01-08-2015, 05:23 AM
Highpassing them at 100 would relieve a lot of the potential phase issues when panning, and you're right that panning is a matter of personal taste, but you're also cutting out a lot of the fundamentals tones from the cellos when you cut so severely. For me personally, that stuff is too important in this song to sacrifice for the sake of panning.
As for lows on the side, you have to be really careful about that, because it's a potential mono compatibility disaster. This is technical stuff, here. I'm not suggesting the sides need to be high-passed or anything, but that instruments with strong fundamentals in the lows should be kept closer to the center. Everything below 200 hZ is essentially non-directional unless you're in the stereo sweet spot, so panning low frequencies like that won't help really help separate the sound sources and may actually fool you into lazy EQ moves.
The delays I suggested can give you the spread you need without the potential comb filtering/mono compatibility dangers if you keep them very tight, close to the Haas zone, and spread them out. You can high-pass the fundamentals and achieve stereo spread with no sacrifice. If you pan low elements, make sure you're ratifying every single processing descision, EQ or otherwise, in mono before moving on. You should also listen to the music from the other room with the door closed to make sure the low end doesn't disappear or get muddy, because that hints at a potential translation problem.
So take anything I say with a grain of salt, but keep in mind that half of this game is making sure the mix holds up in any environment and on any pair of speakers...
As for lows on the side, you have to be really careful about that, because it's a potential mono compatibility disaster. This is technical stuff, here. I'm not suggesting the sides need to be high-passed or anything, but that instruments with strong fundamentals in the lows should be kept closer to the center. Everything below 200 hZ is essentially non-directional unless you're in the stereo sweet spot, so panning low frequencies like that won't help really help separate the sound sources and may actually fool you into lazy EQ moves.
The delays I suggested can give you the spread you need without the potential comb filtering/mono compatibility dangers if you keep them very tight, close to the Haas zone, and spread them out. You can high-pass the fundamentals and achieve stereo spread with no sacrifice. If you pan low elements, make sure you're ratifying every single processing descision, EQ or otherwise, in mono before moving on. You should also listen to the music from the other room with the door closed to make sure the low end doesn't disappear or get muddy, because that hints at a potential translation problem.
So take anything I say with a grain of salt, but keep in mind that half of this game is making sure the mix holds up in any environment and on any pair of speakers...