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Old 12th January 2009 | Show parent
  #15
Mastering
 
Quote:
Originally Posted by 24-96 Mastering ➡️
Thanks bob. I'm not sure if you misunderstood my question though. Let me rephrase:

Assuming that I will use an analog loop in a session and I want to use all analog gear in M/S, is there a significant advantage of using an analog M/S matrix within the analog loop, instead of using a digital M/S encoder pre and a M/S decoder post the analog loop?
I don't think there is an advantage either way, if your analog M/S encode/decode circuit is of high quality and especially if the analog circuit is part of an analog piece that's already in your chain so you're not adding any noise or distortion. Pick the tool that makes you feel better :-).

Some people might argue that the most accurate encode/decode should take into account any phase shift in the analog section. Such as they might argue if you have a transformer coupled analog processor that should be in front of the M/S encode. But that's way down on my list of "probably inaudible." M/S encode/decode really doesn't give you tremendous separation... you can't work on the "vocal" as if it's a raw track. All it gives you is some advantage for instruments that are "primarily" in the center" or "primarily" on the sides, enough to make it worth doing M/S.

Then there is the question of your particular analog chain. Maybe you want to decode M/S BEFORE you run your compression. But the compressor is analog. In that case for sure you should do your M/S decoding in the analog domain to avoid an additional conversion.