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timbaland stereo spread DAW Software
Old 23rd December 2010
  #1
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timbaland stereo spread

Produce Like Timbaland - Experimental Stereo Sample Production Technique

a friend just sent this to me and i read through it. but the advise that this article is giving seems to be a phasing disaster. everytime i have attempeted doing something like this the phasing starts killing me after about 2 seconds!!! anyone care to dig into this a little with me?
Old 23rd December 2010
  #2
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rickrock305's Avatar
 

timbaland stereo spread

Phasing can be your friend if you utilize it properly.

Sometimes I'll use the stock pro tools delay that let's you adjust in samples and simply delay one side of a stereo sound. Anywhere from 10-50 samples.

I also flip the phase on one side of a stereo delay some times.

There are a ton of cool phase tricks outthere experiment!
Old 23rd December 2010
  #3
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lol... it's a well known mixing thing... Timbaland has nothing to do with it...

There shouldn't be any major phasing issue unless you flip the phase on one of your samples... Also the number of millisec you add as delay on your duplicate will increase or decrease phase issues.

Ah also make sure you work your sample and duplicate in mono... it's very important.

Your best bet is to start applying this while your mix bus is mono. so you can spot whether you missed something or not (if phasing, your sounds should cancel out and disappear seemingly).
Old 24th December 2010
  #4
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Haha, have played around with this a bit in the past.. not to much... but I just use a phaser. Not the same but kinda gets me to where I want to go.
Old 24th December 2010
  #5
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This has absolutely nothing to do with Timbaland or his sound.
Old 24th December 2010
  #6
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sounds like trying to emulate haas delays in real acoustic environment . much more convinient way is to use pt stereo delay 100% wet and delay one chanel and then low pass it and so on maby even add reverb ...
Old 26th December 2010
  #7
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Without exposing too much RickRock gave u the answer.The trick you are mentioning is done in the production side. Rick's tip would only work with something thats already tracked out. TIM sends the tracks from the Sampler out in stereo. Sometimes even uses the Headpone output.
Old 26th December 2010
  #8
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This works ALOT better when you have two similar sounding clips/phrases instead of just the SAME thing.

The trick has always been for me to do this.

If using a synth, play your exact phrase a couple of times. Now for the most part they should match but there will be slight variances in the timing of each.

IF you don't quantize away these subtle drifts and you can take the actual recordings (if its a VSTI you may need to use two instances and assign the different takes to each instance - one for LEFT and one for RIGHT) and hard pan them then you can hear an immediate stereo like result.

If you offset them in opposite directions from each other the stereo field of the two sounds grows. Don't go two far or you'll experience eventual timing issues.

IF you are dealing with a recording or a sample then you could try the following:

Take the mono sample and time stretch different parts of the phrase by small amounts to create slight timing variances within the sample itself. Alot of splitting of the clips or separate regions style editing will be needed. However this can create the variances needed to really get that wide effect with only using one original mono phrase.

You can also detune by a few cents if you have each little piece of the phrase separated.


Whenever I have an intern now I teach them this trick. It works for so many different things from vocals to electric guitars.

I've yet to really encounter phase related stuff with this but then again you have to realize that two instances of the same EXACT mono phrase hard panned sounds way less convincing than two slightly different YET very SIMILAR mono phrases hard panned.

I've been in plenty of mixes where people have suggested to simply double the single instance of a vocal and hard pan it to create stereo VS Overdubs and punch ins to make a fuller stereo effect.

Let's just say they are never pleased with the doubled instance of the same thing versus just doing the overdubs or using pieces of other takes to build a nice stereo image.

MUCH MUCH richer.

Peace
Illumination
Old 26th December 2010
  #9
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Graal's Avatar
 

I didn't read through that thing, but it seems at a first glance like a HAAS DELAY.
Old 27th December 2010
  #10
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timbaland stereo spread

Thanks everyone.
Illacov, I agree completely with what your saying. I do most of my work with rock and singer songwriter, but am always interested in different ideas!!! Thanks for all your guys help
Old 27th December 2010
  #11
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for synths etc you might want to try to have two similar patches panned hard l and r instead of haas delay.
kinda like what illacov said.
Old 27th December 2010
  #12
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timbaland stereo spread

What I normally do to fatten up synth sounds is I will use a few similar sounds and track all of them as close to the grid as possible without quantizing, and sometimes play the same parts, up/down October to fill out and emptiness.
Old 27th December 2010
  #13
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tharemedy's Avatar
 

Quote:
Originally Posted by rickrock305 View Post
Phasing can be your friend if you utilize it properly.

Sometimes I'll use the stock pro tools delay that let's you adjust in samples and simply delay one side of a stereo sound. Anywhere from 10-50 samples.

I also flip the phase on one side of a stereo delay some times.

There are a ton of cool phase tricks outthere experiment!
I do this all the time especially on vocals.
Old 28th December 2010
  #14
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If you use these techniques on drums, for example, is there a way to increase the stereo width of the drum without lessening it's straight up impact? Or is it an inevitable trade off between the two?
Old 28th December 2010
  #15
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Quote:
Originally Posted by yosemitesam View Post
If you use these techniques on drums, for example, is there a way to increase the stereo width of the drum without lessening it's straight up impact? Or is it an inevitable trade off between the two?
It works really well for stuff like claps. If you record handclaps and then hard pan them you will get a pretty cool rhythmic result vs if they were just mono down the center.

I'd recommend something like 8 passes of handclaps and then hard pan 4 to each side.

Play with the offset of each (slip mode in PT) or hit alt s in Reaper to turn off snap. Line up the samples by sight or unline them by sight and you should have a pretty rich sounding set of stereo handclaps.

I like it for chillout type stuff. Nice acoustic guitar or mellow Gibson hollow body stuff over a nice bassline and midsy kicks.heh

Peace
Illumination
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