So this lecture is all about using these stereo separation parameters to really kind of push the whiteness
of a track.
Now, this technique only applies to a studio.
So if you don't have a studio, you can go ahead and skip on to the next lecture.
But if you do intend to mix your tracks and fell, we can use these stereo separation parameters to
really, really push the whiteness and kind of the fullness of a track.
OK, so if we kind of start at the beginning and work our way in, we can see that we're on this vocal
track.
OK, so let's see what that sounds like.
I'm just going to solve it.
Now, this is also linked to this, so I'm going to unlink it and we'll turn that off.
Let's have a listen to the time.
OK, so remember before I was saying that you can make it mono by turning this parameter to the right
one, two, three times?
Well, you can also kind of push you can kind of push the stereo image by turning it to the left two
or three times out the back of your mouth.
And if we do it again, the years that go back in time with you.
So generally, I wouldn't do this to vocals.
I kind of like to leave them as clean as possible.
One, two, three.
OK, but we can push things like instruments, OK?
So if we try these electric keys, OK, we can use this to really stretch the the stereo image.
Now, I'd rarely go past the kind of nine o'clock position, OK, because after that your track goes
down to wide or kind of artificial.
So I'm going to pick an optimal point and leave it there.
Let's try this instrument,
OK?
And again, we're going to wideness.
Same thing with this.
OK, and we can do this to anything we want to make kind of wider it'll sound nice on the piano because
the piano was already a stereo instrument.
So if we sold the piano and we find that in the mix.
So I solve it now.
So let's push that stereo image.
And now maybe let's push maybe the organ sound.
OK, so that comes in here
and then if we listen to all of these elements and together it sounds like this.
OK, so the best sound is a bit loud, and we can also maybe push that lead instrument that's playing.
So that sounds like this.
If I solo that and when we get to the drop, it sounds like this.
OK, so let's separate it and make a kind of wider.
All right.
And if we add everything else back in.
OK, so you can use this stereo separation parameter to either make things wider or make the model OK.
Just make sure that you're not pushing things too much, otherwise your track will sound too wide and
sort of too artificial in the next lecture.
We learn the correct process to use when we're adjusting these fader levels for a final mix.