I was hoping some of you could share your tracking and panning techniques. What I have found is that it is so tempting to doubletrack everything so that it doesn't need to be localized on the stereo plane and then you're not stuck with one track which you don't where to place. This creates a messy mix which I am beginning to hear more of from top 40 artists.
What I have tried doing is panning a rhythm guitar track hard left and adding a stereo delay to the track so as to spread it over to the other side and in the centre a bit. This leaves room for the vocal and room for a different inversion or instrument like piano on the right. I add stereo delay to this as well to push it to the left and centre. Overall I like this sound better than leaving the piano stereo and doubletracking the guitar. As long as they're playing at the same time to counteract eachother, especially in the chorus. What I find is that the reason why I use delay so much is it makes the hard panned isntruments work when listening in headphones. Hard panning sounds weird with no effect to blur it into the stereo field for the other ear to hear.
Are there other methods of hard panning mono tracks and effecting them in a way that allows the other ear to hear them with headphones? Apart from reverb obviously? I want to know this because I might not be doing such a sustained song that needs so much delay, I might be going for a more dry sound.
I guess what I would like to know is,
1. Do you tend to doubletrack everything 2. If not, then how do you tend to spread single mono tracks around the stereo field and localize them well enough to tolerate them in cans/phones. Wigh delay, reverb, something else?
I was hoping some of you could share your tracking and panning> techniques. What I have found is that it is so tempting to
doubletrack> everything so that it doesn't need to be localized on the stereo plane> and then you're not stuck with one track which you don't where to> place. This creates a messy mix which I am beginning to hear more of> from top 40 artists.>
What I have tried doing is panning a rhythm guitar track hard left
adding a stereo delay to the track so as to spread it over to the> other side and in the centre a bit. This leaves room for the vocal
room for a different inversion or instrument like piano on the right.> I add stereo delay to this as well to push it to the left and centre.> Overall I like this sound better than leaving the piano stereo and> doubletracking the guitar. As long as they're playing at the same
time> to counteract eachother, especially in the chorus. What I find is that> the reason why I use delay so much is it makes the hard panned> isntruments work when listening in headphones. Hard panning sounds> weird with no effect to blur it into the stereo field for the other> ear to hear.
You can just doubletrack the guitar and push the volume up on the side where you want the guitar to reign and down on the other side. I use this technique and it gives more of a fullness because I record the two guitar tracks in a slightly different way each time (usually I record one with the three-way toggle switch on the guitar on rhythm and the other on lead). Depending on how much bass you like to mix in, I usually make the rhythm-setting track the higher volume.
Are there other methods of hard panning mono tracks and effecting
them> in a way that allows the other ear to hear them with headphones? Apart> from reverb obviously? I want to know this because I might not be> doing such a sustained song that needs so much delay, I might be going> for a more dry sound.>
I guess what I would like to know is,>
1. Do you tend to doubletrack everything
For differnt reasons. I sometimes double track acoustic guitar and mix in the second track with the first to give it fullness.
2. If not, then how do you tend to spread single mono tracks around> the stereo field and localize them well enough to tolerate them in> cans/phones. Wigh delay, reverb, something else?
2. If not, then how do you tend to spread single mono tracks around> the stereo field and localize them well enough to tolerate them in> cans/phones. Wigh delay, reverb, something else?
Don't trust the phones to judge where things are on the soundstage. It's unnaturally wide and misleading. Tolerate yes, reference no. Some tips: Use the speakers and picture in your mind the soundstage and just move things around till they start to balance out. Don't hard pan unless there's something on the other side to counter it. Playback on alternate speakers or systems to check. Use the mono button. Stereo effects should be keep equal levels on both sides to maintain the stereo aspect. There's no absolute rules but it should make sense. Try closing your eyes.
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