| There's certainly an actual sonic difference and reason to use multi-mono or stereo on stereo tracks or on the stereo buss in my opinion.
I tend to use multi-mono on the master because if I'm using stereo limiting or compression and the right channel causes the comp to trigger then the left channel is pulled down as well. If I'm using multi-mono, even with the exact same settings the channel's work independently and the information in the right channel doesn't effect the info on the left side. This causes a more solid/consistent stereo field in many cases to my ears... because I tend to hear the sides independently anyways. I use multi-mono on the stereo buss because it retains the punch and impact of the music a little bit better IN MOST CASES.
That being said... during a mix I can certainly see a reason to use one or the other...
Using a true stereo instance tends to glue the two sides a little bit better and is often the way that I go when treating stereo tracks in a mix....
on things like b3 organ or keys that I purposely want to be wider I'll often use multi-mono as well.
There really are no rules... and everyone works differently (thank God!)
Experiment with each and figure out which you like better, and why... and where each might be a benefit to you. |