![]() ![]() What I sometimes do is pan two lines that balance each other out, or in this example play a ‘call and response’ role. Don’t let this discourage you from experimenting, but, unless what you’ve panned out feels better and there’s a part that can balance it panned to the opposite side, you’re exposing yourself to an onslaught of “narrow that back in!” feedback from the artist or producer. I believe this happens because when synths are layered in a particular way the relationship creates a block of sound – a unity that comes undone when you pan them off or try to break them away from each other. ![]() If that fails to improve matters, I’ll ditch one side altogether, go mono and recreate a stereo effect with something like a microshift.Īrtists and producers tend to be allergic to synths being panned out, especially if the rough mix doesn’t illustrate it. My solution here is to monitor in mono (or center the pans) and, if there’s a problem, I’ll invert the phase on one side to see if that rectifies the issue. It’s usually easy to spot this it will sound disorientingly wide in stereo, but will thin out considerably when heard in mono. I spend my initial prep time working out if a synth sound is truly stereo, or if it’s just a mono synth with some kind of inverted phase effect that makes it sound wide but might cancel out in mono. There’s no use trying to recreate what they’ve worked on and lived with for so long! I’ll request them to print any filter sweeps they’ve applied, but I may break out the filtered sections to new tracks so I can have finer control during those passages. I request wet and dry copies of all mix stems, but I almost always use the wet stems and treat the dry stems as an insurance policy. ![]() Let’s get stuck in to it! EVERYTHING IN ITS PLACE Whatever the case, the various techniques described here can be applied in all sorts of scenarios. Now let’s look at introducing the more atmospheric element: the synths! Of course, the word ‘synth’ could refer to any number of keyboard sounds – it could be a warm pad from a Juno 60, a stabby chord from a Prophet, an aggressive MS20 lead line or even just an electro piano sound. In the first two parts of this series we went through my processes for mixing drums and bass for synth pop. ![]()
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