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[Mac Kerr]

interesting enough, there are times when complete stereo separation is too much because there may be content in one channel that wouldn't be heard on the other side of the room if I hard panned.

If you turn off one of your speakers can you not hear the other one over the whole dance floor, or audience area? Reducing the width of the stereo signal for playback rarely has any advantage in my experience, even if you don't have good coverage.

Orchestral recordings are about a stereo soundstage, not many pop recordings are. If the system coverage demands mono, semi-panned stereo is not the answer. If the system has stereo coverage, semi-panned stereo is not the answer.

Mac

[Tracy Garner]

If you turn off one of your speakers can you not hear the other one over the whole dance floor, or audience area? Reducing the width of the stereo signal for playback rarely has any advantage in my experience, even if you don't have good coverage.

Orchestral recordings are about a stereo soundstage, not many pop recordings are. If the system coverage demands mono, semi-panned stereo is not the answer. If the system has stereo coverage, semi-panned stereo is not the answer.

Mac

recent example where I played a 1 hour DJ set before a comedy show. Did intro/outro music in between 4 comedy acts...

room was 120 feet wide x 40 deep with comedians set up where they had a 10 foot stage.

I had one monitor in front of the stage

2 JBL 725 elevated 30 inches from the floor. I pointed the speakers outward from the stage facing the far corners of the room. If I had done a hard stereo, each side of the room would have been missing something. At the same time, a hard mono for the music was less than desirable for the content. That Pop/dance music does have some cool stereo effects built in these days. I could have just set my DJ software (Serato Scratchlive) to mono. The majority of the room could hear stereo but the people at the most distant corners of the room would have been missing that content from the other speaker on hard pan.

It is likely nobody probably noticed but me so next time I'm in that room, I do an A/B with the different pan settings take a closer listen.

[Patrick Tracy]

I read somewhere on here that if you take a stereo master mix (maybe it was any track) and push it to mono, pull whatever the master fader level is 6dB down to compensate for the extra heat of that stereo mixing going all down one channel. Is that right? There's got to be a standardized correlative value. TIA.

There isn't a standard because stereo will sum with differing amounts of gain depending on how much information is common and how much is different.

If left and right were identical there would be 6.02dB of gain, but then that wouldn't really be a stereo signal. You could just use one channel and not have to compensate for any summing.

If left and right had nothing in common, say guitar on left and vocal on right, then summing would be approximately 3dB. You could put each into its own channel, pan center and let pan law compensate for you.

A real stereo signal will sum with gain between about 3dB and 6.02dB. In that case you just have to use your ears.

[Tim McCulloch]

A real stereo signal will sum with gain between about 3dB and 6.02dB. In that case you just have to use your ears.

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