Stereo, Videos

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This tutorial explains how to widen the stereo field within your mix by creating an offset between two identical audio samples within Pro Tools 8.

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Most of us who were born too late to have heard the original big bands in person have long ago become accustomed to the narrow sound of most 78s. We try to imagine what it must have sounded like to hear the music as it was meant to be. Processes such as CEDAR and other filtering techniques can do a lot to fill missing bits of the sound spectrum, but it's almost impossible to artificially take apart the old monaural sound tracks and put them back together as stereo. It's not for want of trying - almost from the day that electrical sound transmission was developed, engineers tried to give some sort of depth to the process. Schemes ranged from banks of microphones and speakers to the primitive stereo LP's developed by Bell Labs in the early 1930s. For a number of reasons none of these experiments ever became commercially viable. It took the great Philadelphia Orchestra conductor Leopold Stokowski to help create the first generally available stereo recording. He realized that even if stereo records weren't practical, movie film was. Nothing prevented adding another sound track, or even tracks, so long as the playback equipment was available. Optical film tracks were also able to capture a far wider frequency range than discs. As we all know, the result was the "Fantasound" system on which he and the Fabulous Philadelphians recorded the soundtrack to Walt Disney's groundbreaking Fantasia. But in spite of being as much of a technical leap as CDs were from vinyl, Fantasound was prohibitively expensive for all except the largest theatres. Even though Fantasound didn't work out, both Fox and MGM realized that a simplified version of it could improve film sound quality at a lower cost. Instead of putting stereo playback equipment in every theatre, they made multi-track recordings on their sound stage. The sound engineers then replayed the master tracks as many times as needed to create an optimum mono mix that could be presented anywhere. And that's where the big bands come in. Through a happy accident of history, Fox and MGM began stereo recording just about the same time that several top bands were appearing in full-length musicals. Tommy Dorsey, Glenn Miller, and Artie Shaw all put their orchestras on the studios' multi-mike stages. Moonlight Serenade/I Know Why (Stereo)Glenn Miller and His OrchestraPat Friday, John Payne, and The Modernaires (Vocalists)From Sun Valley Serenade (1941)Twentieth-Century FoxThe Original Glenn Miller Orchestra In True StereoViper's Nest VN-157 (1994) The only problem for us some two-thirds of a century later is that the masters were thought of as intermediate steps that didn't necessarily have to be preserved so no one went out of their way to save them. But that neglect meant no one really went out of their way to destroy the masters either. Over the last couple of decades a tantalizing number of them have been found and restored. It's once again possible to hear at least a few examples of how those great bands sounded in full-dimensional, near-high fidelity. Here are links to a few of the recordings available on George's site as well as YouTube. For the techies among us, MGM's system of track synchronization was far better than Fox's. You may hear bits of what's called "phase shift" in a couple of places on I Know Why, but that shouldn't detract from just how incredible it is to listen to the bands as they were meant to be heard. Glenn Miller - Moonlight Serenade and I Know Why Tommy Dorsey - Fascinatin' Rhythm Here are three more songs that demonstrate big bands in stereo: It Happened in Sun ValleyGlenn Miller and His Orchestra Song of IndiaTommy Dorsey and His Orchestra Theme/Well, Git It!Tommy Dorsey and His Orchestra Jeff Karpinski King of Prussia, Pennsylvania Email Me

This tutorial explains how to widen the stereo field within your mix by creating an offset between two identical audio samples within Pro Tools 8.