Stick stereophony

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As Knüppelstereofonie uncomplicated assembly of point - is - in a pejorative manner intentioned mono sound sources to a stereo -Lautsprecherpanorama using pan controls referred (pan pots). It belongs to the so-called intensity stereophony , also called level difference stereophony, because only level differences (more precisely sound pressure level differences ) are effective.

description

This form of stereo generation is a widely used method in which the electrical level differences Δ L for the left and right stereo channels are generated in a frequency-neutral manner using a pan-pot in mixing consoles . These level differences between the stereo channels lead to the localization as virtual audio event direction of phantom sound sources on the stereo loudspeaker base . A level difference of approximately Δ L = 16 to 20 dB (mean value 18 dB) is sufficient to allow a signal to be heard solely from the direction of a loudspeaker . High frequencies require a little less level difference.

This mixing technique is more or less used in practically all productions, especially in the case of mono sound sources that have been obtained electronically. The tracks of the first four-track tape recorders in particular were, however, "struck hard" to the left and right for the stereo version in order to show the new effect compared to mono; for example with the Beatles , which contributed to the formation of the name.

Normally today the directly recorded signals with different panpot settings are distributed smoothly between the speakers. This means that all sound sources - like the chickens on the pole - are mapped point-like on the connecting line between the loudspeakers. A recording method for acoustic instruments that does this automatically is XY stereophony.

With this simple placement of the sound sources in the mix, however, there is no gradation in depth, i.e. a localization behind the stereo base. This can only be achieved through the transit time differences that are achieved when recording and mixing with delay elements in the signal chain (e.g. a digital mixer) or appropriately positioned microphones. In modern DAWs it is also possible to process the sound sources from individual tracks afterwards.

For simple stereo processing of signals that are only based on stereo levels, stereo enhancers are popular, which try to give the stereo sound image a certain "naturalness" and a finer sound connection between the sound sources by changing the level or adding artificial transit times and echoes to accomplish. With reflections in particular, a better spatial impression is achieved, taking into account the initial time gap, whereby the superficial impression is retained as a proximity impression. In the case of signals that already have phase differences, this processing can sometimes lead to problems due to comb filter effects.

In theater and stage productions and in practically all live sound reinforcement situations, e.g. B. Rock concerts are still made use of hard panning and many individual sound sources are only reproduced via one loudspeaker or line in order to limit the phase problems that are already complex in such situations when several loudspeakers are superimposed. The stage mix for the musicians is also mostly a multi-channel mono.

literature

  • Michael Dickreiter, Volker Dittel, Wolfgang Hoeg, Martin Wöhr (eds.): Handbuch der Tonstudiotechnik , 8th, revised and expanded edition, 2 volumes, publisher: Walter de Gruyter, Berlin / Boston, 2014, ISBN 978-3-11- 028978-7 or e- ISBN 978-3-11-031650-6

See also

Web links

Single receipts

  1. ^ Robert Rotifer: George Martin (1926-2016). He gave Technicolor to the Beatles. Even if he did not understand stereo , orf.at, March 9, 2016, accessed March 18, 2020.