mixing classical piece - could use some advice

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guitarjo

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i was given a string quartet to mix. the strange thing is there are only 3 tracks labeled centre, near, and far and they were all recorded in monoa for some strange reason. is it best for me to leave all these tracks right in the centre and use some light reverb for dimension or to use panning to create a sense of space? panning seems to provide some depth but i wonder about the unrealistic nature of "far" or any of the other tracks being put off to the side. i didn't see where the mics were placed in the session as i wasn't there.
 
I'd approach this interesting situation from a different angle. Instead of focusing on panning and artificial ambience, I'd first concentrate strictly on the quality of the sound.

If the three mics were actually positioned in a straight line coming out from the middle of the four players, I think it's fairly safe to make some observations on that basis:

1. Unless two of the mics were configured as a Mid-Side (MS) pair, or some other unknown factor is at work, there will probably be little or no stereo information available, so you should probably consider this to be a monaural recording.

2. If the mics were really positioned at three different distances, then the farther ones will be delayed with respect to the nearest in this fashion: the amount of delay will be slightly less than 1ms (1 millisecond=1 thousandth of a second) per foot of distance since the speed of sound at room temperature is roughly 1,100 feet per second. For example, if the distances from the near mic were, say, 8 and 16 feet, then the other two would be delayed by roughly 8 and 16 milliseconds, respectively.

3. Unless the distances were much less than the example, I'd guess that the summed phase error when you mix the three in mono would yield a pretty indistinct, blurry sound.

4. Even though you don't know the distances, you should be able to "tune out" the delays by experimenting with different amounts of delay on the middle and far sources. You should be able to do this by comparing the close one to the other two one at a time, with the two that you're currently comparing either summed to monaural or panned to extemes, or even try it both ways to see which resolves the phase relationship better. If my hunch is right, you should be able to easily notice an imrovement in the phase corrected sound, at least if the distances were great enough during the recording session.

I'd start messing with other techniques only after a successful job of time alignment. I suppose that then the sound might benefit from the things you've been trying. This is just a thought experiment at this stage; it would be interesting to find out the results of any experimentation you might actually do. It's good food for thought, anyway!
 
An alternative to trying to time align the three mics (as per soundobsessed's suggestion, above) is to find the one track which best represents the sound of the string quartet in the room

...and then either don't use the other two

or, use one (or both) of the other two to only feed your reverb du jour for some faux stereo ear candy.
 
I wonder whether the labels mean something different.

The mikes could have been placed in a kind of Decca tree. 'Near' might be, say, 'leftish', and 'far' might be rightish.


Any possibility that you could ask someone how the mikes were placed?
 
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