We've seen how these delay affects can have a major impact on the stereo width of our mix and I'd like to look at how we handle stereo width just in general in the mix. The truth is, the most important stuff in your mix is really right up the middle. We end up with this column of really important elements. Usually we have the kick drum right in the middle on the bottom. Above that, will be your bass. Above that, your snare drum. And then your vocals. And above that might be your high hat. So we have this column of really important focal things, right in the middle. And that's that's the central column of the mix, and really what people are usually focusing on. Now where the problems come in, and where the stereo width comes in really handy, is right around those vocal frequencies. In that range where you also have keyboards and guitars maybe. And if you have them also right in the middle, right where that vocal is, it can kind of get in the way of the vocal. In fact you might want to look up the psycho-acoustic term masking at some point, cause it has a great impact on this exact topic. But, so what we tend to do, is, where there is a conflict, where in the middle of the mix you have a vocal, but also a guitar. We can make the secondary elements wide. And there is two ways we could do this, we could take a guitar, put it off to the left and maybe a keyboard part that's in the same frequency range, off to the right. And that'll give us a nice stereo width of those two things out to the side, leaving the middle free for the vocal. Or, if we just have guitar, we can use one of these stereo width enhancing plugins. Like a chorus, flanger, phaser. Or kind of a, a long delay with good stereo presence. And put that on the device to push it out to the sides. Now, you notice what's really important here is that there's a balance between left and right. We don't want to have a mix that's really heavy off to one side. We want to keep things nice and balanced. So if you're putting something off to the left, put something off to the right to balance it. Now we often find that the stereo width is going to be much more pronounced in the higher frequencies and lots of mixes take on kind of an inverted pyramid where the high end can be really wide, but then when you get down to the base frequencies they're quite narrow. And that has to do with just general acoustics. have you ever set up a, a home stereo? Or read the manual? I'm sure you read the manual, right, when you get your home stereo. And when you're going to set it up, it talks about where to place the speakers. And it'll be very specific about where to put kind of the mid-range and tweeters, right? It'll be this many feet apart, pointed at the perfect listening location. And then it'll just say put the subwoofer somewhere in the room. You know? You ever noticed that? You can put that anywhere and it's, it's okay. Those low frequencies. They just, they don't really, you don't really stereo-locate with them. They just fill the room. So the best bet is, all your low-end stuff. Put it right in the middle. So that both speakers are moving in conjunction, moving together, and pushing that information together. And then the upper frequencies are where you can really have fun with that stereo width. So think of balance, and also getting out of the way of that central column making sure that those, those elements can really be heard right in the middle of the mix.