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+---- Thread: PROPER PAN (/thread-17728.html)
PROPER PAN - Chello - 08-31-2024
PROPER PAN
Many styles have what I would call incorrect panning of sounds.
Now it should be said that I am hysterical about stereo, because my reality consists of the atmosphere between left and right; the ambience.
If a sound is panned all the way to one side, the perspective is destroyed.
The worst cases I know of are when certain drum elements play on opposite sides, as if there are two drum sets on stage, which is rarely the case.
This is very confusing and destructive to the perspective.
Rather, adjust everything slightly towards the middle, and the perspective falls into its correct place.
It's so damn easy in my opinion - everything sounds much more natural with this setup.
RE: PROPER PAN - welsh wizard - 08-31-2024
I am not sure on this one ..you could have piano left strings right or bongos one left the other right early recordings had this super stereo sound and a lot of the German organists did this left right stereo effect eg drums break from left to right ,on the Wersi Helios drums were sent to one or the other channels left or right as well as fixed stops , fixed stops to wersivoice dry on left channel and wersivoice rotor on the right
RE: PROPER PAN - Graham UK - 08-31-2024
Who's old enough to remember the very early days of stereo demonstrations when sound were Panned Far Left & Far Right giving a very poor listening experience.
My microphone sales days provided me the experience of visiting professional recording studios daily, most of them went for the natural instrument placement ambience approach.
This ambience recording experience encouraged me to build my own Dummy Head for my recordings.
The playback of these recordings gave one the impression of actually being there and even more so listening on headphones.
Binaural recording
This effect is often created using a technique known as dummy head recording, wherein a mannequin head is fitted with a microphone in each ear.
RE: PROPER PAN - Chello - 08-31-2024
Interesting comments.
I worded myself quite deliberately, as I often do.
What welsh says is certainly according to the facts, but not necessarily correct because Wersi makes it so.
I've never liked the sound of the Wersi for the same reason, but others like it and that has to be respected.
The vast majority of recordings (all music) that exist are poorly made, with pronounced stereo and a lack of perspective.
For example, I have thousands of so-called good recordings, but only under 300 of these are really good with a good perspective.
There are perhaps several thousand that are good, but they lack "that little extra" - ambience.
Some of the best are from the 50s, and in mono. They are recorded with many microphones in different positions and I can easily and immediately tell exactly where they are placed on stage it is almost as if I see them.
Graham really elaborated on what I wanted to achieve, but he is also the only one who has the same background as me and shares my perception of what good sound should sound like.
The key word here is precisely ambience, and I am well acquainted with Binaural recording.
The amount of ambience is for me the most important thing of all, and panning can't really fix this, if there is no ambience in the recording.
Reverb, which today is added artificially afterwards, has nothing to do with real ambience.
One thing we keyboardists (those who have Korg) can still do is add real ambience to drum kits, and choose the other sounds based on the amount of natural ambience - there is a big difference between, for example, acoustic guitars and grand pianos in the amount of ambience that exists on each individual sounds sampling.
And we pan to the end.