”M-S processing can help you control aspects of the mix that are hard to reach with standard left/right processing,”
5 години се чудя... Първо мисля ,че се дължи на честотите. Китарите са много добре отделени.
След това са поне 2 на канал и са свирени отделно всяка а не пейст и копи...
По едно време си мислех че слагат некъд плугин или хардуер. Пробвал съм и с Мид Саид процесинг
M/S като издърпваш средата и усилваш каналите. Има М/С плугин на Воксенго
енкодер и декодер. Аз го слагам на групата с ритъм китарите Първо него декоде после стере EQ и пак него на енкоде. В самия плъгин може да намаляш центъра и страните. EQ по средата-единия канал на ЕК може да пипаш честотно мидъла а другия канал на ЕК да пипаш страните
http://www.voxengo.com/product/msed/
MSED is a mid/side encoder/decoder plug-in which encodes (splits) the incoming stereo signal into two components: mid/side or, alternatively, mono/stereo pair, and vice versa: decodes mid/side signal pair into stereo signal. MSED is also able to work in the in-line mode with the ability to adjust mid and side channels' gain without the need of inserting two MSED plug-ins in sequence.
M/S technique: Mid/Side stereophony
This coincident technique employs a bidirectional microphone facing sideways and a cardioid(of any characteristic; Alan Blumlein described the usage of an omnidirectional transducer in his original patent) at an angle of 90° facing the sound source. The left and right channels are produced through a simple matrix: Left = Mid + Side, Right = Mid - Side (the polarity-reversed side-signal). This configuration produces a completely mono-compatible signal, the width of which can be manipulated after the recording has taken place, which makes it especially useful for the usage on film-based projects.
M/S is also known as "middle-side", which is a particular micing technique. Instead of Left and Right microphones in cardioid, M/S uses a cardioid mic in the middle and a bi-directional microphone pointed to the sides. It's another way of achieving stereo fields, but it requires a little math to be done before it can translate to a left/right speaker system.
After the encoding, they're not "Left" and "Right" anymore, they're "Stereo" (the bidirectional) and "Mono" (the center cardioid).
Dial M-S for Mastering
M-S is not only a recording technique, but also a way to process stereo audio. As a result, it's one of the mastering engineer's secret weapons.
M-S lets you separate the sounds in the center, which are common to the left and right channels, from the sounds on the sides, which do not share information with each other. For example, that allows you to change the balance of the final mix by encoding a pair of left/right stereo tracks to M-S tracks, processing or adjusting them independently, and decoding the altered M-S tracks back to left/right stereo.
How the M-S processing is used varies with the material at hand. The most common application is to change the width of the stereo image, either collapsing it for mixes that are too wide by increasing the volume level of the mid, or widening narrow mixes by increasing the level of the sides. That technique works best in small doses, because a little can go a long way.
Once the tracks are isolated as mid and side components, they will each contain different instruments, which can be used to your advantage. For example, you can brighten up a lead vocal in the center without affecting the stereo percussion on the sides (see Web Clip 4); move a solo piano a little closer in the mix by minimizing the reverb from the hall; or add a small amount of compression to tighten up the rhythm-section elements in the middle, while not adding audible artifacts to the cymbals at either side.
Some mastering processors have built-in M-S processing capabilities. For example, the TC Electronic System 6000's BackDrop broadband noise reduction allows you to take a noise print and work on it in either left/right or M-S, automatically doing the encoding and decoding for you. With processes as program-dependent and touchy as noise reduction, the M-S option can make all the difference.
”M-S processing can help you control aspects of the mix that are hard to reach with standard left/right processing,” says Greg Reierson, principal of the Minneapolis-based Rare Form Mastering. ”The most obvious is widening or narrowing a mix, but other image-specific issues arise. I sometimes find I want to adjust frequency-specific content of the side channel without affecting the center, or vice versa. If done carefully, M-S allows more specific control of one channel without adversely impacting the other.”
Several DAW plug-ins are available that convert M-S sources to left/right stereo and vice versa. That can save channels and mitigate error in DAW routing. A plug-in like the Waves S1 offers M-S processing — with and without spatial EQ — as part of its spatialization algorithms.
Be sure to listen carefully when making these kinds of mastering changes. There can be a tendency to overdo the side levels in hopes of creating an impressively wide image. Not only does this change the musical balance, but it could also leave you with phasey-sounding sides and a weak center.
Getting There and Back Again
