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Who makes such a decision or a mistake which a band as big as the Beatles were/are, that they would put out the ultimate box set, remastered, and panned like that? As EMI originally released them in England. The Capitol USA releases were panned differently but the sonic assault was just as bad. Only Abbey Road was released in stereo with the UK and USA mixes the same. The latest box sets have the original mono mixes, the EMI stereo and proper stereo remixes by Giles Martin.
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Some quotations from text books about stereo mixing, that I found important:
Beware of phase cancellation
Be cautious when panning similar elements hard left and right, as it can potentially cause phase cancellation when played back in mono or through certain playback systems.
If you notice any phase cancellation issues or an imbalance when checking the mix in mono, consider adjusting the panning positions or using stereo widening techniques sparingly.
Each musical style has its unique requirements for delay effects. Delays often add fullness to vocals or lead guitar parts in rock and pop. Electronic and dance music frequently employs rhythmic delays to create pulsating effects that align with the beat.
Genre Delay Time Feedback Wet/Dry Typical Use
Rock/Pop 100-300 ms Low to Medium 20-40% Enhancing vocals and lead guitar parts
Electro/Dance Synced to Tempo Medium 30-50% Creating rhythmic patterns and pulsating effects
Reggae/Dub 300-600 ms High 40-60% Creating spaced-out rhythmic patterns and atmospheres
Ambient 500 ms – 2 s Very High 50-70% Producing ethereal, wide soundscapes
Jazz/Blues 200-400 ms Low to Medium 20-35% Adding depth to solos and improvisations
Hip-Hop/Rap 150-250 ms Medium 25-45% Enhancing rhythmic elements and vocal chops
Country 100-200 ms Low 15-30% Subtle echoes on vocals and string instruments
Classical 600 ms – 1.5 s Low to Medium 10-30% Creating a sense of space and grandeur
Metal 100-250 ms Medium to High 30-50% Thickening riffs and solos
Typical Delay Mistakes To Avoid
While using delay, it’s essential to be aware of common pitfalls. Overusing delay can clutter a mix, making it muddy and indistinct. Setting delay times without considering the track’s tempo can result in a disjointed rhythm.
Neglecting the wet/dry mix balance might bury the effect or overpower the original signal. Being mindful of these common mistakes helps craft a more polished and professional-sounding mix.
One fundamental approach is using delay on vocals to add depth without cluttering the mix.
Set a moderate delay time and low feedback to create a subtle echo that enhances vocal tracks.
Combining delay with reverb can produce rich, spacious soundscapes. The trick is to balance the two effects to enhance rather than compete with each other. Adjusting the wet/dry mix and the timing of each effect is crucial for a harmonious blend.
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Combining delay with reverb can produce rich, spacious soundscapes. The trick is to balance the two effects to enhance rather than compete with each other. Adjusting the wet/dry mix and the timing of each effect is crucial for a harmonious blend. This gets back to the question posted at the beginning, "where all sound sources can be heard". Delay and reverb aren't effects that are added to make a particular sound source more clear. Instead, they are used to enhance a sound, or sometimes (as with reverb) to lose clarity for the sake of creating a specific setting, such as a studio or live setting. This effect can be helpful in creating a more natural sound, but often effects like EQ (like a high-pass filter) will be needed to ensure that the mix doesn't drown in mud. LCR is still a very effective means of creating a soundscape. But even LCR should work in mono to be an effective mix.
-- David Cuny My virtual singer development blogVocal control, you say. Never heard of it. Is that some kind of ProTools thing?BiaB 2025 | Windows 11 | Reaper | Way too many VSTis.
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These days I use a sidechain compressor triggered by the lead vocal track on both vocal reverb and delay to thin out the muddiness I perceive when the reverb/delay repeats are running over the vocals. That is, reverb and delay are primarily present at the end of a word or phrase. On 90% of my vocal harmony tracks, I'll run them bone dry to avoid muddiness. BGVs are always awash with a plate reverb with a LPF, but that's just how I like them. A lot of these choices depend on style preferences, and aren't hard and fast rules of course. If there WERE hard and fast rules, I'd break them anyway. 
Last edited by DC Ron; 10/06/25 10:40 AM.
DC Ron
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Some quotations from text books [...]
Genre Delay Time Feedback Wet/Dry Typical Use
Rock/Pop 100-300 ms Low to Medium 20-40% Enhancing vocals and lead guitar parts
[...] I never paid attention to lists like that, even as a beginner. Delay, reverb, EQ, compressor - I turn the knobs until it sounds right.
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Some quotations from text books [...]
Genre Delay Time Feedback Wet/Dry Typical Use
Rock/Pop 100-300 ms Low to Medium 20-40% Enhancing vocals and lead guitar parts
[...] Nonsense. There is no magic formula.
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Nonsense.
There is no magic formula. I agree. Each track and song is different.
Life is short so make sure you spend as much time as possible on the Internet arguing with strangers.
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Thanks for your comments.
Personally I think, that it's good to know the rules of nature, in this case acoustics (room, psycho and electro), to brake them, if needed, to create art. Otherwise the results may be just kaos and if success, it's hard to repeat, if you don't know, what you did.
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Ask sales and support questions about Band-in-a-Box using natural language.
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