New Style of Width Manipulation using differentiation.

[wlangfor@uoguelph.ca]

Hi everyone.

I've come up with a new, prototype width manipulation technique that I thought I would share. I was noticing historical audio often mixes stereo and mono, so, let's begin.

Starting with stereo 1hz to 300hz is singled out using a steep low pass. this is the first connection from audio IN.

Next, mono is introduced with a resonant highpass which roughly begins to fallout at 300Hz. I wasn't sure which High Pass (reminiscent of a legendre but high pass instead of low pass); Maybe You could tell Me. So, this mono signal goes all the way up to the highest spectrum.

Thirdly, the last connection is a stereo beginning after 300hz and it is affected by a Legendre filter so that its falloff is roughly 3-5KHz.

It is an extremely realistic cicrcuit which emulates physics and rarefaction. Taking into considering the smaller wavelengths and the amount of speed from bass should there be any obstacles to echo off of.

[adamszabo]

What is historical audio? Have any examples?

[wlangfor@uoguelph.ca]

Yeah, I was thinking Michael Jackson, best of, earlier works especially thriller etc.
I was researching the use of mono and stereo.

What really hit home with Me is how a stereo condensor mic does not ess but in contrast running mid side with both at high treble kinda does.

I plan on using this methodology as a way to replace Mid Side designed by Alan Blumlein and I'll make various equalizers which use the technology. I call it the Langford Curvation. It carefully allows the high treble to be in the mono, but not echoed with the stereo; Removing the chance of essing and seeming naturally at the same time.

I could also use the effect to make doublers with etc. Ultimately if the effect were to be used in a chain I guess I would have to make an fx rack.

[Spogg]

I’m not sure I fully understand but I’m looking forward to auditioning the result when you have it working.

Stereo field manipulation has always fascinated me!

Good luck!

Spogg

[trogluddite]

What really hit home with Me is how a stereo condensor mic does not ess but in contrast running mid side with both at high treble kinda does.

The imperfect polar response of mics, particularly cardioid pattern ones, can have this softening effect. In a 90 degree Blumlein pair, when the source is centred, both mic's are pointed 45 degrees off axis to the source. If the mic's are less directional at lower frequencies, which they usually are, this can warm the sound a little. Hence the old engineer's trick of experimenting with pointing the mic a little away from the singer before reaching for the de-esser.

[Spogg]

Interesting Trog.
When I make my videos I found the best approach is to speak across the mic (Shure SM58) rather than into it. Probably all real vocalists know this.

Cheers

Spogg

[tulamide]

Interesting Trog.
When I make my videos I found the best approach is to speak across the mic (Shure SM58) rather than into it. Probably all real vocalists know this.

Cheers

Spogg

As a singer, you have to think about the use of the microphone a lot. So much, that it gets an automated process over time. For example, not everything is sung across the mic, but especially explosives (p, t, c etc.) You move away from the mic for hissing sounds and you get close when lowering the voice (you tend to sing with less power in lower registers). Sometimes on longer notes, you slowly move the mic to give that note some kind of envelope.

Oh, and sometimes you get a hurting electric shock, when the sound engineer wasn't careful enough with grounding

[Spogg]

Yes I think the voice and microphone actually make up a complete instrument that needs care, skill and experience to “play” well. Which I don’t have!

Cheers

Spogg

[wlangfor@uoguelph.ca]

What really hit home with Me is how a stereo condensor mic does not ess but in contrast running mid side with both at high treble kinda does.

The imperfect polar response of mics, particularly cardioid pattern ones, can have this softening effect. In a 90 degree Blumlein pair, when the source is centred, both mic's are pointed 45 degrees off axis to the source. If the mic's are less directional at lower frequencies, which they usually are, this can warm the sound a little. Hence the old engineer's trick of experimenting with pointing the mic a little away from the singer before reaching for the de-esser.

Hmm, I will have to research this. Thanks.

I often refer to this as axis. But there's more to that, thanks.

[trogluddite]

I often refer to this as axis. But there's more to that

Axis [noun] - (of a directional microphone) An imaginary line in space originating at the microphone's diaphragm and pointing in the direction in which the microphone is most sensitive.

There is no more to it than that. In over thirty years, it is the only definition of a microphone's "axis" that I've ever heard of in a sound-engineering context.

When I use a word, it means just what I choose it to mean - neither more nor less.

But, to Alice, everything that Humpty Dumpty said seemed like nonsense. You may use whatever unique, idiosyncratic definitions for technical terms that you wish; but if you get misinterpreted or dismissed, you will only have yourself to blame.