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What these modes give?  When this setting is off sound becomes much better.

When M/S option was enabled, compressor works over middle or side channels only (instead of working on the full stereo signal.

This is pretty much an 'expert' option, so if you do not see how you can use it, simply leave it alone.

I would like to pop in and provide a simple fundamental explanation, because I use M/S processing all the time with various plug-ins.

M stands for the mid side signal, whereas S stands for the side signal.

M is the portion of the signal common to both L and R channels, while S is the differences between the L and R channels.

So, if a signal is mono, it will be at the Mid of a song.  If a signal is stereo, it could either be at the Mid, if L and R are identical, or could have some Side information, if there are differences, say of frequency or phase or volume or all of them together, between the left and right channels.

Just place the free Voxengo M/S encoder as an insert in one stereo channel.  Use the default, inline mode, and decrease the Mid portion while increasing the Side.  This would make the L and R channel differences, if any, more prominent, so you can achieve a wider perceived stereo image of a track without messing with phase issues when summing to Mono.

If a stereo signal has no S portion, then it's the case we call Big Mono.  Otherwise, it's what we call True Stereo.

Hope I gave you a basic explanation.  If you need anything more, I will gladly help.

Thank you!

Thanks!  Tell us more advices, please.

Thanks for your explanation.

Well, let me take that a little furhter.

M/S processing can come really handy at various situations, not only to do that simple trick of widening the stereo image with the Voxengo M/S encoder-decoder.

You can do M/S equalization.  If you have a stereo EQ, ie one for which you can have independent control over the left and right channel, you insert an encoder in front of it, so the Mid side is routed to the left of your stereo track and the Side to the right.  You will notice immediately that the majority of the sound will come out from your left speaker, and only a small portion from the right.  Check the VU meters of your mixer to get an idea of their relative volumes.  OK, you cannot work this way, so insert another instance of the Voxengo M/S just after the EQ, this time in decoder mode.  Now you will revert back to where you were before the first M/S in the chain, but with one great excetion: the EQ in-between receives the Mid signal in its left input and the Side signal in its right.  Voila!  You can now adjust the left channel filters to equalize the Mid and the right channel filters to equalize the Side.

I usually do a nice low cut in the Side, which, according to me, gives a more "spaciously defined" mix, cause I let the true stereo information of my track or full song uncluttered, void of any muddy frequencies.  Just play with it and you will come with a technique of yours that you like.  And, instead of an EQ, feel free to use any other real stereo processor in-between the two M/S encoders-decoders.

And if you find out that your signal doesn't really have any noticeable Side portion and you want to change that, then use a stereo Eq and create some differences to the left and right channels of your audio.  This is what the new Cubase 4 plug-in, "Stereo Enhancer", does when you turn that "Color" dial clockwise.  You can do that with a simple stereo EQ.  Just make a sequence of "wide boost-wide cut-wide boost" for the left channel (avoid it below 2kHz) and use the exactly reverse sequence for the right channel.  This is another great, non-phase-mangling technique to achieve that so much needed True Stereo for your songs.  Otherwise, it's all Big Mono, ie as if having a mono recording that just comes out of two speakers.  It's no good, is it?

Hope this one helped, too.  I do not know what you are exactly looking for, so this was a relatively general post, as well.  Feel free to ask something more specific, if you get bamboozled over something.

(I'm not a mastering engineering or something, I just enjoy reading any manual I come across, and I have really learnt many things.  I do not any more get fooled by tools that tell me they can instanly or kind of magically shape my sound and make it superb just out of the box, because of a "secret recipe" or something!  Voxengo surely does not promise things such as "just run your sound through this plug and when it comes out it will be excellent".  These guys implement really useful processes for audio and put them together in convenient plug-ins.  Just study a little and you too will no longer use any overpriced stuff that only has a hype surrounding it and no more "meat" than a lower priced processor.  That's why I appreciate Voxengo and why I try to help here in this forum.)

Thank you!

[ An example to illustrate the point about the "magic" processors I just made above: the Pulteq shelves.  You can break the bank and buy a plug-in that says it emulates those exact shelves or just learn what these shelves are all about and recreate them on your own.  The Pulteq shelves, when boosted, give a slight attenuation just above or below the crossover frequency, which makes for their "elusive, sweet, vintage, musical, bla bla bla" sound.  Well, just find a graph that shows the curves of those shelves and try to recreate it with your "simple" EQ.  Or, check all the shelves you have with a frequency spectrum analyzer to see if the design of one of those "cheap" filters gives a similar response.  The Studio EQ in Cubase 4 has that, by the name of "Shelf II", but no one seems to appreciate it, because its named that instead of "Super dooper legendary Pulteq shelf".  It's a shame, isn't it? ]

Excellet post, NiSigma!

Thank you very much indeed!



...andrea riderelli & aliusmodum...

la musica barocca oggi



You're welcome.  I'm looking forward to you writing about your achievements with M/S processing, when you try it out!

Check this out:

Insert a MSED in a slot, in encoder mode, leave an empty one and add another in decoder mode, as explained above.

In the empty slot in-between add Cubase's stereo delay or any other stereo delay.  Use only one of the two delay processors, ie set the left or the right one to 100% dry.  Make the settings you desire and then, when you set the pan dial fully left, the mid material will have the delay.  When you set it to fully right, only the side material will have it.

I threw it in a drum track, and set a delay to the side signal.  I liked it a lot.  The kick did not get any delay at all, because it has no side at all.  The rest got a nice delay with enough feedback, which gave me a very interestinh effect.  Otherwise, to avoid adding delay to the kick, you would have to separate each drum kick component.  I liked the M/S approach more.  It was more interesting playing with!

Try something similar and hit me back with what you got.

This topic was created before release of the latest product version, and it may contain details irrelevant to this version.  Replying is disabled for this topic.