I listen to the mono and stereo version of a mix . But what should one learn
from the ''dif'' mix? What should one hear/not hear?

thanks for your explanation, regards,
Bob

"Bob" wrote in message
...
I listen to the mono and stereo version of a mix . But what should one
learn
from the ''dif'' mix? What should one hear/not hear?

thanks for your explanation, regards,



Are you asking what you should be checking to insure mono compatibility,
or are you asking about the L-R signal with the sum removed?

--
"It CAN'T be too loud... some of the red lights aren't even on yet!"
- Lorin David Schultz
in the control room
making even bad news sound good

(Remove spamblock to reply)

"Lorin David Schultz" schreef in bericht
news:Lce9d.39433$223.18135@edtnps89...
Are you asking what you should be checking to insure mono compatibility,
or are you asking about the L-R signal with the sum removed?

--


The latter Lorin...thanks for explaining.
Bob

"Bob" wrote in message
...

I listen to the mono and stereo version of a mix .
But what should one learn from the ''dif'' mix?
What should one hear/not hear?

"Lorin David Schultz" schreef in bericht

Are you asking what you should be checking
to insure mono compatibility,
or are you asking about the L-R signal
with the sum removed?

"Bob" wrote:

The latter Lorin...thanks for explaining.


I can't think of *anything* you "should" or "should not" hear when
listening to the difference (L-R) signal, since what you'd hear is
completely dependant on aesthetic production decisions.

I guess you should not hear anything you wanted positioned in the centre
of the mix (vocal? maybe some lead parts? bass? kick?), though you
would probably hear the reverb (if any) on the element. You don't
really need to do anything other than listen to the mix for that though.

--
"It CAN'T be too loud... some of the red lights aren't even on yet!"
- Lorin David Schultz
in the control room
making even bad news sound good

(Remove spamblock to reply)

In article %bC9d.1$z96.0@clgrps12 writes:

I can't think of *anything* you "should" or "should not" hear when
listening to the difference (L-R) signal, since what you'd hear is
completely dependant on aesthetic production decisions.

What you hear when you listen to L-R is a pretty good picture of the
ambience or artificial reverberation. On a multitrack recording with
added reverb, you'll hear too much reverb (as well as a crummy
sounding mix) while on a live stereo recording with a lot of ambient
information, you'll mostly just hear a strange change in balance. But
you really need to listen to L-R, not reverse the polarity of one
channel and listen to it on stereo speakers or headphones.


--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo