Hm... considering that we had the conversation 2017, I think we can definitely pick it up again now and fine tune it.
Sometimes, if I work at a client's rig and the corresponding mix, I do
need to reach for an M/S tool (bx_console or M/S capable EQ). In some cases, I use it as part of a finalizing (quick-master), sometimes I do this to keep super wide and modern synths in check (looking at you, Omnisphere 2!). I do try to handle this on specific groups already. But if individual instrument/group editing is nigh impossible or would take too much time, I have to go the "easy route" as make-shift solution.
We still have more than 10 days until the final submission for MC52 is due. You could try the following and see if it really has an influence:
- pick up a any X/Y scope/vector scope/goniometer to your liking (personally, I can recommend the free HOFA Goniometer, but tools like MeldaProduction MStereoScope or Flux Stereo Tool should work just as much - Logic Pro X also has the MultiScope)
- load a EQ in front of this scope and LPF/HC above 150Hz at 12dB/Oct (signal chain: EQ -> Scope)
- Check how "wide" the stereo field is
- then try to see if you can keep the field in check with tools directly on the sub-group in question (reverb/delay/chorus) and whether or not this has an effect on the overall sound (of the EQ>Scope combination has been turned off, of course), or if only a global solution offers a fix
Granted, this is the long way around. But this is just to see if things can be fixed "before" you hit the summing bus, or not. Add that to the learning experience
Considering that I do use "quick fixes" myself (again, at other rigs where time is of essence)... I think we can indeed fine tune the Guideline Addendum a bit. However, if we lift that for M/S tools on the sum, then the next discussion might be "but what about creative editing through summing compression? Is Softube's Drawmer S73 is a multiband-compressor or a wideband/single-band compressor?"
. This can spiral a bit out of control.
The overarching idea of the mixing games is still:
"Work on the individual channels and with suitable sub groups first, shape your sound there while keeping the summing bus as untouched as possible"
Basically, work as if you'd work on an old analog console, don't focus on "fixing the material on the sum". Although I understand that these days, the lines are blurry. But then again - if you overdo this, this doesn't mean that this is a good editing practice (which counts to the learning process of the mixing challenges).
Let's keep up the conversation.