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1. #MIXING LIVE SOUND STEREO HOW TO#
2. #MIXING LIVE SOUND STEREO BLUETOOTH#
3. #MIXING LIVE SOUND STEREO PROFESSIONAL#

With that out of the way, not all artificial stereo is bad.Ĭreating stereo signals from mono sources using methods like chorus, delay or reverb is a good strategy for situating them better in your mix.Įxperiment with the pan position of your effects sends as well as the L-R balance of their returns. It can result in a hollow, scooped out sound with much less punch and definition.Īvoid using plugins with purported stereo widening effects on your entire mix.

#MIXING LIVE SOUND STEREO BLUETOOTH#

I’m talking about systems like phones, bluetooth speakers and laptop speakers-there’s a lot of people who use them as their main playback system for audio When will my mix ever be summed to mono you ask? It happens more than you might think.Īny situation where your music is heard on playback systems with minimal stereo separation increases the possibility of these negative effects. That means that if your mix gets summed to mono, those out of phase components will cancel each other out. They may create the illusion of extra width, but the trade-offs are simply not worth it.ĭelays and time-domain shifts create differences in phase between the left and right channels. These types of plugins typically work by introducing short delays or other types of time-domain trickery. The reality is they may be doing more harm than good. Many plugins promise to magically make your mix sound wider and more 3D.

#MIXING LIVE SOUND STEREO PROFESSIONAL#

You might find that mono sources in professional mixes are placed wider than you think. A wide mix always has at least a few sounds out at the edges.Īt first it may seem a little jarring to leave a mono track out in a remote region of the stereo field, but take a moment to do some critical mix referencing. The solution is extremely easy-pan your sources wide!ĭon’t be afraid to push tracks out to the extremes. This can cause their mixes to sound narrow and too focused around the center of the stereo field. Pan wideīeginning and intermediate engineers are often conservative with their panning. Think twice about recording sources in stereo if they don’t contain naturally occurring stereo information. Sources with natural stereo spread like drum overheads, piano or room mics are good candidates for stereo tracks. It can also lead to collapse in situations where your mix is summed completely or partially to mono.Ī wide-sounding mix is composed of a variety of stereo tracks and mono sources panned in different positions-including the extreme ends of the spectrum. Too many stereo tracks can cause your individual instruments to sound ambiguous in the stereo field.

It may seem like using more stereo tracks would give you a wider mix. Hot tip: Mid/side micing is one of the few techniques where it’s possible to change the recording’s stereo image even after you’ve captured the material.īy adjusting the blend of the side mic relative to the mid mic, you can adjust the “width” (or the proportion of indirect sound) to taste. With most stereo techniques, you’re limited to the stereo image that you record in the moment.įocus on getting a compelling stereo image as you lay your tracks down. It’s very difficult to change the stereo characteristics of a recording after the fact. If you’re trying to recreate an accurate stereo image of an acoustic sound, you’ll have to get it right at the source. Get it right at the sourceĪn important factor for good stereo imaging is to capture your stereo sources correctly. I’ll go through each approach and explain how it works.

#MIXING LIVE SOUND STEREO HOW TO#

How to get a wide stereo image in your mix

The width, depth and 3D aspect of the overall stereo spread also contribute to a strong sense of stereo imaging. It’s the sensation of an imaginary plane where your sounds are situated in space.Ī mix or listening system has good stereo imaging if distinct instruments in the texture can be easily traced to a distinct “spot” in the stereo field.

Stereo imaging is the quality and realism of the soundstage created by the left and right speakers in a listening system. In this article I’ll go through everything you need to know about stereo imaging and how to get a wide, three dimensional sound in your mix. Good stereo image is an essential quality of a good mix- and a good listening chain.īut getting a wide, enveloping mix that feels 3D and draws people in is difficult. Stereo imaging is what creates the sense of width and depth in music mixing.