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As someone who has worked extensively in anechoic chambers, it is highly disturbing to be in one for any length of time.
Oh yes... "Any length of time" could be as short as minutes. It's a very uncomfortable environment. As an aside... I've just remembered a track I was listening to some time back, I became distracted trying to work out why it somehow just sounded "wrong". Eventually I realised what it was ... I could hear the piano with bass notes to the left and treble notes to the right, but I could also hear the player, and the player was clearly further away than the piano ... but wouldn't be, of course. Unless someone had swapped around the L/R channels. I guess the producer wanted it that way and thought nobody would notice.
Jazz relative beginner, starting at a much older age than was helpful.
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There is a recording of Nils Frahm on a piano that is an ‘upright’ super grand piano that spans a couple of stories that I have which has no covers on any of the key mechanisms. You can hear all of the shuffling sounds of the force transfers from his fingers to the strings. In that regard it is a bit noisy and disconcerting. But on another hand it is quite beautiful sounding as the piano seems to have an almost ‘living and breathing’ sound. Years ago it was a free download. It’s two parts. The first is called “solo” and the second part is called “solo remains”. They are glorious recordings. I hope you can still get them somewhere. Supposedly they are fully improvised.
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There is a recording of Nils Frahm on a piano that is an ‘upright’ super grand piano that spans a couple of stories that I have which has no covers on any of the key mechanisms. You can hear all of the shuffling sounds of the force transfers from his fingers to the strings. In that regard it is a bit noisy and disconcerting. But on another hand it is quite beautiful sounding as the piano seems to have an almost ‘living and breathing’ sound. Years ago it was a free download. It’s two parts. The first is called “solo” and the second part is called “solo remains”. They are glorious recordings. I hope you can still get them somewhere. Supposedly they are fully improvised. Free download still
Last edited by Mark Hayes; 01/13/22 05:56 AM.
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Recording, Mixing, Performance and Production
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There is a recording of Nils Frahm on a piano that is an ‘upright’ super grand piano that spans a couple of stories that I have which has no covers on any of the key mechanisms. You can hear all of the shuffling sounds of the force transfers from his fingers to the strings. In that regard it is a bit noisy and disconcerting. But on another hand it is quite beautiful sounding as the piano seems to have an almost ‘living and breathing’ sound. Years ago it was a free download. It’s two parts. The first is called “solo” and the second part is called “solo remains”. They are glorious recordings. I hope you can still get them somewhere. Supposedly they are fully improvised. Free download still Yesss!!!
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Interesting...
"Panned mono" should not be confused with true stereo.
Nothing wrong with recording a voice in true stereo — I do it all the time — but you need to understand what you are doing so that the result sounds natural. Start with a good sounding room…
Brian Wilson was publicised as being the first engineer to create artificial stereo with pan pots. He didn't invent the technique, of course, but you wouldn't know that from the buzz in the 1960s. That Capital board spent many years in a San Jose studio and I did many recordings on it over the years. BTW, Brian's deaf in one ear
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eddie1261
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eddie1261
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Harv, I experimented with drums once where I split stereo to mono and then cloned each side so I had 2 of each. The 2 lefts I panned one to the wall and one half way, and then did the same for the right. It was noticeable but not so much as it was worth the trouble. I played with adding different reverb to the 2 "outside" channels and that created the illusion of more space somewhat.
Last edited by eddie1261; 01/13/22 03:23 PM.
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eddie1261
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I laid out this analogy once to explain panning and it may or may not fit this situation, but I'll do it anyway.
Imagine you are on a baseball diamond standing on home plate, and all the players are directly behind the pitcher. You can only see 1 player. That is center channel.
Now have the shortstop and 2nd baseman go to their position. Now you can see 3 players.
Then do the same for the 1st and 3rd basemen. Now you see 5 players.
Then have the left and right fielders go to position. Now you can see 7.
Looking at it now, you have 2 players panned hard left and right, 2 slightly toward center, 2 slightly more toward center, and there are 3 in a row. The catcher, pitcher and center fielder are vocals, bass and drums, right down the middle. The instruments are then 3 each left and right at different positions on the field, or degrees of panning.
So to the OP, since drum kits are many instruments at different degrees of placement from the listener's ears, they should be stereo. So things like tom tom sweeps can pan from side to side.
Last edited by eddie1261; 01/17/22 03:20 PM.
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I tried to write a cricket analogy for we Brits, but I think it may be impossible 
Jazz relative beginner, starting at a much older age than was helpful.
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I tried to write a cricket analogy for we Brits, but I think it may be impossible As a fellow Brit this gave me a giggle Cricket is merely baseball with no panning
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I tried to write a cricket analogy for we Brits, but I think it may be impossible As a fellow Brit this gave me a giggle Cricket is merely baseball with no panning Or perhaps a Rick Rubin drum track
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After a number of weeks couch bound, watching Ashes tests (Australia vs England) I’m not sure a cricket analogy would be a good thing.
Stick to music or baseball I’d say.;-0
Tony
Last edited by Teunis; 01/18/22 03:11 PM.
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Basically, most instruments do not benefit from having two microphones put in front of them, unless they are either very large sound sources or they are actually collections of multiple smaller instruments. Typically this means that most instruments are best recorded in mono. Doesn't it matter, though, if the listener is using headphones or not? A stereo mix of a singer on phones can sound very different from a mono recording even if the mics are only inches apart (and I'm not even thinking of "binaural" or "spatial" audio.) I can see, though, why it might be preferable to "stereoify" such recordings during post-production rather than actually using two microphones (which I believe a tool like Logic's Direction Mixer does, as opposed to simple panning.) You're talking about the mixing stage now, forget about that for a second. Grab a microphone and sing into it and record that - no effects, no mixing, nothing. Now grab two microphones and sing into them and record it. The two-mic recording will not sound "stereo" because the origin of your voice is one single point (your mouth). Any difference between the two mics will simply be due to proximity from each mic, or slight differences in the reverb in the room due to that mic's placement, or simply the fact that you have two microphones and therefore double the signal, which will make it louder (and we all know that louder sounds better). Once you're in the mixing stage and you're adding stereo reverbs or stereo chorus or effects like that, then certainly it'll sound different if you flip it to mono. Nice response. More clear than my reply a couple pages back.
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