Stereo and The Chorus Effect; Essing
So, ultimately; There has been questions arisen from the idea of Mono somehow being better in the way of formatting vocals; Or at least in the recording of them.
And yet, there has been many advances in the way of condensor microphones like the ones that are built into the Roland Boss Br-80. Here is a picture of the Model which I purchased in 2015.
It's really something to work with the samples which it creates and I've always been pleased. But what really strikes someone Who knows something about audio as being odd is the fact that a stereo Microphone does not necessaily ess more.
And by all rights, given many mediums which define it and common knowledges through practise it seems almost impossible. But, I suppose those with such apprehension are the ones Who make their own equalizers. And because of course due to their filters having bleed and some clipping I suppose they would.
Moving Beyond Essing
It was'nt until I started adding Digital clipping filters at around 10hz, that I could get away without essing in My own equaizers. It's the little tricks that I am sure a company like Roland has down. But ultimately, if using a stereo signal and not a mono; The question is: Whether or not to twin that stereo signal to create the illusion of depth and width.
And that is the dillema, not so much the Roland Boss recorder I am using, but the result of two identical signals being sandwiched together. No matter wether or not I add things like Digital Clipping filters there would ultimately be various types of artifacts.
So, what can go and stay?
Planning a New Mid & Side
And what about the more intelligible sound from the heady cerebral?
Let's look at that from various perspectives.
If You're talking "where sound began" then You're certainly talking about bass. But, would it be wise to chorus bass? Not likely if You wished to ensure that Your brain "accepted" the media. It's hard not to appreciate that the brain knows the difference which is Why I designed the Langford Curvation.
It's a way to keep audio consistent but in a way that allows two signals to result that can be played with in various ways. It gives You convenient "play" that will result in less destructive effect.
Stereo Channel (Bass) - 300Hz to 8kHz
So, after 300hz is when bass becomes more intelligible to the conscious mind (instead of being merely an effect) and it is in these more intelligible frequencies that manipulation of digital signal is ore accepted by the mind; Even to disastrous extremes.
So, a fork in the road is relevant now. And keep in mind this is where spatialization is given precedent. The reason that it was not wide to affect the bass with two signals was explained above. The preceding Bass will be treated with the stereo method, and after the fork, the sound is both mono and stereo in a strategical way.
So, I decided to name these two channels mono and stereo. That is to say stereo has two channels but it's simpler to refer to it as mono and stereo.
So, let's think of wavelength and what is faster moving and furthest reaching is stereo due to the fact that it bounces around and creates depth like bass but in the case of treble We realize that there is such small wavelengths sometimes less than 2.45 cm or 1 inch that You realize You need to be pretty close to the phenomenon to hear that treble. So this higher treble is referred to as mono. and The longer wavelengths are referred to as stereo.
Mono Channel (Mid-Treble) - 1kHz to 24kHz
The realism from this effect is incredible; and that is partially due to each channel (mono,stereo) being treated differently with filters.
Stereo is carefully tapered off at around 3kHz so as to prevent going into the higher ranges.
Mono starts at about 1kHz and goes up as far as the sample rate allows. But in the case of of 44100: 22061.03051525763 Hz and 48000: 24012.0060030015 Hz.
So, OK; One channel has more treble, the other bass. But what about the natural feel of the transition between high and low. The legendre is probably one of the best low passes to emulate a falloff in treble due to it's ability to resonate in a seemingly natural manner.
Making the Transition from Nothing to Something (Bass/Stereo)
On a graph it looks like a naturally modulating soundwave meaning that if used for a transition the effect is like nature itself. So, that decides how to filter away after 2.5 kHz and on after 3kHz. But, ultimately I am still working on the name of the ideal filter for the bass.
And that resonant High Pass would start of course after 250Hz so as to have a natural sounding introduction.
More to Come.
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