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Author Topic:   m-s filterbank
mathis
Member 		posted 07 July 2002 15:15         Edit/Delete Message   Reply w/Quote

m-sequalizer.kym

userprog.zip
 
this is my start for an uncommon way to manipulate stereo sounds: encoding stereo L-R to M-S, treating M and S differently and decoding it back to L-R.
this filterbank comes with a Low- and Hipass and a fully parametric eq (thanks to david). the low- and hipass are realtime variable in its order, 1. to 4. order (that was tricky ). if link is checked, the side-channel is controlled by the mid-controls (mid is master.) (that was tricky, too ) with the side-leveller you have complete balance control between only the mid and only the side signal. input is 12 dB attenuated to allow high eq gains without immediate distortion.
as an example there is a preset called karaoke.

next ideas i want to try:
- pitching side differently than mid
- expanding/denoising side to attenuate reverberation
- attack designing mid differently from side

do some brainstorm and share some ideas for that really interesting approach.
equing and compressing in m-s is one of the best kept secrets in cd mastering. donīt tell everyone about.


you need the attached microsounds for running davids parametric eq.

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David McClain
Member 		posted 08 July 2002 13:46         Edit/Delete Message   Reply w/Quote
Hi Mathis,

This sounds pretty neat! I can't wait to open her up and see how you managed the dynamic filter orders. Nice going!

- DM

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Frank Kruse
Member 		posted 09 July 2002 04:09         Edit/Delete Message   Reply w/Quote
Hi Mathis!

>equing and compressing in m-s is one of the best kept secrets in >cd mastering. donīt tell everyone about

AFAIK, M-S is an equivalent to X-Y-stereo x=(M+S) y=(M-S). If you compress both M & S, why would this make a difference to compressing the X-Y-signal?
or did you mean to compress m-s differently (no stereo-link in the conpressor)?

cheers,

frank.

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mathis
Member 		posted 09 July 2002 11:37         Edit/Delete Message   Reply w/Quote
yep, got it.
think about what you have in the M-channel and what in the S-channel of a complex mix. so you can treat the voice, bass-drum and and other mono-instruments differently than the rest.

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