Well, I'm familiar with the old Hafler way of trying to add a rear channel
certainly, by only feeding the difference signal to the rear, which nulls
out anything placed in the middle of the sound stage, ie, with completely
in phase signals.
its the opposite of mono.
I was more wondering how the part way phase cancellation makes the
differences it does. Not all recordings really sound right, but playing
around last night with the old Wings over America recordings, you can make
it sound much more 'live' than it did in the first place with apparently no
problems with the centre, better stereo and more subtle ambiance from the
venue.

I think the first post in this series sort of makes sense, but if it were
just that, all stereo recordings would have a better separation, and
ambience,and they don't. I can only suggest that the brain here is making
the difference when it hears something that it recognises as 'right' against
the sort of panned multi track stereo you can hear from some close miked
recordings with artificial reverb added here and there. For example it fails
miserably on those old decca Phase four stereo recordings like Two pianos go
to Hollywood with obviously hard stereo panned pianos at either side.

Brian

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This newsgroup posting comes to you directly from...
The Sofa of Brian Gaff...

Blind user, so no pictures please!
"Phil Allison" wrote in message
...
Dave Plowman (Rabid Nutter) puked:

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To alter width, you normally convert from L&R to M&S. (mono and
difference
signal) If you alter the gain of the difference channel only, you alter
the width. Then convert back to L&R.


** That must be straight out of the Mad Magazine Guide to Hi-Fi.

http://forums.stevehoffman.tv/thread...m-1958.197757/

Totally bonkers.



..... Phil