Hi and welcome to the Flux channel.
Today I would like to present the advantages
of using the SPAT revolution when mixing stereo.
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So, here I have a multi-track acoustic recording,
in Reaper, that I'm going to play you now;
This track sits somewhere between jazz and
world music and is composed of drums, marimba,
vibraphone and trombone.
If were to now go through the next logical
steps of a mix, we would balance out our levels,
create our stereo image and then later, using
reverb, model our acoustic space.
Throughout these stages we would have to use
faders, panning, auxiliary sends, etc, etc.
But wouldn't it be simpler to just manipulate
the feature that interests us the most, i.e.
the position of a source in an acoustic space?
And the SPAT revolution enables us to do exactly
that.
So here we are in the setup page of the SPAT
revolution, with our sources here, corresponding
to those in our Reaper session,
These are routed into a stereo-room, with
an angular pan axis.
The room itself is then routed to the master
leading to an output that sends the signal
back to Reaper.
So now let's look at what's happening in our
room,
Here to the left I have all my sources and
they are in the centre of our stereo-system,
represented here by these two squares,
Seen as we are in stereo, we can't pan things
further to the left than our left speaker,
nor further to the right than our right speaker.
So shall now create 
my mix.
So in very little time and in a very organic
fashion we manage to create a sound-stage.
I find that moving our sources on this 2 dimensional
map, makes much more sense then using faders
and pots as really move into a perceptive-realm
of sound manipulation.
To finish this tips video I would like to
show you this mix alongside an equivalent
mix made in Reaper.
In comparing the two results I find that with
the help of the SPAT revolution the sound-stage
immediately comes to life and for me, the
next decisions of the mix become a lot more
apparent.
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And on that note, I'll see you very soon in
a future video.
