ABSTRACT
In mastering when dealing primarily with stereo sources, just listening to stereo is not an in-depth observation of a source mix. This chapter focuses on our perception of stereo and how sum/difference can be used to observe composite parts of the mix. This Mid/Side analysis in conjunction with observations of the discrete channels (Left/Right) enables analysis formed around more than just stereo. This is referred to as constructive analysis or LRMS. The chapter also covers detailed information about Mid Side Encoder Decoder (MSED) construction, as well as the use of visual phase scopes to support correlation of aural analysis and emphasises listening, using the visual to focus evaluations and to not make them. Comparative analysis is explained making clear how to use and select relevant audio reference material. Corrective analysis is discussed in an approach to help break the observation of sources into two forms: those that need targeted processing (corrective) or those aspects that are observed in the general musical context (overview). In conducting effective constructive, comparative and corrective analysis, an encompassing impression of the source mix to support development of processing will be created. Finally, the chapter discusses the importance of approach to stem mastering noting the clear demarcation between engaging in analysis of a stereo mix and the ability to change discrete parts with stems.
