Very interesting.
I believe this is the technique employed by the PSP PseudoStereo plugin which I use quite a bit.
The extra benefit of this method (EQing vs. phase alteration /delays) is that it appears to collapse to mono in a very transparent way.
Well, this wasnāt the raw signal. I exported the track from the song into a WAV file, which I then tinkered with. So youāre getting this:
Fender Jazz > EnVoice MKII > NI Supercharger > EQ trick
The EnVoice was set to enough tube saturation to keep the saturation indicator from going into the red. Since I know you have the dual-channel version of this, you know what I mean. The Supercharger was using the Bass preset, which is about 1/3 compression, 100% wet. But this is a coloring compressor, so Iām sure any distortion youāre hearing is coming from that.
Interesting point. Iām simply concerned with making the bass cut through the mix a bit more without the listener being able to detect that thereās actually something going on with the bass line. Consider this as an analogy: playing a stereo bass but making the listener think itās mono.
Nice experiment. The only thing to consider is the human earsā " equal loudness contour". 9db in this area for many of us has a lesser perceived loudness than say 1kHz. And even that will vary a bunch even just based on age. Too bad we all werenāt born with the same base line
I donāt follow either of you here. Why would a 9db boost be less perceived in the lower octaves vs higher? I understand the fletcher munson curve. The curve is static at fixed volumes. I just did a test here and a 9db bass boosts is as noticeable as a trebleā¦ Ya lost me.
Possibly another way to illustrate it is to say that the perceived loudness of a tone at 1kHz would require an increase in spl of a 30Hz for the 30hz tone to be perceived as equally loud as the 1kHz tone to the human ear simply as a limitation of the mechanics and the neuro function of a normal ear.
Me too!
My Ricky, visible in my Avatar, has 2 jacks.
One called Standard for Mono play, and one for what they call Rick-o-Sound, whereby you can split the top 2 and bottom 2 strings into 2 individual tracks for separate recording & processing.