Stereo breaks

[Logos]

What's the thinking on breaks that are in stereo? Do people generally just use just one of the channels (e.g. I know on the 7 inch version of the amen you get different sonic characteristics if you use the left and right channels)?

How is your choice affected by the need for choppable breaks vs audio quality?

[Macc]

Good call.

I tend to make them all mono (either by combination, or by choosing the best sounding side of the stereo file) and deal with it later. Fuck it.

By the time it has been eq'd and smashed to fuck with compression no one will give a shit anyway

[Logos]

i've found working with one side of the apache has enabled me to make more progress with that break than i ever have.

[Macc]

yeah, aint the apache got an eighth note preverbed reverb on it, panned to one side? bizarre mixing choice, even by funk standards........

is it the apache, or am i confused?

[polygon]

i just chop the break in stereo unless its panned funny, then i would usually mix both channels and chop it mono.

[Macc]

Hmm, chopping stereo breaks is a bit dodgy though......

The zero crossings are almost never in the same place on each channel, which means either having clicks in one ear every time you play that hit, or putting an envelope on them - which I have some sort of personal spiritual objection to

[john doe]

how do you best make a thing mono then Macc?

[Macc]

As I said, either add the two stereo channels (gives phase cancellation though so be carfeul), or take one side or the other.

Or you can try the 'add back in the difference to the mono file' trick and see if that works...... I am fucked if I can figure it out

[polygon]

Hmm, chopping stereo breaks is a bit dodgy though......

The zero crossings are almost never in the same place on each channel, which means either having clicks in one ear every time you play that hit, or putting an envelope on them - which I have some sort of personal spiritual objection to

usually you find the zero crossings if you look hard enough. if not there's always the trusty pencil tool in soundforge.

[Logos]

@macc yeah I think that is the apache.

Take the funky mule for instance, the left channel is really muddy so if you try to chop in stereo it just colours your overall sound too much.

Still, you should take every break on its merits, right?

[dsp]

@macc yeah I think that is the apache.

Take the funky mule for instance, the left channel is really muddy so if you try to chop in stereo it just colours your overall sound too much.

Still, you should take every break on its merits, right?

funky mule is no way as weird as the amen, i got both on original vinyl, one side of the amen is thin and weak, the other side is phat, its just the mike placements i spose, The bad thing is the phat side of the amen on my record has crackles GRRRR still funky mule on my vinyl is clean as anything,

I use the sooundforge 50% both sides to make mono then just ajust the faders to suit the break

[Logos]

funky mule is no way as weird as the amen, i got both on original vinyl, one side of the amen is thin and weak, the other side is phat, its just the mike placements i spose, The bad thing is the phat side of the amen on my record has crackles GRRRR still funky mule on my vinyl is clean as anything,

I use the sooundforge 50% both sides to make mono then just ajust the faders to suit the break

True - but then the amen is quite a special case, SO much of what makes that break special is about the recording process used.

But you should try using just the (I think) right channel of the mule, you get a certain crispness, I can hear it (again, I think ) in Senses Darker Self and the Source Direct rmx of This is a Baaad to name two...

[dsp]

Yeh i ran one of my amens through my m8s lm1176 limiting amplifier, (the same one that the uad card emulates) and a alessis comp and a dj mixer for eq, Im still working on a phatter one, I just need to get me decks back of my m8, im always lending them out which stops me getting round to sampling, Im gonna hit it hard next week while im off work, i may even post up some of my results for the crew.

The mule is so fat I only paid £15 for a mint copy as well It recorded spot on with out any outboard but the emu1820m stright of the deck

[iNSiGHt]

Hmm, chopping stereo breaks is a bit dodgy though......

The zero crossings are almost never in the same place on each channel, which means either having clicks in one ear every time you play that hit, or putting an envelope on them - which I have some sort of personal spiritual objection to

totally second that motion. ur creating alot of work for urself by taking on stereo breaks to be cut. One classic exapmle of a break having two totally different sounds in Dyke...Blazers..."Let a..Man". One side is all ride the other just suggests it. But running the stereo beat with one totally squashed thru compression with a medium attack laid under the same beat can really add life and punch. Still running mono. Gotta check for phasing but forced compression should fuck it up enough to make enough of a difference. If u ain't tried it I recommend it.

[Macc]

Funnily enough I am working with that break now, and just took the one side......... Maybe should have tried it, but there is so much shite on that break (people, bells or summink etc) I just thought 'fuck it' and took the left side...

But next time I will try it that way...

[Jooks]

Damn, I never thought of that... Another step added to the drum processing process.

[conspiracy_project]

a thought.


in a former long time ago life i played in a band

our demo cd's alway panned the drums on the right or at least more to the right. i am talking about the master recording.
on the cd's it was barely audible, but maybe it has some purposes.


a) this is good
b) wtf?
c) yeh to rock it's cool but leave it in dnb(general) .
d) sod off, it's none of your buisness.

thanx sons of wisdom.


greetz
saphir

[Macc]

In 'real' music, a small amount of panning on the whole kit can be a good thing. The thing is that only really applies to a mono drum kit, or a part of the kit which is being taken in mono.

As an example, it is not uncommon to have the bass guitar panned a TINY amount one way, and the kick the other. This gives more room in the mix without necessarily having to adjust eqs as well.

In dnb this is pretty pointless, as the nature of dnb mixing is more 'each instrument to its own freq band' at least with respect to drums and bass. In rock music the eq work with the bass and drums is done more in a 'jigsaw' fashion, ie using eq scooping at several points in the low frequency range to mould the kick and bass together. In dnb it is more like 'shove all the bass down RIGHT at the bottom and let the kick sit above that'. This removes the need for panning, because (from a very simplified viewpoint), the bass and kick don't get in each other's way.


Besides all that, panning your drums to one side means that when your tune gets played in a club, everyone hears your tune differently - the people on one side hear lots of drums and not much els, the people on the other side hear the opposite.

That is fine, but generally most artists making music for clubs (not headphones!!!) want it to sound the same to everyone, so everyone can say how crap dnb is these days with the same reasoning

[conspiracy_project]

yeh
about your expression in dnb;
i know about the layering freqs


thanx for the words, just wanted to read an other oppinion

hehe imagine