How to mix in stereo... without sucking in mono (part 2)

[@johanyngman7793]

"If you got two parts that tend to sit in the same frequencies as each other: Try copying the haas delay for the first part and reuse it for the second. Before you try changing the delay time, try inverting the polarity instead. This gives the opposite comb filtering response and maximum possible separation between the two parts." This part blew my mind so much that I had to pause the video and take a deep breath. That's so cool

[@zach5539]

Crazy stuff right???

[@wagner9585]

someone please explain

[@pirds102010]

now i just need to know how to change the polarity with ableton live ... hm

[@pirds102010]

part means instrument? or what?

[@pirds102010]

@@wagner9585 I understood it like this (hope I am right): You have the dry signal and the delayed one, so 2 tracks panned to either side. Changing the delay time of the delay track (2nd track) can cause silence, I mean the sound evens out and gets quieter. This is because of 2 tracks and the amplitude of each waveform If you swap the polarity you will get the opposite, so it gets loud and present again (check at 7:35, there the silence comes but this is the opposite) But I think he means 2 instruments in the same frequency spectrum and you do the trick with both, but use the same parameters of the delay for both and for the 2nd track you swap the polarity so these 2 tracks are not hurting each other (" maximum possivle separation between the two parts") this won't work all the time so instead of swapping the polarity, you can change the delay time by 1 or 2ms or smth.

[@paulwanjira45]

watching such a guy can make you feel really stupid, but again, you can learn so much in those 20 minutes. Keep up the lessons. Thank you

[@variancewithin]

dont let it make you feel stupid, man. just let it make you feel like you gotta keep learning, even 20 years from now. just never stop learning

[@TokyoSpeirs]

Every mix trick I discover is one that Dan already Haas.

[@Auriculum]

I see what you did there. 🙃

[@rickinio]

I'm width you on that one

[@fixederror]

It's an important phase in your mixing education.

[@trashhwave8206]

he helps me gain a wider knowledge

[@MarkHarmer]

He really makes a difference!

[@bitflux2]

wow this vids are pure gold in the youtube wasteland, a man that actually knows what hes talking about

[@adrianzag]

Dan Worrall. National treasure

[@aidarka580]

Damn...These videos with Dan Worrall are developing a strong sense of what the sound actually is and how to achieve anything you want without any super-duper-game-changer plugins. Thank you, guys, your tutorials are priceless, appreciate that they are free.

[@NoahHornberger]

its air pressure

[@alex.muntean]

Noah Hornberger 😂😂 I laughed at that comment more than I should have. 😅 Lol.

[@briancase6180]

This is incredibly great. Thanks. But it occurs to me, after getting a KZbin video education for a year and a half, that no one else makes a video like this on these techniques. It makes me suspect that all those "expert" mix engineers making videos aren't as expert as they claim. Or, maybe they don't want to share these techniques. Or, they think their viewers aren't able to understand. But I think they don't understand.... Anyway, thanks a million for this series!

[@axlkurt]

the best STEREO tutorial in ALL KZbin, the only one that talks physics and the real reason of all the stereo thingy

[@searchiemusic]

dude you've blatantly explained in full detail why in the past few years, despite primarily producing electronic i've been listening to rock/metal, its the fact its actually recorded in a room! it sounds so much fuller! it really does! like, its absolutely not impossible to get a synth to sound good of course but i realize now that its probably conducive to my own production to add even more acoustic elements, i've even thought of micing my monitors with synths to get room reverb so i absolutely have to try that now

[@Gabriel_Mercado]

Did you try this yet? how does it sound?

[@searchiemusic]

@@Gabriel_Mercado honestly phasey and shite, even with a single monitor lmfao, the flatness of the studio monitors really didn't help, the only real usable results I got were putting a bluetooth sized speaker in my bathroom lol

[@rocknrory]

@@Gabriel_Mercadoit sounds great, listen to Michael Jackson synths on Thriller. Bruce Swedien commonly mic'd the room while having the synth parts play on speakers. He would then blend in the room sound to taste with the dry synth sound.

[@KayjaxMusic]

Is this the best production channel ever? Quite possibly. Very knowledgable and pleasant speaker, engaging music that applies to the topic points throughout the song, and fantastic illustrations and animation that applies the subject matter directly to what you're hearing. I can't get enough of this content and I'm honestly surprised it's free.

[@Rohme.33]

The absolute best.

[@johnviera3884]

at 6:13 as a Logic user, that zooming stabs me in the heart.

[@yoshireincarnate1649]

i have no idea who you are but ive been struggling with properly mixing my first tracks after years of 'producing' and these videos are amazing. so glad i clicked on your channel in the suggested vids.

[@vittoriopolii4108]

This three videos are amazing, incredibly full of tips that can seem hard to undestand but that are really helpful to achive that "level up" in the mixing process. This videos need to be watched more than one time to undestand every word. Thank for this amazing stuff Dan!

[@joost3783]

Dan Worrall is the God of audio tutorials

Oh, my... I'm not sure how to thank you for these series of vídeos, @Dan Worrall and @Fabfilter. You taught me how to fix a big issue that I wasn't able to fix by myself.

[@Spykolofficial]

The explanation of the haas effect is legendary. Thanks for the solutions.

[@huntersolheim8029]

Another idea for Haas delays: Have one channel that is down the center of your mix. Then create a delayed duplicate for the left and a differently delayed duplicate for the right channel. Bus the delayed duplicates together and apply a mid/side balance control to that bus. Turn the side signal up and the mid signal down for these panned and delayed tracks. This will add width but allow any Haas phasing issues to disappear in mono. This is because reducing the mid signal and boosting the sides on any track with pre-existing stereo information will make the track's signal disappear considerably in mono but add lots of width in stereo.

[@hat3trick]

Holy shit this is genius

[@armansrsa]

that will cause comb filtering in stereo as you will be combining the dry signal with a delayed signal in each speaker

[@GBRen-xc2ow]

So, is this basically delaying a copy of the mid signal and converting it to side signal? ‘Cause Ozone Imager 2’s Stereoize Mode (Mode 1) says it does something like that.

[@vandpiben]

​@@armansrsaits very close to the real trick. Which is to have a dry signal and a delayed signal, but the delayed signal you flip the polarity of one of the sides. This will create stereo width but when collapsed to mono the side signal will cancel out itself. Keeping integrity the integrity of the sound in both mono and stereo

[@23kl104]

this is just stupidly good. I got so frustrated with my phase issues that I just mainly cut out stereo effects. Wish I had seen this earlier and I hope to see more of this series.

[@jamesdavidwest4517]

This is the best Mix video I have watched in all of my 35 years. Thank you.

[@xaosnox]

A dislike? Really? Who could dislike this? Once again, Professor Worrall schools us in the fundamental principles upon which we can build a career of wise, creative choices. What I wouldn't give for an hour of Dan on Saturn. Brilliant man.

[@kollusion1]

Every time I think I'm pretty much on top of things, Dan throws yet another spanner into the works!

[@hygro9625]

This is the dopest video on using the haas effect.

[@comod]

Finally i know how to achieve this stereo width ("outside of your head" effect). Thank you!

[@douglashazelrigg4377]

Excellent tutorial. Regarding the first tweak, the delayed signal SHOULD always be attenuated, simply because with a single source, the waveform arriving at the offside ear not only arrives a bit later, but with slightly less amplitube (due to travelling a slightly greater distance)

[@monohive5810]

The world makes sense again

[@oneandonlyadi]

Exactly my thought ❤

[@woosix7735]

I love how these vids incorporate example music as backround music, and it I love it!

[@05degrees]

These tutorials make me anticipate and sense wonder in the world. And the world of sound is both closer to understanding and at the same time it looks more diverse than seemed before. 🌞Thank you for so much advice and nice plentiful examples! Also it raises my hopes that my ears aren’t too old and deaf yet. Cool to actually *hear* all these things despite tinnitus and all.

[@Stormsurf001]

Always learning something new from Dan.

[@Alon21Ashkenazi]

Thank you Dan! You truly have the best tutorials in the world!

[@M4Y0_]

thanks for these videos, they're so useful because I can actually learn why these effects are happening, and they're also understandable for bedroom producers :)

[@justincarrasco3680]

I've been waiting for these videos since Dan's LCR video. Totally worth the wait!

[@tonynekrews]

So much information that is new to me. Excellent as always, very much appreciated Dan and FF

[@ChristopherHero]

I'd wager the view count would go up much faster if Dan's name was mentioned in the title to show up in searches. Love this dude; such a great teacher.

[@myaluv]

These tutorials are amazing, thank you so much 🙏🤍

[@MarkHarmer]

Brilliant example from the wind recording - nice to hear Blumlein vs Spaced

[@TheZappazapper]

Suggestion... Volcano seems to be purpose built for this Haas Delay comb filter tuning... maybe fabfilter should include an optional dialog that will display the expected response curve of the comb filtering that happens when the plugin is used for this technique, providing the user with some visual/mathematical feedback to use in addition to his or her ears... maybe even give it the same ability that pro q has to compare it to other existing pro q instances...

[@Vevemusic]

Game changer.. can't stress this enough. Huge work and so many knowledge shared!

[@pham4925]

An approach I've used for a long time is to somehow re-synthesize or process the pitch of the duplicate track to make more compatible (and still wide) tracks. It rarely disappoints me!

[@alanmckee1553]

I love you fabfilter man

[@MonsieurVersatile]

AHA! Comb filtering actually looks like a comb! Always wondered how it got the name!

[@Beatsbasteln]

10:29 -> that would be a pretty sick riser with that ringmodulation type sound at the end if we put a bit of distortion on it as well

[@dulmin_]

I thought the same; heard these kind often 👍

[@usedtowels]

haha, i can't get over how mad and stupid i feel after watching this. like i barely had enough $ to pay for drums to be recorded in a studio, but then to have knowledge/skills for mixing. i feel like i'm way late. i've been playing music since middle school, i'll be 40 this year, but damn. kudos to you, dude, and cool you share these things. black magic wizadry

[@voice-of-oblivion]

Mr. Fab Filter, who are you? You´re so smart.

[@GreatestSportsHighLights]

WE LOVE FABFILTERS!!!!! WOOOOOOOOO! GREAT VIDEOS AND AMAZING CUSTOMER SUPPORT AND SERVICE!! ALSO THE PLUGINS ARE AMAZING AND WELL WORTH THE INVESTMENT!! IT'S ALL YOU NEED FOR MIXING AND MASTERING!!!

[@EarthCry]

Bravo. Simply brilliant explanation.

[@pradeeppandey1978]

damnn... who would've thought you could use phasing issues to your advantage? I am flabbergasted to say the least. can't wait to use the haas effect everywhere next hahah

[@megwatts1903]

Hi. I would like to see you analyse two plugins that I use frequently, Brainworks bx Stereomaker and TDR Labs Proximity. They both do simulated stereo, They probably both use Haas delay techniques but I'm sure that there are extra tweaks going on in the background that I would love to truly understand. Your in-depth analyses have really helped me understand what's going on under the hood of several plugins, notably the Reaper plugins. So, if time permits and this tickles your fancy, please check these two out. Thanks

[@leopoldbluesky]

This will be perfect for a mix I'm working on at the moment - cheers!

[@apistogramma4521]

This like/dislike ratio here is phenomenal! Great video thanks!

[@midiman5045]

These 3 parts are totally awesome. Thanks Dan.

[@ktreier]

Again, another brilliant video.

[@sov2545]

best content i found in a loooong time

[@sleepinghope364]

10:14 why at the final sweep stage you can hear alisaing? (those frequencies reflecting back down)

[@codyjdbrooks]

Possibly due to the frequency of the volume jumps, if the level is pumping up and down at more than 30 times a second you’ll start hearing that as it’s own discrete superimposed tone

[@Sinflux420]

This is mind blowing. Thanks for this.

[@funguy8801]

Great presentation and very informative as always 👍

[@wryunsavory]

These videos are absolutely fantastic

[@ramspencer5492]

Such good info. Thank you!

[@bachelorgamer8001]

really great video love you dan

[@cimatico]

Dear @Dan Worrall , if you have the chance to listen to Prince track "Cream", there are some hard panned elements, such as guitar licks. For me they sound the same loud in mono, side and left/right. (If they are panned to the left i.e. they're muted on the right). Could you tell me your thoughts on that? Thank you for sharing your knowledge.

[@mangybones]

I have no idea, but maybe they achieved it with lots of saturation? Did you ever figure out an answer?

[@Freogeteknet]

I ususally use the plugin canopener when I mix in headphones as it's made to give speaker like stereo characteristics to headphones. But I recently thought about using it sparingly on my masterbuss as an effect to get more spaceous mixes, as long as it is not sounding like shit on speakers it must be a good idéa right? maybe even use it on "fake" drum rooms to create that spaced pair feeling on the reverb

[@ReductioAdAbsurdum]

The chapter starting at 5:55 is labelled "Harz" delay instead of Haas. Mistake or inside joke?

[@joachimokeefe8277]

Thanks Dan. Great series.

[@rebertaschb3736]

Marvelous!! Gracias Dan. REALLY

[@anthonym2771]

really insightful but at 17.39 wont flipping the polarity cause the two signals to cancel out? I must be missing something here :(

Well, it finally made sense to me why listening in headphones cannot be the same as listening in a pair of speakers.

[@StudioLams]

The first minute and a half of this video just blew my mind. How do I know which ear is hearing how much of which signal? If I hear something from the right, I'm hearing it with my left ear? I'm totally freaking out rn.

[@Svm777]

Just discovered this series and, boy, what a great video! Thanks a lot for all this info and showing it I have one question, though: In the graph at 17:41, when the polarity is flipped, the two curves aren't symmetrical. The pink (polarity flipped) one, at the first dip circa 80Hz seems to be getting to its nadir quicker than the green (original polarity) is getting to its zenith. In fact, all the negative dips are pointier than the positive counterparts. Is there a reason for this? Maybe the polarity flip button needs some processing time/power or whatever to do its job, so it isn't a perfect mirror?

[@harleensingh2531]

You guys are the best! Thank you so much!

[@carlosfernandoramirezsanto4417]

as always, the best videos! Is there a book with all this lectures?

[@cometogether420]

what plugin can create the effect at 1:50?

[@alex.muntean]

Loved this tutorial!

[@dulmin_]

Dan is the man!

[@wolfgangrecordings]

god stuff, bit surprising that there weren't any examples of using stereo imaging plugins though since that's often what people use to create width on a channel. i guess most do work on the haas principle though

[@douglasfreeman3229]

It was very god indeed.

[@resurrexi]

Keep these tutorials coming!

[@thomdewit1]

GOAT you are amazing!!!!!!!!!!!!!!! Thank you so much

[@marcelmoraesalmeida6290]

Thank you!

[@djfarr6820]

So can I not do this in logic because I can’t invert phase on sends

[@eladgorni7944]

Would you always put delay and reverb on a send Chanel and make it mono? (I make mainly electronic music) And how can i make a different delay time for the highs and lows with a stock plugin?

[@fonesrphunny7242]

Two tracks with a filter and delay. Set to high pass and low pass respectively.

[@666cordyceps666]

fantastic! yet another time!

[@jonathandaniel9031]

thank you very much for such good lessons - You are Awesome !

[@vicneve1169]

Wow! Great video

[@quinchen5224]

How to show the comb filter curve in plugindoctor????

[@musicxtech6680]

why do i feel like Waves "inphase" plugin would help this out a lot

[@Struktur.d.M]

using the filter delay is the same as inputting a track delay on a send channel like you can in ableton right?

[@maxantoniades1491]

amazing tutorial!! thank you so much!!!

[@aliasaad1648]

Thank for this, amazing

[@lascosascomosean]

PURE GOLD

[@MrXikwriNeyrra]

This makes me angry... I've studied at Berklee mixing and mastering... And never got taught with this depth... It makes fully sense now why I hated this technique, always darn p. Cancelation. Thanks a lot! 🙏

[@moloypratimdas]

So informative

[@FinalfixMusic]

This is very interesting but seems very unlikely people would go to the extent of actually adjusting the delay time to tune the sound to the song. Do people really do this often?

[@nikirose7673]

Now I don't know whether I should be phase-correcting multi track live recordings

[@MPchan-um1gn]

This tutorial is awesome! But I‘m puzzled about "create a mono send from the dry guitar track to the Volcano track". Does it mean either guitar track is mono, or Volcano track is mono? Or does it mean both guitar track and Volcano track are stereo, but the DAW could send mono guitar signal to Volcano track? I don't recognize the DAW in this video, and I can't find similar function in studio one. Hope you could answer my question. Thanks a lot!

[@DanWorrall]

The DAW is Reaper, which is a little quirky in that it doesn't have conventional mono channels. If I pan the (mono) guitar hard left and send to the delay track, it will be panned hard left on the delay track as well, so when I pan the delay right we won't hear it. So I switch the send to mono after I create it to avoid that issue. If you're using a different DAW this won't apply.

[@shizzlers0135]

@@DanWorrall So if i'm on ableton, would i duplicate the track, put the duplicated track in mono and apply Volcano onto the duplicated track, and then pan the original track left/duplicated track with Volcano right, and then also make the master channel mono too?

[@ewanharlamov]

I love you Dan

[@nersonangelo]

Now that's Reaper there

[@Ivan-ib4hz]

Dan what do you think about using this same concept, but with pitch (detune)?

[@CatLikeSleep]

this is great

[@florianinside5666]

This is rocket science now.

[@mangybones]

I’ve got a question: so I recently used the “stereo width” plugin in Reaper on a guitar. The mix was sounding great, but when I went to listen in mono the guitar was completely canceled out, like no noise at all. Any ideas why this happened? Some kind of phase cancellation? I’ve since fixed the problem and just panned separate guitar parts about 40% to L & R and can hear them fine in mono now, but I’m still wondering why this happened with the plugin (even when I added “center boost” nothing could be heard…)

[@soulinmypocket]

i'd guess the effect of the plugin amounts to adding a polarity-inverted signal to the opposite channel (i think he discussed this in the first video), this has the effect of pushing the left and right channels even further out in stereo, but when the two channels are summed to mono they cancel each other out

[@MounaiM22219]

it starts to act like a flanger when I start to dial the delay knob on volcano !!!! why is that ??

[@TallerdelSebaRehbein]

excelente