Just be aware you will also be making it that much more ‘unfocused’ as well, but for pads and background guitars this is often entirely appropriate.Īs you play with the delay time setting you’ll notice that if it’s too short you get a pretty nasty out-of-phase sound too long and the illusion is broken, as you start to hear two distinct and separate sounds – not what you want here. Of course there’s also nothing stopping you delaying slightly one side of a real stereo sound, for example if you wanted to spread your ethereal synth pad to epic proportions. The answer: Haas it up and pan that mono signal both ways. You can also use this technique when all you really want to achieve is panning a mono signal away from the busy centre to avoid masking from other instruments, but at the same time you don’t want to unbalance the mix by panning to one side or the other only. This tricks the brain into perceiving fantastic width and space, while of course also leaving the centre completely clear for other instruments. Then delay the copy by between about 10-35ms (every application will want a slightly different amount within this range), either by shifting the part back on the DAW timeline or by inserting a basic delay plugin on the copy channel with the appropriate delay time dialled in. So in a musical context, if you want to thicken up and/or spread out distorted guitars for example, or any other mono sound source, it’s a good trick to duplicate the part, pan the original to extreme right or left and pan the copy to the opposite extreme. The directivity of the original sound would be essentially preserved, but because of the subtle phase difference the early reflections/delayed copy would add extra spatial presence to the perceived sound. Haas was actually studying how our ears interpret the relationship between originating sounds and their ‘early reflections’ within a space, and came to the conclusion that as long as the early reflections (and also for our purposes, identical copies of the original sound) were heard less than 35ms after and at a level no greater than 10dB louder than the original, the two discreet sounds were interpreted as one sound.
Named after Helmut Haas who first described it in 1949, the principle behind the Haas Effect can be used to create an illusion of spacious stereo width starting with just a single mono source.
#PSYCHO THEME STEREO MASTER FOUND FREE#
That’s probably enough Matrix references, so let’s free your mind (ha!) and read on: 1. Maybe what I think Tasty Wheat tasted like actually tasted like a crunchy Skrillex bassline…” etc etc. “Because you have to wonder: how do the machines know what Tasty Wheat tasted like? Maybe they got it wrong. Result: the experience of loudness, quite distinct from actual physical loudness. You’ve fooled the brain into thinking the ear has closed down slightly in response to ‘loudness’. Here you’ll also gain some extra insights into how and why certain types of audio processing and effects are so useful, particularly EQ, compression and reverb, in crafting the most satisfying musical experience for you and your listeners.įor example, if you incorporate the natural reflex of the ear to a very loud hit (which is to shut down slightly to protect itself) into the designed dynamics of the original sound itself, the brain will still perceive the sound as loud even if it’s actually played back relatively quietly. Knowing how the hearing system interprets the sounds we make, we can creatively hijack that system by artifically recreating certain responses it has to particular audio phenomena. This basically falls under the heading of psychoacoustics, and with knowledge of a few psychoacoustic principles, there are ways that you can essentially ‘hack’ the hearing system of your listeners to bring them a more powerful, clear and ‘larger than life’ exciting experience of your music.
“If real is what you can feel, smell, taste and see, then ‘real’ is simply electrical signals interpreted by your brain…”
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