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.
