Its a good way to get a feel for what this does. Try this why using Mono-input mode so the changes are most distinct. When you change the preset for an entire mix of 30-40-100+ instances like this, you can think of this as something like changing the microphone configuration you are using as if you were recording a real orchestra. Either works really in this case.Īlso try browsing various Precedence presets with Global Broadcast on. In other words it is slightly unnatural to have exact positioning for a whole string section bc the whole string section does not come from one point in space.
2CAUDIO BREEZE POP NOISES FULL
I just switched to the full stereo input in this case bc the string parts are enemble perhaps recorded with many mices and mixed or wide mics or however it was done, but a whole string section is a large sound source so there can be differences between the channels that Precedence would not quite recreate and so for a really full string section from a single track, I kept the strings using the stereo input mode to be slightly "thicker". Positioning will most lkely be most exact this way. In this case we are reponsbible for 100% of the spatial result. Use the Left or Right input it does not matter much here since the samples are well balanced. Enable Global Broadcast and simply change the Input mode in Precedence to Mono. as an experiment though, do try the mono-input modes.
2CAUDIO BREEZE POP NOISES MANUAL
See the Precedence manual for details these topics. If you want to reposition something in-situ from the left side the right side you can use the Invert Channels feature so that the starting point agrees more with the goal, then use position to make small adjustments as desired. If you have a wet stereo library that is in-situ and you want to just add some subtle modulation to it, you can just keep Angle at 0, and distance at say 25-50% or so. Using only the mono input was equally as spacious. The difference between the two was fairly minor. This particular VSL library is already spatious from what I assume must be its stereo micing technique, but it remains well centered and has no distinct position. So I kept things that way for the render. At the last minute I decided to try to just use them all as Direct Stereo in, no input processing. In the exmaple above, I was originally using mono input mode for all the tracks. Solo instruments may be better just to discard one channel by using the mono input mode.
This works best on enemble sounds if needed.
The Input Width slider can also be used to narrow input sounds before reposting. Usually what makes distortion sound warm is not the distortion itself but the low pass. So if you just make it mono first, it can be salvageable. Distortion typically introduces higher order harmonics and compression. Competing azimuth info is likely a worse problem than a little more ambience than desired. If there is a lot of built-in room sound, you can try to use the mono input mode, and use only one channel to feed both channels, thereby discarding any lateral azimuth position info in the source sound.
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