Abstract
In this section we will examine six surround recordings that demonstrate a number of the techniques discussed in the previous chapter. These examples range from fairly modest studio resources up to large concerted works that include chorus, organ, piano, and percussion ensembles in performance with normal orchestral resources. In each case, recording channel limitations restricted us to no more than eight tracks. This called for careful planning, since the eight “stems” had to be used not only for creating surround mixes but also for making any adjustments in the stereo mix during later postproduction. In this connection we will introduce a concept of subtractive mixing, as it applies to demixing and subsequent remixing , of tracks to attain an ideal balance.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
