Placing sounds in the stereo field is a hugely important part of mixing. Joe Albano is back with 5 common mistakes every producer should avoid when using panning and imaging tools on their tracks.
How can I reverse the polarity in FL studio 12? While I was watching this video, he reversed the polarity of a track in the mixer with just one button but I can't seem to find this effect in FL studio 12. Any help is much appreciated, thanks in advance. Save hide report. Possibly the easiest way to generate a stereo image from a mono track is to duplicate the track and flip the phase (actually reverse the polarity) of the copy. With two versions of the same signal, with opposite polarities, coming out of different speakers, you’ll get a wide, diffuse image. Reverse polarity is the opposite of normal polarity. Normal polarity in electronics is when you have the positive hooked up to the positive terminal and the negative to the negative terminal. Reverse polarity would be having the positive hooked up to the negative terminal and the negative to the positive terminal. What is reverse polarity? Hello reddit, after producing on ableton live for 2 years I now decided to switch to FL sudio 11 because my partner is to lazy to learn ableton. But anyways, yesterday I started a project that was going to rely on sub bass.
This short quick tip video will show you how to reverse samples and patterns in FL Studio 12. This can be quite useful when you want to create a reverse reve.
As we get caught up in using all the wonderful tools available for mixing in the modern world, sometimes it’s easy to overlook the most basic. After level adjustments, panning—positioning different tracks between left and right in the stereo soundfield—is one of those basic mixing tasks that contributes a lot more than it may seem. And while panning is a pretty straightforward mix move, it’s still possible to do a less-than-optimum job of it. This article covers 7 things to look out for—potential positioning pitfalls when panning, that could contribute to a less-than-perfect mix.
1. Don’t Hard-Pan
Fig 1 Top: Tracks/Instruments panned 100% (Hard) Left & Right; Bottom: Tracks/Instruments panned 90% Left & Right (better)
Basic panning in a DAW is amplitude-based—a (mono) track is sent to both the left and right sides of the stereo master, and the Pan Pot (Panoramic Potentiometer, for the technophile) adjusts the relative levels between left and right. At center, left and right levels are equal; panning to the left or right simply turns up the level to one side while simultaneously turning down the level to the other. Pan positions in the center or part of the way between left and right have sound coming out of both speakers—even though the signal seems to be positioned at a particular spot between the speakers, it’s a phantom position—an illusion.
Naturally, there will be slight phase differences between the two actual signal sources, and this is a normal part of amplitude-based stereo panning. But if you pan all the way left or right—“hard” left or right—then that signal will be coming out of only one speaker. A track with only a single physical sound source may not sit in the mix as well as the rest, with their dual sound sources and slight phase differences. Such hard-panned tracks can sometimes stick out of the mix, and sound more two-dimensional—like they’re coming out of the box—the speaker—rather than being positioned in the virtual three-dimensional soundfield between the speakers, with the other tracks. Many mixers avoid this by panning around 90% left or right (when they want a very wide pan position) rather than 100% (hard panning).
This maintains at least a little sound in both speakers, and keeps those wide-panned tracks in the virtual soundfield, where they’ll blend better with the rest of the mix. (Incidentally, the same issue comes up regarding the use of the center channel when mixing music in Surround).
2. Don’t Bunch Up
Fig 2 Top: Panned Tracks/Instruments bunched up at Hard Left / Center / Hard Right; Bottom: Better, more evenly-spaced stereo Panning
In smaller studios, sometimes the speakers may be positioned fairly close together, and when a mixer wants different tracks to be clearly separated at different positions, this can lead to the tendency to pan things to the center, far left, and far right only. But a mix with this kind of panning, when played on a set of speakers that are more widely positioned (at, say, the recommended 60° angle), may end up having “holes” in the left-right soundfield—gaps around the half-left and half-right positions, with all the instruments and vocals bunched up at the far left, far right and center spots.
Psychoacoustically, this mix won’t achieve as much clarity and detail as it could—even though the apparent source position of panned tracks is an illusion, the subtle increase in clarity and detail from assigning different tracks to slightly different locations in the left-right spread is real. It pays to make sure to space the mix speakers at the proper width (a 60° angle), and assign various tracks to slightly different virtual locations between the speakers—not just wide left, center, and wide right, but positions like 20%, 40%, 50%, 70%, 90%, etc., between center and either side, filling in the stereo spread. If it helps, imagine players on a stage, each one in his/her own spot, when constructing the virtual soundstage.
3. Don’t Confuse Stereo Panning and Balancing
Fig 3 L to R: A) Proper stereo Pan controls ; B) A stereo Balance knob ; C) An imaging plug-in (Logic’s DirMixer) that does stereo true panning
The concept of panning is straightforward with mono tracks (as described above), but possibly less so with stereo tracks. Some DAWs feature two pan controls for each stereo track—one positions the left side of the signal, the other the right. For standard, full stereo, these would be set hard left and right (which is fine—since it’s a stereo signal, there will be audio coming out of both speakers). Alternatively, you could reverse the image—pan the right side hard left and vice versa. Or you could partially-pan the stereo audio (e.g. Left: 50% left / Right: 50% right), for a narrower stereo image, or pan one side and leave the other at or near center (e.g. Left: 100% left / Right: 0%-Center), for a non-centered but still somewhat wide stereo image. This is the most flexible way of implementing stereo panning, as it’s done in Pro Tools.
But other DAWs may take a different approach. For example, Logic features a single Pan control for both mono and stereo tracks—only it’s not really a Pan control on the stereo tracks, it’s actually as Balance control. A Balance control doesn't reposition the left and right sides of a stereo track—as the name suggests, it rebalances the relative levels of the two sides. So with true stereo panning, the relative levels of left and right are not changed, only the positions of each half of the audio. But if you “pan” a Balance control to one side or the other, you’ll be raising the level of that side of the stereo track and reducing the level of the other side. A stereo signal with both sides properly panned all the way left will become a mono signal containing both left and right sides. A stereo signal with a Balance control “panned” all the way left will consist of only the left side of the audio—not the same result at all!
Of course, a Balance control has its uses, but not as a substitute for a true stereo panner. It’s important to be aware of which you’re dealing with when confronted with a single “Pan” control on a stereo track. In the Logic example, if you wanted to actually stereo-pan your signal, you’d need to leave the channel strip balance knob at center, and instead open an (included) imaging plug-in (Direction Mixer), where you can perform the kinds of stereo adjustments I described above (that you could do more directly with the dual stereo Pan knobs in Pro Tools).
4. Don’t Phase-Flip for Fake Stereo
Fig 4 Don’t flip the phase for fake stereo! Try dedicated widening or stereoizing processors
Sometimes, instead of panning a mono track in the mix, you may want to widen it—create an artificial stereo soundfield. This can be a good idea, and there are several ways to go about it, but also at least one technique that should be avoided. Possibly the easiest way to generate a stereo image from a mono track is to duplicate the track and flip the phase (actually reverse the polarity) of the copy. With two versions of the same signal, with opposite polarities, coming out of different speakers, you’ll get a wide, diffuse image. But you should never do this for a mix! It only works as long as the signal is always heard in stereo—if that mix is ever played back in mono (quite common even nowadays), the two reverse-polarity signals will cancel completely, and the track will disappear!
If you do want to generate fake stereo from mono, there are safer ways to go about it. You could duplicate the track, slightly pitch-shift (micro-shift) the two copies a few cents up & down, and delay the copy—a subtle form of widening that produces a broad image without necessarily sounding doubled. Or you could use one of the various frequency-based stereo imaging processors, that divide the signal into different frequency bands, and then pan adjacent bands left and right, for a subtly wider image.
As long as you avoid the phase/polarity-flip trick, you should be able to achieve a wider soundfield while still maintaining mono compatibility—but whatever approach you try, you should still always check it in mono anyway, before signing off.
5. Don’t Forget to Pan for the Song
Fig 5 As tracks/musical parts drop in & out throughout an arrangement, balanced panning choices must factor this in
When deciding on pan positions for the various tracks in a mix, it’s important to take into account how the arrangement changes throughout the song. I’ve seen novice mixers spend some time carefully adjusting pan positions while looping one section, only to realize that in other sections, the instrumentation changed enough to invalidate their choices at those points. Here’s an example…
You usually want to try to maintain a good overall left-right balance when assigning pan positions—that is, you don’t want to pan too many parts to, say the left side, with fewer arrangement elements on the right, making for an overly left-heavy mix (that may be uncomfortable to listen to, especially in headphones). But different parts may drop in and out in different sections of the song, and you need to address this. If you have, say, a keyboard part panned partly left that balances out a rhythm guitar part panned partly right in a verse, what happens if the guitar kicks into overdrive in the chorus, and the keyboard drops out, or is (intentionally) swamped in the musical mix?
In situations like this, you’ll need a more dynamic approach to panning. You could either create extra duplicate tracks, and divide and distribute the parts to these different tracks, panned appropriately to address changes in the arrangement from section to section, or you could, of course, use pan automation to accomplish the needed dynamic adjustments. You may prefer to avoid having a particular instrument or sound shift positions in different sections, but you can also employ selective doubling and stereo widening to maintain a good overall left/right balance, as the need arises (in my example, the guitar might be doubled or widened only in the chorus, with the copy filling in for the missing keyboard, avoiding a sudden dropout on one side of the mix).
There are no hard and fast rules for dealing with musical panning considerations like this—each song will likely present its own issues and solutions. But a little attention paid to it, as well as to the other panning issues I’ve described, may go a long way to achieving a better, clearer, more well-balanced mix.
Take your production knowledge to the next level with the video courses in The Ask.Audio Academy.
![Reverse Polarity Fl Studio Reverse Polarity Fl Studio](/uploads/1/1/9/4/119417186/875001896.jpg)
Related Videos
Page 1 of 1
| When recording midi using Presence, the piano sounds great and the sustain pedal works as expected. But when I play back the recorded midi, the sustain pedal doesn't work properly. I see that the sustain pedal was recorded. But it has a value of 1 when the pedal is not engaged and a value of 0 when it is engaged. It seems that when the pedal is engaged, it is cutting off the sustain rather than sustaining the note. Any ideas on how to reverse the polarity of the recorded sustain? I cannot reverse the polarity of the sustain pedal itself because then when the keyboardist is playing, all of his notes sustain until he presses the sustain pedal. Win 10 64-bit, 4 Core i7 @ 2.80GHz: 16Gb DDR4 SDRAM, Audiobox USB, Studio One 3.5 Pro 64-Bit (purchased Feb 18, 2018, 1 month before the grace period...) StudioLogic numa compact 2 keyboard, Nektar sustain pedal. |
| Please update your signature to include your keyboard & pedal information. Check this video out to see how it compares to your settings: https://youtu.be/DKgmfCFIBEY Please add your specs to your SIGNATURE. Download the STUDIO ONE 5 PDF MANUAL. Access your MY.PRESONUS account. OVERVIEW of how to get your issue fixed or the steps to create a SUPPORT TICKET. Needs to include: 1) One Sentence Description 2) Expected Results 3) Actual Results 4) Steps to Reproduce. Windows 10 Pro 64-bit (20H2), Studio One 5.1.1 Pro | Notion 6.8 | Universal Control v3.4.0.61835 Dell Inspiron 17 5770 (Intel Core i7-8550U 1.8 GHz, 4GB AMD Radeon 530 Graphics, 16GB RAM, Samsung 860 EVO 2TB SSD StudioLive Series III 32 v2.4.17466 |
| Thanks for the reply Trucky. The filters are all turned off and the sustain pedal midi is being recorded. I tried using the 'delete short notes' command, and it does help in some cases, but in other cases, the keyboardist is playing notes that are getting deleted by that delete short notes command. So rather than fixing the sustain issue in general, it only works if the keyboardist is playing notes longer than the threshold set for the delete short notes command. So, the sustain still isn't working. Win 10 64-bit, 4 Core i7 @ 2.80GHz: 16Gb DDR4 SDRAM, Audiobox USB, Studio One 3.5 Pro 64-Bit (purchased Feb 18, 2018, 1 month before the grace period...) StudioLogic numa compact 2 keyboard, Nektar sustain pedal. |
| Hi donaldfincher, Did you ever figure this one out? I'm in the same situation. I don't have any options checked and when I record the sustain pedal works fine, but on playback everything is the opposite. Running the most current version of Studio One 4. Computer: 2016 Macbook Pro 15' -- 2.9 GHz Intel Core i7 -- 16 GB 2133 MHz LPDDR3 -- 2TB SSD DAC: UAD Arrow Midi Keyboard: M-Audio Keystation 88es + Neewer sustain pedal with polarity switch |
| I ended up buying a new sustain pedal which gave you the option of reversing the 'polarity' and that has worked - inexpensive if annoying. Please note that I may express opinions that are different from yours but I do not intend to cause offence. ____________ iMac 27' 3.3 GHz Intel Core i5, 32 GB Ram, Mojave OS 10.14.6, 64 bit, Studio One 5 Professional (always the latest) , Reason 11, Melodyne 5 Editor, Digital Performer 10, Korg Legacy Wavestation and M1, Arturia minimoog V, Helix Native 1.93, Bias FX 2 Elite, Superior Drummer 3, EZkeys, EZbass, Alesis Q49, Audient iD14, Faderport 2018,Gibson Les Paul Standard, James Tyler Variax JTV-59 and other gear. |
| I'm interested in this as well, just got a pedal for my Novation Launchkey, will try out tomorrow morning and report back findings. Gary, I think your referring to a different problem, one that I also had. The issue of using the correct polarity pedal with the keyboard. If you use the wrong one, then when you put you foot down it won't sustain but when you take your foot off, it sustains. I too ended up getting a dual polarity switchable pedal to use with my current keyboard and to cover me for any other that I buy. I think Iragoldstein is referring to a situation whereby the pedal is the correct polarity with the keyboard and works fine with that. It will also record ok but when the track is played back, studio one is somehow inverting the sustain info or recording different info to begin with that reverses the sustain information on the automation track during playback. OS: Win 7, 64 bit. MB: ASUS P8Z77-V LE PLUS. CPU: Intel 3.4ghz, i5-3570, LGA1155. RAM: 8g DDR3 1333Mhz. 1 X SSD (OS) 2 X 7200 HDD (Recording/Samples). Steinberg UR44, Nektar Impact LX61. KRK Rokit 4 G3. S1 Pro V3.5.6. NI Komplete Ultimate 10. |
| Understood - not had that problem. Please note that I may express opinions that are different from yours but I do not intend to cause offence. ____________ iMac 27' 3.3 GHz Intel Core i5, 32 GB Ram, Mojave OS 10.14.6, 64 bit, Studio One 5 Professional (always the latest) , Reason 11, Melodyne 5 Editor, Digital Performer 10, Korg Legacy Wavestation and M1, Arturia minimoog V, Helix Native 1.93, Bias FX 2 Elite, Superior Drummer 3, EZkeys, EZbass, Alesis Q49, Audient iD14, Faderport 2018,Gibson Les Paul Standard, James Tyler Variax JTV-59 and other gear. |
| I had a look at this today. I started up and used a stand alone VST piano to test the new sustain pedal with my keyboard, everything ok, the pedal sustains when pushed down and ceases when returning to up position, no need to switch polarity on the pedal. Had a bit of a jam, everything working ok. Start up Mixcraft pro 8. Recorded and played back an Acoustica piano instrument, everything worked as expected, sustain pedal records and plays back as expected. Did the same with a Kontakt piano, Alicias keys, again no problems, everything works as expected. My Novation Launchkey keyboard and the generic sustain pedal are working as expected with standalone VST instruments and also inside a DAW (Mixcraft) when playing, recording and playing back recorded content. Started up Studio One and opened a small project I am working on. Inserted Instrument track, put a Kontakt instrument (Alecia's keys) on the track and had a quick jam with the other instruments. Keyboard and sustain pedal works as expected. Recorded a passage using the sustain pedal. Passage recorded and played back as expected, sustain pedal working as expected. Everything recorded and played back without issue, unable to replicate the sustain pedal problem indicated in this thread with version 3.5.2.44603. Thought I would update my version of Studio One and retest. Now on version 3.5.6.46910 Everything working as expected, tried some presence instruments as well. All record and playback sustain as supposed to. Unable to replicate the sustain problem indicated in this thread. Everything worked as it should straight away without any changing of settings. Unable to test version 4 as I don't have that version. OS: Win 7, 64 bit. MB: ASUS P8Z77-V LE PLUS. CPU: Intel 3.4ghz, i5-3570, LGA1155. RAM: 8g DDR3 1333Mhz. 1 X SSD (OS) 2 X 7200 HDD (Recording/Samples). Steinberg UR44, Nektar Impact LX61. KRK Rokit 4 G3. S1 Pro V3.5.6. NI Komplete Ultimate 10. |
| Just out of interest I am connected to my computer via a 5 pin MIDI OUT signal being generated from my controller and feeding into a midi interface on its own private USB port. (PCI Based) With USB only in the case of the Novation controller can you check to see what else is going on with the USB port. What else is connected there. This may be a USB port related issue only as well. The sustain message is being flipped for some reason. It never happens over midi. Please add your specs to your SIGNATURE. Search the STUDIO ONE 4 ONLINE MANUAL. Access your MY.PRESONUS account. OVERVIEW of how to get your issue fixed or the steps to create a SUPPORT TICKET. Needs to include: 1) One Sentence Description 2) Expected Results 3) Actual Results 4) Steps to Reproduce. Specs i5-2500K 3.5 Ghz-8 Gb RAM-Win 7 64 bit - ATI Radeon HD6900 Series - RME HDSP9632 - Midex 8 Midi interface - Faderport 2/8 - Atom Pad- iMac 2.5Ghz Core i5 - High Sierra 10.13.6 - Focusrite Clarett 2 Pre & Scarlett 18i20. Studio One V5.1 (Mac), Notion 6.7, Ableton Live 10 Suite, LaunchPad Pro |
Reverse Polarity Fl Studio Vocals
| Are you referring to my novation Jemusic? I don't have a problem with the sustain issue, just trying to replicate the problem unsuccessfully. Regarding which USB input I use with the keyboard, it gets whatever is available wherever on the computer, USB 3.0 or 2.0 back or front. I find it always works without problem regardless of which USB port I use and whatever is on that same bus. OS: Win 7, 64 bit. MB: ASUS P8Z77-V LE PLUS. CPU: Intel 3.4ghz, i5-3570, LGA1155. RAM: 8g DDR3 1333Mhz. 1 X SSD (OS) 2 X 7200 HDD (Recording/Samples). Steinberg UR44, Nektar Impact LX61. KRK Rokit 4 G3. S1 Pro V3.5.6. NI Komplete Ultimate 10. |
| Here’s something to try: Some keyboards revert their pedal input on/off response depending on if the pedal is plugged in before or after the keyboard is powered up. So try flipping the pedal’s on/off switch and change your pedal plug-in/power up routine. That may get the pedal to work OK both for S1 and for the keyboard. |
| SwitchBack wroteHere’s something to try: This is very good advice. I have seen some very strange behaviour in terms of plugging in sustain pedals either before or after powering up. In terms of their own behaviour and what is being sent to a DAW. (with Yamaha and Nord synths especially) Although I would imagine in many cases the sustain pedal has not been removed for some time. If the sustain pedal has been plugged in for a while, it might be good to pull it out, power up and down and then repatch pedal back in. Maybe clean plug and spray some contact cleaner in the socket etc.. Sometimes when plugs are not touched for a long time, a form of corrosion builds between the contacts and could send misleading information. The internal sound engine of a keyboard may be getting the right message but the message being sent over USB may be different and corrupted for some reason. Please add your specs to your SIGNATURE. Search the STUDIO ONE 4 ONLINE MANUAL. Access your MY.PRESONUS account. OVERVIEW of how to get your issue fixed or the steps to create a SUPPORT TICKET. Needs to include: 1) One Sentence Description 2) Expected Results 3) Actual Results 4) Steps to Reproduce. Specs i5-2500K 3.5 Ghz-8 Gb RAM-Win 7 64 bit - ATI Radeon HD6900 Series - RME HDSP9632 - Midex 8 Midi interface - Faderport 2/8 - Atom Pad- iMac 2.5Ghz Core i5 - High Sierra 10.13.6 - Focusrite Clarett 2 Pre & Scarlett 18i20. Studio One V5.1 (Mac), Notion 6.7, Ableton Live 10 Suite, LaunchPad Pro |
| tezza wroteI'm interested in this as well, just got a pedal for my Novation Launchkey, will try out tomorrow morning and report back findings. Thanks. I believe my polarity was reversed also. Didn't even know that was a thing. I had sustain after I lifted my foot, but not while my foot was on the pedal. Steve_382 - Presonus Studio 68c, Studio One Artist 4, Roland A-800 Pro keyboard, plus various guitar stuff. Complete beginner on DAW software and not much better as a musician, but I really enjoy it. |
Page 1 of 1
Fl Studio 12
Who is online
Electrical Outlet Reverse Polarity
Users browsing this forum: jessedavis7, patrickbushaw and 26 guests