Drawmer MC 3.1, Руководство пользователя

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DRAWMER
Listening in mono also highlights problems with the stereo width and balance of
the mix and is more apparent when you use a lot of stereo-widening or width-
enhancing techniques and tools. Switching mono in and out fairly quickly may
make it apparent that the centre of the mix is shifting to the left or right, something
that may go unnoticed if only working in stereo.
True Mono
As a mono signal would normally originate from a single source it would be wrong
to simply activate the mono switch - as both left and right speakers are still active.
When you listen to a mono signal on two speakers, you hear a false or 'phantom'
image which is derived midway between the speakers, but because both speakers
are contributing to the sound, the level of the bass seems to be over-inflated. To
truly hear a monogised signal via one speaker (the way everyone else will hear it)
the mono switch should be active but also either Left Cut or Right Cut should also
be activated (depending on preference/location) to derive the signal from a single
location.
Listen to the ‘Stereo difference’ or side signal
A very useful facility of the MC3.1 is the ability to listen to the ‘stereo difference’ or
side signal, very quickly and easily. The side signal is the difference between the
two channels, and describes those elements that contribute to the stereo width.
Hearing the stereo difference is so simple using the MC3.1: with the stereo signal
playing, activate the Phase Reverse switch, and then sum the left and right channels
using the Mono switch (in other words Left-Right). It’s that simple.
Being able to audition the ‘side’ signal is particularly useful for judging the quality
and quantity of any ambience or reverberation in a stereo mix. It is also an invaluable
facility if the stereo recording has timing differences between channels (such as
caused by an azimuth error on a tape machine), or for aligning a pair of desk
channels for use with X-Y stereo mic pairs. In both cases, listening for a deep
cancellation null, as the two signals cancel each other out, is a very fast and
accurate way of matching levels in each channel, which is the basis of accurate
alignment.
Going Solo
Whilst working on a mix you can get so used to hearing the entire audio as a whole
that it’s difficult to pinppoint any problems in certain frequency ranges, using the
low , mid and high solo buttons can really help. A common problem within many
mixes is that there is too much going on in any given frequency range leading to an
unbalanced mix. Perhaps the bass is overpowering the vocals, or there is an
undesirable noise somewhere that you can’t quite put your finger on. Using the
solo buttons of the MC3.1 you can easily remove the bass to hear what’s going on
in the mids and highs, or to hear just how the mid range panning is working, for
example, and correct the mix to redress the balance.
A common problem when using high levels of compression across the mix is
pumping, this can be really desirable in the case of dance music, but not elsewhere.
If the majority of energy within the mix is in the bass, every time the kick drum beats
it will trigger the compressor, thus lowering the volume, but not only of the bass, but
across the whole mix, creating a pumping effect. Soloing the mid and high makes
it very easy to hear the extent of the pumping and to rectify it if desired.