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Don't know about "based on" but historically all this points back at Alan Blumlein's work in the thirties. I guess you could see the signal routing I described as an inline version of a Blumlein matrix for recording with microphones. http://en.wikipedia.org/wiki/Microphone_practice http://en.wikipedia.org/wiki/Alan_Blumlein Greetings from Sweden Per Boysen www.perboysen.com http://www.youtube.com/perboysen On Mon, Feb 13, 2012 at 9:29 PM, Ricky Graham <rickygrahammusic@gmail.com> wrote: > Per, isn't this technique based on the mid-side (MS) recording method? > > On Mon, Feb 13, 2012 at 5:55 PM, Per Boysen <perboysen@gmail.com> wrote: >> Yes, that's correctly understood. In the first post I actually left >> out the last note, that the mix will become left-right reversed. If >> you care about that you could reverse it back to the original. It's >> not such a complex routing and the step for step instruction is all in >> my first post. But please note that it is a classic mastering >> technique for stereo format. Not a recommendation for mixing film >> music ;-) It can be used to optimize experienced detail resolution >> and to achieve mono compatibility in a stereo master. >> >> Greetings from Sweden >> >> Per Boysen >> www.perboysen.com >> http://www.youtube.com/perboysen >> >> >> >> On Mon, Feb 13, 2012 at 6:33 PM, andy butler <akbutler@tiscali.co.uk> >> wrote: >>> Per Boysen wrote: >>> >>> >>>> Here's what you do in detail by a more technical description: >>>> >>>> Ch A: Reverse stereo channels. Ch B: Invert phase. Now, when two >>>> channels of reversed phase play back through the same playback channel >>>> they nullify each other and the sum is silence. BUT here we made one >>>> of them stereo reversed, which means that only the audio that is mono >>>> - i.e. middle of stereo image - becomes nullified. Merging A + B gives >>>> us a "hole in the middle" stereo image. The deepness of the black hole >>>> and the width of the experienced stereo field depends on how you set >>>> the levels of these two stereo busses. My finding is that 1 dB lower >>>> for the phase inverted Ch B works best for the music I do (-1 dB that >>>> is). Now enter Ch C, the "monofied" split, and fill up that hole in >>>> the middle with this one. If the orignal mix is good this should stay >>>> at 0 dB as Ch A. >>> >>> >>> >>> So all of the trick is to make you hear the mix >>> differently. >>> >>> There's no way to get the original mix back with that combination. >>> >>> It's almost an implementation of a regular "shuffler", but weirded up: >>> >>> adding A and B equally gives you the classic "sides" signal, ready to >>> mix >>> with the mono "center"...except that the whole result is now L<>R >>> reversed. >>> >>> >>> >>> >>> well, if it works......it's good >>> >>> >>> andy >>> >> >