Studio Technologies AN-2 - Manual (Page 7)

AN-2 User Guide Issue 3
Studio Technologies, Inc. Page 9
the console. The outputs of the unit could
then be fed to a pair of console faders
panned hard left and hard right. It is neither
necessary nor desirable to add any source
signal to the mix, as the stereo depth con-
trol will accomplish this. Any equalization
should be placed upstream of the AN-2
(between the source and the unit).
Although the AN-2 was designed primarily
to simulate a stereo signal from monaural
sources, it has many practical applications
in the recording studio for the enhancement
of various vocal and instrumental signals.
For example, it is well known that using
a stereo pair of microphones to record a
soloist is subjectively more pleasing than
using a single microphone. Practical consid-
erations usually make this recording con-
figuration difficult because small move-
ments of the soloist can result in disconcert-
ing jumps when heard over two loudspeak-
ers. The usual solution is to pan the soloist
center, but this creates the totally unnatural
condition of forcing the listener to “merge”
two identical signals coming from different
points in space. The AN-2 avoids both of
these problems by creating a stable stereo
image from a mono source.
The AN-2 can also be used to create a
subjectively “louder” signal from a mono
source, making it ideal for use with instru-
ments such as bass guitar. How often have
you heard the words “more bass” from the
producer when the instrument is already
panned center and the meter is “in the red”?
Another application for the AN-2 in the
recording studio is to convert “tape slap” to
stereo; that is, to feed the output of the
delay line or tape machine into the AN-2
and mix the outputs of the AN-2 into the
stereo buses. The outputs of flangers,
chorus devices, echo chambers, and other
effects boxes can be converted to stereo in
the same way. Not only does the AN-2
enhance the effect, but the result is assured
of perfect mono compatibility. This is espe-
cially important for commercials, which will
most always be heard on radio and TV in
mono. This assures that the balance be-
tween for example, the reverb and the
program, will not change.
Hook-ups using external equalizers, mixers,
and filters may yield pleasing results that
you may not have expected. One example
would use cross-coupled equalizers after
the AN-2 outputs. The outputs of both the
EQs and the AN-2 are then mixed to form
two new output which are fed to the stereo
buses. The equalizers should have identical
boost and cut characteristics, or a mono
signal generated alter will suffer.
In practice, the boosted frequencies would
form center images, while the cut frequen-
cies would have more stereo “spread.” Set
the stereo depth control fully clockwise for
this hook-up.
Remember: When using a non-standard
connection, any operation or effect that is
performed on one channel must be equally
performed on the other. If not, mono com-
patibility will suffer.
As you become familiar with the operation
of the AN-2, you might want to try more
experimental uses, such as putting up an
ambience microphone in the studio during a
session and recording it on an extra track.
During mix-down, feed it through the AN-2
into your stereo mix. The result will be a
much more “live” feel to the sound.