Matching levels for stereo recording
- Thread starter PRHunt
- Start date
Well,
I guess it depends on what you are recording, but the main point to consider is when something is placed in the center of the mic array and it puts out a constant tone or volume it registers equally in both mics.
If you have an amp and can set it where the center of the imge is you can play a sustained chord and watch the meters.
If you have a cheap portable cassette player that you can record a test tone on and play it to make adjustments to mic levels.
Just some ideas to spur your interest.
I guess it depends on what you are recording, but the main point to consider is when something is placed in the center of the mic array and it puts out a constant tone or volume it registers equally in both mics.
If you have an amp and can set it where the center of the imge is you can play a sustained chord and watch the meters.
If you have a cheap portable cassette player that you can record a test tone on and play it to make adjustments to mic levels.
Just some ideas to spur your interest.
R
RAMI
Guest
Or......use your ears.
Massive Master
www.massivemastering.com
That would be too obvious...
Dogbreath
Im an ex-spurt
R
RAMI
Guest
spencer 4 hire
Banned
I've always trusted my ears as well.
certainly not opposed to listening as a primary metric for setting levels but human hearing is deceptive, particularly with regard to distance and what is heard in left vs. right ear (or perception of what is heard)
there are a lot evolutionary reasons why even mono mic placement is a dark art
but there is no easy tutorial, let alone button to press, as to how to balance signals in stereo recording. Mics are wild card variables (even with so called matched pairs (some are better matched then others, plus age can play a role)), the room particularly for stereo is a major variable, and pre amps contribute.
but equalizing level is far less critical (generally speaking) then finding the appropriate mic position for the content in the first place
and, as with most audio endeavors there are two basic approaches. Getting it 'close' while tracking then massaging in post or spending the time to set up listen both live and in play back (when using any non coincident spaced pair listening live is particularly deceptive . . . ears being in locations other then both mics), make minor adjustments, listen again, etc. In real life one typically defaults to some blend of get in right prior to record and fix it in the mix . . . there is not much real world benefit in fatiguing the talent prior to hitting the red button.
There can be some benefit in using pre-amps with stepped gain. There can be some benefit (depending on all the variables) to using a compressor on signal prior to tape . . .
but it really does 'all depend' on: content, performers, mics, placement, etc. In many ways the least valuable aids can be the meters (balancing stereo signals) . . . analog meters tend to be too slow, by the the time you sort out all the meter variables, peak, RMS, phase graph or scope you can be far enough down a recursive rabbit hole that content gets misplaced (hence the use your ears advice, which is good advice if you have the experience and (AND) are in a decent room)
there are a lot evolutionary reasons why even mono mic placement is a dark art
but there is no easy tutorial, let alone button to press, as to how to balance signals in stereo recording. Mics are wild card variables (even with so called matched pairs (some are better matched then others, plus age can play a role)), the room particularly for stereo is a major variable, and pre amps contribute.
but equalizing level is far less critical (generally speaking) then finding the appropriate mic position for the content in the first place
and, as with most audio endeavors there are two basic approaches. Getting it 'close' while tracking then massaging in post or spending the time to set up listen both live and in play back (when using any non coincident spaced pair listening live is particularly deceptive . . . ears being in locations other then both mics), make minor adjustments, listen again, etc. In real life one typically defaults to some blend of get in right prior to record and fix it in the mix . . . there is not much real world benefit in fatiguing the talent prior to hitting the red button.
There can be some benefit in using pre-amps with stepped gain. There can be some benefit (depending on all the variables) to using a compressor on signal prior to tape . . .
but it really does 'all depend' on: content, performers, mics, placement, etc. In many ways the least valuable aids can be the meters (balancing stereo signals) . . . analog meters tend to be too slow, by the the time you sort out all the meter variables, peak, RMS, phase graph or scope you can be far enough down a recursive rabbit hole that content gets misplaced (hence the use your ears advice, which is good advice if you have the experience and (AND) are in a decent room)
bouldersoundguy
Well-known member
If you don't trust your ears:
Invert the polarity of one channel, sum the two and adjust for maximum cancellation of a physically centered source.
But I'd just use my ears.
Invert the polarity of one channel, sum the two and adjust for maximum cancellation of a physically centered source.
But I'd just use my ears.
PRHunt
I void warranties
Thanks for the variety of helpful (and light-hearted) suggestions.
Was just curious to know if there was some accepted standard.
Seems like comes down to:
1 - Invert one channel and sum for max cancellation;
2 - Stepped gain control;
3 - Ears and experience.
I'm probably leaning toward 1 or 2 at this stage.
Cheers all!
Paul
Was just curious to know if there was some accepted standard.
Seems like comes down to:
1 - Invert one channel and sum for max cancellation;
2 - Stepped gain control;
3 - Ears and experience.
I'm probably leaning toward 1 or 2 at this stage.
Cheers all!
Paul
