Is there utility in Reason 12 to make specific range mono?

[robussc]

I’m extremely lucky IMO that a large percentage of all my professional work was album based. I ‘think’ in albums. I CAN do singles, but seem to think of them as something you do only to promote an album! I’m well aware I’m a dinosaur and the times they are a changing, but I still enjoy the ‘ritual’ of setting time aside to settle in and enjoy the journey of a well conceived album of songs.

We’re working through the Guardian’s Top 50 albums of 2022. It’s a very nice way to enjoy albums and discover new artists.

https://www.theguardian.com/music/2022/ ... ms-of-2022

[homemadenoise]

That’s one thing I really hate about the new streaming generation - the loss of the full “album listen”. Very few people sit down and listen to an entire album start to finish these days. It’s no longer an event.

That's why I want physical media again it gives you more of that whole album feel. I missed that. I want only one format and choose vinyI. Not for any sonic reason but it is the coolest to interact with. The album art and liner notes etc are bigger. It makes me feel move involved with the music I am listening too. And takes away the temptation to skip a track. Idk maybe that's stupid. But I enjoy it.

[EnochLight]

That's why I want physical media again it gives you more of that whole album feel. I missed that. I want only one format and choose vinyI. Not for any sonic reason but it is the coolest to interact with. The album art and liner notes etc are bigger. It makes me feel move involved with the music I am listening too. And takes away the temptation to skip a track. Idk maybe that's stupid. But I enjoy it.

I suppose if I didn’t drive a car on a daly basis or ever want to listen to music anywhere other than my house, I might feel the same. But vinyl’s lack of mobility alone is a deal breaker, IMHO.

[selig]

That's why I want physical media again it gives you more of that whole album feel. I missed that. I want only one format and choose vinyI. Not for any sonic reason but it is the coolest to interact with. The album art and liner notes etc are bigger. It makes me feel move involved with the music I am listening too. And takes away the temptation to skip a track. Idk maybe that's stupid. But I enjoy it.

I suppose if I didn’t drive a car on a daly basis or ever want to listen to music anywhere other than my house, I might feel the same. But vinyl’s lack of mobility alone is a deal breaker, IMHO.

Too bad this never took off…

[EnochLight]

Too bad this never took off…

LOL! And the crazy part about that is - small 5" reel-to-reel tape decks already existed at that time, so you'd think that Chrysler would have tried harder.

[robussc]

Given they couldn’t make CD players skip proof, this seems a marvel of modern engineering!

[PhillipOrdonez]

No need to worry about stereo sub when making club music though. Only if it is going to be pressed on vinyl, however at that point the mastering engineer will take care of this or will request a new mix, the point is do not worry about it until you do vinyl. Just don't overdo it if your music is good enough to be played at clubs, and is actually played at clubs, at which point you already know how to mix or have a mix engineer who does. Otherwise, just ignore the whole sub in mono thing.

[visheshl]

Im not a club music person, but i think its a wise choice to make low frequency content mono... something doesn't sit correctly in my mind,if its not mono... because low frequency wavelengths are very long i think if there's a phase difference between LR LF content, the wavelengths would interfere...i mean thats what logic says...im not too sure if thats the reality of the situation...but then again music is the interference of waves ultimately... however it is better if the interference is desirable...my music doesn't play at clubs so,i really didn't worry about it...byt if you as an artist climb up the ladder...i think its wise to make sure your mixes sounds good on the big stage...

[visheshl]

That being said, whenever i have been to a live gig of any repute, the sound guys almost always already have hardware crossovers and the LFEs are being fed a mono signal...so you don't really need to worry too much about it

[selig]

Im not a club music person, but i think its a wise choice to make low frequency content mono... something doesn't sit correctly in my mind,if its not mono... because low frequency wavelengths are very long i think if there's a phase difference between LR LF content, the wavelengths would interfere...i mean thats what logic says...im not too sure if thats the reality of the situation...but then again music is the interference of waves ultimately... however it is better if the interference is desirable...my music doesn't play at clubs so,i really didn't worry about it...byt if you as an artist climb up the ladder...i think its wise to make sure your mixes sounds good on the big stage...

Allow me to present another side of the coin. All the logic about wavelengths and phase etc. goes out the window if it sounds good. I long ago gave into the "if it sounds good, it IS good" mantra and never looked back. Talking yourself out of something without actually trying it doesn't 'sit correctly in my mind'. There are probably hundreds of ways to make low frequencies stereo, fwiw, just to point out we're not talking about any specific effect here. Could be you want to use awesome stereo room mics on the drum kit, maybe even on their own for a section, and not mono the low end. Or just use some reverb on a bass or kick part, or double the bass line like you would with guitars, or use some crazy stereo guitar pedal on bass, or even use a bass patch with odd harmonics panned L and even panned right (so no chance of interactions), and so on.

And to be clear, I'm not advocating for stereo bass, I'm advocating against those who say it always MUST be mono!
Full disclosure, I tend to use mono basses when I want things super punchy, when is probably more often than stereo bass. I venture towards the weirder illogical sonic choices when exploring the edges of recorded music with modular tracks or extreme ambient stuff. I just realized I should post an example so we're all sure we're talking about the same thing here…

[visheshl]

Im not a club music person, but i think its a wise choice to make low frequency content mono... something doesn't sit correctly in my mind,if its not mono... because low frequency wavelengths are very long i think if there's a phase difference between LR LF content, the wavelengths would interfere...i mean thats what logic says...im not too sure if thats the reality of the situation...but then again music is the interference of waves ultimately... however it is better if the interference is desirable...my music doesn't play at clubs so,i really didn't worry about it...byt if you as an artist climb up the ladder...i think its wise to make sure your mixes sounds good on the big stage...

Allow me to present another side of the coin. All the logic about wavelengths and phase etc. goes out the window if it sounds good. I long ago gave into the "if it sounds good, it IS good" mantra and never looked back. Talking yourself out of something without actually trying it doesn't 'sit correctly in my mind'. There are probably hundreds of ways to make low frequencies stereo, fwiw, just to point out we're not talking about any specific effect here. Could be you want to use awesome stereo room mics on the drum kit, maybe even on their own for a section, and not mono the low end. Or just use some reverb on a bass or kick part, or double the bass line like you would with guitars, or use some crazy stereo guitar pedal on bass, or even use a bass patch with odd harmonics panned L and even panned right (so no chance of interactions), and so on.

And to be clear, I'm not advocating for stereo bass, I'm advocating against those who say it always MUST be mono!
Full disclosure, I tend to use mono basses when I want things super punchy, when is probably more often than stereo bass. I venture towards the weirder illogical sonic choices when exploring the edges of recorded music with modular tracks or extreme ambient stuff. I just realized I should post an example so we're all sure we're talking about the same thing here…

Yup got your point, you're correct, that there is no absolute rule that bass frequencies should be mono.

[raymondh]

I suppose if I didn’t drive a car on a daly basis or ever want to listen to music anywhere other than my house, I might feel the same. But vinyl’s lack of mobility alone is a deal breaker, IMHO.

Too bad this never took off…

Wow!!

[dioxide]

I've been messing around a bit with Mid-Side EQing. Which EQs in RE format that can do this without duplicating the device? So far I have:

- Synapse GQ-7
- RP EQ

RP EQ also has a built in Mono/Stereo split filter.

[Baylo]

Pretty sure there's at least one combinator in the Factory Sound Bank that does this - or does that break your "without duplicating the device" rule? It might even have been Selig that created the device???

[selig]

I've been messing around a bit with Mid-Side EQing. Which EQs in RE format that can do this without duplicating the device? So far I have:

- Synapse GQ-7
- RP EQ

RP EQ also has a built in Mono/Stereo split filter.

Coloring EQ works like GQ7 for mid/side EQ, with the added benefit of allowing mid/side saturation.

[dioxide]

Coloring EQ works like GQ7 for mid/side EQ, with the added benefit of allowing mid/side saturation.

When I tried this, Coloring EQ can EQ the Side while not affecting the Mid (like the GQ-7) but the HP and LP filters always affect the whole mix in all routing modes. Or am I missing something?