A pseudo-stereo effect based on volume and frequency has Dinah moving about in he stereo field :
here the louder her voice is the further left she goes …
IMO Convincingly isolating simultaneous instruments and vocals which overlap in the sound-spectrum is not do-able.
Thats about the best you can get with the built-in effects:
It is not cleaned up (a lot of artefacts are remaining).
Any opinions?
Yes, that’s exactly what I’ve been trying to do. Place more of the vocals towards the left and the rest in the right channel–though I’m still quite baffled on how exactly to do this. If I remember correctly, I believe that was the ambiance the song was originally recorded in. I’m a really big fan of Dinah , the next thing I’m trying to work on is a few pieces from her album “Dinah Jams,” (1954).
Here’s another sample that I’ve been working on “Everything I Have Is Yours (1955 Version)”, by Billie Holiday from the LP “Velvet Mood,” (1956). Later remastered/re-issued for “Music For Torching: The Billie Holiday Story, Vol.5,” (1995). I used pseudo-stereo (Lower Right Channels (10 & 55.0) and the Nyquist effect, gained around 12 DB’s, and I panned the track 60% to the right. Any comment(s) and tips are greatly appreciated. On that same note, I’ve come to realize that a lot of Billie Holiday’s remastered/re-issued content was done in dual mono, perhaps the only stereophonic album I know of that’s she’s done is “Songs For Distingue Lovers,” (1957). I’ve also realized that the channels cannot be edited for a track that has been recorded under mono/dual mono and the like. But would it be possible to place the vocals in the left ear, and instruments in the right channel if the track was originally recorded/mastered in stereo? Again, my apologies for the redundancy. 
When a mix is true Stereo, you can simply use Steve’s Channel mixer.
- If the voice (along with bass and drums) is in the middle, use the presets (“Center to Left” or “Center to Right”.
- If the voice is on the left side and you want it on the right, simply choose “Swap Left and Right”.
- You can also narrow the Stereo Image if it appears to wide.
Here’s the first Option applied:
The second Version is amplified by 3 dB to compensate for the inherent channel loss.
As I mentioned above, full left appears as soon as the difference between the two channels exceeds 15 to 18 dB.
We could therefore mix a slight amount of the left channel into the right one and vice versa (instead of simple amplification).
The bass frequencies should ideally not be rotated - they should always rest in the Center. This gives the Music a better foundation and they can’t be localised anyway (per intensity stereophony).
Fortunately, it is very easy to do this.
Duplicate your Stereo track.
Select the first one alone and open the nyquist prompt.
(lp s 200)
Done this, you can select the second one, reopen the nyquist prompt and Change “lp” to “hp” and click ok.
The first track is now Holding the deep frequencies and the second one the higher ones, at 200 Hz the amounts are equally distributed. The nice Thing is that those two filters are exactly complementary - nothing is lost from the original.
You can now apply the channel mixer to the second track and shift the Center to either side.
The result should now be much more homogeneous.
The dual mono case is much more challenging and is a constant Play ground for students and engineers.
In the dinah example, I’ve used the noise remove tool to Isolate the instruments.
Select the whole intro just until the voice gets in. Use the Noise Removal and get the Profile.
Now select a whole copy of the original and reopen the noise removal. Check the “Isolate” Option and then ok.
The voice should now greatly be removed. Some ugly artefacts still remain though. They have to be wiped out manually.
It may be necessary that you first try the Parameters on a passage that holds both, Music and voice. Here, you can use the preview Option to predict the results.
You should now have two Versions of the song - original and copy with less voice. If not already done, split both to mono and delete the additional two tracks.
If you want the voice on the left, put the original on top.
You can now Combine those mono tracks to a Stereo track.
To mask artefacts that may be still audible in the attenuated channel, you can mix the original into it.
This means amplifying and panning of another copy or a newly use of the channel mixer where you can add a bit of the untreated channel to the altered one.
This roughly laid out procedure is rather painful. Furthermore, each song has its own Parameters and therefore, the process can’t be automated (yet).
The noise removal is furthermore limited (too small FFT-size: 2048 and no advanced Parameter Settings possible). Sometimes, there’s also an unwanted delay created, you may have to shift the track to line up.
I hope that helps a Little further.
Besides, have you bought the C or the mp3 Versions of the LPs?
Wave Versions produce less artefacts in General although those remastered discs are sometimes worse than the vynil version.
For most of my collection I have both. It usually varies by artist. I will certainly look into changing lp to hp. Thank you.
Hi guys, it’s been a while. I’ve recently came across something interesting. I was going through my album collection and listened to an album by Carmen McRae entitled “By Special Request,” there is a particular song on the album “Georgia Rose,” that was originally recorded in monophonic sound, I also checked her complete discography only to find that the selections recorded for that album were recorded only in monophonic sound. Until I recently stumbled upon “Carmen McRae’s Finest Hour,” which features the same song “Georgia Rose,” completely remastered in stereophonic sound. This somewhat baffles me, are there any ideas as to how this may have been achieved? 
Samples below:
Probably by painstakingly working through note by note like this: http://www.youtube.com/watch?v=9FScFKuXXM0
(this is not free software).
It seems like it would be fun, and exhausting at the same time. Essentially, its’ separating each aspect of the track and remixing it?
I suspect the uncluttered Adele track was selected as it lends itself to the isolation technique, [ but the isolated vocal still had some instrument sounds and processing artefacts ]
This is completely confusing, damn you Verve and your mastering team (mostly Suha Gur), for this dual-mono pass for stereo. Why lifeless mono, why!?!?!?!? 
I’m going to try this Melodyle software just to see how it goes.
For all non-mono cases:
Center Removal, Isolation and more