good tricks to get a more stereo sound from a mono signal?

[djTyG]

I was wondering if anyone has had success in using particular effects to create a fuller (stereo) sound from a mono signal, particularly with string instruments such a guitar. Obviously recording in stereo would be ideal, but it can be very difficult sometimes, especially when there isn't a lot of time to record.

[Tone Deft]

reverb and/or chorus.

you can also play games like making two copies of the signal and doing things like
- pitching one slightly up or down
- apply complex warp to one but not the other (complex warp modes are the ones that WILL affect the signal even when played at the original bpm.)
- warp one but not the other
- moving one ahead/behind in time

hth...

[sporkles]

Also, try splitting the sound into any number of discrete frequency ranges and pan them individually:

Make an effect rack with two or more chains; put an equaliser and a Utility on both chains, filter out all low end on one
chain and all high end on another (maybe some overlapping in the mid range, to make sure the effect will be audible. Use
the Utilities to pan the two chains differently. For extra space, try inserting a very short delay on one of the chains.
Add a reverb or chorus after the rack for extra punch.

[LeviWhalen]

Drop a simple delay into the track. Set the delay type to "Time" for both delays. Dial in two different numbers in the 0-30 millisecond range. this should widen out the sound. add some compression and eq, and a little reverb and a mono acoustic guitar track sounds wonderfully stereo.

[re.mark]

Drop a simple delay into the track. Set the delay type to "Time" for both delays. Dial in two different numbers in the 0-30 millisecond range.

Also, dont forget to put dry/wet to 100% and Feedback to 0% to avoid undesirable effects.

[TenSquare]

Drop a simple delay into the track. Set the delay type to "Time" for both delays. Dial in two different numbers in the 0-30 millisecond range.

Also, dont forget to put dry/wet to 100% and Feedback to 0% to avoid undesirable effects.

This is known as the "Haas effect". More info on this by Bob Katz:

http://www.digido.com/depth-and-dimension.html

All the best.

[djTyG]

Thank you all for the great tips. This haas effect is very interesting. I found the sound of the guitar to be very rich when adding the simple delay like you say. I'm getting closer to the sound I want, but still not quite getting that expensive studio sound.

Are there any other effects you might recommend on a guitar track?

Right now I have the simple delay, on both my rhythm and lead guitar channels. I have a compression and reverb (10% dry/wet, 800ms) on the Master channel.

Actually, the lead track sounds great. It's the rhythm track that I want to sound more "crispy". I play a style called gypsy jazz, where in the rhythm (the chords) there is a constant "whipping" of the strings. I'm trying to make that sound more crisp in the recording.

This should give you guys a good idea of what this "whipping" of the strings sound I'm referring to:
http://www.stephanewrembel.com/sw/wp-co ... -dinah.mp3


Thanks again for the help.

[re.mark]

ewwww
get that reverb off the master and put it on a Return track right now!

Getting "that expensive studio sound" usually involves expensive equipment/plugins, generally hard to achieve with stock/native plugins, especially reverbs.

[yur2die4]

When I use Live's default grand piano instrument, I notice that it sounds a bit flat, and not so grand. The reason being because it is made with raw material, just as your recording probably is.

What I do to give it a tad more life is throw the default setting of Saturator on it. Careful when using Saturator, it can seriously mess up your waveforms haha. But in the Analog Clip mode, if I turn Sat up maybe 3 or 4 (sometimes up to 6), it really spices up the 'hotness' of the sound . Then again, it depends on if you are doing this for your personal project, or if you plan to send it to someone to master later. If you do the latter, it is better to leave the sound a bit more raw, for them to polish off

Oh, and I am happy that you posted this topic, at first I thought 'eh', but the article by Bob Katz, inspired me to play with a few ideas. One thing I did based off of it was have a mono 'center' source, and then L and R haas-delayed-reverbed side channels (which were then phase cancelled using Utility at 200%). That Mid-side-Haas action really brought a lot of life to the drum track!

[djTyG]

glad to help!

And re-mark, what is the difference of having reverb on the master channel as opposed to the return, if all tracks are on that return? I am only working with two tracks right now, a rhythm and a lead guitar. I suppose if I wanted separate reverb on each, then obviously I shouldn't use reverb on the master.

I find manyof Ableton's stock plugins to be great... it's just I am not experienced enough to know how to get exactly the sound I want, but I'm sure with the right effects and settings I can make an "expensive" sound.

[danabus]

One thing I did based off of it was have a mono 'center' source, and then L and R haas-delayed-reverbed side channels (which were then phase cancelled using Utility at 200%). That Mid-side-Haas action really brought a lot of life to the drum track!

hey yur2die4, why did you use the Utility to phase cancel? I understand the concept of using it to phase cancel in a crossover but I couldn't figure out what its doing in this case.

[COSM]

I would suggest doing the delay trick, but using the Filter Delay instead. Turn the middle delay off, and set the L and R delay times very short, with very little feedback. If you have one delay set at 2ms and one at 10, it will spread the track out nicely.

You then have the power to use the filters on each left and right side to give additional direction to where the sound is happening.... if one side is slightly filtered one way it can give an interesting dampening effect to create more depth in the space.

You can also change the volume of both sides, as well as the original volume of the sample.

[re.mark]

And re-mark, what is the difference of having reverb on the master channel as opposed to the return, if all tracks are on that return? I am only working with two tracks right now, a rhythm and a lead guitar. I suppose if I wanted separate reverb on each, then obviously I shouldn't use reverb on the master.

Just the way Ive been taught and learnt... Its good practice, especially with reverbs, they'll muddy up bass content etc resulting in a poor mix.
I rarely put Reverbs on tracks (and never on the master)m always on Returns then you can accommodate various amounts/automation, and I find I find youve got better control over the instrument then.

[yur2die4]

One thing I did based off of it was have a mono 'center' source, and then L and R haas-delayed-reverbed side channels (which were then phase cancelled using Utility at 200%). That Mid-side-Haas action really brought a lot of life to the drum track!

hey yur2die4, why did you use the Utility to phase cancel? I understand the concept of using it to phase cancel in a crossover but I couldn't figure out what its doing in this case.

Well, it isn't essential, and I just like playing with that effect any chance I get. I guess my reasoning is so that it has a greater 'mid/side' separation. This way it leaves the center channel clean, in theory. But now that I think about it, it probably screws up the left and right aspects...

I like Cosm's extra advice!