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  4. S1 Stereo-imager settings for classical orchestra?

  • S1 Stereo-imager settings for classical orchestra?

    F
    F
    Hi,

    I hope somebody´s got a hint for me:

    I´m lookin for the right setting of my S1.

    My favourite book ("The guide to midi orchestration") is talking about pan-settings of a range from 10 o´clock till 2 o´clock.
    The problem is, that for some reason the author seems to have his monitors placed in an angle of 120 degree instead of 60 degree, which I heard is the best setup for you monitors.

    So how do you guys place your instruments using S1 in a classical orchestra setup?

    (E.g.: 1st VI: Width: 0.4, Rotation: -30,5)

    Thanks for your help!

    P.S.: I know that it is a matter of taste, but please give me one concrete example!
  • M
    M
    I imagine 120 degrees and 60 degrees refer to the same monitor set up - just measured a different way [[;)]]

    As to stereo placement ... I was thinking of posting asking for any website addresses witth diagrams of common (and not so common) placements for various sizes/groups of orchestras, ensembles etc

    whoops - am i hijacking a thread now? sorry! [H]
  • F
    F
    I don´t think so. In my book the author writes: "...at a distance, that puts you in the sweet spot...that you are not experiencing a 180 degree image, but instead about a 120 degree image spread from about 10:00 to 2:00."


    You are not hijacking. If I new the exact distances (wide and lenght) I think, I´d be able to calculate the S1 settings.
  • DietzD
    VSL Team
    DietzD
    I don't know the book you're writing about, but 120° between the L- and R-speaker can be considered highly unusual; definitely not a standard setup.

    Conventional solutions would be 30° (to a maximum of 45°) to the left and right of the middle-axes (i.e. the phantom center). This is about the triangle the S1 shows you in its default position.

    For VSL-ensembles (as a part of a large orchestra arrangement) I usually narrow down the width to 0.6 or 0.8 and pan the signal to its appropriate position. Solo-instruments get as narrow as 0.2 or 0.3, depending on two factors:

    - the impression of distance to the instrument I try to achieve, and
    - the "intrinsic" stereo-information of the instrument itself that was captured in the SilentStage. For example: the Vibraphone has a very strong left-to-right spreading by nature, while a Piccolo is almost a source with zero stereo width.

    But in the end, there are no "absolute" rules. Let your ears decide.

    HTH,
    /Dietz - Vienna Symphonic Library