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Message: [QUOTE="Bombastus, post: 91951, member: 2178"] Wave Candy’s vectorscope plots the relationship between FL Studio’s left and right channels, revealing stereo width, pan position, and obvious 180-degree phase opposition. It does this with a Lissajous display, where the movement of both channels becomes one changing shape. Once you know what the basic shapes mean, it becomes a quick way to spot panning mistakes and suspicious widening. Put Wave Candy on the Mixer track you want to inspect, or load it on FL Studio’s Current track if you want the display to follow whichever Mixer track is selected. Set the display to Vectorscope and play a representative section, not an isolated half-second. Use [B][URL='https://goldmidi.com/community/resources/how-to-mix-in-mono-in-fl-studio.40/']a deliberate mono playback check[/URL][/B] separately, because the scope can warn you about a risky relationship but cannot tell you exactly how the summed mix sounds. A vectorscope is most useful when you stop treating every wide shape as a problem. Real stereo material should spread away from the center line. The useful clues are orientation, consistency, and what changes when a particular effect or layer enters. [HEADING=2]Vertical shapes usually mean strong channel agreement[/HEADING] A centered mono signal draws a vertical line in Wave Candy because the left and right channels are carrying the same waveform at the same level. If the same mono signal is panned away from center, the line leans toward the corresponding side. A lone left or right channel follows one of the diagonal channel axes instead. Stereo information makes the figure broader and more complex. More left-right difference generally produces a fatter shape, while a narrow figure means the channels are behaving more similarly. Watch the average direction as well as the width. A stereo instrument can be broad but still lean noticeably left because one channel carries more energy. FL Studio’s background grid gives you visual references for center and progressively harder left or right positions, so an accidental balance shift is easier to see than it is on a waveform display. The display also reacts differently to short transients and sustained material. A snare with stereo ambience can flash outward for a moment while a pad may hold a broad shape for several seconds. Slowing Wave Candy’s Update control can make the overall pattern easier to read, but it does not turn the vectorscope into a measurement of perceived width. [HEADING=2]Horizontal movement deserves a closer listen[/HEADING] A figure that settles along the horizontal axis indicates the left and right channels are approaching 180 degrees of opposition. Summing that relationship can cause strong cancellation because positive movement in one channel is paired with negative movement in the other. Simple signals make this orientation obvious, while dense stereo material can hide it inside a complicated figure. Do not confuse this with a numeric phase-correlation meter. Wave Candy’s vectorscope does not give you a running minus-one-to-plus-one correlation value. FL Studio’s Spreader has separate pre- and post-phase meters for that style of reading, so tutorials telling you to watch Wave Candy move through numeric correlation values are mixing up two different displays. Correlation is also not equally informative at every frequency. Two-channel material can have different interchannel relationships across the spectrum, which is why [B][URL='https://aes2.org/publications/elibrary-page/?id=22565']frequency-dependent interchannel correlation[/URL][/B] matters when judging stereo behavior. One overall shape can expose a broad problem, but it cannot tell you which frequency band created it. If the vectorscope suddenly turns horizontal when a widener, chorus, delay, or stereo-shaping effect switches on, bypass that processor and compare again. A dramatic visual change tied to one processor gives you a much cleaner lead than staring at the finished master and trying to guess which track caused the problem. [HEADING=2]Wave Candy shows direction, not a complete diagnosis[/HEADING] Use the vectorscope to narrow the search before changing the mix. Check the master first, then inspect likely buses and individual tracks until the suspicious pattern disappears. FL Studio’s Current track makes this faster because Wave Candy can remain open while the monitored Mixer source changes with your selection. Do not repair a track merely because the display looks messy. Dense reverbs, doubled vocals, stereo recordings, modulation, and decorrelated effects can create complicated shapes while still surviving mono perfectly well. The scope becomes useful when its warning agrees with an audible problem such as disappearing ambience, a thinning synth, or a center element losing weight. The reverse matters too. A tidy vertical shape tells you the channels are closely related, not that the sound is well mixed. A centered mono bass can still fight the kick, clip the master, or carry too much low-mid energy. Wave Candy only describes the relationship between its left and right inputs in this mode. When a problem appears, change one suspect process at a time and watch what the shape does. Disable the widener, reduce a short stereo delay, check a polarity inversion, or inspect a heavily modulated return. Keep the change only when the vectorscope becomes less suspicious, and the audible stereo-to-mono transition improves with it. [/QUOTE]

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