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axelrod Offline OP
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I just created a TRUE STEREO real drum ..
Bass drum is panned full left + Snare drum panned full right.
Any way to get this to PLAY in TRUE STEREO maintaining FULL PANNING...in BIAB?
Thx.

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What version of Biab are you using, the older versions had a mono only Audio track.
You can save it as a UserTrack if you have UserTracks in your version or you can create your own Making RealDrums Styles with Band-in-a-Box® or you can move if from the Audio track to a Performance track Audio > Move to Performance track..

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If it's true stereo.... pop it into a DAW.

Done.


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Add nothing that adds nothing to the music.
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axelrod Offline OP
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That will work pipeline. Thanks.
Thanks also to Guitarhacker

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Also if you want to use a drum track that's at another tempo, Audio > Set Audio Master (Base) Tempo...

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Since when's that been stereo?Last time I looked at a drum kit (like yesterday )the bass drum was in the middle of the kit with the snare drum slightly offset to one side.Your stereo is nothing like reality or is itnot meant to. Imagine how tallthe drummer will be to kick drum on one side of the stage and hit snare on the other.Just sayin'.
Wendy


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Realdrums sound often quite OK, but in a mix using the BIAB exports to a DAW it will never really work IMO. Sounds good solo-ed, but you'll want more control over the individual kit sounds, why i almost always replace them ... F

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Hi all
Well I must say I’m with Wendy on this some folk have a funny idea what stereo is.
In any case unless you know the distance between the final pair of stereo speakers.

Taken on average this seems to be about 6 to 8ft then this is the width of your whole sound stage.
Within that you can place a whole concert Orchestra violins left a bit and so on but even then the at the listeners end the sound stage is going to be squeezed up compared to the concert hall.

In the above scenario assuming the drums were at the centre front then, no parts of the kit should be more than a few % right or left of centre with respect to the whole full left right pan, of your sound stage width.
Other wise it will sound like one of those dreadful stereo demo records that used to be about, in the early days of stereo.
We could talk all night about ideal stereo speaker widths, stereo or multi channel mic
Placement. Listening on headphones or near field monitors jest the width of the keyboard across, and don’t forget in car limited by the cars width.

But in my opinion the aim should be to get a sound stage reflect the placement of the original instruments as a percentage of left and right pan from centre.
That way it should scale fairly well to any stereo pair width.

And that’s before we start on bring instruments to the front by playing with the gain
On multi mic mixes, or just the EQ if it is a simple stereo pair mic recording.
Have fun
Mike


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Originally Posted By: Mike Head
..... in the early days of stereo. We could talk all night about ideal stereo speaker widths, stereo or multi channel mic Placement. Mike

I remember 4 fold stereo LP records (Quadrophonic) coming around the bend to be used with special record players. Eagles f.i. Seems not dead yet: Suzanne Ciani -F

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Originally Posted By: Mike Head

But in my opinion the aim should be to get a sound stage reflect the placement of the original instruments as a percentage of left and right pan from centre.
That way it should scale fairly well to any stereo pair width.

Mike



I agree with this but I will add one more thing and that is where do you place your listener compared to the stage? For instance lets say that the far left is -90 and the far right is +90 and you are listening to an orchestra. If the listener is in the front row the 1st string violins may be -80 and the double basses would be +80. But if the listener is in the far back then the violins might be a -30 and the basses at +30.

For the record I like to place the listener in the front row so the stereo image can be quite large. This is true for when an orchestra is in the mix. For anything else the stereo range can be smaller.

I agree that in everything but orchestras the drums should be at the center and the bass slightly off center.


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Cop, that's not how field sobriety tests work.

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Hi
Yes Mario I agree listener placement is important.
In the case of a stereo recording using a simple pair of stereo mics placed front centre at say 10 feet, then the listener should sit midway between speakers 10 ft apart at the apex of an equilateral triangle. There will also be a reasonable listen within an arc of about 30 deg just behind this and give an acceptable image.

This type of recording was favoured by Deutsche Gramophone! Recording great performances of classical music in the best audio quality has been Deutsche Gramophone’s mission ... like the recordings of Herbert von Karajan –
I most cases here a single pair of Telefunken Microphones c100 or c200 suspended above the conductors head angled at 45 degrees and pointing forward and down.
And you did indeed hear what he heard.
I was well into all this from the start as I was manager of a Hi Fi shop in London’s Tottenham court rd at the birth of stereo so I had to know my Records to sell stereo hi fi .
So I am still a bit of a purist about my stereo imaging.
Mike


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I agree with your apex of an equilateral triangle statement. That is how I listen to my music, both the stuff that I am recording and when listening to my CDs and vinyl.


Me, it's not about how many times you fail, it's about how many times you get back up.
Cop, that's not how field sobriety tests work.

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