5 Tricks to Creating an Immersive Stereo Mix
In this post you will learn how to create a more immersive sounding mix without using any ambisonic, binaural, or Dolby Atmos tools.
Frequency Positioning
Okay, I don’t really have much of a visual for this one but the general idea is listening to all elements of your mix and imagine how you can separate high frequencies for elevation, mid frequencies for grounding and feel, and low frequencies for depth, impact, and filling the space (as well as removing lows to create more space)
Tremolo
Tremolo: is a wavering effect in a musical tone, produced either by rapid reiteration of a note, by rapid repeated slight variation in the pitch of a note, or by sounding two notes of slightly different pitches to produce prominent overtones.
In other words, a Tremolo is when you effect a sound source by delaying each channel by a specified rate in time to create overtones or a rhythmic modulation. I find this technique especially useful when inserting the tremolo on a bus with a 1/8 or 1/4 note delay before the tremolo and then cutting any low frequencies below 90 Hz. This can create reflections that may be perceived as elevated ear candy.
Ping Pong Delay
Ping Pong Delay: is a stereo feedback delay where the delay alternates between the left and right channels. Similar to a tremolo where left and right channels are delayed from each other but the ping pong effect is altering the delay signal not the parent signal. This plug in called Baby Comeback by Baby Audio is one of my recommended delay plugins specifically for the ducker knob that you see in the bottom right corner of the UI. This allows the effected signal to duck away from the parent signal avoiding any clashing overtones.
Sample Delay & Wide Panning
Sample Delay: is more a utility than an effect – you can use it to delay a channel by single sample values. This will allow a mono signal to be split an emulate a stereo microphone channel separation. All though this is a utility tool I frequently use it to slightly separate a signal for a widening effect. Typically under 200 samples is the sweet spot for this effect. Keep in mind, by delaying the right signal, the lift signal will reflect first and appear more prominent in the mix. Same goes for the left signal, if delayed, the right signal will appear more prominent.
In Addition, utilizing the stereo panner to the maximum ranges on ear candy elements can do wonders! Elements of a mix that compliment the main lead or melody like vocal adlib’s, counter melodies, impact or sweep effects, tonal percussion, etc. will be the best candidates to throw to the far sides of the stereo field. The fact that these elements come in sporadicly throughout a song will allow space for the listener to appreciate nuance of the left and right sides adding color and character to the song.
Utilizing Dynamics for Depth
Lastly creating depth without physical distance. When mixing in 3D or Atmos, distance is the key to making a sound source truly sound and feel real. Since stereo mixing only deals with a planar sound stage and balancing decibels, this is where your creative intent will be needed to push sounds away and pull them closer. Utilizing highly contrasting dynamic ranges can make your mix feel more alive. Of course we all start out believing louder is better but, ultimately when it comes time to mix your song or someone else’s, the attention to detail to make the mix comparable to radio releases will be much harder if all elements of a song are screaming over each other.
Ear candy effects such as ping pong delay’s or higher frequency effects typically are best used as elevation effects and sit best in the mix slightly quieter than your first instinct. I know that’s vague… but honestly its almost always exactly right where it should be. These elements are also the most likely to sound more “airy”. Combining some tremolo or sample delay, with some volume and filter automation these elements will sit just right above your mix. Also, Bump 20k just a bit, thats the magic trick.
Mid frequencies are typically to your taste. Although, if you have warm filtered vocals or leads these are best sitting anywhere between 12 to 15 left or right of center. Keeping the center of the sound stage warmer and full will allow the wider panned objects to speak better as well as allow the higher frequency elements to have its space to feel elevated. Center image is also where the most focus of the listener is so, elements that pass through or stay near the center image that are not the primary focus should be a much lower in volume to create contrast in depth of the sound stage. When elements are quieter but still complimenting a lead line and slightly off of center image it is more likely to stand out to the listener.
Low frequency things like 808, sub pads, or filtered sounds are going to be best in center image. Mostly because it will translate to mono the best but also these elements will probably be part of the main focus. Now, of course there is creative freedom in all of this so depending on the intent of your mix you can totally break these last few paragraphs and still have an immersive sounding mix. An example of this would be something like putting a tremolo on a sub pad with about 50% – 75% depth and 75% – 100% smoothness on the curve this can create an impactful atmosphere or swirling effect. This will allow 808’s and kicks in the center image to punch through better as well. Things to note when using this effect is it will most likely bring the most listening fatigue to the listener so using it in moderation is advised.
Thank you for reading this post and I hope you gained some new insight or knowledge on how to immerse your listener in your mix. Check out our previous post for more information on immersive mixing and ambisonics. More post coming soon!
