Most engineers will have tried stereo widening tricks with varying degrees of success. Taking on the tradeoff between stereo interest versus a well-behaved mono mix, we look at one way to get extra width without sacrificing balance in mono.
Changing Width
Engineers and designers have long been aware of the potential for stereo manipulation, either for technical reasons or creative gain. Early proponents of stereo recording and reproduction were able to deduce that stereo always needs two channels to work, but also that it could be encoded and processed in one of two ways. Engineers work with Left and Right channels for the majority of work, however stereo information can also exist as Sum (L+R) and Difference (L-R) channels.
Being able to change the relative levels of Sum and Difference gives rise to some of the stereo widening (or narrowing) effects used to bring extra spread (using more Difference channel and less Mid) versus extra convergence in the middle (using an inverse adjustment).
Width - The Catch
For all the creative potential that using Sum and Difference channels (or Mid or Side channels as they are more commonly referred to) can bring, there can be technical tradeoffs. Of these, arguably the best known is changes in subjective mix levels when mixes are heard on mono devices. Creating extra width inherently requires a stereo speaker pair’s drivers to move in opposing directions; fine in stereo, but often producing lower levels when summed to mono.
Using A Specialised Processor
While affording the engineer creative control, this kind of manipulation can ‘break’ the natural relationship between width and perspective. For example, when moving a stereo pair of mics towards the source, it gets wider and drier; contrast that to adding width using a widener, where the audio can sound both wider and wetter or less immediate. The opposite effect can be heard when narrowing in the mix versus recording further away.
Watch in the video how we use the DrMS spatial processor from Mathew Lane that allows independent control over both width and perspective, as well as solve subjective changes for mono playback. We use it to add width to a drum kit without losing impact in mono thanks to its Depth control, before using the Zoom control to adjust perspective without changing width. We then apply some widening across the whole mix before exploring its extended abilities on centre cancellation duties.
More on Mathew Lane DrMS
Applications go from stereo width, depth, downmixing and upmixing to generating mix glue and "3D sounds" in stereo.
Unique spatial audio processing - zoom in, add depth, change width and more.
Stereo phase scope - visual check of your stereo field.
Mastering grade processing - no compromise audio quality.
Resonant HPF, LPF and Delay on each of the four processing sections.
Feedback circuit for reverb creation and special effects.
Autogain circuit - for easy level matched A/B comparison.
Full mono compatibility - no surprises on any playback system.
Built-in preset management system - exchange presets between hosts and platforms.
Presets by professionals designed by renowned engineers, Dave Pensado, Dylan “3D” Dresdow, Emre Ramazanoglu.
What Is ‘Good Wide’?
Although stereo ‘tricks’ have been around for as long as stereo itself, it’s only recently that engineers have had access to dedicated tools such as DrMS that take on some of the artefacts that are inherent in width manipulation. Certainly, some reading this will recount being impressed by various wideners until they press the mono button! Width, ambience, and perspective will always have an interdependent relationship when recording. Thanks to the tools now available, however, the mix no longer has such constraints. ‘Good Wide’ lets us choose the width and perspective independently, without losses in mono.