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    Eargle-Stereo Imaging PDF

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    TECHNIQUES 3.1 INTRODUCTION AND SHORT HISTORY Steeophonic sound, or stereo, as i is asaly called, refers to any system of recording or sound rasmsson using multe iropones aad loudspeakers Signals picked up by the microphones ae outed 0 Toudspeakers tat ae he cated ia geomeuscal anay comesponding to the microphone ara In thi ‘manner, many of the pail aspects of the ecowding evionmon! are preserve, an the lstenor can peesve, moe or lens acutely, the sat perspective of the orignal peefomance and its acoustical surounigs. ‘Stereo need no he limite to two trnsmission channels; thse and ive channel systems have bee used inthe motion picture theater. Por home we, however, stereo is present limited to two wansmision channels. ‘A ditiaction is made between sero and inguralso¥nd transmission. In bingo sound transmission, wo microphones are placed inside a artic head at ear position, and their oupts ae fed to a pli of headphores worn by {he istener In this manner, the intencr effectively tansprted into the pe fomning environmen self and sdetside loeliatio email elise Details are shovin in Figure 3. Serious studies of stereo were ot cari out until bos loudspeakers ad microphones had reached a fait high evel of development. In England, Alan Blumlein cased out sigoiicat sero experimentation sing two chanel. In the United Stes, Bell Telephone Labortres cated out ts own ste perimentaton, making us of three chanel Both sce of experiments tok lace during the tities, and tat decade sa a enrichment in recording techs ology an hardware development tat was otto Be equaled for many yeas ‘Although optical sound tacks ofered mlrck capability fro thee te p- tion twa not UR he ate hires haste was traded ito the motion Picture theater. For the home, stereo di act cme in its owe unt the mi ee {Mic bel we fea enn wore ye ates te ct esl crite mh ht oboe ae han he hp pene ‘ets ees hme onan se ree fies, and then by a rather cumbersome rel-o-el tape forma. The inrodue- toa of the stereo diac ia T9ST pnd the way to rapid acceptance of stereo as the standard medium for home music enjoyment, Before we Dein or sty ofthe principles of treo, we wl familie the reader with the phenomenon of phantom images, These ae the sound images that appear to the lstere t postions beteen the loudspeakers and convey & comindum of space between the loudspeakers. 3.2 PHANTOM IMAGES, 9.2.1 Phagor Analysis ‘With only a single ear, ttener can determine pitch loess imbre, and boat every ether atibule of sound excep is deci, o loclztion The ‘tion ofthe second eat provides the cues necessary for localization, and a pair of socal ears through bir Bering can easily Hovalize 4 source 0 Within afew depres ia the horzotl plane. Often, blind persons ave local ‘aan acuity greater than te average because of thei ttl dependence on the sents of hearing frail their localization effort. igh 32 ilustates the two basic cues that ae essential in localization, phase dierences and ample diflerences existing atthe ears, If source S, fs leat deety ahead of listener, then the ampliudes and pase angles isting at the eats il be equal because of symmetry. Now, a sours cated tan angle 8 avay fom emer presenta different pase and ampli at each far the phase angle atthe right ear wil lead tht atthe eft ear, and I the THequency ofthe souree is high enough, the amplitude atthe Fgh ear wil be reter because ofthe shadowing eet ofthe head. Because of diction ef hi i i | L r | 1 i gre 32. Peng he ead ih ae rd i tf ee (8) at fect around the head, amplitudes at both ars ae very much the same at fe= |gueacies up wo about 700 0 1000 Hy, sn phase relationships ae fal tobe the leading cae in determining Yocaization i the horizontal plane, Tete i atan- sitio region, fom 700 up opps 2000 He, where both phase snd agli cs are important Finally, at the highest frequencies, the ample ees po ‘ied by shadowing around the ea are most sighiian in determining locale ‘Smal sie-o-sde nodding movemeats ofthe head are wef in determining ietion of sounds. Any Titener will exhibit mann Yosaliation ae ‘he Forward dreion, abd the nodding movements bp hit 0 "zero, a it were, onthe sound source. These same moverients so hep him oie ite between fore apd aft sound sures, To a lage extet a prof loudspeakers located in foot of listener can simulate sound sources, phantom images, between the loudspeakers, Tit is shown a Figure 8-3 Here we have shoe the relationship exiting teach ee, BASIC STEREOPHONIC mIAQNG TECHIOUES 73 ‘ear 3., Simin of in ut ue sen lng eh pt ue to identical sina fe o each loudspeaker. The arrows at called phasors: thcirlengh indicates magntse, andthe relative angles betwen them represent hase relationships. When both loudspeakers are powered equally. the et eat reovives components and lp, spectively, rm the let an ight Hwdspeak In jus these way, the right ea receives componsats Rand Ry. Since oh sets of components represent the sane program miei we can add the phasors a each ear; these are represen as Ly att Ry Since Ly and both ‘nave the same magnitude and phase angle, the eet a the ery the same fora sound source lca dsl ahead ofthe listener Now, lets observe what happens when we power the let loudspeaker ta somewhat lower level, a sown in Figure 3-4 In this cae the nt rest of phasor addition produces resultant phasors, Ly and Ry sich that Rs greet ‘in magnitude than Z and also leads iby some phase angle, The elt st ‘he cats wl be the sme as fora source located wmewberefetmcen cen al the ght oudepenker. We can extend the examples futher with very teresting resus. Figure 351) shows what happens when sigh exists ony atthe night louspeake ‘The only phasors present are doe tothe sgh loudspeaker, ts, y= Lyand ‘Ry = Ry, ad localization Is quite clay at the right loudspeaker, Now. we feed small signal 180° out of phase tothe left loudspeater, note how the ‘sos behave Figure 3-5). The magnitude of Ris greater than Ly lative ‘to Figure 35a, andthe pase relationship leds by an even eester angle, The effet often a sble one, i that ofa sound source lnsted ese the bouts ofthe loudspeaker ara 74 MANOBOOK OF AECORONG EnanceRING ncn ao Fu 34 Simbios sn gh of ir i i Paotom images ae well mame. As apparent sours fcaed between load speakers, or beyond then, they are apt to wander and be aiguous, depeding ‘on the exact poston ofthe lsener. Room acoustics ply en iporant oe a ‘well. Our phasor analysis is based upon a listener in a forwanatitude on 8 lane mideay between the loaspesker put Ifthe sen moves even sigh) "othe for ih, the phantom image will lel shit in that sane diecion, ‘even ithe listener maintins the sare locaton and simply moves his hea 40 left orig, the phantom image wil agin shit accordingly. Seenphnic conding hing made use of phantom mages between olspeakery, at ae ‘hose ha occur ouside the ladapete aay, 3.2.2 Panoramic Potentiometers (Panpots) Single channel signals canbe positioned stay pont inthe stern aray though the use of panpot Figure 3-6 shows the electcal schematic dag of ‘unpot a well sis relative ouput a funetion of poston, Note tha the {Wo output levels ar such that constant scott power is minted forall sings ofthe pang. When the panpot is et eter pston the resin ‘qual outputs te 3 dB down fro ether the fale ofall postions, and this eontion ensures equal scoustial power fr lel, een, and ght po asic STEREOPHONIC maAGING TEeNBIaUES. 75 ie 7 \ we o soon et, hr nom sr Smif no ns ions, Constant acoustical power is maintained similarly forall incrmedie prsitions 9.2.3 The Pracadence Effect ‘Our phasor analysis of phantom soure oclization tok int acount only the ‘lative imtensites and phase relationships of sound euming from a rot pale ‘ot loudspeakers. Just a important in determining localiza rete elect of small ine delays at high frequencies between loudspeakers 176 WANOBOOK OF RECORONG enanNeeAING gare 34, ese pups 6) The wo ofa so pa ey a et pt tin et i te oii fe ppt 0 onsen ale 9" wg. 0) AY ‘tesa sn oe ad sn ae at a ae {the abs angt of steps sol ps soe In gener, iftwo lonspeakers are symmeically arranged in font of «is ‘ene, localization wil eporeived etven them if both are posered the same However if sol time delay is intodced in one loudspeaker transmission channel, localization will tend to be toward the erie loudspeaker. Thi is known asthe precedence afer, often called the Haas fet. The effect is @ very base one and has been observed tuoughou years of architectural cous ASIC STEREOPHONIC HaAGING TECHMQUES 77 ton oe 4s ewe 3. Dic of pe sma se wing ie day pete eid.) ove cane of pce sty asin oe af ating ne, tical design. Haas observed that the dsplacemeet ofa sound souce between "wo loudspeakers dust slight time delays could be compensate for by inten sig imbalances n the example of Figur 3:7, atime delay of 3 milscconds in he right loudspeaker transmission channel reas in localization a the ef hen both channels ar fed the same signal lve. However, ifthe lading noe is lowered in level vome 10 dB, then the listener apn perceives ‘shantom image i the middle of the army. The tnde-of between delay and Jvesty isa useful one in sound recording and nga processing, and ti fective up to delays of about 25 16 30 milliseconds, as shown in Figure 3-8 ‘As this graph indies, ime delays betweon frmtl pats of users can be compensate by raising the level ofthe deed chanael by the eoresponding ‘mount. Beyond 25 030 milissconis, th earbegns to ea the delayed sound 1 a distin echo, and the trade-off wo longer effective in tenn of restoring ‘Seater localization, 18 HANDBOOK OF RECORDING ENGINEERING gue 54 pointy api inane eae or pens 3.3 COINCIDENT MICROPHONE ARRAYS FOR STEREO CCoinident microphone arty may’ be refered 10 as “panning” erophone frrays. sine hey can produce amplitude balances between loudspeakers that Teal precise phantom localization in much th sre Way that a panpo docs ‘Buin (credited wit sch an aay, consisting ofa pir of biietional ‘microphones cossd at an ange of 9, 13.9.1 The Blumen Array “The ary is shown in Fue 3-9, Both postive lobes are aimed toward the performing group. We will analyze the pefomance ofthis aay forthe thee ure posons shown in the igure Its clear that for source positions and Socaleation wll be epectvely the let and right Iudspeners ony. This ieslmply because the sure, which x presisly onthe axis fone microphone ‘affectvly inthe ul lkup ple ofthe oer. On the ober hand, a sous positioned at 2 willbe picked up equally by Both microphones, Furhero The amplitde of the sound picked up by each microphone wil be 0.7 (—3 8) feltve to onans, and this corresponds exacy 16 the output produced by & pont set for eter oclization Making use othe sine and cosine nature ofthe bidietiona pickup pater, swear able to simolate exactly the operatins of the panpt itself nd all images Toestedhetwoen the left and right stesof the micrphone aay wil appear in the stereo playback aay as precisely at though they ad been panne here ‘in addon tots prec paning fonction athe font quada, the Blumlein acy as the following abuts 2. gare, The xt cco ropa ay Ba ‘foes phe we ater ee Poy ec 1, Ove side quant piu. Since both side qatar picked Sp by bh pov and nga foe fhe esto mipboes ‘snes of so Tose there wl rps is blguuny a he Poteck ray eo held be eri 2, Reverb pick. Sne overtone the mops a iy moe aly oh he bk nh ro de ns, sr bert rob he ups pp and he pas ein the tak arnt The tegen reverberate hoe 1 hit alan cing onde he Yodo e ono ny. In acl practice, the Blumlein aay’ equres afl ugment in positon: ing. It must be far enough fom the ensemble tol the font quadeant prone, nd i¢ must not bes far fom the ensemble that diet to-reverberant ration: Ships slr. 9.3.2 Other Coincident Arrays Crossed cariods ate often used in manner sina othe Buin aay. he ‘is customary to spread the ange between the major anes otto pethaps 120° {node avoid 100 mich pickup along the eeatal axis ofthe mitophone ray. Supereardiid and hypereardildpatems are ofen used ina similar ma oS a a w ‘gue 34, ene amps Aa of ed cn or Yo 2" to hyena re ly Table 2.1 ‘Sree ise rer and these arays would be the satura choive in spaces that were to Hive forthe Blumisi arey. That i 054, the font dominanoe ofthe varios t= iid paterns wil allow the recording engineer to move avay fn the ese ble, while sil holding down the aout of everertion picked up. Examples Oo this are shown ia Figure 3-10, ‘When cardio, supercanind, and hypereardoi! microphones are used ina incident aay, itis amon spay them atthe angle at which hee vera Js 3 dB, ete to onaais. Table 31 gives this information, 3.3.3 Middle-Sido (MS) Pickup Coincidem microphones ae very often manipulated by way ofthe MS tech igi, which ns normal sppictionermploysa dietional microphone ame ‘sraight ahead, emphasizing the mide of he performing group. A second ni ropione,alvays a bidirectional one, is oseated a 90" so thi is two lobes ‘emphasize these of the ensemble “The outputs ofthe MS pair ae not steve wo det in slow they are always processed trough Sum and difleence circuits tht Yield lft ad right [ASIC STEREOPHOMIC RAGING TECHQUES. 8 Figure 3.11, Pil of Mile) apne ei) Cn on ewes ‘epee ato efor emblem aly Led tame cae a + Bom 45) Havin cond + eam — 15) (Te et ight ssl pe ss, ogeey, at ian ih, Mas (omstimes refered to as -outpt) signals suitable for normal stereo a= ‘doing. The process s shown in Figure 311 "When coincident microphones ar used in MS fon, they beni frm good bicof flexibility. By varying the amount ofthe S component, the appa with ofthe amy can be altered electrically. A poston genta allows hifi the a ve Fe mor eI x gue 312, wilh an posto cnt oS pons. The with coi a he aa Reet Sconpcen neh oda open, The pi om) cane Spat unas sme eens ts han come aur lef or sgh, as desired. Deals ofthese contols are shown in Figure 3 12, and application is shown in Figure 3-13. "wen he sereo signals sned for monophosle presentation, te S sig ops out completly leaving only the signa, as shown in Figure 3-14 ‘Jome engineers will convert thsi coincdent left-right. or X-Y, program sources o MS form using suman diference networks In that mod, the pro fram ean be postion or narowed as desired before conversion back wo X-T {om for audioning, Details ate showin Figure 315. The technique shows In his igure can be used to a8 with to any stereo recording that may have ‘heen inadvertently recorded with oo snc panned ener progam content. gore. Ue fw nd ition comin MS cng, Te MS apne a Pep wuld eet fr feted han covered oe tubo eo" ta ee ihging sn wold re eave eet. STIS tccomed athe, oe Par wd else 0 eh ‘ed Rap Chas ews 414, Mecphi compity of he MS usu. The MS ye adit ‘Meant quneneghenby sts hne ssn has =U snd con Whe ae ‘Set a ee G+) te ae em ac, ny oe eed Sedum ere = ae ta. hn Fire 34, Sus enc esi arte rp 3.4 SPACED MICROPHONE ARRAYS FOR STEREO PICKUP 2.4.1 The Multichannel Approseh ‘While Blumlein vas developing the coincident approach to stereo in Eland nginer at Bell Telephone. Laboratories were lylag the groundwork for 3 ferent kind of treo recording. They reasoned, as shown in Figure 16, that 8 HANDBOOK OF RECOROING ENGNEERING iRTUaL Sounce SCREEN OF LOUDSPEAKERS inten an ewe 316 Mahan! seo meng vith vam mension. (W. Sow, “Base Pipi eros Sn” MPT, we. 1959) large numberof microphone-loudspeater chanel placed horizontally would ‘proce lateral space perspectives quite accurately. Futbemoe, the Histener ‘Mould ot be Limited toa prefered listening location. Their approach was mo Uivated bythe demunde of longe-sesle multichannel presentation, sich a8 We tow enjoy i the motion pice theater. Toi eactical embodiment had only three channel, as shown in Figure 3-17, and iis surpsising how well ee CShnnets can convey accurate losaization for listener located over broad ‘ating aca 342 senod Arrays “The spacedsmictophone appodsh as contnved o dominate commercial stereo ‘mooning in the United Stats, and ia ts staunch adberents. as evolved fm the form show in Figure 3-18. The center microphone i paned ato he Metco ary snd proces phantom conor image in playback. The ‘oa i tance spanned bythe left-cemer-right array will vary with the sizeof the ex Semble, but itrately exceeds 304 meters (13 17). The lve ofthe eater Iicophone i nea, and usually mixed ito che stereo aay ata Tevel Somewhat ower th the left and ight microphones, "The spaced-apart fecnique has beea favored for classical reson inthe Unite Sates bees it ses t proce what maybe desrbed a "wae ound. In tonto the early reflections acoustically present inthe recording vironment, the microphones generate, though the time days between them, [ASIC STEREOPHONIC HUAGING TECHIIOUES. 85 Pew 317, Tesh wet noms. (Dat ger So, SME ur) ditional delayed signals that behave seal elections. Through microphone Placement these delays ao inthe hands ofthe engineer, who ean aceoningy the them to advantage, While the varios coincident techniques produce super) ‘eeonng inthe comest acoustical seting, te spaced-apart approach seems to bier the enginer greater exit in coping With less than ideal acoustical ‘eumstanoes In gene, coincident ecording will convey ensemble spatial @ ‘eure 34% Cela one. T acon by cen oregon et {mp nap nth see ea. [86 HANOBOOK OF RECORDING ENGWEERING ‘eatonships ta remarkable depee, while the spaced-apart echigue wil often ‘convey aleightened sense ofthe acoustical characteristics ofthe recoding en ‘Vionment ise. Bath are valid concer ofthe rocnting engineer. 3.4.3 Use of Accent Microphones ‘An additonal technique often employed with the spaced-apart approach isthe ‘cof single microphones caselypiaod to iniviesl ston or instruments ‘ofthe orhesta to “highligh” ge add presence to those itstruents. Normal, ‘he ouput of thes microphones would be panned ito the Seo arty tough the positon oecupied by he instrument or Seton, abd the sigaal fom ose ‘microphones woul be istoduced only othe exten! of ang the deste pres ‘nce tothe isiumen—but no more. I the level is too ges, thon the sina from dhe highlighting microphone, because it is prbaps 20 to 30 mliseonds ‘ahaa ofthe main microphone sighal, tends wo stick out in font ofthe rest of the ores, this chniqe ie overone, then the record perspective tends to ake on 2 two-dimensional, Mat characterise with inadequate Torelli "We have all sed cassia! recordings in which soto insroments have boon exaggerated though excessive level of highlighting microphones, and 9 good ‘ito this problem is dew the anticipatory ime spect ofthe loin tte ‘honest lat they sesive their inp head of the main microphones. While ‘nothing can counerct a heavy hand onthe par ofthe egincer who is mixing 4 clasial coring session, there isa eat one measre available that will lleva par ofthe problem. Ifa tie delay i aed 0a ighighing micro- ‘hone and is adjust so the signal fom that microphone does at anicipute {he signal anal athe mala air but rahe eves In sop with or posi 5-10 milliseconds ler, then much ofthe problem with highlighting micro hones disappears (ee Figure 3-19)- Only since the cay sevens he bith ‘ality time delay, adjustable in 2-1 Snlisecond increments, become aval Able for such purposes. These devices wil be cussed in deal ina fllwing ‘chapter on signal processing. 3.5 QUASECOINCIDENT OR NEAR-COINCIDENT STEREO MICROPHONE ARRAYS ‘Quasi-coincdent amays make use ofa psirf divctionl microphones latrally spaced ao more than about 30cm, The jatent wi these arrays io combine Some ofthe excellent imaging ofthe coincident anays and the add sense of Space or ambience that even smal displacements between mierophones ct ot ‘ey. While many recoding engineers have evolved their cin personal ap proaches inthis ae, qusi-coincient techniques have only been fomtally de Seribed and labeld ine the seventies ‘ASIC STEREOPHOMIC MAAGING TECHNIQUES. &7 s --7@ -. rexpn * "igure 3.1, Ue of ine delay in ating aril ine eres een a c= ehh mccarthy 8.5.1 The ORTF Technique Developed by the French Radio Broadcasting Group, the ORTF technique em loys a pir of catoidmerophones spaced 1 em apart at an angle of 110 fn deed listening tests (6) the system has ivaled the Blumlein anay, while A the same time ofeing. immunity to excessive reverberation, The ary is shown in Figure 320). 3.8.2 The NOS Technique “This approach was develope by the Dutch Broadcasting Group and employs a prof eanioid microphones spaced 30 mapa aan ange of 0" tha any Df the advantages ofthe ORTF ara. 8.6.8 The Stereo-180 Array ‘Otson 26) desrbes an aray of evo hypercanliold putems (ce Figure 2-15) located 46 mm apart at an angle of 135. The ara picks up sound over very ‘wie frontal angle with accra, 3.8.4 Bidirectional Microphones with Bato Figure 320(h) describes a par of hdicctional microphones at an angle of ap- ‘proximately 90°, spaced about 20 030 em apa, and separated by a absorp Yive tlle, The bale is approximately 30cm square, andi is ds efetive above Lk —e em rn pure 28, ust cole ges ORT php Dats ea) ‘Troup beta pm cured alle 3.6 HEAD-RELATED STEREO PICKUP “The use ofan rif head for recording binaural sound was discussed eat, ‘The same recording ean be processed for playback over Toudspeaers by means ofthe signa flow digram shown in Figue 3-2, Ths approach remains some- thing of laboratory east. 3.7 TECHNIQUES FOR IMAGE BROADENING 10s often desirable to broaden the presse images pduced by panned mono- ‘honte signals Signals orate offen take on a degie of raturalness tha eas ren eapeicnced listeners to think that thy were recorded in stereo, Many = * Sale| Fpre 321 Bnnlo-steo temo. Anal ene se shown a terse tin nf sn ows ages oe seer don In {ihe alata pce y png thine Sly an aon silage Sehr tee ae ee ot of fe mt 8 vin eel f ed sw se Pace a. op minown session has benefited rom such teatment, We now dsctibe some fof the techniques which have been used fr tis 3.7.1 in A dogreeof image broadening can result from phase siting of one loudspeaker Siena relative othe oer. The networks tht are used fortis effect prods constant phase aiferences with Bat anplcde response over lange portion of the able spectrum. The basic technique is shown in Figure 322. The net wok in the lft wansssion channel produces a cenain pase shi, , ith ‘expect to fequency the network inthe right ansmision channel predaces the same shift pls anexia phase lg, @, which s adjustable. When # = 0°, both loudspeaker receive the same signal, and thee i loalizton ofa ceator ‘hantom image fra Tstner onthe pla of symmetry. AS @ is varied from 2570 upto about 13S, the image broadens; its no longer perceived a a pint Source, but appese to come frm alge ars in front ofthe ener AS the ‘hase angle shied beyond 135", the image begins to split apa: ally. t 180° the familie “out phase” Condition exists and localization tty ambiguous. 'AS with the eects of time delay and ample diferences between lou speaker, che role of pase shits depends largely wpoa Istana oiatation. IF the listener i substantially off the axis of syramety, then te effects as pre sented ete alse distinct, Broadening Due to Phase Shifts 3.7.2 image Broadening Due to Frequency Distribution 1 4 monophonic sours i eto a steeo pa of chants with heir frequency responses shaped as shown in Figure 3-25, the Istenor will hear a spread of gre 3:22 nage nn ly pane tos BASIC STEREOPHONIC MHAGDG TECHEMQUES 91 agar 23, Ie ening Sqn tan, Sound between the speakers. Actually, this ecique is equivalent o paning ach portion of the frequen spectrum iniviualy from left orig. Forma Sin efecveness, the fequoney at which both signals ae equal should be shout SOD He 2.7.8 image Broadening Dus to Signal incoherence wo microphones are located some distance apart ina reverberation chamber, thei spective cuts will be largely incoherent; ample and pase rela ‘ons tetweea the two ovata willbe randomly elated on a frequney-by- Frequcncy bass, but th vera spect dstbuion between them wl be gehy the same, The rest when these two signals are reproduced over stereo Lode tpeakers willbe spread of sound btween he Joudspeakers, as shown in Fig: e324 4 Z He. = A ewe 3:24, coher sgl om sige eerie haber wig tap mc oe Y- _-Reenon Cais @YreL 2 Hl. LS 6 ‘ewe 3:28 oe sisi eee al ig ne ay 3.7.4 Image Broadening Due to Time Delay ‘A related tcnigue is shown in Flgue 3.25, Here, the everbenton chamber fas only one oupat I hecapet were fed o both loudspeakers, thee would tee single phanflom centr age wih no itspresson of spread between the loudspeaker. Ira suitable tne deny i placed in one ofthe pats, the observer gain wil sense the incoherence between the loudspeaker, andthe sound wil te spread betwecn them, Suitable delays for his effect are inthe range of 40 10 60 milliseconds Th our eater discussion of the fst of ime delays on Localization, we ob served that localization fended toward the eatior ofthe ovo signals. When the Signal consist only of reverberation, however, this sno the case; everberant Signals are devoi of sigan rosea, or Smposive, sounds cause of the ‘atively slow stack and decay of (peal reverberation devices, and a delay {great a 60 miliseconds (even a greater delay when the reverberation tine iS ongen wil nat be aaied as such 'S variation this technique shown in Figure 326. A monophonic source, sjolng, for example is piven a desirable spread fom Ito just highly let of {rater by panning a delayed signal to center. The lve of the delayed signal is jsted to yild the desied degre of spread, 3.8 PSEUDO-STEREO PROCESSING While te techniques presented in section 3.7 produce a degree of image ‘brondening, they are ther sub in heir eet of

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