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Gear / Technical Help => Post-Processing, Computer / Streaming / Internet Devices & Related Activity => Topic started by: voltronic on May 23, 2019, 10:50:53 PM
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EDIT: See this reply below for how I saved this recording from total disaster.
http://taperssection.com/index.php?topic=190611.msg2300814#msg2300814 (http://taperssection.com/index.php?topic=190611.msg2300814#msg2300814)
Please let me know if there is some sort of phase-inversion sum/difference way to rescue this, or if I'm screwed.
I made a recording tonight with CM3s > FP24 > M10. What I failed to check were there stereo panning switches. I always have these switched L and R, but the last time I used my FP24 was the first and only time I used it with a set of PA mics that I needed to be summed mono and sent out to the left channel. Of course, I forgot to check those switches, and loading up my track tonight, I discover to my horror that each channel of the M10 recorded an equal mix of the two mics, because that's what I sent it from the FP24.
:facepalm:
I started wondering if there was a way to process this with a phase-inverted copy of each channel. I'm hoping someone tells me there's a way to recover the stereo information, but it's doubtful.
This is a recording I made for a friend's choir, and there is a backup rig he had going in the balcony so it won't be a total loss. I'm so pissed at myself for forgetting to check the channel switches! This is one of the worst recording screw-ups I have ever made. Lesson learned!
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I think shifting one channel a few ms is about the best you're going to do. Maybe someone else will have a better idea.
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My only other idea is to matrix the two recordings to get some stereo from the balcony source to go with the more direct signal from your source. Maybe you can find a happyish medium, at least.
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I would give the Ozone Imager plug-in a try. There was a free VST plug-in available at one time.
Pm me if you get stuck or can’t find it. I’d be willing to run your .wav through it, too, lmk.
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I recently had a recording where I had to replace a damaged left channel with the right channel.
A somewhat decent "stereo" sound was able to be made using the "Binaural Audio Panner" plugin with Audition 3 and then using some expansion with either Ozone Imager or the Stereo Expander in Audition.
We're talking salvage operation.
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Thanks for the advice, everyone. One piece I failed to mention was that I had a second rig running a spaced pair of DPA 4061s immediately behind the last row of this choir (in place for a larger choir that performed on stage), and I may try treating the CM3 pair which would have been above the conductor's head for the smaller group in the pit as the center of a very poorly-done Decca tree.
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^ Well, I just tried exactly that, I'm quite surprised it sounds as good as it does.
Here are a couple samples of the matrix, as well as the separate mics so you hear what I was working with. Again, these choirs on in the pit, the 4061s are directly behind the last row of singers and about 12 feet above that row's head. The CM3s (which recorded dual-mono due to my mistake) are suspended 5-6ft above the conductor's head (when he was standing in front of the pit choir risers).
For Sample 2, I brought down the front/center about 2 dB.
https://www.dropbox.com/sh/dys2jb7e8x47qls/AACHN9dzo9uXPWPdbL1SYFDYa?dl=0 (https://www.dropbox.com/sh/dys2jb7e8x47qls/AACHN9dzo9uXPWPdbL1SYFDYa?dl=0)
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I think the sample with dpa's sound great, but, that's what I use all the time. Nice true sound, with a respectful audience that is!