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Gear / Technical Help => Post-Processing, Computer / Streaming / Internet Devices & Related Activity => Topic started by: nicegrin on July 02, 2013, 08:05:16 PM
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Hi!
Delaying one channel to add more depth or create a fake stereo recording from a mono recording usually goes under the term the Haas effect.
When listening to a recording after applying the Haas effect in headphones the delayed channel will sound lower as well. Anyone who experimented with this and have
any hints how to make both channels sound equally loud after applying the haas effect?
Any suggestions what the deleyed channel should be amplified with as a function of the delays in milliseconds?
Interested to learn the art and theory behind this if anyone has any experience!
Thanks!
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http://www.rane.com/par-h.html
http://refrec.com.au/haas-effect/
http://fr.slideshare.net/gueste4911ef1/the-haas-effect
Etc.
Thanks to Google startpage.com.
FWIW.
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Delaying one channel to add more depth or create a fake stereo recording from a mono recording usually goes under the term the Haas effect.
Other way around really. The Haas effect is a human perceptual phenomenon, which has to do with what we perceive when we hear the same sound reproduced from two different locations with a short delay. The audio processing applications you mention often take advantage of it, but there are also other ways of doing pseudo-stereo processing and making things sound wider or deeper.
Like a many things, it's probably best to develop a good understanding of the relationships, in concept and experience, and simply balance things by listening and adjusting parameters, rather than try and rely on a formula. Play around short delay times and level differences and see what works. Different settings work for different applications, within a range.
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I've played with it some. It's a trade off really. I never liked it enough to use it often. When I had mono stuff, I would do minor notch EQ (1db or less) differing between channels and then soak it all in artificial reverb to various degrees to create a fake stereo setup. It's less bad then mono, but quite acceptable if you should have mic'd the drums in stereo but didn't have enough channels... :-[
As for compensating on the head shift, you just amp the "low" channel to get it to swing back around. I found (regardless of material) that I didn't want to shift more than 10-15 samples (as calculated by a delay plugin, not visually in a DAW) in any given direction before it got too far past being in "natural" phase. It's possible to shuffle upwards of 50, 200, and even 500 samples but it varies by material and the resulting inter-channel relationship.