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 stereomix during later postproduction. In this connection wewill introduce a
concept of subtractive mixing, as it applies to demixing and subsequent remixing, of tracks to
attain an ideal balance.
