Comments on: Create a doubled stereo track from a mono source

By: Tim Hall

Tim Hall — Sat, 12 Nov 2011 22:43:50 +0000

This is how i record acoustic guitar…I only use one mic and an acoustic/electric pickup. On the mic I use a stereo spreader on the frequencies between 1000 and 15000Hz at the highest possible …it leaves the bass notes intact in the center where they shoul dbe and spreads the harmonics out in a stereo image, I haven’t had real bad phase problems yet and it sounds sweet.

http://www.youtube.com/watch?v=T9PoLAKy6YA

By: aqsda

aqsda — Tue, 15 Feb 2011 06:58:23 +0000

Doubling a mono and delaying one by 5ms will cause severe phasing and flanging issues, why would you do that? 10ms at least.

By: des

des — Sun, 26 Oct 2008 11:40:54 +0000

Radyo, there’s a link 5 comment up from this one that explains it in more detail.

By: radyo dinle

radyo dinle — Sat, 25 Oct 2008 03:20:40 +0000

Honestly I don’t even know what’s vocal comp’ing… is that ‘compressing’?

By: des

des — Thu, 14 Feb 2008 21:39:24 +0000

Yes, I concur :-)

By: jeff robertson

jeff robertson — Thu, 14 Feb 2008 18:31:05 +0000

I just stumbled across this article, and I wanted to say that for distorted electric guitar at least, this totally works and totally rocks.

I propose that this technique should be referred to as “desheading”.

By: mlk

mlk — Thu, 29 Nov 2007 09:31:44 +0000

just record a second guitar you lazy nerdz

By: des

des — Fri, 16 Nov 2007 10:00:12 +0000

Kay,

Comp’ing is short for Compositiong

Basically, it’s the process of building a single vocal (or instrumental) track from a collection of parts recorded in different takes. Electronic Musician details it far better than I could: http://emusician.com/special_report/art_vocal_comping/

By: Kay Kastum

Kay Kastum — Fri, 16 Nov 2007 09:50:03 +0000

Honestly I don’t even know what’s vocal comp’ing… is that ‘compressing’?
:P

By: des

des — Wed, 24 Oct 2007 00:55:56 +0000

> It does take a critical ear to mix and match the right sections, though.

Not to mention the importance of the material itself. I find it’s much easier to fatten a distorted electric guitar part this way than a clean acoustic guitar, since the transients are more obvious in the latter case, which means you need to be careful how the parts line up.

> I used to think tracks had to be preserved

I hear ya. I think that mindset is still appropriate for certain styles of music – certainly anything with a “live” feel, like jazz and chamber music. But the studio-as-instrument approach to music has its place too, no question.