I think that’s really the crux of the issue is how the BA (binaural) track was made.
In my first thought, during the individual instrument tracking, if we had the cabinet mics on a guitar and had the BA head in a listening position where the guitar was on the left… then the signals are more straightforward and related.
Now if I didn’t have that…would it be possible to MAKE a BA signal by playing back the guitar track, panned to the left, and use the BA mics to record the playback from a listening position where the guitar sound is on the left…sort of like reamping a track.
My goal , as crazy as it sounds, is to try to bury BA signals in the stereo mix (say for guitars, and vocals, and maybe drum overheads) that when played on headphones “comes alive” but otherwise, like most BA in stereo …the effect isn’t really noticeable.
I’ve done some preliminary trial and error and had surprisingly good results, but I’m NOT doing this with a room mic BA capture, like the Jazz club Bob mentions, but instead individual BA parts of specific instruments.
There’s a fine line between innovation and a total mess and I’m hoping I don’t look behind me and see that line 🙂
What pitfalls should I be looking for here other than phasing issues which are obvious
All insight is appreciated