Waves Audio S1 Stereo Imager User Guide
S1
Stereo Imager
Table of Contents
Register Now! ................... see WaveSystem Manual
Chapter 1 ..................... About the S1 Stereo Imager .... 3
Chapter 2 .......................................The S1 Interface .... 5
Chapter 3 ............................................ Using the S1 .... 8
Before you start............ 3
Features and applications ............ 3
S1 component plug-ins ........... 4
Stereo Vector Display™............ 5
Quick guide screen shot ............ 5
The Controls............ 6
Gain, Width............ 6
Asymmetry, Rotation, Shuffling, Frequency ............ 6
LR/MS input, Bass Trim, Reset ............ 7
Signal path (Order of action of controls) ............ 7
Graphical control ............ 8
Hints for Use............ 8
Mastering and general use ............ 9
To mix multiple stereo sources with S1 .......... 10
Mono Compatibility .......... 10
Chapter 4 ........................ About MS and MS modes .. 11
What is MS? .......... 11
How is MS used?.......... 12
Polarity/Channel swap in MS mode .......... 12
Use of LR/MS meter mode .......... 13
Chapter 5 .................................... Other S1 controls .. 14
Peak counters.......... 14
Output clipping (the Gain control).......... 14
Chapter 6 ....................................... Special MS uses .. 15
Using the S1 MS options .......... 15
MS Equalization .......... 15
Uses of MS equalization .......... 16
How to do:
Overall EQ.......... 16
Frequency-dependent width .......... 16
One-point microphone compensation .......... 17
FM broadcast noise reduction .......... 17
One-sided equalization .......... 17
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Chapter 7 ...............................More about shuffling .. 19
Chapter 8 ........................ History of stereo controls .. 20
Chapter 9 . What kind of stereo will the S1 work on? .. 21
Chapter 10...................................... Key commands .. 22
Chapter 11.................................. Stereo monitoring .. 23
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Chapter 1 - About the S1 Stereo Imager
The S1-Stereo Imager combines a number of classical stereo processing techniques with Waves’ intuitive user
interface to provide a powerful and unique ‘stereo toolkit’ for use in mastering and digital editing situations. S1
may be used to correct faults inherent in a stereo recording or mix, or it may be used to creatively enhance the
stereoism of existing stereo material.
S1 is based on recognized engineering principles and does not purport to create a three-dimensional soundfield
from a two-loudspeaker system or to create a pseudostereo master from a mono source. Because S1 is based on
established audio engineering principles, it offers a high level of mono compatibility with minimal side effects.
S1 provides the means to readjust the stereo level-balance of a mix and has the ability to dramatically widen an
existing stereo image, again without introducing significant side effects. For example, an assymetrical mix can be
adjusted so as to re-balance the left and right components without affecting the position of the centre image or,
alternatively, the center image may be panned left or right without affecting the balance of the stereo components
of the mix.
Like all Waves plug-ins, S1 is based around a graphical interface and is designed to be both straightforward and
intuitive to use. You can adjust all parameters via traditional numerical displays or directly from the graph, giving
you the choice of interface and control.
Before you use S1, you should have a good working knowledge of both the host application software and your
computer. If you’ve used a Waves plug-in before, you’ll probably be able to find your way around the S1 interface
with minimal reference to this manual. However, we recommend you read it through at least once just so you
know all the things S1 can do.
Before you start
Please make sure that your monitoring system is in phase and set up symmetrically about your normal listening
position! This may seem obvious, but because S1 is designed to operate on the spatial aspects of a mix, it is
imperative that your monitor system conveys an accurate sense of stereo imaging. If you have any concerns about
your monitoring arrangement, please read the Stereo Monitoring chapter.
Features and applications
Particular care has been taken in the design of S1 to avoid unpleasant and fatiguing ‘phasiness’ effects and to
retain a high level of mono compatibility. Mono sounds remain uncolored; S1 does not change the basic tonal
character of the original sound, but simply sweetens and broadens the spaciousness of the stereo image.
A classic phase-compensated ‘shuffler’ is provided to both enhance the stereo spaciousness and improve the
image quality at the bass end of the audio spectrum, again without introducing phasiness. The amount of
shuffling and the range of frequencies affected are user-controllable so that the effect may be optimized for a
variety of stereo source material.
The S1 Stereo Imager also has the unique capability of rebalancing a stereo mix, and of altering the positions
within the stereo stage of individual parts of a stereo mix. By allowing the user to manipulate the relative balance
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of the central, left and right stereo components of a mix, it is possible to ‘pan’ the left/right and center components independently. In addition, the relative balance of the left/right and center signal may be also changed to
either narrow or widen the perceived stereo image. S1’s unique and informative stereo vector display allows the
effect on level balance and positioning to be precisely visually monitored while making adjustments.
Stereo level metering is provided in both left/right and M/S modes so that the effect on stereoism can be fully
monitored. As with some other Waves plug-ins, correction is provided for the two most common stereo imaging
errors: channel polarity (‘phase’) errors and stereo channel reversal.
This stereo remix capability makes the S1 suitable not only for sweetening and enhancing adequately mixed
stereo masters, but also for more drastic corrective and creative remix work. Because S1 doesn’t rely on gimmicky
processes to achieve its results, it may be used to make subtle improvements even to refined ‘purist’ stereo
recordings. The S1 does not add any unwanted sound effects not already present in the original recording. Rather
it is designed to enhance and rebalance what is already there.
S1 Component plug-ins
On most host applications and platforms you can select just the audio processing you need, and use only the
power necessary to do the job. The S1 has several plug-in components in the menu. They are all stereo-output-
only plug-ins and can not be used for mono-to-mono processing. On some native platforms, 88.2/96kHz support
is now available.
Here are the current components as of this printing; new ones may be added in future updates, and will be noted
in the plug-in Read Me files. Some examples for each component are listed:
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• S1 Shuffler — This is the full plug-in, with all controls, including Width, Rotation, Asymmetry, Shuffling,
plus all channel controls (phase, gain, etc.), and does not count clips; (for mastering, to fix off-center or
unbalanced mixes, precision image adjustment, change wideband width, expand low frequency image, Rotate
true stereo sources without collapsing image, creation of strong antiphase content)
• S1 Shuffler (48) — The full mastering plug-in (TDM only!), same as the S1-Shuffler, but 48-bit double
precision resolution; (applications same as S1 Shuffler but when increased resolution is needed)
• S1 Imager — Omits the Shuffler and Bass trim controls. Ideal for adjust Width, Rotation, and Asymmetry
only; (saves processing power if Shuffling is not needed, excellent for stereo mixing to Rotate stereo-mic or
submixes into place)
• S1 MS — Simply an MS converter (a matrix) that converts left-right input into MS output, (or vice versa).
It has no controls or metering, and is designed so that if the input does not clip, neither will the output.
Due to the nature of the matrix, the gain is reduced by 3dB in this process to avoid clipping. Therefore, if
you use two MS modules in a chain (say for equalization of just the M or S channel), then the total chain
will have a nominal signal drop of 6dB (3dB per MS module, also assuming the EQ is flat with unity gain).
Chapter 2 - The S1 Interface
For complete information on basic Waves interface control, read the WaveSystem Manual.
The distinctive interface of the S1 lets you easily see and control the stereo soundstage of a file. The most
noticeable feature of the interface is the stereo vector display, with its half-circle shape and soundstage graphic.
The The
stereo vector displaystereo vector display
The
stereo vector display
The The
stereo vector displaystereo vector display
The stereo vector display does not show anything about the input signal. It shows you:
of the S1. of the S1.
of the S1.
of the S1. of the S1.
output positions of the original left, center, and right sounds;
1 - the
2 - an accurate indication of their changed levels in dB so you can adjust level-balance between original left,
center, & right sounds.
The stereo vector display does not show the effect of shuffling, but only gain, width, asymmetry, & rotation.
Shuffling is a process applied after these processes.
The S1 control interface.The S1 control interface.
The S1 control interface.
The S1 control interface.The S1 control interface.
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The Controls
Gain - simply controls overall gain level without altering stereoism. Gain is displayed in dB.
Width - This alters the width of the input stereo signal. For width values less than 1, the sound stage is narrowed,
becoming mono for width zero. For widths greater than 1, the sound stage is widened, with sounds at the two
edges of the stereo stage being moved beyond the loudspeakers. The stereo is unchanged when Width equals 1.
Start around 1.2 for moderate enhancement, plus a little Shuffling.
Asymmetry - This acts after initial width adjustment. This unique control does not affect central mono in-phase
sounds in any way, but adjusts the relative level of left and right sounds. It differs from conventional balance
control in that it keeps center sounds in the center. This control is particularly useful for altering the relative levels
at the two sides of the stereo stage without moving a mix off-center, or biased in position to one side or the other.
Rotation control - This control allows adjustment of the centering of the entire stereo image without any effect
on relative sound levels in different parts of the stereo stage. It is particularly useful for centering a stereo mix
biased to one side of the stereo stage without altering the mix level balance, and for mixing stereo-miked sources,
serving as a true stereo 'pan' control.
Useful tip: No separate stereo balance control is provided, but if you drag both the Asymmetry and Rotation controls
together, then their combined effect is that of a balance control. For most platforms, they may be dragged together by
dragging in the space between the two controls, or by selecting both controls first then dragging on one.
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Shuffling - This increases stereo width at bass frequencies to help compensate for the fact that the ears hear stereo
effects as being more narrow in the bass than in the treble. Subjectively, it has the effect of making stereo images
more spacious. Unlike previous commercially available stereo shufflers, it is fully phase compensated, i.e. does not
introduce unwanted phase errors between the stereo channels. This gives improved stereo sound quality with low
listening fatigue. It is also carefully designed to minimize tonal alterations of the mix in the bass. It comprises two
controls: shuffling and frequency. Shuffling controls the magnitude of bass width increase between 1 (no
shuffling) and 3 (maximum bass width increase). The subjectively best value usually lies between 1.6 and 2.5.
Frequency - controls the frequency below which the Shuffling effect is increased. This frequency may be adjusted
between 350 and 1400 Hz. For normal stereo monitoring, a frequency between 600 and 700 Hz usually sounds
best, although a higher frequency may be better if used with the very close loudspeakers often used in multimedia, portable, or TV one-piece reproducer systems where the stereo speakers are in the same box. A lower
frequency is useful when adjusting stereo originating in stereo microphone techniques where the microphones
are spaced apart by perhaps 20 or 30 centimeters.
LR/MS input button - Changes input mode to accept either standard Left-Right inputs or Mid/Side (MS) inputs.
See the chapter About MS.
Bass Trim - Adjusts the level of bass when the Shuffler is in use. When set to 0, bass level stays more or less the
same. On some material, higher Shuffler settings may need bass trim of 1 or 2 dB boost to compensate for any
subjective shift in bass level.
Reset - This button restores Width, Asymmetry, Rotation and Shuffling to settings at which they have no effect
on input stereo. Hint: By repeatedly using the Undo button after using Reset, you may do A/B comparisons between
unprocessed and processed stereo effects, without altering gain or channel polarity and swap settings.
Signal path (Order of action of controls)
The controls act in the following order between input and output.
LR/MS input button to set input mode;
then Channel polarity to correct possible stereo phase errors on the input signal;
then channel swap to correct possible stereo reversal on the input signal,
then Width,
Asymmetry,
Rotation,
Shuffling/frequency,
and finally Gain.
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