In fact, when combining panning with other modulated parameters such as filter cutoffs, effect send amounts, and sample or loop start points, is when you can really generate some apparently ridiculously complicated- and sophisticated-sounding effects, great for complex slam hits, risers and droppers, evolving pads and synth lines, and almost anything else.
#Stereo tools eq series
We’ve discussed the roles of automation and modulation a lot in this series so far, and moving sounds across the stereo field as they play out, either rhythmically or pseudo-randomly, can add a huge amount of life and dynamism to an otherwise static sound. Just remember that a good balance between epically wide and highly directional, detailed sounds, often sounds best and most impactful and enveloping for the listener. Of course, you can still pan these mono channel sound components hard left or right if you want, and of course combine them with true stereo sounds as well, achieving the best of both worlds. If you’re starting with a stereo sound, sample, hit or layer, try discarding one of the stereo sides and working with the other side as a mono sound: it will be easier and clearer to position the sound exactly where you want it, in context. Try instead to carefully position your sounds within the stereo spectrum in the same that you might use EQ and filters to have each sound occupy a particular frequency domain without too much messy overlap between them. Think of it this way: If you try for width and spaciousness with every individual element in a sound effect or mix, they are all fighting evenly for sonic space across the whole stereo spectrum, and in the end, none of them have space or clarity. As counterintuitive as it can first appear, you can actually get more clarity - and by extension, more scale and impact - by positioning individual mono channel sound elements and layers across the stereo field, rather than making or keeping every sound element in broad stereo in an effort to generate greater width. Part 5: Stereo and Panning FX In Sound Design Often The Best Solution Is Mono Sounds Panned Across A Stereo Field Part 10 – Granular Synthesis & Sample Processing.Part 8 – Step Sequencers & Envelope Generators.Together with reverb, EQ and good old-fashioned signal levels, panning and stereo processing provide yet another dimensional plane - width - across which you can stretch, carefully position and sculpt your sounds.Ĭatch up on the other parts in the series: But as with all technical tools and techniques in audio production, it has its creative uses and misuses too, which can be particularly helpful when approaching sound design projects.
#Stereo tools eq full
Panning is generally thought of as a fairly dry and functional mixing tool, a way to achieve additional separation and clarity between different components in a full mix.
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