There are reasons to pan your overheads out and create stereo width, though. “All I Need” by Radiohead is a wonderful example of mono overheads: Your drums will sound as if they are coming from one location in the recording space, which creates a more cohesive sound too. Plus, mono overheads sound far more natural. However, when it comes to getting stereo separation and clarity in a mix, it’s much easier to have your mono overheads up the middle and other instruments panned wide. We’re not saying that stereo overheads don’t sound punchy. One great reason to record in mono is that the overheads will sound much punchier in your mix. Of course, there are plenty of different ways to avoid this problem, such as using the Glyn Johns Technique, though we find that it is even easier to track mono overheads to get clean, punchy overheads right off the bat. This results in recordings that can sound weak, or in some cases, canceled out altogether. One of the biggest issues with recording overheads in stereo is phasing. When a signal hits multiple microphones at slightly different times, the tracks become out of phase with one another. Let’s start with a few reasons that you might want to mic your overheads in mono. There are plenty of ways to add width to snares and claps if you feel like they are too mono-sounding in your mix.ĭrum overheads can be in mono or stereo, depending on the sound that you are going for. You can do this by panning your various claps or clap samples across the stereo field from left to right, sending them to a bus, and freezing the bus to create a new stereo clap sample. On the other hand, if you decide to use a group of natural claps or various clap samples, you may consider bouncing them down to a stereo track to create width where needed. You can keep it mono and stack it atop your snare for the most impact. If you are using a one-hit electronic clap, then it is likely very similar to a snare in quality. Whether your claps are in mono or stereo depends on the type of claps that you are using. You often hear stacked snare samples in EDM to create thick, hard-hitting snare sounds. If you plan on stacking snare samples, you may consider putting them in stereo to provide each hit with a bit more width. Most of the time, the main snare and claps in a mix should be mono for the same reason as the kick. Should I Mix Snares/Claps In Stereo Or Mono? If you are mixing percussions, the stereo would be pretty wide on them as percussions don’t have such a big impact as a kick drum or bass.Īnd this is how it looks like by using Izotope Imager 2 :Ĭheck this video that will explain to you further how to mix in Mono: Of course, it doesn’t mean you want to have the same stereo wide on your other sounds. Under “Correlation” the candle is on the right side and that means no stereo cancellation issues (the more it’s in the right, the more safety the stereo correlation is.) In this example, under “Balance” you can see as sound has a narrow stereo wide that is close to mono but still includes stereo information. Stereo Imager, or you can get a FREE plugin like Izotope Imager 2 or great Flux Stereo Tool v3.Īlso, the next alternative would be the IXL Stereo Analyzer that you can see in the picture below. There are plenty of plugins that can help you with that. To avoid unwanted balancing/correlation issues, always keep in mind to use Stereo Analyzer that will show you how wide is the stereo for the individual drums. One of the primary reasons that we like to keep our individual drum hits in mono is that having them in stereo could cause unnecessary masking or phasing problems, and second, to make them sound more powerful in the mix. 6 What Instruments Do You Keep Mono and Stereo When Mixing? Why Should Drums Be In The mono?
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