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Playlist of How to get WIDE stereo tracks

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    How to safely make WIDE stereo tracks


    Useful trick to make metal guitars wide but it can be as useful on many other instruments, even masters with phase problems. The point of this video is to illustrate how using the Safe Bass control can make a stereo signal mono compatible by converting only the low end to mono and leave the mid and high frequencies wide (or making them even wider) to represent the stereo image.

    The plugin A1StereoControl is free to download:

    Safe Bass:

    The integrated Safe Bass algorithm centers all bass frequencies below a adjustable value right back into the middle of the stereo field. This gives your tracks the solidity and definition you want while preserving maximum transparency and sharpness. Similar techniques were used by professional studio producers over ages with either expansive hardware devices like elliptical equalizers or even advanced m/s-processors. With this plugin you will be able to manage this complicated task with a minimum effort. Simply turn on Safe Bass and adjust the frequency as needed.


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    Huge Stereo Width From Mono


    How to make your sounds huge and wide with 5 essential mixing tips by Reid Stefan Realest Puppet In The Game. Making your tracks wide starts with spreading out your sounds with panning. In addition to panning reverb and delay are both very helpful in adding size depth and width to your mix!

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    Create Wide Stereo Vocals | Logic Pro X


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    In this episode of Hyper Production we are going to take a look at how we create wide stereo vocals using the stock plugins that come with Logic Pro X. We do this by taking the main vocal track and duplicating it twice and then applying a pitch shifter on each of the newly duplicated channels. We then pan hard Left & Right each new vocal channel and apply the pitch shift as follows: Left: -6 Cents. Right +6 Cents. This will create a unison type effect in which will really open up your main vocal into the stereo field.

    We also take a look at a backing vocal to match the main vocal and apply the same technique to create a really full-sound vocal for your track.


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    How to Contextually Bring a Vocal Forward in a Mix


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    Sometimes bringing a vocal forward in a mix isn't about actually processing the vocal, but rather the contextual elements in the same mix space around it.

    Software used:
    - Avid Pro Tools
    - Waves S1 Stereo Imager



    Hey guys, Matt Weiss here, Today I'm going to demonstrate the idea that sometimes affecting one thing is really about how the other things around it are actually affected.

    In this specific case we're going to be talking about how to keep a vocal sounding forward, but I'm not actually going to show you what I do with the vocal. It's really what I do with a lead element that takes up the same space as the vocal.

    So, first, I'm going to play the record.

    Okay, the vocal is pretty forward. Behind that is this drone sound. I've done some processing to this, but let's just hear what it sounds like just with some basic EQ and level matched to about where it should sound.

    Actually, it sounds good. There's nothing wrong with the way that it sounds. The only thing is that I would have to be willing to accept the vocal not being like right there. It would have to be more like accepting the vocal being here. Usually, for hip-hop you want the vocal as forward as you can possibly get it.

    Okay, how do I do this? Well, I'm going to take off the volume boost that I I'm going to blend this little thing in in parallel.

    So, here's without it.


    Okay, what is this weirdness? Well, it's the same thing as the main drone, except I've got the Digidesign Lo-Fi here and I'm doing some saturation and adding some distortion, which is basically adding harmonics to thicken the sound. Then, I'm taking this Waves Imager and I'm cranking it. I've got it really way up so that it's no longer mono compatible. Basically, I'm just going to blend that in underneath the main sound.

    What this is ultimately doing is it's adding more presence and fullness to the sound of the drone without actually moving it forward or bringing the main content of it forward which then in turn synchs the vocal back.

    The vocal stays nice and forward now. It's a subtle difference, but I think it's an important difference.

    Lastly, there's this reverb return, which I think adds a nice little depth and also synchs that drone sound, that sample sound, back a little bit further even in the mix while at the same time filling it out a bit more.

    Anyways, that's all to illustrate the point that it's not always about what you're trying to affect. Sometimes it's about how you treat the things around it.

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    Yo it's Relik! In this video I'm going over how to make your 808s stereo, while keeping them mono compatible. I personally don't do this very often, but understanding how to widen your 808s can be very useful! It can be kind of tricky getting your 808s to fit in the stereo field without completely messing it up in mono, or worrying about how it will translate on bigger systems. A lot of people advise against making your 808s stereo, but I think this is a great way to leave room in your mix for other elements that you want to be the focus for your track. Hope this video helps!


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    Wide Mix: How to get Wide stereo image with Harmonizer


    In this technique, you can achieve wide mix without losing the mid + original sound!

    One of the most used techniques by mixers, to add stereo width to your mix. Using harmonizer with slight delay and pitch shift, signal goes wider than your speaker positioning.

    Legends used the hardware H3000 from Eventide to get this effect, in this digital era, let’s use Little Microshift from Soundtoys.

    Plug-ins used in this technique
    NLS Channel /waves
    EQ3 /Avid
    Little Microshift /Soundtoys

    Little Microshift was given away for free for certain period of time but it’s not available anymore unfortunately. You can purchase big brother of this “Microshift” on their website.

    This is one of many uses of parallel processing. If you wanna know more about those techniques, head to this video for thickening the bass while maintaining aggressive highs!

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    Hey youtube! Sohta from Mixer's Hive here.
    I've been mixing/mastering records for 10-ish years based in Boston, MA in the USA. I also manage the computer music lab at Berklee College of music called Learning Center. You can find small but effective tips here at Mixer's Hive that you can use in your daily mixing projects. Subscribe for new videos!


    Want to know when to use those Hive Techniques for what? Ask me here!

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    The Best Plugins For Stereo Widening | Tutorial Video

    34:56 - These are some off the best VST plugins for making your sounds appear wider. In today’s music, the listener really craves a wide stereo image. In this video we will show you some of the best tools to give your tracks a wider and fuller sound.

    Follow along as professional engineer Eric Michaels gives you step-by-step techniques on how to use stereo tools.

    Even though this tutorial is done in Pro Tools, you can use these plugins and techniques in any DAW (Logic, Ableton, FL Studio, etc).

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    Mixing Tips Pt. 2: Creating a Wide Stereo Image with Single Tracks


    This is my quick tutorial on how to make your tracks sound wider in the mix, and even make your single tracks sound wide! I do this a lot when I feel a performance needs to consume more space and stand out.

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    Stereo Widening Mix Buss Automation -


    ►► Create radio-worthy songs from your bedroom. Download my FREE Radio Ready Guide and learn my 6 step process →

    Are your mixes not as wide as the competition?

    There's a good chance that some of your favorite tracks have been mixed or mastered with some stereo width enhancement.

    In today's video I show you the difference a little bit of stereo widening can make on your mix, but even more powerfully I show you how you can AUTOMATE your mix buss plugins including stereo width, mix compression, and more.

    Just knowing that you can do this is helpful as a mixer, whether you use it on every mix or not.

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    Producing With Synths: Stereo vs Mono In A Full Track


    Watch Weezna as he goes though the process of choosing to use stereo or mono synths for a track. First Weezna shows how to keep kick, snare, bass, and main vocals in the center of a mix. Then using a wide stereo synth and playing chords, you can create the thick full sound in your track. Last, by adding a mono lead you can create another layer to make the track seem even bigger.
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    Typical the amount of hours to mix 1 song:
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    BACKGROUND: Ryan Weezna - Producer, Mix Engineer, Mastering Engineer, Keyboardist, Drummer, Singer
    • Shared the stage with acts including Rihanna, Plain White T's and Teddy Geiger
    • Performed and toured on the East Coast
    • Produced and recorded over 3400 tracks of mixed musical genres
    • Created music and appeared on major TV networks including, MTV, VH1 and CMT and ABC Family
    • Worked with industry leading producers such as Shep Goodman, Kenny Gioia, and Sam Conjerti Jr.

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    How to Make a Mono Track Stereo



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    How To Get A Wide Mix With LCR Panning -


    ►► Create radio-worthy songs from your bedroom. Download my FREE Radio Ready Guide and learn my 6 step process →

    Everyone I talk to wants a wide mix.

    They want a mix with impact, space, clarity - and width!

    What's funny is that the EASIEST way to get that wide mix is to use something called LCR panning.

    That's right - panning!

    No stereo widening plugins, no spacial imagery - just turning your pan knobs to THE RIGHT PLACE.

    It's the oldest trick in the book.

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    Tips for Increasing Stereo Width of Synths in a Mix


    Instant access to every in-depth mixing course from Matthew Weiss:

    A video on how you can use mid-side processing, reverb, delay or chorus to increase the stereo width of synths in a mix.

    Transcript Excerpt:

    Hey folks! Just finished up an EDM mixthru, and these couple of stems are from that. They are a lead synth for the hook and an augmenting synth for the hook, and I'm going to play them together right now.


    Now I'm going to quickly play them in solo, just so you can hear what each one is doing.

    [bright synth lead]

    [gritty saw synth]

    We've got our lead, which is this very tight, focused square synth that is giving us the main melody, and then we've got a stacked synth that has a lot of frequency content and is very wide, and is playing a chord structure that's helping it along, right?


    What this tutorial is going to be about is about creating a bigger stereo field in a couple of different ways that we can do this.

    If we're thinking of our lead as our front and center kind of thing, then we can think of this not only as something that is going to harmonically and melodically support the lead – the secondary synth – but it can also give us the low end of the frequency spectrum, it can give us the super high end of the frequency spectrum, and it can give us the side information to create a big stereo field.

    That's what this is really going to be about, and I'm going to show you a bunch of little quick techniques that you can do to make that happen.

    The first one is just the Waves Center plug-in, which is a mid/side processor which allows you to control the level of the center and side information independently.

    What I'm going here is I'm pulling the center channel – everything that's living right in the middle – down two decibels, and I'm pushing the side channel – which is essentially everything that's not in the middle – up two decibels. So it's going to have the effect of spreading the sound out.

    Here is before and after.

    [synths, before and after Waves Center]

    That's pretty cool, and that's a very straightforward way of doing it. It works well. You can use it in conjunction with other techniques. It's just a good way when you know that something is really meant to fill out the stereo spectrum, it can just help it along a little bit.

    Now I'm going to show you another pretty basic technique. This one is going to be using a reverb. This is just a dash of plate reverb to help sort of spread things out and give it a little depth. Here we go.

    [synths with reverb]

    This one is not as dramatic as the Waves Center one. I'll turn up the wet to dry ratio a little bit so we can hear it a little more clearly, but it gives us a feel of width more than necessarily a direct increase in width.

    [synths, before/after reverb]

    Next one is sort of like the “poor man's reverb.” It's a delay. Very fast delays. The left and right side are timed differently, so before...

    [synths, dry]

    [synths with delays]

    It kind of sounds like reverb in a way, but it's a nice, wide reverb, and so I dig it.

    The last one I'm going to show you is a chorusing effect, and what I've done is I've timed the chorus to actually make it feel like the stereo panning structure is moving around a little bit.

    Here's before and after.

    [synths, dry, then with delays]

    That's kind of a cool effect, because it actually creates a sort of sense of movement, and this rate and depth knob are really what's going to influence the sound of that.

    So let's say I turn up the depth...

    [synths with delay]

    That just sort of feels more like an artificial stereo spread, where as if I were to turn the depth way down...

    We feel a little bit more of that movement, and now here is our rate control. I want to turn that way up.

    Once again, it's kind of feeling like... more of like an ambiguous spread rather than a specific movement.

    Okay, especially when it starts turning up. You hear an almost rippling effect to it.

    [synths + delay]

    I like that.

    So now just for funsies, I'm going to put them all on here in order – in this order. I'm going to do the chorus first, the delay second, the reverb third, and the Center plug-in last.

    So, before...

    [synths + effects]

    That's kind of cool, actually. So I'm going to go just to the Center plug-in real quick, and I'm going to show you one other neat little thing that you should think about.

    On the lead synth...

    [lead synth]

    I have this delay, right?

    Tight now, the different delays are panned hard left and hard right.

    Watch what happens when I mute the delay in context.

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    Wider - Expanding Your Stereo Image - First Look


    ► Download Wider :

    In this video we look at Wider, the new free plug-in from Infected Mushroom & Polyverse.

    Widen Your Sound Today – For Free!

    Wider takes the massively popular stereo section from its sibling, Manipulator, and gives you the ability to expand the stereo image of any signal to an awe-inspiring amount of width.

    However, Wider is a unique stereo plugin in the sense that it is completely “mono-compatible”, meaning that any signal that has been extended will always remain in phase with itself, even if summed to mono.


    Many stereo effects currently in use have the nasty habit of knocking signals out of phase, which can quickly make mixes sound muddy and unbalanced, or make sounds seem flat and lacking dynamics if one isn’t mindful of the effect.

    Thanks to Wider’s one-of-a-kind all pass and comb filtering algorithm, no phase in any mix or affected audio will be compromised, even at its broadest setting! Instead, Wider cancels itself out when summed to mono, so the original signal is left intact: a feature you won’t find in any other stereo plugin.

    Wider can be used to increase the stereo image of any signal up to 200% of full stereo for an extra wide, exaggerated effect.


    No matter how far out and experimental Infected Mushroom’s sounds get, they always keep their mixes clean, crisp, and translatable without sacrificing power. Now you can achieve the same depth and clarity, absolutely free.

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    5 Ways to Make Any Sound Wider


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    In this video, Echo Sound Works goes through 5 simple ways to widen any sound.

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    Creative Mix tricks for Electric Guitars for Pop: Mono to Stereo Effects for Wider and Clearer Mix


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    In this in depth video David shows us a collection of mixing techniques for real electric guitars for a pop song. Multiple recordings of clean and distorted guitars, both mono and stereo, using panning, level automation, compression, dynamic eq, saturation and modulation effects, he places different guitars at different distance from the listener, giving the mix a 3D effect. Stereoizing and enhancing depth to make all the guitars fit this modern pop song.
    A look at the routing, submixes and effect sends we can see both single tracks and group processing, how to control single notes dynamically and tame peaks while retain transients and sustain.
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    Top 5 Tips To Get Wide Vocals


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    Do not use the panner of your DAW on stereo tracks


    Well, don't mind too much the title, you can use it but it is best knowing there are better options: In the largest percentage of cases where we have to pan a stereo track we use a MID/SIDE panner instead of the traditional panner of our DAW. The M/S panning method offers better control over the stereo image and produces a more natural sound on tracks with ambient, eliminating in many cases the need to add additional reverb effects. The FREE Voxengo MSED stands out here for its ability to control the volume of signals independently.

    From the website:

    MSED is a professional audio encoder-decoder AAX, AU and VST plugin for mid-side processing which is able to encode (split) the incoming stereo signal into two components: mid-side pair, and vice versa: decode mid-side signal pair into stereo signal.
    MSED is also able to work in the “inline” mode with the ability to adjust mid and side channels’ gain and panning without the need of using two plugin instances in sequence.
    MSED can be used to flip the phase of the mid and side channels by 180 degrees, and swap the stereo channels, and to extract the mid or side channel.
    MSED features the “plasma” vector scope, stereo correlation and balance meters which make it easier to monitor the stereo information present in the audio signal.


    Mid-side encoder
    Mid-side decoder
    Mid-side stereo widener
    Stereo channels swapper
    180-degree channel phase flipper
    Stereo correlation and balance meter






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    Intro to Stereo Imaging with the Waves S1 Plugin


    Watch this introduction to the Waves S1 Stereo Imager plugin, a unique mixing tool for manipulating spatial images, panning and stereo separation in stereo tracks and full mixes.
    S1 Stereo Imager:

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    Stereo Mastering A Pop Track


    Music Credit: Lonely by Chris Martines -

    Mastering music has always been seen as something of a dark art and even a secret of the industry pros. The tools available to everyone now makes getting pro results much easier to achieve, which is why more and more people are mastering their own music.

    The video below is a full walkthrough of me mastering an electronic pop song called ‘Lonely by Chris Martines’. I had previously mastered this awesome track in April 2017, but with the artists consent, I’m remastering it now to show YOU how I approach stereo mastering. A stereo master can take me anywhere from 30 to 60 minutes to complete, but I’ve condensed this video into 20 minutes to keep it fast paced.

    Hopefully you’ll pick up a few tips and tricks to use in your next project.

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    In these video series I'll talk about basic production tips as well as advanced production tips. In this tutorial I'm going to talk about stereo widening and when there's too much stereo widening.

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    How to Achieve Wide Stereo Snares in your Mix


    Using wide snares is an amazingly powerful way to add excitement, fullness, and an extra dimension to your track!

    But as I mentioned in the video, if you are creative with how you use these wide stereo snares in your arrangement, such as adding these stereo snares only in at the chorus, you can tremendously enhance your arrangements attempts!

    View the write-up on the blog:


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    Ableton Tutorial: 13 Random Tips To Widen Your Sounds & Mix Using Stock Plugins


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    Ableton Tutorial on stereo widening and imaging. Creating stereo width from mono tracks and just generally creatively spreading out your sounds in your mix.

    Join Sam Antidote as he dives into useful and interesting tips and tricks to making stereo information and wideness, even from mono sounds in a very unprofessional yet enlightening tutorial.

    -Panning, Chorus, Grain Delay, Double Tracking, Delays, Reverb and more tricks covered in this video

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    One Stereo Track: 5 Minutes To A Better Mix III -


    Part 6 of 31 - Want bigger, wider, fuller sounding mixes? Don't use a bunch of stereo tracks. In fact, just pick one and fold the rest to mono.

    Download my free eBook The #1 Rule Of Home Recording for more tips

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    Getting Wider Mixes


    Quick Tutorial on how i get my tracks to have more of a stereo feel to them...

    Retro Thunder - Better Ways to Die


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    Retro Thunder -

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    How To: Mono Signal To A Wide Stereo Signal Using A Delay Unit


    Watch as Weezna shows how to take a mono signal and by using a analog delay, turn that track into a wide stereo signal.
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    BACKGROUND: Ryan Weezna - Producer, Mix Engineer, Mastering Engineer, Keyboardist, Drummer, Singer
    • Shared the stage with acts including Rihanna, Plain White T's and Teddy Geiger
    • Produced and recorded over 3500 tracks of mixed musical genres
    • Created music and appeared on major TV networks including, MTV, VH1 and CMT and ABC Family
    • Worked with industry leading producers such as Shep Goodman, Kenny Gioia, and Sam Conjerti Jr.

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    Panning 101: How to use Panning for a Wider Mix | LANDR Mix Tips


    What is panning in music? Find out how to pan in your music production for a wider mix.

    Read more on the blog:

    Panning is one of the essential features of your DAW’s mixer.

    Along with fader level, panning is one of the most important processes you’ll apply in your mix outside of plugin effects like EQ, compression and reverb.

    In this video I’ll go through everything you need to know to use panning effectively in your mix.

    Panning is the process that positions an audio signal spatially in the stereo field created by two speakers.

    By varying the intensity of a signal in each speaker, we can trick our brains into localizing a sound source on an imaginary plane relative to our listening position.

    How does panning work?
    Panning works by changing the ratio of a signal in one speaker relative to the other.

    Both speakers playing a signal at the same level is equivalent to a mono recording—we perceive it as dead center in the stereo field.

    When fully centered, the identical signals will stack together and seem louder.

    To compensate, the signal is slightly attenuated relative to center position to create a smooth semi-circular stereo image around the listener.

    Choosing the stereo position of your tracks is just as important as setting their level or sculpting their frequency balance with EQ.

    There’s as many approaches to panning as there are mix engineers. But there are some common threads that can steer you toward an approach that works for your own mixing process.

    If you’re just getting started with identifying frequency ranges and finding out which sounds are masking which, mixing in mono can be a helpful exercise.

    Taking panning out of the equation forces you to focus on your mix’s frequency balance only.

    This can help you pick out the main sources of confusion in your mix. Once you’ve dealt with the clutter in mono, you can pan things back out again with increased clarity.

    On the other hand, even experienced engineers forget how powerful the simplest functions of the mixer can be.

    A huge amount of mixing work can be accomplished just by setting the pan position and fader levels.

    If you take the time to level and pan your mix intelligently, you may find you don’t need to do as much processing to accomplish your goal.

    If you’re unsure where to even start, you might consider the LCR technique.

    With LCR, your choice of where to position a track is limited to three options—hard left, dead centrer or hard right.

    It may sound extreme, but LCR panning can help you combat narrow stereo spread—one of the most glaring signs a track has been mixed by an inexperienced engineer:

    Even if you decide not to go for a strict LCR approach, don’t be afraid to pan some of the elements in your mix out the edges of the stereo field.

    A wide sounding mix is always made up of sources panned in a variety of positions, including the extremes.

    In this example, I have an early mix of a track that’s sounding a little too narrow.

    Since I’m only working with a few sources, my options are a bit limited and I opted to keep things close to the centrer. I’ll see if I can get a wider soundstage by being more aggressive with my panning.

    I’ll start by using the LCR technique to get my sources out to the edges of the stereo field.

    My stereo synth pad, double-tracked guitar lines and background vocals can all get hard panned.

    Listening in the mix, this already gives the track a lot more dimension.

    I’ll pull slightly back on the guitars to create a bit of variation but overall this LCR-style approach sounds broader and gives the impression of wider soundstage.

    Panning is a key function of your DAW.

    Now that you have some ideas about how to get started with panning, get back to your DAW and move some sounds around the stereo field.

    Read more about the basics of panning:

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    How to Widen Vocals in a Mix with Split Panned Processing


    Instant access to every in-depth mixing course from Matthew Weiss:
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    How to pan vocals and process each side differently to get a wider stereo spread.

    - Avid Pro Tools
    - FabFilter Pro-Q
    - Waves SSL G-Equalizer
    - Brainworx bx_digital Modus EQ


    Hey folks, Matthew Weiss here. I was mulling over ideas about gain staging and things like that and there's this sort of common myth that if you duplicate a track of audio and you pan the original and the duplicate apart you get a wider sound. And that's fundamentally not true. You actually just get a louder mono sound.

    Then I was thinking, if you wanted a wider sound, you could just make slight adjustments to each side. And by doing so you automatically will get a wider sound because there will be differences between what the speakers are projecting. So I have this vocal.

    [rap vocal]

    I got it EQ'd a little bit here. I'm just pulling up some presence range and doing a little bit of attenuation on the lower bands and midrange just to keep it present, but without becoming overwhelming.

    Then I thought, what would happen if I duplicated the signal and I EQ'd each side slightly differently. Here on the left side taking out a bit of midrange and boosting a slightly lower presence range. On the right side I'm not taking out the midrange, I'm boosting a slightly higher pretense range. Then on my multi band I am doing slightly different bands because I brought the brighter tone forward on the right side. On my multiband I'm bringing the more midrange-y tone, more constantly forward, and then I'm doing the opposite on the left side. So ultimately the distribution of frequency is gonna feel about even, but there's going to be fluctuations and changes that are gonna naturally happen as a result of the tonalities changing in the vocal. Sounds like this.

    [rap vocal with EQ and multi band equalization]

    So it doesn't sound vastly different, it sounds slightly less centered more or less. It doesn't necessarily sound super wide which I was hoping it would sound a little bit wider but it really didn't. Then I thought, what if I use some kind of stereo widening process and I pull up the side information and see how that fairs. So I ended up getting this.

    [rap vocal with EQ + multiband EQ + Brainworx stereo width]

    It has this sort of slightly smeared quality which I think gives it a kind of hazy texture. Did it get what I originally thought I was gonna get? No, you don't really hear the spread so much in the vocal. But it kind of does this thing, it like smears it a little bit and considering there's this kind of film noir-ish quality to the overall record, I like what it's doing.

    [rap vocals with processing]

    The point of this tutorial I guess isn't necessarily to show you a technique, but to so sort of instate the idea that when you get an idea, it's worth trying. And if it doesn't work out the way you expect it, that's ok. Not everything does, but when it does produce a result that's interesting or unique you can still be benefiting from it in some way shape or form. This one I'm gonna A/B it one last time before I end this tutorial. Listen, try and feel the emotional quality of the version that's duplicated and EQ'd differently versus the one that's concentrically in the center.

    [vocal with and without processing]

    However it worked out I actually like it speaks to me the tonality and the sense of movement inside the split one. Actually speakers to me more and I can't quite put a finger on why but I don't need to, I can just acknowledge that I like it.

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    Tips for Doubling and Panning Layered Guitars


    Free access to premium courses from David Glenn ➥
    Ear training for EQ ➥
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    How to approach doubling and panning guitars to add more texture to the production and mix.


    Hey, what's up guys. David Glenn of and I'm gonna switch it up a little bit in this video and talk to you about producing guitars.

    As a mix engineer, I get tracks sent to me all the time where the guitar player has doubled, tripled, quadrupled the exact same guitar part.

    Instead of layering the same exact part over and over or twice, I want to show you variations that you can add by switching that up. So, if you're not a guitar player, still pay attention because this could work for you when you're recording or producing guitars. Give them this example, say hey, instead of doubling that, do it further up the neck or with a different tone, a different pickup, and different guitar, a different amp, a different mic. Change it up. Something. Something should be changed when you double it to give it a different character.

    I'm gonna double a guitar part. Just threw on a loop here I'm using Superior Drummer, got a Fender Strat, Got a UAD Apollo, and I'm going into an 11 rack SPDIF into the Apollo. If you're curious, let's see... we've got a guitar, very simple box tone, and I'm running it through the UAD 610B. And let me play it, this is worth showing you. And if I bypass it.

    [playing electric guitar with and without UAD 610 B plugin]

    And with it. So you can see those settings. Check that out. Love that tone, love what UAD is doing with their gear. So, back to the task at hand. We're gonna track a couple guitars, I'm gonna play a part, gonna make something up, then double it the best I can to show what that does. Then we're gonna get rid of the doubled guitar and I'm gonna play a different part to help bring some life to this song.

    So we've got some chords. We'll go with the neck, let's clean it up a little bit.

    [electric guitar]

    Let's turn Low Latency Monitoring on. Excuse me, we've got a click track. Ok here we go. Let's give it a shot and see what happens.

    [recording electric guitar + drum loop in Pro Tools]

    We've gonna move the next track to the right and we're gonna do the best we can to double it and play the exact same thing.

    [recording doubled electric guitar + drum loop in Pro Tools]

    Now let's get low latency monitoring off. And hear that in the track. Turn the click off and this is a doubled guitar.

    [doubled electric guitar + drum loop in Pro Tools]

    Got like the spacial thing, a bit of a chorusing effect. Makes it feel like the guitars are wide, but I've got a better idea. I'm gonna try to differentiate that doubled part. I'm gonna switch pickups. Nothing crazy, I'm not changing my amp, not changing the gain, just gonna switch my pickup to the neck position and I'm gonna play.

    So let's start from the top, get a little click. I turned the click off. Let's unmute the click and rock out, actually I wanted the drums to come up quite a bit.

    [recording doubled electric guitar]

    So right now we're gonna listen back to what we just did. Gonna mute the click. And let's hear what we got.

    [guitar double]

    Cool. Let's listen. A/B it. This is the first thing we did.

    [doubled guitar]

    And then back to the second. So this just a concept that I want you guys to take, whether you're tracking guitars or producing. I'm gonna — maybe we'll make a series out of this and we'll add a couple other elements to it for tracking some guitars, but, that's it for this video. Give you another way to look at it and we'll catch you on the next one. So don't forget: david[at] I've got a great series coming your way soon on my mix template. And I'm gonna walk you through A to Z how I'm doing my mixing whenever I import sessions tracks in, clean them up, split stereo files to mono, the bussing, the routing, the sidechain compression, the mix buss compression. Everything you could possibly imagine I'm gonna walk you though A to Z and it's gonna be great. So stay tuned for that and emails to david[at] and check out

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    channel mode in Studio One: Mixing stereo tracks


    this video shows how to use the channel mode in studio one as well as my approach to mixing stereo tracks.

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    Make you Mix Sound Wider


    Everybody needs a wide stero image so this is the video for you. Just a few tweaks by ear helps your mix sounds professional and clean.
    Make my mix wide, stereo widening, sounds like flume, sound like modern trance. Make my Edm track huge, how to make music, how to producer trance, how to make a massive edm track, cubase 8.5 tutorials, how to compose in cubase. How to producer trance music in cubase.

    how to make music

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    The difference between mono and stereo tracks


    ► Get your songs Mixed and Mastered by Matty Here:
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    Matty Harris is a music producer, mixing and mastering engineer from Boston. As a young musician, he won several awards, most notably, the best drummer in New England. He toured with jazz, blues and calypso bands, playing bars and clubs at the young age of 14. After High School, he attended Berklee College of Music where he studied Music Production and Engineering. Learning from some of the most accomplished producers and engineers in the industry. Since then, he has worked on countless records with such artist as; Atlantic Records, RCA Records, WB Records, Kelly Clarkson, Sammy Adams, A$AP Rocky, Logic, Lil Yachty, Cam Meekins, Just Juice, Action Bronson, Danny Brown, Fat Joe, Styles P, La Coka Nostra, and many more. He worked on the Grammy Award-winning song “Stronger” by Kelly Clarkson and won the 2008 Boston Music Award for Best Hip-Hop/R&B Producer. He now lives in Los Angeles where he works with artists from all over the world helping them to realize their dreams.

    Matty started his online mixing and mastering company,, with the vision of helping new artists get the same quality mixes and masters as the major label artists he works with. After realizing the advancements of technology, he knew it was time to launch his online mixing and mastering company when he no longer needed the effects of a “big room” studio to achieve high-end mixing and mastering.

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    Creating a Stereo Mix from a Mono Source


    Creating a stereo mix from a mono source. In this video we'll explore a couple of ways to create a big stereo spread from mono source! Enjoy!!

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    Mixing Distorted Guitars | High Gain Tips by Joe Barresi


    Mixing distorted guitars (rhythm and lead) for a wide, crunchy, heavy tone. Hard rock producer and mixing engineer Joe Barresi is upfront about his guitar mixing techniques. Learn more from Joe:

    When & What:

    • 0:06 — Joe's General Approach

    • 2:56 — Compressing (+EQ) Rhythm Guitars

    • 5:04 — The Clint Eastwood Track

    • 6:07 — Parallel Distortion

    • 8:26 — Making Stuff Outside the Speakers

    • 9:51 — Making Solo Guitars Stand Out

    Waves plugins used in this video:

    • SSL E-Channel —

    • S1 Stereo Imager —

    • Renaissance Axx —

    • API 560 —


    Music: “Mercury Gift” by Zico Chain

    Also check out Joe's ProSound Workshop -

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    Mixing in Mono - Save Your Stereo Mix!


    Learn more about Reason:

    Hear Matt's song, The Hardest Part, and the album mix by Shane D Wilson:

    If you've ever had the unfortunate experience of taking a mix you've done outside your studio only to find out it doesn't sound nearly the same or nearly as good on other playback systems and devices, it's time to take your stereo mixes into the mono realm.

    If mixing in mono for better stereo results sounds counter-intuitive right now, watch as Ryan takes you through some of the benefits on a huge multi-track production by songwriter Matt Tinsley.

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    How to Get a Bigger Electric Guitar Sound Without Overpowering a Mix


    // // A video on mixing electric guitar in an alt-rock song.

    Download the free multitracks:

    Hey folks, Matthew Weiss here —,, and

    These multi-tracks came to us via David Glenn Recording, David Glenn of course being a fellow contributor to The Pro Audio Files and a friend of mine. So check out his site, you can download these multi-tracks, and you can work on them too. It's a great exercise.

    This is going to be about alt-rock guitars. This is specifically pertaining to a style that we're bringing in from the mid-90's. That sort of alt-rock pop sort of thing that makes you think of rollerskating arenas.

    Here we go.


    So these guitars, they're not bad, but they're not great. I don't mean in terms of the playing, I don't mean in terms of the actual guitar tone and things like that, I mean it is good, but in terms of the production side of things, we're a little bit at a loss, because we want a very full, thick, powerful sound, and what we're kind of getting right off the bat is something that's a little bit flat and a little bit two dimensional.


    So a lot of the rock style of production is really, really embedded into the tracking phase, and the tracking phase, being able to get really great recordings is something that is becoming slimmer and slimmer, because people are doing it a lot more DIY, and tracking is really an experience that we get when we are interning and assisting in the studio.

    So for example, with this particular style of music, I have to give a lot of credit to Denise Barbarita, who showed me a wonderful technique for getting really full sounding guitars that don't take up a lot of space. When you have your rhythm track, after you get your primary rhythms, you then change the mic and possibly change the cab, and get something that's a lot more band-limited, particularly to the frequency range that is really going to make the guitars cut, somewhere between that 400 to 1.2kHz kind of mid-band, so that ultimately, you use something like a ribbon, or something like a dynamic, but you kind of tilt it away so that you start losing bass and you start losing high end, and ultimately, what you're looking for is a natural form of filtering. It doesn't really quite sound the same when you just take the same setup and filter it, for whatever reason, and I think part of it is because you end up getting a lot more dimension this way.

    So you combine that, and you tuck it under, that band limited version, and it just — it adds a sense of fullness without ever really taking up extra space in the mix. Well, we don't have that, so we're going to have to work on really getting these guitars to sing and come home.

    So I'm going to play the guitars one more time, I'm going to bring them into the mix, I'm going to show option A, and then explain why option A is not really the best choice in this particular case.

    [Option A, guitars]


    So option A, and I always, always encourage people to start with option A, is to just turn them up. Let's see what happens.


    Option A is not terrible. What we could do is we could go with that, and try to get some of the mud out, and effectively, that's what I start doing, except for I start doing it in reverse, but basically, the issue here is that it doesn't solve the problem of the guitars kind of sounding a little flat and a little dull, and they're also now sort of eating a lot of space, and so things are getting a little bit muddy.

    So option A definitely would require some work. Now, we could do some subtractive EQ and things like that, and that's exactly what we end up doing. So my first move is to do some EQ.

    What I'm going to do is I am going to bring it up in the mix here. You can see that my gain knob is coming way up, and I am then going to suck out all of that mid-range that is making things clunky. Alright?

    So before...

    [mix, before EQ]


    [mix, after EQ]

    So I'm going to do that one more time, and I want you to listen to the vocals. Alright?


    What I'd like to point out is that a lot of really cool things happen here. The first is that we never really lose the clarity of the vocals. They do sink back, but we never actually lose — we can't — it's not like our ear is starting to have trouble finding them, right?

    The other thing that's really cool is that suddenly, the vocals go from sounding like they're above the track to being inside the track, so we're really accomplishing quite a bit by turning up the guitars and taking out this muddy tone that happened to be around 350 Hz. I'm also adding a tiny bit of bite in the treble range, but that's not that significant. That was more of an after thought kind of thing.


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    How to make Mono to Stereo - Simulate real two mic recording


    Short Tutorial on how to make mono to stereo signal, best trick how to simulate two mic recording.
    Using H Delay Waves Plug in.
    We live in stereo time, we perceive stereo sound, we should produce stereo image in our music.
    My favorite method is the one I am showing in this tutorial.
    Try it and give us feedback.

    Follow & Subscribe for more videos every week on :
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    Author : Temelko Andreev (Audio Engineer, Music Producer)
    All Rights Reserved
    © Audio Video Edit 2016

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    How to use the Stereo Imager when mastering in Final Touch on iPad


    How to use the Stereo Imager when mastering in Final Touch on iPad

    Looking to make your tracks sound wider and spread your sound across the stereo spectrum in Final Touch on the iPad? This is the video for you!

    The Stereo Imager module in Final Touch allows you to adjust how wide (or narrow) the stereo spread is on your master, which can help you improve how your final master.

    The module allows you to adjust the left and right pan in the stereo field, and make adjustments to the stereo spectrum, even adjusting the phase of your two channels.

    Check the related videos below for more information, or catch up on the whole series here -

    = Related Videos =

    How to master in Final Touch on iPad (Playlist) -

    How to use iTunes File Sharing to share between iOS and PC -

    Mastering in iOS (Playlist) -

    For more tips, tricks and tutorials, head on over to 

    == Pete Recommends ==

    Full list of the audio and video gear I use is at:

    Note - Links provided in this video description may be affiliate links, meaning that if you choose to purchase products using these links, a small commission may be paid to me for referring you. Thanks for helping me and the channel.

    Releasing Music - DistroKid - (7% off first year)
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    #FinalTouch #Mastering #iPad

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    Do We Mix Synth Bass in Mono or Stereo?


    // // The fifth video in the Ask Weiss series. This question comes from Alexander Hartung: “I like the Future House style of bass. The problem is, I always see in tutorials that people mix the sub parts to mono, but if you listen to the music, the bass is mixed wide in the panorama field?!“

    More Ask Weiss videos:

    If you have a question for Matt related to mixing, recording, producing or mastering music, simply leave a comment on one of the Ask Weiss YouTube videos.


    The problem with wide bass is two-fold. First of all, we have difficulty localizing sub frequencies. Meaning, it's very difficult to tell if a bass is actually wide or not. Second of all, when we fold bass into mono, because of the waveforms, we tend to get a lot more phase cancellation and problems showing up if we use stereo effects.

    So that's why people generally advise working in mono when we're looking at the bass, specifically, the sub-bass.

    Now, as we move above the sub-bass, we start getting into the realm of audio that's more easy to localize, and that's an important idea, because we can create wide basses by going to that next octave up – which is like our primary bass range from maybe 70 Hz to like, 200 Hz. That zone, that's where we can get our width pretty cleanly.

    From the programming side of things, if you have a couple of oscillators, like if you have a three-oscillator or more synth, you can simply go an octave up and do a little distune on two of the oscillators and pan them apart, and maybe throw in a filter there, and you will get a wide sounding bass.

    Now, let's look at your specific question. You said future house, so I pulled up a Tchami record called Afterlife. Let's give it a listen.

    [song plays]

    So, just listening to that clip, I'm hearing most of the low information happening in the center. There is a bass layer that feels like it's being spread out, and that main synth definitely has some spread to it, so I think that there's probably some reverb going on, or perhaps some kind of stereo enhancement processing going on.

    I'm not sure which, but I will say this. I don't think that the bass is entirely mono. So right off the bat, we can take everything we're reading online about mixing sub into mono with a grain of salt.

    Alright, now let's analyze this a little further. I've got a low pass filter here. This will allow us to hear what's happening in the low range a little more clearly.

    [song plays, filtered]

    Right? So we can definitely hear now very clearly that there is bass information on the sides, but let's take it one step further. I'm going to use some mid/side processing to eliminate the center signal, so we just hear what's living in the stereo field.

    [song plays, sides only, filtered]

    So that's what we have on our sides. Let's listen one more time.

    [song plays, sides only, filtered]

    So, first of all, all of it sounds like reverb for the most part. It has this sort of ghostly, washy kind of quality, and that to me says, “Yup, that's a reverb.”So I think that the stereo sound is coming from a reverb return for the most part, as opposed to actual stereo stuff that's been panned apart. What I find interesting, is that I'm actually hearing a good amount of kick drum, which means there's probably some reverb on the kick.

    Okay. One more time, let's listen, and then let's take a listen at another analyzer.

    [music plays, sides only, filtered]

    So that main synth, which has a bass element to it, has reverb on it as well, and we're hearing that too, and that's in our primary bass range.

    But now let's look on an analyzer.

    [music plays, sides only, filtered]

    So, looking at it on the analyzer, there is actual sub information that is getting into the reverb return. So there is a little bit of spread on the sub.

    Now, is there a lot? Definitely not. It's subtle. But, it is there. So, to answer your question, no, you can certainly use stereo elements on the low part of your bass to get a wider feel.

    My recommendation is just be cautious how you're doing it. Reverb is a good way of doing it, upper octave stereo kind of subtle stuff tucked in there can be a good way to do it. I don't recommend doing very stereoized low information because it will phase poorly in mono, but that said, now at least we can hear what's going on.

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    WIDE MIXDOWN | How to mix your tracks better Tutorial


    Your mixdown sounds boring and you don't know what to do about it?
    Here are 3 Tips for a wider and more powerful mixdown!

    What do you want me to explain further or to talk about more?
    Let me know in the comments :)


    If you're a FL Studio user you should DEFINITELY check out the Stereo Expansion tool by Nasko! He did an amazing job with this one and it'll help you make your mix sound very smooth:


    ❤Follow me on Spotify for more H I G H M U S I C ❤

    ❤ or visit my soundcloud page ❤


    Leave me a like on facebook,
    if you think that I'm High 'n' Rich enough for you oi oi


    Vocals for demonstration from:
    High 'n' Rich - Wrong Sh!t (ft. Arizona Zervas)

    Arizona Zervas:

    All rights cleared by the record label 'Tuvali':


    Intro music:
    Artist: High 'n' Rich
    Title: Bandit (High 'n' Rich Edit)
    [created specifically for my intros]


    Outro Music:
    Artist: Inverted Silence
    Title: Diverse


    Free download link:

    [Released by: Safari Network


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    Podcasting - What is Mono vs. Stereo and How To Split Tracks/Isolate Voices


    Podcasting - What is Mono vs. Stereo and How To Split Tracks/Isolate Voices

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    The Stereo Image: How To Widen with Native FL Studio Plugins


    Using FL Studio native plugins to achieve stereo widening at any frequency, FOR FREE.

    The stereo image is one of the most important parts of your mix. Here is a quick way to achieve widening without buying any other plugins.

    #FLStudio #StereoImaging #NativePlugins

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    How To Stereo Mix In FL Studio 20


    Does your track sound too plain? Maybe you’re not getting that professional sound you want. Stereo imaging will help your song sound “wider” and give it that realistic feeling. Today I’m going to show you how to stereo mix in FL Studio 20. I’ll be going over what stereo imaging is and what plugins you should be using to improve your stereo mix. Trust me when I say these mixing tips on stereo imaging will greatly improve the quality of your song!

    Here’s a link to my Spotify:

    Here’s a link to my iTunes/Apple Music:

    Here are links to the equipment I use:
    Shure SM58 (Microphone) -
    Novation Launchkey Mini (Keyboard) -
    Alesis V49 (Keyboard) -
    Focusrite Scarlett 2i2 (Audio Interface) -
    Mackie CR3 (Speakers) -
    Dragonpad USA (Pop Filter) -
    IZO All Supply (Acoustic Foam) -
    M-Audo SP-2 (Keyboard Sustain Pedal) -

    If you want to put your music on big platforms such as Spotify, Apple Music, and Google Play for a low cost, use THIS LINK to get 7% off your first plan with distrokid:

    If you have any questions or want to get into contact with me, email me at

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    Reaper Tutorials- Creating Wide Rock Guitars using JS PLugins


    Mixing wide rock guitars using JS and free plugins.

    Track used- Burning Bridges by Dark Ride

    Give my Facebook page a like,

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    Mix Essentials - Ozone 7 Stereo Imager Pro Tips


    Full Ozone 7 Course -

    In this video, Echo Sound Works shows you how to use the powerful imager tool in Izotope Ozone 7 to widen and narrow a track based on frequency specific ranges!

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    How to split a stereo audio file in Logic Pro X into left and right mono channels


    Did you find this video helpful? Check out the crazy world electronic music i make -

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    Vocal Thickening Trick - Warren Huart: Produce Like A Pro


    Download free practice sessions

    Warren shows a trick to get a thick vocal sound in the mix by using pitch shift

    Learn how to thicken vocals in Studio One:

    Learn this vocal thickening trick in Cubase:

    Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.

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    How to Get Big, Wide Claps in Electronic Music Production – Quick Tip


    Get a tip on how to spread claps, snares and other percussion elements across the stereo spectrum of your mix using the Waves Doubler plugin. Mixing engineer Dave Darlington (Avicii, David Gutetta,Carl Cox) shares his technique. Learn more:

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    STEREOBUSS - Wider at the chorus with stereo imaging



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