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by Toloache » Tue Apr 21, 2015 9:07 am
Thing is, when heard from a speaker you can't pinpoint where the bass comes from, so panning them doesn't do much, specially if it's really low freqs. The exact frequency where you start hearing some directionality depends from woofer size and room dimensions, but for all practical purposes vinyl cuts have everything mono below 200, sometimes even 400 hz depending on the track to be safe.
What you hear if they do the effects right and the track has a bass with some mid/high freq content, are the higher bass overtones panned, but usually low are kept mono. Personally i don't like it much even if it's done right, i find that the bass lose focus, and you are at risk of introducing phase problems with those frequency splitting techniques if you aren't careful.
Sometimes in mastering, if the compressor or limiter has stereo unlinking, and you have loud transients coming from one channel, the stereo image briefly shifts around because one channel is more compressed than the other causing volume differences. Pair this with a stereo saturator that saturate only over a certain threshold and you have a cool and not really talked much technique to widen your stereo image.
But imho the best practice is to do your mixing the best way you can and leave those tricks to the mastering engineer.
Cheers