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Hi! It's Alan Meyerson
from Mix With The Masters.
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I'm doing a short little video for you
about different things.
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And so a question has been asked,
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"What do I do when I have a mono sound
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and I want to create
a stereo image out of it?"
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And there's a lot of ways to do this.
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In this particular piece
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I have a dulcimer,
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which is a very simple little sound.
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It's pretty mono.
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There's a couple of things you can do.
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First of all,
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there's the...
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and this might not work so well
with something this percussive,
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but the simple idea of just adding
a tiny bit of delay,
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which is like 8 or 10 milliseconds,
or even less.
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Right now this is 5 milliseconds of delay,
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or 225 samples approximately,
to one side.
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You'll get a much wider image.
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And then if you balance left and right,
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you get a pretty effective way to do it.
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The only thing is with that,
on a sound this percussive,
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is you really do lose a little bit
of the impact of the sound
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so you can try to tighten it up.
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There are other ways to do it.
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One of the ways to do it is just
to add a very, very short reverb
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and I use for that
a couple of different things.
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I like the 2016, the Eventide Stereo Room,
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where I make it 100% Wet,
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and as dry as I can...
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100% Wet and as close as I can make it.
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And I find that I get
great imaging out of this.
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So you can hardly tell it's doing anything
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until you take it out and you go,
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"Oh my God, it sounds dead and flat."
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Now it's got this beautiful image.
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So that brought us a long way.
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But there's another technique
that's really a lot of fun,
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and that's just using
sort of a random auto-panner.
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And the one I use for this, I don't use
an actual panner, I use the Tremolator.
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And I set it,
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you go into it, and if you take
the Width and go to 100%,
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it actually, in fact,
turns it into a panner.
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But then you could pick a couple
of interesting patterns
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or you could make your own pattern,
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which I like to do a lot,
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just sort of messing around
with the pattern a little bit.
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And I know it sounds weird,
but believe me,
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this one might sound better
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as a dotted quarter or something.
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When you just mix it,
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it just gives it a little bit of movement.
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See how without it,
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it's sitting in one spot.
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Now, all of a sudden, it's got
a little bit of movement in it.
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Basically what I've done
is I've taken the mix blend,
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which in this case is called Depth,
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and I've backed it off to about 40%,
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and I've played with the Feel a little bit
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just to get it so that it's got
a little movement to it.
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And now, with that,
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putting that back into maybe
that room simulation...
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So you've taken something that started...
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...like that.
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You're just sitting in one place,
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and now it's got
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all kinds of movement in it,
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and yet it doesn't really sound wet.
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I need a little bit more gain
back from it.
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So it puts it onto a sound.
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It puts it into a staging,
it gives it some staging,
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it gives it some imaging,
but it doesn't necessarily sound wet
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or in the back of the room,
it still has focus and presence.
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But because it has a tiny bit
of movement on it,
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and it has a tiny bit
of a very, very short reverb...
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you can use other short reverbs,
you can use rooms and stuff,
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one of the popular ones
instead of the 2016 that I like
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is the Altiverb preset that you call up.
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But this one you can't use at 100%.
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You've got to back it off.
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It's a little bit wet.
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Actually, you know what?
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Better than that is if you go
into the Studio space
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and you go into the Allaire room.
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That's a good one.
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I mean, there's a million ways to do that.
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Basically a very short reverb
and a little bit of auto-panning
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with a sort of random...
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especially on something fast like that,
a random pattern.
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If you have something that's not fast
like that or not transient,
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you could still do the auto-panning
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and just sort of blend it in there
just a little bit.
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It's very, very effective.
It works on keyboard pads,
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it works on guitars,
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blending it in there a little bit,
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and it makes a big difference.
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So thanks a lot.
7649
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