Amazing Discovery for sound placement

[Bro Barry]

Nothing new to most of you I'm sure.. but daring on my part.

I went to church on Sunday, I noticed the drummer was on the right
side (down in front of the platform) Short story, the drums were
panned hard right...

The piano was panned hard left.. the two met in the middle.

That's all the music they had.. and it was enough.. but.. it taught
me..

I need to place my musicians in my mixes this same way. Pan them on a
virtual stage.

I used to know of certain software, that let you drag tracks around on
the stage.
You was looking at say a bass amp.. but that was the bass track etc.


If you listen to Tina Turner sing, "I wanna take you higher", you hear
how hard left the drums are panned.. at first you think.. wow! this is
going to suck.. but then.. the guitar comes in hard right.. the bass
etc... what a powerful work of art.

This one thing alone could bring more believability to my mixes than
anything. I think.

later

Thank for listening.

Barry

[Chris Whealy]

Bro Barry wrote:
> The piano was panned hard left.. the two met in the middle.
>
> That's all the music they had.. and it was enough.. but.. it taught
> me..
>
Read Bobby Owsinski's book "The Mixing Engineer's Handbook". Chapter 4
is on the placement of sounds in the sound field.

Chris W

--
The voice of ignorance speaks loud and long,
But the words of the wise are quiet and few.
---

[Scott Dorsey]

Bro Barry > wrote:
>
>I need to place my musicians in my mixes this same way. Pan them on a
>virtual stage.

Yes.

>I used to know of certain software, that let you drag tracks around on
>the stage.
>You was looking at say a bass amp.. but that was the bass track etc.

You are probably talking about systems like Q-sound, which allow you
to introduce phase differences between channels so that the stereo image
is more realistic.

Normally when we hear things from the side, they are louder in one ear
than the other but the sound ALSO arrives first at one ear. Arrival time
cues are more important at low frequency, while intensity is more important
at high frequency.

This is why using stereo miking is a big deal, even a panpotted mix.

>If you listen to Tina Turner sing, "I wanna take you higher", you hear
>how hard left the drums are panned.. at first you think.. wow! this is
>going to suck.. but then.. the guitar comes in hard right.. the bass
>etc... what a powerful work of art.
>
>This one thing alone could bring more believability to my mixes than
>anything. I think.

What, realistic laying out of the stereo image?
It's a good thing... but what happens when the track is played in mono?
You can't depend on it exclusively for separation and you need to worry
about comb filtering issues for mono compatibility too.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[DC]

Bro Barry wrote:

> If you listen to Tina Turner sing, "I wanna take you higher", you hear
> how hard left the drums are panned.. at first you think.. wow! this is
> going to suck.. but then.. the guitar comes in hard right.. the bass
> etc... what a powerful work of art.

It's called a sixties record. And isn't it Sly and the Family Stone?