Taff wrote:I have a great deal of trouble getting separation between instruments, can anyone offer any help?
Even when I have only 2 instruments, (a harp and a cello for example,) despite panning as hard as I can, they always seem to lack space.
All advice gratefully received.
Taff
Here's my thoughts on the subject, which is a deep subject to be sure!
I think of panning as width, not depth. I don't think of panning as a tool to create separation, but rather as a tool to create width and horizontal interests (such as panning a hi-hat left and it's delay right).
I say this because I've heard so many mixes that have good separation of elements that are center panned, such as a vocal, bass, or kick/snare.These mixes have accomplished this feat without using panning at all, indicating that panning alone is not necessary to create separation.
I consider the subject of "separation" more about getting things more sharply in focus in the mix. Sounds like you may be experiencing the same issue, where you pan things in every position but they still feel "blurry" and out of focus. When things are in focus in a mix, you can more easily "point to them" as I like to say.
Some things are intended to be intentionally "soft focus", such as a big wide pad, which provides one clue as to how to do the opposite: big wide stereo instruments don't have sharp focus. It would follow that to take a "fuzzy" sound and make it sharper, one thing to try is make sure it's mono as a source (you can pan it anywhere, but it should start mono). This is not always going to solve the problem, it's just one of those things I try when I'm unable to bring an instrument into focus in a mix.
The next aspect to investigate with instruments that are difficult to focus in a mix is spectral energy. Do this by choosing the best sample/preset to start with, and fine tune it with EQ. The simplest way to "focus" an instrument in a mix is, after you've done any "cleaning" (removing mud, etc.) is to find the frequency range that represents the highest concentration of energy that brings the sound forward when boosted. When boosting, think of Q AND frequency - too wide a Q and you're turning everything up, too narrow and you're zoomed in too closely and missing important aspects of the spectrum. When you find the best spot to boost, the EQ gain knob becomes a hyper-volume control - boosting should bring the instrument forward, cutting should push it back (even though you're only working with a fraction of the entire spectrum).
The other parameter to address in addition to the frequency spectrum is the dynamic spectrum. Specifically, the relationship between the transient (peak) energy and the average (sustain) energy. More sustain energy can bring things forward, but too much and you've removed all the power of the original dynamics. More peak energy and you can punch an instrument through the mix, but too much and you'll overload the peaks of the mix while still not hearing the instrument in question. The key for me has been in finding the best balance for each instrument to keep it at the desired "focus".
Like a photograph, you don't necessarily want EVERYTHING in focus on every mix. "Focus" is just one more aspect of "balancing" a mix, and as with all things it's best to get the foundation (balances) as close and strong as possible before moving on to focus and other aspects
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