracks: use mono tracks for mono sources and stereo tracks for stereo sources, etc. ![]()
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