Quote:
Originally Posted by danasti  It's good to mention that. A brilliant peice of music that's both played and arranged with space and dyanamics will sound wide and deep. Either mono or stereo. Alot of times what we consider stereo, or "wide, deep, spacious", will retain those properties in mono with speakers on the left and right.
No doubt that someone wanting to improve their mixes, or improve as an engineer / producer gets more from music theory than from a new compressor or preamp. (assuming they at least have a couple a good ones  )
If you are working closely with artists having the skill and sensibilities of theory is truely a difference maker. Stereo width and depth? I couldn't agree with you more Mike! Louder, more present mix? Arrangement. Warm, airy vocals? Sure helps if you have somewhere to put it! |
I wasn't thinking so much about theory (harmony etc), but density.
I hate when artists grafitti their tracks by adding unnecessary parts. Sometimes I have recordings with 48-96 tracks, but it's still essentially a small band. Maybe the guitars got 4 mics/tracks per performance.
High track counts don't necessarily mean density of recording. It may be engineering methods.
As I started writing, I thought theory doens't matter, but I think chord voicings can make a difference. so maybe I do agree with that.
The main point is the content, can affect stereo perception.