Dave Plowman (Lying POS Pommy Turd ) spewed:

---------------------------------------------



Saying, as Phil did, that only relative levels between L&R determines
positioning is simplistic nonsense.


** Nothing like what I actually posted - you vile LIAR.

Die right now.



..... Phil

In article ,
Phil Allison wrote:
Dave Plowman (Lying POS Pommy Turd ) spewed:

---------------------------------------------



Saying, as Phil did, that only relative levels between L&R determines
positioning is simplistic nonsense.


** Nothing like what I actually posted - you vile LIAR.

Die right now.

***********


From: Phil Allison
Subject: A phase question
Date: Mon, 30 Oct 2017 22:35
Newsgroups: uk.rec.audio

** Most stereo recordings rely on amplitude differences to create apparent
positions for sounds when listening to a stereo pair of speakers.

**********

Is that nothing like you posted, dear Phil?

--
*Why do we say something is out of whack? What is a whack? *

Dave Plowman London SW
To e-mail, change noise into sound.

tiistai 31. lokakuuta 2017 13.05.28 UTC+2 Dave Plowman (News) kirjoitti:

It's why stereo created by pan potting mono sources ends up sounding very
false. Might well be what you want, of course.

"Pan potting mono sources"?? Delightfully antiquated terminology, Dave:-) I haven't heard that phrase for years. Did you get it from The Boys Own Guide to Tape Recording circa 1962 ?

Multitrack recording is all about creating an aural illusion. So neither "false" nor "true" come into the statement.

Are you saying that you can pick out instruments "placed in the stereo soundstage created by (your words) "pan potting mono sources?" If so, I am currently working on a baroque orchestral recording in which three key brass or woodwind players were recorded afterwards, and placed subsequently in their correct positions.

If as you say it "ends up sounding very false" then you will have no problem in picking them out. Shall I e-mail you a link to the track?

I won't hold my breath waiting for your reply:-)))

Best regards

Iain

He is only trying to wind you up, ignore him.
Brian

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"Phil Allison" wrote in message
...
Dave Plowman (Lying POS Pommy Turd ) spewed:

---------------------------------------------



Saying, as Phil did, that only relative levels between L&R determines
positioning is simplistic nonsense.


** Nothing like what I actually posted - you vile LIAR.

Die right now.



.... Phil

Now now dears, I thought I had been most specific using as I did a very
primitive old example of how not to do Stereo agains a more enlightened
approach. I did also use the technique to help with a stereo recording with
poor channel seperation as well.
Its interesting what some old stereo recordings throw up like Those Were
The Days from Mary Hopkin for example, the actual recording sounds better
but there is movement of a source of the backing singers in a couple of
places.
Brian

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tiistai 31. lokakuuta 2017 13.05.28 UTC+2 Dave Plowman (News) kirjoitti:

It's why stereo created by pan potting mono sources ends up sounding very
false. Might well be what you want, of course.

"Pan potting mono sources"?? Delightfully antiquated terminology, Dave:-)
I haven't heard that phrase for years. Did you get it from The Boys Own
Guide to Tape Recording circa 1962 ?

Multitrack recording is all about creating an aural illusion. So neither
"false" nor "true" come into the statement.

Are you saying that you can pick out instruments "placed in the stereo
soundstage created by (your words) "pan potting mono sources?" If so, I am
currently working on a baroque orchestral recording in which three key brass
or woodwind players were recorded afterwards, and placed subsequently in
their correct positions.

If as you say it "ends up sounding very false" then you will have no problem
in picking them out. Shall I e-mail you a link to the track?

I won't hold my breath waiting for your reply:-)))

Best regards

Iain

Yes best played on a radiogram!
Brian

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"Iain" wrote in message
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tiistai 31. lokakuuta 2017 10.45.03 UTC+2 Brian Gaff kirjoitti:

just that, all stereo recordings would have a better separation, and
ambience,and they don't.

In true stereo recordings (XY pair, AB pair, Jecklin disc, Decca tree, etc
you are not looking for "separation". The objective is to capture the
orchestra's internal balance with the ambience of the hall in question, with
each instrument or section focussed correctly in the stereo soundstage.

If you want separation, you record multitrack, and bricklay, one track at a
time. That way you get 100% separation, which enables you to later use
cross-pan reverb etc etc.

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.

In the Ronnie Aldrich two piano recordings on Decca Phase Four, the pianos
are two separate overdubbed tracks in mono recorded with a vintage STC 4021
"Ball and Biscuit" moving coil microphone. (Many different mics were tried,
but the STC gave the best Phase Four piano sound) One piano track is panned
left and the other right in the stereo mix. Each has its own reverb, (EMT
140 to match that of the studio) applied after EQ and compression. The
method works well, as intended.

Best regards

Iain

Why is everyone so grumpy today?
Brian

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Dave Plowman (Criminal Nutter) puked:

---------------------------------------




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.


Talking about basics,


** Talking right out your stupid FAT arse.

And you do not know basics or ANYTHING else.


Die soon, you vile pommy ****.

tiistai 31. lokakuuta 2017 19.59.45 UTC+2 Brian Gaff kirjoitti:
Yes best played on a radiogram!
Brian

When the Phase Four technique was conceived, most people listened on radiograms :-) In hindsight, most will agree it was a bit gimmicky, but that is what was expected of stereo. These recordings were originally released on the "London" label and intended for the American market. The senior producer, Tony D'Amato was brought over from the States. Take a listen to the Phase Four recording "Pass In Review" released in 1961. People thought it was sensational. Considering the techniques used, it is a remarkable recording, to this day.

Interesting that the Phase Four label, which had its own production and recording team was considerably more popular in terms of sales than the EMI equivalent label "Studio 2"

You mentioned "Two Pianos in Hollywood" released in 1967. Shortly after this LP was released, the office manager at Decca Studios received a phone call from a lady asking if she could return her pressing, "to have the second piano added", as she could hear only one. It transpired that she was playing her stereo LP on a mono Bush record player.

Best regards

Iain

tiistai 31. lokakuuta 2017 20.00.47 UTC+2 Brian Gaff kirjoitti:
Why is everyone so grumpy today?
Brian

Grumpy? Not me, Sir.

I have spent a most enjoyable day listening to takes of a new recording of music by Johan Helmich Roman, a Swedish baroque composer, affectionately called "The Swedish Handel". I rate him on a par with Thomas Arne. Beautiful!

Iain

Dave Plowman (Lying POS Pommy Turd ) spewed:

---------------------------------------------




Saying, as Phil did, that only relative levels between L&R determines
positioning is simplistic nonsense.


** Nothing like what I actually posted - you vile LIAR.

Die right now.

***********


From: Phil Allison
Subject: A phase question
Date: Mon, 30 Oct 2017 22:35
Newsgroups: uk.rec.audio

** Most stereo recordings rely on amplitude differences to create apparent
positions for sounds when listening to a stereo pair of speakers.

**********

Is that nothing like you posted, dear Phil?



** Nothing like what you falsely claimed I wrote.

You stinking, pommy psychopath.




...... Phil