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Topic: Decorrelated signals in surround processing (Read 2835 times) previous topic - next topic
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Decorrelated signals in surround processing

After reading Recommendations for Surround Sound Production from the Recording Academy Producers & Engineers Wing, I've discovered that they were *very* right about how critical decorrelation is when you're trying to create a sense of space. Even just introducing a time delay of a few milliseconds between the reverb content going to the Ls and Rs channels makes a massive difference (even though I started with a stereo reverb!).

Does anyone have any 'tried and true' methods for introducing decorrelation in a surround mix? I'm relatively new at this, and I'm open to experimenting with any ideas I find.

Decorrelated signals in surround processing

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Does anyone have any 'tried and true' methods for introducing decorrelation in a surround mix? I'm relatively new at this, and I'm open to experimenting with any ideas I find.
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Just out of curiousity, have you ever had the opportunity to measure the cross-corrlelation of two mildly differently-aimed microphones separated by something like a head delay, say 1 millisecond take or give, say a pair of 1st order mikes (which kind depends on the angle you're using for aiming)?

It would be an interesting experiment to run in different spaces, I'll bet.
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J. D. (jj) Johnston