Another thought is to work with impulse-based modeling reverbs like
Altiverb or waves IR-1 (there are quite a few, these are just the
ones I remember off the bat; see recent Electronic Musician article
on such).
A reverb impulse could be made of an outdoor location, and the mono
recordings played through the reverb of that location. Thus the
sound could be placed in a more real space, with very-appropriate
reflections, diffusion etc. Waves S1 (or other MS processor)
afterward could be used to tweak image width and panorama.
This has been an interesting thread. I just mixed a documentary film
where all the source was mono. I was hoping to figure something out
bring more sense of acoustic place into the film. Normally, ambience
tracks or stereo room tone would do the trick, but the nature of the
material (mono short-shotgun track with lots of busy background sound
which was important to retain) didn't allow overt processing or
mucking-about with image. I used a few filtered and panned delays to
create a semblance of reflections, and used them judiciously along
with a few stereo effects. Still, the mix ended up being almost
entirely monow, which worked well in this case.
thanks for everybody's ideas.
-jeremiah
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jeremiah lyman moore | san francisco | sound+media |
http://babyjane.com/timeweb/
http://northstation.net/ organic, mechanized, organized sound
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