The Fronts and Rears stems got the same treatment as in the Porcupine Tree above.įor the C&LFE stems the right channels of all stems (LFE in the 5.1) were fed to LFE in the 7.1.4. Bass, Drums, Vocal, and Other stems for each stereo pair. Fronts, C&LFE and Rears, giving a total of 12 stereo stems. So, I used demucs on three stereo pairs from the 5.1. Heavy drums and more in the center channel. The next experiment was to tackle something that DOES have drums and other non vocal stuff in the 5.1 Center channel.įor this, I chose Soundgarden's Black Hole Sun, from the Superunknown Blu Ray. Now the bass sits in the "bed" layer of speakers, is distinct as a separate instrument source, and clearly in "stereo" as you get the growl from the left and the snap from the right. So, I tried a producer's trick for widening a mono bass track and added a crossover at 180Hz (chosen by ear), routing the low end to the left side surround and high end to the right side surround. At first this resulted in a mono bass sound, that felt as if it was coming from right overhead, and it wasn't as distinct from other instruments as I would like. I took the bass stems, resulting from the fronts AND rears stereo pairs, and routed them to the Side Surround channels in the 7.1.4 remix. That would have been enough to give a 5.1.4 results but I wanted to go for 7.1.4 so tried another experiment that I think came out well. Steven Wilson mixed this in a convenient way, in that there are no drums in the center channel, so I was able to do Stereo Source Separation on the front pair of channels, and the rear pair, to get 4 drum channels for the height speakers. I was listening to Porcupine Tree's Fear Of A Dark Planet in 5.1 and it occurred to me to up/remix it to 7.1.4 using Source Separation.