So yes I made a mistake, the engineer did not have 4 tracks to play with per se. The left and right doubled tracks had to be in sync... but they could be processed/compressed/expanded/EQd individually at the pre mix and production stage, but then . But each individuaOh well, that’s all answered then. We can all part company as friends
Useless phone, each of the 4 tracks could be treated and processed independantly. But the doubling of either side had to be synced and pre produced first. I dont think that would have been a problem. Just treat either side of the stereo pair mix in the same way as you would treat mono doubling. Hope this makes sense
Okay, all fine.We dont need to part buddy, just getting started!Not trying to be a know all, just my humble opinions and hoping to get some good tech advice from you guys here.
As I said, I am a musician first and producer second and hopeless with tech stuff!
Kind Regards Cyber thanks
It was just something I picked up from an engineer guy in the 90's at music production college in Newcastle. I am sure the stereo technique goes back a long way but might have been set up different way, putting the mikes a few feet apart etc. But he told me that the "crossed pair" gave a better sound and overall dynamic
I don’t dispute this. Good luck with whatever you’re doing
