You’ll also want to tweak the levels of each side (relative to each other) to maintain the right balance in the mix and the desired general left/right balance within the stereo spectrum.
This is something to consider if you’re primarily making music for clubs, radio, or other mono playback environments. Remember: The shorter the delay time, the more susceptible the sound is to unwanted comb filtering when the channels are summed to mono. Meanwhile, very long delays will break the illusion, and you’ll start to hear two distinct and separate sounds. Just be aware that by doing this you’re also making it more “unfocused.” But for pads and background guitars, this is often entirely appropriate.Īs you play with the delay’s time setting, you’ll notice that very short delays result in a pretty nasty out of phase sound. For example, you might want to spread your ethereal synth pad to epic proportions. Of course, there’s nothing stopping you from slightly delaying one side of a real stereo sound. The answer lies in “Haasing it up” and panning your mono signal both ways. At the same time, you don’t want to unbalance the mix by only panning to one side or the other. You can also use this technique to pan a mono signal away from a busy center in order to avoid masking from other instruments. This tricks the brain into perceiving more width and space, while leaving the center wide open for other instruments.
Then, you could delay one of the layers by between about 10-35ms. To thicken and/or spread out a mono sound source, it’s a good trick to duplicate the part, and then pan each layer to the sides. The direction of the original sound would be preserved, but because of the subtle phase difference, the early reflections/delayed copy would add extra spatial presence to the perceived sound. His conclusion was that as long as early reflections and identical copies of original sounds are heard less than 35ms after (and at a level no greater than 10dB louder than the original), the two sounds will be interpreted as one. Haas was studying how ears interpreted the relationship between originating sounds and their “early reflections” within a space.
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