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Post by Mr Whippy on Mar 3, 2018 22:43:09 GMT
Heard of them? It's a - quite effective - method of producing a stereo mix from a mono source. Much more effective than the process used in the 70s with "electronically created stereo" where a mono track was split into 5 frequency bands with 2 on one channel and 3 on the other and maybe a bit of delay added to one channel. Luckily at some point the process was ditched. www.monotostereo.info/Here's a few quite amazing examples. All produced from a mono source: There's more on the website and YouTube.
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Post by DaveC on Mar 4, 2018 9:22:58 GMT
Wow ! So simply, how does this work ?
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Post by ChrisB on Mar 4, 2018 10:35:34 GMT
Well, new member mono2stereo joined early this morning, so maybe he'll drop by and explain to us later?
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Post by Slinger on Mar 4, 2018 15:24:55 GMT
I have several of the tools that are listed in my studio "arsenal" and if ever I master them (no pun intended) I'll happily share the knowledge.
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Post by DaveC on Mar 4, 2018 17:12:07 GMT
Do you have the above " DES (Digitally Extracted Stereo)" and do you know roughly how it works ?
Thanks
Dave
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Post by Slinger on Mar 4, 2018 17:49:32 GMT
Do you have the above " DES (Digitally Extracted Stereo)" and do you know roughly how it works ? Thanks Dave 'DES' is the whole process, not a single tool, Dave. Here's the explanation from ERIC Records...
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Post by DaveC on Mar 4, 2018 17:58:15 GMT
OK ! I now get that, and understand it in concept. Thank you.
Dave
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Post by Slinger on Mar 4, 2018 19:00:41 GMT
Happy to help.
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Post by MartinT on Mar 4, 2018 19:10:17 GMT
The focus has changed from frequency bands to instruments and the technology is far in advance of what came before.
I still remember my very first classical records given to me by my dad. They were on the Concert Hall label and were synthesised stereo from mono recordings. They give a sense of ambience and space and not much more. Remarkably, I still have them.
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Post by Mr Whippy on Mar 4, 2018 19:14:26 GMT
In it's most simplistic terms it's filtering in the digital domain to provide elements for a stereo mix. How you go about it though, is another matter. If you look on YouTube you can find numerous "stereo mix" vids. The majority sound quite dire in comparison to these examples. It all seemed to start with The Beatle's Remasters when Everyone and their Gran was at it. There was some quite creditable efforts with stereo efforts with placing a central vocal image, rather than having it panned to the right channel. Made you wonder why the official releases couldn't have done it.
There's a ton of information on the website and videos on YouTube.
The Fats Domino and Animals' examples are particularly impressive, to my mind. There's no sense of loss of integrity of the recordings. Great to hear Alan Price's playing so clear.
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Post by mono2stereo on Apr 13, 2018 2:41:21 GMT
Mr. Whippy's explanation is quite good. The best examples of this technology make use of spectral editing and/or sound source separation. Sound source separation can be thought of as an automated, or semi-automated, form of spectral editing. Even though portions of the overall process can be automated today, the process is still quite time consuming and tedious. As more automation is incorporated into the process in the coming years, the process will require less effort. One of the extra benefits of this technology is that the resultant stereo mixes retain the "feel" of the original mono sources since they include all of the original sound content of those sources. The coming years will be very interesting as new upmixes from mono to stereo for many classic songs get released commercially! I should point out that the best mixes using this technology are virtually indistinguishable from true stereo mixes.
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Post by MartinT on Apr 13, 2018 4:56:19 GMT
They certainly sound natural, and that must have been one of the aims.
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Post by Mr Whippy on Apr 15, 2018 21:01:59 GMT
Mr. Whippy's explanation is quite good. The best examples of this technology make use of spectral editing and/or sound source separation. Sound source separation can be thought of as an automated, or semi-automated, form of spectral editing. Even though portions of the overall process can be automated today, the process is still quite time consuming and tedious. As more automation is incorporated into the process in the coming years, the process will require less effort. One of the extra benefits of this technology is that the resultant stereo mixes retain the "feel" of the original mono sources since they include all of the original sound content of those sources. The coming years will be very interesting as new upmixes from mono to stereo for many classic songs get released commercially! I should point out that the best mixes using this technology are virtually indistinguishable from true stereo mixes. What could you do with these?: This is rather good:
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