For me, it’s happened when I double-mic my guitars and vocals and the distances apart pick up things differently and they end up being slightly out of phase. I’ve been so out of the loop with recordings with mics that I can’t even recall the language. Thankfully, my buddy Carl Saff fixed it on one of my 45s for me. But yeah, it can really mess with the sonics.
The Little Labs IBP is awesome for fixing this, and it’s especially nice because you can dial in the phase much more correctly/precisely than with the two options on a phase switch. Only lame thing is that it’s 600 bucks for a utility, but handily there’s a plugin version (which is what I use).
so many reasons… any instrument that exists in that range that had phase issues during the recording… a lot of reverb plug ins throw in extra width at the expense of phase… there’s even a piano library where certain specific single notes are out of phase from all the others.
I find that some effects units sum signals to mono and then put them through a stereo effect, which can cause odd phase issues.
I’d be interested to know what a phase correction tool does to a signal appart from moving the signal in time.
Could one use only a simple delay unit (built in SC, Max, Reaktor, etc.) and solve a phase issue between two tracks ?
I’m guessing you could make your own if you’re handy with that kind of plugin creation/coding etc. I’m not sure exactly how a regular phase switch works, aside from just flipping it 180 degrees. The nice thing about the IBP is that you can precisely dial in to the perfect spot where phase alignment is ideal. Logically it seems like delay would work but could it be that simple? Haha…
A typical use of an allpass filter is to alter phase at controlled frequencies without altering gain! since digital allpass filters (digital almost everything, really) are very short delays, I guess this is a good example of your guess!
I purchased the UA version for $25 I believe (on sale and most likely using coupons).
Haha ditto! It was cheap to begin with, but kinda murdered it with the sale
Thank you for your insight, I haven’t been thinking about allpass filters for a long time…
Out of curiosity, what microphones are you all using and on what sources? What’s your signal chain for these mics? I’m thinking of adding to my very modest mic collection for tracking my acoustic and electric guitars.
Lots of ribbons for drums and guitar amps- Coles 4038.
My favourite mics that I own are:
- Ev RE20
- Beyerdynamic M201 and M88
- Shure KM44
- Michael July mod MXL 990
My favourite mic rentals for specific sessions:
- Royer 121
- Coles 4038
- Neumann U87
I also often rent preamps when I need to do serious recording… otherwise I just use the preamps in my audio interface (which has changed a number of times over the years).
I have a few outboard compressors and things, but tend to record uncompressed/effected to digital and then add things after based on the piece.
I also tend to use all sort of things on all sources. Lots of experimentation… Generally I love the RE20 on bass, vocals, and low frequency drums… but have also used it for electric guitar, room ambience, and lots of other things.
The Beyer M201 is an amazing all around dynamic mic. Sometimes described as “if the SM57 was a real mic”…
More RIP comparisons please!
If you buy a really good pre it’s a one time for life purchase. After I got my Chandler TG2 I never looked back, it’s been used almost daily for over a decade now, and it always just sounds right. I tried a GML in its place once but still preferred the Chandler. I use it for loads of things, mastering (make up gain for the passive EQ), stereo DI for synths, stereo mic pre for all sorts etc. On the hardware front end side, good mics, good pres/DIs, good conversion, and you can’t really go wrong.
Happy to but it might be a little bit, got a few projects I’m trying to finish up before I go back to album mixing mode.
Own a pair, can confirm. So good.
here is a shootout of a few different things I’m exploring running a mix through. It’s all out of order (I’ll post as spoiler text or something in a few days mapping them to what they actually are) one is the raw mix, exported by ableton. one is the mix ran through uad’s oxide tape simulator. the others five are ran out of the interface, into veils, into rip, and then back in to the interface gain being brought up by one of five options:
- uad clean preamp
- uad ua 610 unison
- uad neve 1073 unison
- uad api vision unison
- uad ssl e unison
In all cases (rip, preamp, tape sim) I tried to push inputs as far as they would go without hearing like real obvious distortion. no eq’s or comps on the channel engaged on the channel strip plugins that have them. I tried to gain stage the wavs I uploaded as close as possible.
Definitely curious to hear people’s thoughts. I haven’t decided what I’m actually gonna do for this record so I will definitely take people’s thoughts into consideration when I listen and make a decision. Also any mix notes or constructive feedback anyone wants to give me, feel free, would greatly appreciate it!