It occurs to me that there must be something better than pan pots on a mixer to create a stereo image. Just panning, say, guitar 1 to somewhat left, and guitar 2 to somewhat right, and so on does NOT seem to me to be the ideal way to create a live-like sound stage. What is there available (on a mixer, or outboard) to do this, other than using stereo microphones on every source?
Imaging with PAN controls is industry standard.
Vocals are usually on separate mics and there again PAN them to where you want the image to be.
Otherwise use two mics, left and right, no PAN and no separation.
Vocals are usually on separate mics and there again PAN them to where you want the image to be.
Otherwise use two mics, left and right, no PAN and no separation.
Putting a 'stereo microphone' on a source might not achieve very much. If you want life-like sound then you need to record an actual performance in a real space with a stereo micophone. This is rarely done.
Pan-potting create an artificial stereo sound which is deemed adequate for most music. You could augment it with interchannel cross-talk using phase shifters etc. but this is not usually done.
I guess the real question is: do you want to create a stereo image, or reproduce a genuine sound?
Pan-potting create an artificial stereo sound which is deemed adequate for most music. You could augment it with interchannel cross-talk using phase shifters etc. but this is not usually done.
I guess the real question is: do you want to create a stereo image, or reproduce a genuine sound?
One creates something from mono feeds; the other seeks to reproduce a real acoustic event. It is the difference between making a collage and taking a photograph.
Creating an enjoyable (not: lifelike) stereo illusion with good soundstaging, spacial separation and image depth from close-miked mono tracks is typically done by using a different stereo reverb/early-reflection effect for every track. Preferably different algorithms, but at least different settings if you only have one plugin or outboard processor. This includes the panning of the main dry signals (no two signals should be panned to the exact same position) but also the panning of the stereo returns (again, don't pan them all hard right/left) and their EQ, initial time gap etc.
For guitars especially, if possible one should try to use at least two different mics at different location/distance from the speaker(s) to have some choice in mixing them together (again, not neccessarily with the exact same pan setting) both for the direct sound as well as for the the feed to the reverbs, notably if there is a stereo input.
In former times true mono compatibility (no comb-filtering etc) was important but today that can be ignored which opens up a lot of options: pan position can be done not only by level change but also by a L-to-R time difference, and one can combine both to work in the same direction of localization shift or in opposite directions, etc.
For guitars especially, if possible one should try to use at least two different mics at different location/distance from the speaker(s) to have some choice in mixing them together (again, not neccessarily with the exact same pan setting) both for the direct sound as well as for the the feed to the reverbs, notably if there is a stereo input.
In former times true mono compatibility (no comb-filtering etc) was important but today that can be ignored which opens up a lot of options: pan position can be done not only by level change but also by a L-to-R time difference, and one can combine both to work in the same direction of localization shift or in opposite directions, etc.
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Better than pan pots? You can record in stereo - two mics - and then you have two tracks, now where will you place them in your mix? How would you do that placement? With pan pots.
I am sure someone will argue, but most rock records are not trying to faithfully reproduce the sound of the amplifier, they are trying to create a pleasing sound.
Guitar pan pots? How about record the guitar signal direct, then record other tracks of the speaker cab. One close mic at an angle, another close mic pointing straight in. Another mic at a distance, say 20 feet. You can blend those together as you like, and pan the whole thing to one spot or pan some one way and some another. If you record the guitar signal itself, you can play it back through any number of amps, enabling you to record the exact same performance through a Marshall, a Fender, a Mesa, a Peavey, and whatever. Use any or all as part of your mix.
Having done that, you can do things like pan the guitar a little left and put the same track delayed a hair panned a little right. Expands the sound a little. Or put the guitar center, then pan left a ways and pitch shift the signal down a cent, and play it again panned a bit right pitch shifted up the same amount. Makes a bigger sound.
I have essentially restated things KSTR I see. But those are just a few of the basic studio techniques. There are many many more. So if you want more than pan pots, read up on the recording industry, they already use far more than pan pots.
I am sure someone will argue, but most rock records are not trying to faithfully reproduce the sound of the amplifier, they are trying to create a pleasing sound.
Guitar pan pots? How about record the guitar signal direct, then record other tracks of the speaker cab. One close mic at an angle, another close mic pointing straight in. Another mic at a distance, say 20 feet. You can blend those together as you like, and pan the whole thing to one spot or pan some one way and some another. If you record the guitar signal itself, you can play it back through any number of amps, enabling you to record the exact same performance through a Marshall, a Fender, a Mesa, a Peavey, and whatever. Use any or all as part of your mix.
Having done that, you can do things like pan the guitar a little left and put the same track delayed a hair panned a little right. Expands the sound a little. Or put the guitar center, then pan left a ways and pitch shift the signal down a cent, and play it again panned a bit right pitch shifted up the same amount. Makes a bigger sound.
I have essentially restated things KSTR I see. But those are just a few of the basic studio techniques. There are many many more. So if you want more than pan pots, read up on the recording industry, they already use far more than pan pots.
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