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MC7.1
- Surround Monitor Controller
Any situation where more that one microphone is used to record a source - on a
multi-miked drumkit two mics may pick up exactly the same signal and cancel
each other out. It may sound unlikely but one handy tip is to adjust the panning of
your drums whilst in mono - suddenly all the phase cancellation of the drums will
improve, and sound even better when reverted back to stereo.
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 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.
Not so Sweet
Your mix may sound perfect when sat in the centre of the mix, but bare in mind that
many people in the theatre or in front of their home entertainment system will not
be sat in the ‘sweet spot’. Move around the room - does the audio still have the
same impact, do you notice audio dropping out, or that’s too prominent. Make
adjustments to the mix as you see fit.
Listen to the ‘Stereo difference’ or side signal
A very useful facility of the MC7.1 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 MC7.1: 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 minus 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.
