![]() To start, pan each mono track equally and oppositely. The first is less expensive, as you can create it using stock plugins and DAW functions. There are a couple ways to accomplish this effect. How to Create a Spectral Panning Effect in Your Mix: Move the phone around your head to observe how the frequency response and amplitude changes with the position of the sound source. Repeat the process with the phone on your right side, and with your right ear plugged. Then unplug and replug your left ear and notice how much more high range frequencies you can perceive. Take note of how your right ear perceives the sound. Hold it up toward you left ear, and then plug your left ear with your finger. If you’d like to experiment with this effect play a sound or song on your phone. This means that in a stereo image, by attenuating the high frequencies of a sound source, and changing it’s level panning to the right or the left, we can create a spectral panning effect.īecause we experience this type of phenomenon in our everyday lives, the spectral effect sounds natural. If a sound source is oriented to our right, the left ear will still hear the sound, but with an attenuated high frequency range. If a sound source is oriented to our left, the right ear will still hear the sound, but with an attenuated high frequency range. This is where spectral panning comes into play. Again this is due to high frequencies having a difficult time diffracting. To go back to our example, although many aspects of the frequency response, volume and phasing will be altered by the time the sound reaches our right ear, the primary aspect affected is the high range frequencies. It describes a sound wave’s ability to bend around an object or obstacle, and continue moving in its original direction.Īs a sound wave diffracts, or bends around an obstacle, low frequency waves easily traverse the object, while high frequency waves are often reflected, absorbed or dispersed due to their lower energy. Physical objects absolutely have an effect on the nature of any sound wave it interacts with, and the head is no different. If you answered ‘different’, you are correct. But the head, it’s shape, size and orientation play a role in how a sound is affected prior to reaching the ear.įor example, if a sound source is to your left, and the sound is moving directly toward your left ear, how will it sound to your right ear? Will it sound the same as it does to your left ear, or will it sound different? When we think about sound as it relates to the body, we typically think about our ears. ![]() The Neumann KU100 uses condenser microphones on each modeled ear, with a mannequin head to create spectral effects. Spectral Panning – How the Head Shapes Sound: ![]() We’ll also be delving into the practical ways you can recreate some of these effects using various plugins and audio editing techniques. If you’re interested in some of the more exciting and unexpected ways in which our ears transfer and our minds interpret sound, read on for a detailed description of both. This is all to say, that hearing, and the perception of sound and music with all of its unique characteristics and quirks, is an incredibly important, and often ignored aspect of music production.Īlthough I won’t be delving into some of the finer details regarding the inner ear mechanisms, or how they physically interact, I will be going over some interesting effects that can be utilized to create better mixes.Ī detailed diagram of how sound waves interact with the inner ear mechanisms. In fact, one could argue that sound and our actual perception of sound is the same thing, as there is no way to separate one from the other. Although we often talk about music as if it’s separate from the listening experience, it is irrevocably interlinked. Listener experience is key when it comes to music production. Some things that can be utilized are the ‘Fletcher-Munson Curve’ when using equalization, the ‘Haas Effect’ when implementing spacial design, and the ‘Phantom Fundamental Effect’ when recreating low end frequencies. To mix with psychoacoustics, first consider the many unique ways with which the ear and brain receive and interpret sound.
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