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mono kik
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*Girl*
Started Topics :
1
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54
Posted : Mar 1, 2006 14:43
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heard and saw some artists that produce the all track on sterio but put the kik on mono why ? |
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Digital Psyence
IsraTrance Junior Member
Started Topics :
13
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134
Posted : Mar 1, 2006 14:49
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because the kick should have the same strenght, & sound the same in both speakers (left & right).....all drums are usually mixed in mono.
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Jikkenteki
Jikkenteki
Started Topics :
20
Posts :
356
Posted : Mar 1, 2006 15:19
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Also on large PA systems the bass freqs are usually in mono anyways. Most of your stereo definanition comes from the high end. Also back when people used to write tracks with vinyl in mind, mono bass was important as stereo bass could possibly bounce the needle right out of the grooves.
 New Album: Jikkenteki - Flights Of Infinity
Available for free at http://www.ektoplazm.com/free-music/jikkenteki-flights-of-infinity/
PAR-2 Productions http://www.par-2.com |
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Mike A
Subra
Started Topics :
185
Posts :
3954
Posted : Mar 1, 2006 16:04
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Try putting your kickdrum 100% left or right. You'll understand why. 
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sy000321
IsraTrance Junior Member
Started Topics :
46
Posts :
1142
Posted : Mar 1, 2006 16:46
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Quote:
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On 2006-03-01 14:49, Digital Psyence wrote:
because the kick should have the same strenght, & sound the same in both speakers (left & right).....all drums are usually mixed in mono.
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you're not right here... only the kick and bass "should" be in mono at the center.
To give a realistic feeling snares and hats should be panned to opposite sides, and any other percs drums/percs should be place left or right to make the image bigger.
some people do argue that if the snare is too present it should be at center too, like cymbals, but in most psy the snare is not so present like in other styles.
roll a joint or STFU :) |
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dtd
IsraTrance Junior Member
Started Topics :
17
Posts :
490
Posted : Mar 1, 2006 18:18
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it's because humans can't hear the direction of sound sources with very deep frequencies. that's inherent in our way of determing sound directions using running-time differences (of the pressure wave in the air) between the left and right ear. |
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TopDown
Started Topics :
7
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62
Posted : Mar 2, 2006 12:51
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Two points :
1) Low freq's travel thrue space (air) faster - for very low freq's its so fast you cant tell where it came from (lets talk about reasonable distance between L and R speakers)
2) Bass freq's are carried on much higher amplitudes - panning to one side and maintain same amplitude = double the gain = no headroom left for else on this side
1)+2) = it wont get you anywhere (no sagnificant effect) and will leave you with unbalanced mix |
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Pavel
Troll
Started Topics :
313
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8649
Posted : Mar 2, 2006 13:05
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In the drum sets the kick drum sits in the center. And the drummer himself is usually sits in the center as well.
Everyone in the world is doing something without me |
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TopDown
Started Topics :
7
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62
Posted : Mar 2, 2006 13:08
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Quote:
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On 2006-03-02 13:05, Pavel wrote:
In the drum sets the kick drum sits in the center. And the drummer himself is usually sits in the center as well.
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Dont they have a mic into each drum ? |
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Pavel
Troll
Started Topics :
313
Posts :
8649
Posted : Mar 2, 2006 13:26
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Quote:
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On 2006-03-02 13:08, TopDown wrote:
Quote:
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On 2006-03-02 13:05, Pavel wrote:
In the drum sets the kick drum sits in the center. And the drummer himself is usually sits in the center as well.
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Dont they have a mic into each drum ?
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Yes they do.
Everyone in the world is doing something without me |
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dtd
IsraTrance Junior Member
Started Topics :
17
Posts :
490
Posted : Mar 2, 2006 14:15
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Quote:
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On 2006-03-02 12:51, TopDown wrote:
Two points :
1) Low freq's travel thrue space (air) faster - for very low freq's its so fast you cant tell where it came from (lets talk about reasonable distance between L and R speakers)
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waves in general travel at a constant speed through a given material (depending on the density of this material). so air pressure differences travel through air at a constant speed depending on the density of the air.
for high frequencies there are more pressure changes, per time unit. for low frequencies there are fewer such changes, per time unit. but the bottom line is that the travelling speed is constant |
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TopDown
Started Topics :
7
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62
Posted : Mar 2, 2006 15:44
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14-year old e-tard
IsraTrance Junior Member
Started Topics :
11
Posts :
797
Posted : Mar 2, 2006 16:00
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No the speed of sound changes with temperature, but all frequencies travel at the same speed.
Anyway, the human brain starts loosing directionality below 300Hz or so. So there is no need having stereo sub since we can't perceive it and it causes huge problems when cutting vynil. Most mastering houses will monofy everything below that frequency anyway.
So its essential that your bass end is solid when your mix is played out in mono.
Me>You |
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e-motion
IsraTrance Full Member
Started Topics :
71
Posts :
933
Posted : Mar 2, 2006 16:03
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yep that's why the audio system with subwoofer are .1 and not .2 |
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TopDown
Started Topics :
7
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62
Posted : Mar 2, 2006 16:17
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Sorry for overloading the thread with stuff (I just fell I own some), but found something else :
"LOCALIZATION
We are also able to perceive the direction of a sound source with some accuracy. Left and right location is determined by perception of the difference of arrival time or difference in phase of sounds at each ear. If there are more than two arrivals, as in a reverberant environment, we choose the direction of the first sound to arrive, even if later ones are louder. Localization is most accurate with high frequency sounds with sharp attacks.
Height information is provided by the shape of our ears. If a sound of fairly high frequency arrives from the front, a small amount of energy is reflected from the back edge of the ear lobe. This reflection is out of phase for one specific frequency, so a notch is produced in the spectrum. The elongated shape of the lobe causes the notch frequency to vary with the vertical angle of incidence, and we can interpret that effect as height. Height detection is not good for sounds originating to the side or back, or lacking high frequency content.
Peter Elsea 1996" |
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