Phasing

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Nick The Man

Nick The Man

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one thing in recording ive never understood is PHASE, PHASING of microphones ... someone please help me understand. i hear all this reverse phase and stuff and im almost clueless ... i kinda know what it sounds like but id like to know more! please help
 
phase is a proponent of time. It's a total natural occurence in sound waves. However, yes, it can be harmful at times.

Phase denotes the current state at which the wave form is in. Wikipedia defines it as: the time position (or angle in the complex plane) within a cycle of a periodic waveform.

The example you are familiar with is when two wave forms are clashing with one another. We say these two wave forms are out of phase. Take for example two microphones set at different distances from their source. One microphone is 2 feet away from the source and the other microphone is 5 feet away. Because of the difference in distances, the source's wave form will reach the first microphone before it reaches the second one. Sound is not instant...it take a little bit for sound to travel through the air, so it arrives late in time to the second microphone. When these are recorded you can view them graphically in a DAW and you will see one wave form begin and a then a little while later the second one begins. These two signals are considered out of phase with one another.

Sometimes this can be pleasing to the ear and may not even be noticeable. However the further away you move the mic, the worse it may start to sound. We know sound waves have a positive and negative state to it's wave length (also called the waves polarity). It is possible to capture the postive motion of a wave with one microphone and capture the negative state at the same time with the second microphone. When you add two positive numbers together you get a bigger signal...or more amplitude away from our zero crossing. When you add a positive and negative number together, the number gets smaller...the closer our amplitude gets to our zero crossing.
When a signal is said to be 180 degrees out of phase, this is when the positive and negative sides of the wave form line up in time exactly and have the exact same amplitude. Create a sine wave and make a copy of that sine wave. When you play back the two together (started at the exact same time) the sound gets louder. Now turn (invert/polarity reverse) one of the two 180 degree...so now it's the opposite of the original. What happens? The sound disappears!! This happens all around you. Have you ever been in your living room and walked around listening to TV to notice that the sound seems quieter in one part of the room than it does in the other? Sound is canceling right there....frequencies are clashing with one another.

On mixers there is a polarity reverse button (notice I said polarity, not phase...you can't reverse phase...remember, phase has to do with time) that can help with this phenomenon when you are recording. It's not always needed, only when you hear it causing a problem. What this button does is flip the polarity of our electrical signal and makes the positive negative and the negative postive. Our wave form is now 180 degrees the other way to help correct the cancellation of sound we are hearing when combining channels together. In other words, since the wave form is coming in out of phase already (can be up to 180 degrees off), we just flip it back around another 180 degrees to equal 360 degrees.....which gets us closer to looking like our other signal.
I personally prefer to physically move the waveform on that track in my recording software BACK in the timeline so that the beginning of the first sound lines up with the beginning of the same sound in the other microphone. Like I said above, polarity reversing/inverting does not shift the audio back in time and I'd rather my audio not be late. That's just me though.

I'll stop it here for now, as I've probably written too much and confused you even more.
(See Glen, I ramble on too ;) )
 
damn good post benny,
The easy way out nick, is to witness it yourself.
get 2 mics and a drum. use 1 mic close, and one mic way out there at least 6' or so.
Play it back, what do you here? Other than comb filtering with your crappy room. Now(DAW or whatever) flip the phase(polarity) on the far mic track hmm? Now back and forth flip, flip ?\\hmm?
Something is missing aint it?
Good question really, phase makes a big deal with muliple mic set ups.

T
 
Good explanation, Benny. A follow up question: how does a newbie recognize a phase "problem." What does it sound like?
 
Valley Arts Kid said:
What does it sound like?
Like a stompbox phaser perhaps?

If you have used one......think about that and observe what you hear. ;)
 
To my train of thought......phaser = warble...and not always pleasing.
 
Valley Arts Kid said:
A follow up question: how does a newbie recognize a phase "problem." What does it sound like?

best way, like Tonio said, try it yourself. You don't even need to set up any mics....use a multitracking program. Open up something with a single instrument like a voice or guitar or something. You can even use a 1kHz sine wave, which will show you the theoretical idea of it (although we live in a world with complex waves).
Make an exact copy of that wave and put it on another track. Play back one track soloed and then add the other track to it at the same amplitude. The sound doubles! Now, while the sound is playing slowly nudge the second wave form ahead in time by small increments. You'll slowly start to hear the sound change as the two wave forms are combining with eachother...they are now out of phase.

The more you listen/record/mix...the more you'll start to hear it when it comes up. It'll start to really annoy you. The sound will sometimes start to sound like it's moving around in front of you even though no pan automation has been created.
Another good example is when you record the snare drum with two microphones (one facing the top and one facing the bottom). Because of the physical position of these two microphones both of them are recording the opposite version of the snare sound. When you hit the snare, one microphone diaphram is being pushed (bottom one) while the other mic is being being pulled (top one)...they are now of opposite polarity. So you have to switch the polarity of these two.
 
bennychico11 said:
On mixers there is a polarity reverse button (notice I said polarity, not phase...you can't reverse phase...remember, phase has to do with time)


ALthought the rest of your post was true and correct, I would like to contest this point.
The term "Phase reverse" comes from two concepts.
Firstly, the one that most of us will be used to referes to the "physical" phase reversal, where you reverse pins 2 and 3 (or tip and ring... whatever), which will result in a phase shift of pi (180 degrees).

The more correct definition comes from the complex plane, where phase is depenant on angle and not on time. A phase shift of pi will "swing" the vector in the reverse direction- hence a "reversal" in phase.
Remember- all waves have a complex component, and, whilst it is normally convenient to ignore the complex part of the wave function, it isn't the most correct way of thinking.

If you're going to quote something like Wikipedia, make sure that you know what it's talking about.

Polarity refers to a static vector- in this case, the instantaneous amplitude of the wave. Whilst, technically, saying that a mixer has a "polarity reverse" is correct, the term "Phase reverse" is more correct, as phase refers to a dynamic vector on the complex plane.

Whilst we're on the topic, I advise everyone to go out and buy yoursefl a textbook on wave theory. It will answer most of your questions on sound and acoustics, like phase, bass traps and the like, and you may even discover things that you would have never thought about.

They call it "audio engineering" because it does involve a degree of science...
 
im gona have to read all of this when i come home .. thanks alot
 
cpl_crud said:
ALthought the rest of your post was true and correct, I would like to contest this point.
The term "Phase reverse" comes from two concepts.
Firstly, the one that most of us will be used to referes to the "physical" phase reversal, where you reverse pins 2 and 3 (or tip and ring... whatever), which will result in a phase shift of pi (180 degrees).

The more correct definition comes from the complex plane, where phase is depenant on angle and not on time. A phase shift of pi will "swing" the vector in the reverse direction- hence a "reversal" in phase.
Remember- all waves have a complex component, and, whilst it is normally convenient to ignore the complex part of the wave function, it isn't the most correct way of thinking.

If you're going to quote something like Wikipedia, make sure that you know what it's talking about.

Polarity refers to a static vector- in this case, the instantaneous amplitude of the wave. Whilst, technically, saying that a mixer has a "polarity reverse" is correct, the term "Phase reverse" is more correct, as phase refers to a dynamic vector on the complex plane.

cpl_crud...I appreciate your response to my post and I think I understand what you are saying. And it also is a valid answer. But before I ramble any further I'd like to state that I am not an electrical engineer nor a mathmetician. I quoted wikipedia more to get a simple definition to help explain and to emphasize the "time position" idea within a cycle of a periodic waveform. This is the way I invision it. Complex planes are geometric ways to invision complex numbers, which is all fine for the math world. And I can see perhaps why engineers started using it. But in the electrical world we're flipping the polarity of the electrical signal....+/-, or the polar regions of our waveform in the X/Y graph (x=time, y=amplitude), are being inverted.

where you reverse pins 2 and 3 (or tip and ring... whatever), which will result in a phase shift of pi (180 degrees).

The phase of the signal is not shifting, though. Shifting along the X axis would have to do with time which is impossible.

Phase concerns the time relationship between identical signals. The time difference between them is called the phase shift, and it is measured in degrees. This is what I see as the important part of this discussion...how the two wave forms interact with eachother. Not how the phase of a single wave form interacts with reference to zero...but rather how TWO wave forms are measured in time with reference to eachother.

A waveform, like all analog audio signals, is an alternating-current (AC) signal, which means that the signal voltage repeatedly alternates from positive to negative. The voltage starts at 0V, goes positive, then negative, then back to 0. This completes 360 degrees of the waveform, or one cycle.
360 degrees is equal to one cycle in time....this corresponds to a horizontal movement of the waveform along the graph. Adjusting the cycle 180 degrees would be a phase shift along that x-axis.

A quote from Electronic Musician:
For example, on many mixing consoles, each input has a switch labeled "Phase," and the user manual might say that the switch "puts the signal 180 degrees out of phase." This switch doesn't really shift the signal in time; it simply inverts the signal's polarity.

Why the "Phase" label? Well, in the early days of electronics, the term phase was used to refer to the polarity of audio signals, and the word polarity was reserved for describing power signals. Technically, this terminology isn't correct for complex signals, but the industry still uses this convention.

and from the great Bob Katz:
The polarity of a loudspeaker refers to whether the driver moves outward or inward with positive-going signal, and can be corrected by a simple wire reversal. Remember that phase means relative time; phase shift is actually a time delay. The so-called phase switches on consoles are actually polarity switches, they have no effect on the time of the signal!


I do see what you were talking about though...and in the complex plane, such as in a phase meter on a console, a 180 degrees shift would correspond to the graphical display swinging in the other direction. But the emphasis I was trying to make for the sake of the original quesion was two audio wave forms and their relations with time. Maybe a better way for me to say it was to call it a phase delay time.
Again, I'll stop there as I'm sure I've dug a whole even further and opened this up for even more criticism ;)
 
Nah, it's cool, my main qualm is that people will go off and start quoting things that, whilst "correct" aren't the most correct way of stating things. This leads to people forming the wrong ideas later on.

I would also argue that by switching the polarity of the cable (a static vector) you're shifting the phase of the incoming signal as seen by the next downstream instrument. Once again, the difference between polarity and phase is the static/dynamic factor.

Phase also isn't the time-difference that it appears to be on the X/T graph, it just mainfests itself that way. Yeah, this is porbably going ga bit too deep for the "What does the phase reverse button do?" question, I find the whole topic fascinating (then again, I'm a massive nerd).

Also, I think you're confusing the X/t and X/Phi (Phi= phase angle) graph. Whilst they are deceptivley similar, when you start moving things around on the differnent graphs, different things are happening that can't be expressed in the term of the other graphs. I would usually think of some analogy, but it's late. Maybe tomorrow... or the day after... maybe...

The complex expression of a waveform is the most correct way of looking at things. Sure, it's mind-bending, and, truth be told, all you're really doing is changing the direction of the speaker cone, but a through konwledge of the underlying prinicpals will make things much easier to understand.

For the home recording market, yeah I guess you can get away with such "fudge factors". But when you "step up" into the pro market, I think it should be essential to have at least the basics of wave theory drilled into your head.

Whilst I'm a home reccer, I'm also a touring systems engineer. However, my background is in particle physics (hence the unfortunte knowledge of the complex plane). Whilst I can get my head around things like phase shift and "designed" a line-array system years before I had even heard the term, a lot of my peers don't even know the basics.
Now, I'm not saying that I'm better than my peers, but I seem to get things a lot quicker than others, and I attribute the majority of that to my prior knowledge of wave theory.

I guess, at the end of the day, it's one of those extra skills that you might want to add to your "toolbox", except that it takes up less space than a console and costs less than a GAMA...

Finally, not to rubbish Bob Kat, but that quote.... yeah, it's not all that great.
Think about it- if a phase shift was actually a shift in time, that would mean that putting a physical phase shift would actually delay the signal. for a constant phase shift over a varying frequency, that time difference would vary from frequency to frequency.
Polarity is more of an electronics term, and the statement about the loudspeaker cones is absolutely correct. A good example of this is the JBL Array series 4892 box, in which the tweeter "pulls south", i.e. it goes towards the rear of the box when a positive voltage is applied to the coil. Hence, if you're using the 4892, you have to phase- reverse the HF signal or end up with some crazyness around your crossover frequency (why the hell anyone would make a box like that is stupid, but, hey... whatever floats JBL's boat...).

I think this is an example of GIGO in practice. Katz has probably learnt something along the lines of "Phase=time", and hence has passed it down to everyone else. Or maybe it was jsut a poor choice of language... whatever. The point is that everyone reading that quote who doesn't konw any better will assume that it is gospel, and so the BS continues.

I see it all the time, things ranging from high-tech things like phase reversal and "why do we figure-8 cables?" to the ultra low-tech like "Don't use a scissor lift on carpet tiles".

Go buy and read some books people, or even read a whole bunch of wikipedia articles. Take everything you read with a grain of salt, unless they can back it up with firm data that can be independantly verified.

As I said before, this is a science, not a religion. Use facts in the studio and save dogma and gospel for your church...
 
You might be missing one small point about the phase button: It only acts on one track. In order to affect phase, there has to be (at least) two waveforms. The degree of phase would depend on the frequency you are measuring in a complex waveform. Flipping the polarity of one waveform against another (different waveform) will result in comb filtering, because the frequency content is not exactly the same in each waveform. Only certain frequencies will be 180 degrees out.

The only time a phase switch will actually throw something 180 degrees out of phase is when you have two of the exact waveforms playing against each other. This really doesn't happen in real life, so polarity is more accurate.
 
Finally, not to rubbish Bob Kat, but that quote.... yeah, it's not all that great.
Think about it- if a phase shift was actually a shift in time, that would mean that putting a physical phase shift would actually delay the signal. for a constant phase shift over a varying frequency, that time difference would vary from frequency to frequency.

I'm confused as to what you are saying here...I don't think it quite disputes Mr. Katz's quote. What do you mean by physical phase shift? The signal is already delayed, that's his whole point. It's phase shifted with reference to the other signal. You need two signals in order to be out of phase with something. He's saying phase shift=movement in time.
Are you calling a physical phase shift the same thing as when you hit the polarity reverse button? We know a delay is not what that button does. Yes, it is possible to delay the first signal to get it more lined up with the second signal...but I think he's just saying that you can't REVERSE time on the already delayed signal in order to bring the two back in phase. He's not saying the button is a phase shift button...the phases of the two wave forms have already been shifted.

When you reverse the polarity on one channel, are not the two signals STILL out of phase...just to a lesser degree?
 
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bennychico11 said:
phase is a proponent of time. It's a total natural occurence in sound waves. However, yes, it can be harmful at times.

Phase denotes the current state at which the wave form is in. Wikipedia defines it as: the time position (or angle in the complex plane) within a cycle of a periodic waveform.

The example you are familiar with is when two wave forms are clashing with one another. We say these two wave forms are out of phase. Take for example two microphones set at different distances from their source. One microphone is 2 feet away from the source and the other microphone is 5 feet away. Because of the difference in distances, the source's wave form will reach the first microphone before it reaches the second one. Sound is not instant...it take a little bit for sound to travel through the air, so it arrives late in time to the second microphone. When these are recorded you can view them graphically in a DAW and you will see one wave form begin and a then a little while later the second one begins. These two signals are considered out of phase with one another.

Sometimes this can be pleasing to the ear and may not even be noticeable. However the further away you move the mic, the worse it may start to sound. We know sound waves have a positive and negative state to it's wave length (also called the waves polarity). It is possible to capture the postive motion of a wave with one microphone and capture the negative state at the same time with the second microphone. When you add two positive numbers together you get a bigger signal...or more amplitude away from our zero crossing. When you add a positive and negative number together, the number gets smaller...the closer our amplitude gets to our zero crossing.
When a signal is said to be 180 degrees out of phase, this is when the positive and negative sides of the wave form line up in time exactly and have the exact same amplitude. Create a sine wave and make a copy of that sine wave. When you play back the two together (started at the exact same time) the sound gets louder. Now turn (invert/polarity reverse) one of the two 180 degree...so now it's the opposite of the original. What happens? The sound disappears!! This happens all around you. Have you ever been in your living room and walked around listening to TV to notice that the sound seems quieter in one part of the room than it does in the other? Sound is canceling right there....frequencies are clashing with one another.

On mixers there is a polarity reverse button (notice I said polarity, not phase...you can't reverse phase...remember, phase has to do with time) that can help with this phenomenon when you are recording. It's not always needed, only when you hear it causing a problem. What this button does is flip the polarity of our electrical signal and makes the positive negative and the negative postive. Our wave form is now 180 degrees the other way to help correct the cancellation of sound we are hearing when combining channels together. In other words, since the wave form is coming in out of phase already (can be up to 180 degrees off), we just flip it back around another 180 degrees to equal 360 degrees.....which gets us closer to looking like our other signal.
I personally prefer to physically move the waveform on that track in my recording software BACK in the timeline so that the beginning of the first sound lines up with the beginning of the same sound in the other microphone. Like I said above, polarity reversing/inverting does not shift the audio back in time and I'd rather my audio not be late. That's just me though.

I'll stop it here for now, as I've probably written too much and confused you even more.
(See Glen, I ramble on too ;) )


no no you havent confused me worse .. this is good ... so all it is, is one signal being a little bit later than the other?

but there is also times when it can be cancelled out when the waves are complete opposites
 
Nick The Man said:
no no you havent confused me worse .. this is good ... so all it is, is one signal being a little bit later than the other?

but there is also times when it can be cancelled out when the waves are complete opposites

in its simplest form, yes.
A phase shift is a time delay...but phasing problems don't necessarily have to result from wave forms shifted in time. Speakers can also be considered out of phase if the terminals are reversed on one of them. Even though they are playing the same music at the same time, one happens to be pushing when the other is pulling. This can also mess with your sound. I've even heard a story where a CD mixed and mastered in Europe plays with the opposite polarity in the US because the gear was manufactured with opposite polarity than the European gear was. When the engineer flipped the polarity on both the channels it sounded fine.
The cancelling out of waves happens more frequently in the theoretical world when talking about sound waves and no room reflections. In the real world we work with complex waves and you probably won't hear much 100% cancellation of sounds in the room you're sitting in. What you will hear is what Farview mentioned...comb filtering. Certain frequencies start to cancel eachother out and this is what you hear when there is a phase problem. You still hear the sound and can tell what it is, it just sounds weird. Maybe I'll try and see if I can upload some examples this week.
 
Farview said:
You might be missing one small point about the phase button: It only acts on one track. In order to affect phase, there has to be (at least) two waveforms. The degree of phase would depend on the frequency you are measuring in a complex waveform. Flipping the polarity of one waveform against another (different waveform) will result in comb filtering, because the frequency content is not exactly the same in each waveform. Only certain frequencies will be 180 degrees out.

The only time a phase switch will actually throw something 180 degrees out of phase is when you have two of the exact waveforms playing against each other. This really doesn't happen in real life, so polarity is more accurate.

Once again, the GIGO machine is in effect.
I didn't want ot have to do this, but since you all seem to think that "OMFG Phase = Time" and "You ned two waves" then I'm going to have to point this litte fact out to you:
THe wave equation, in it's most correct form, is:
d^2u/dt^2 = c^2(delta u) - or, in other words, the acceleration of a particle is relevant to it's displacement. This, of course, will usually result in the sinusoidal movement of the particle, however when we intergrate the double derivitave, you end up with a few constants that cannot be forgotten about.
One of these is the phase shift.

Performing hte double intergration with the Fourier Transform, and over simplify, you end up with:
u = cis(omega*t + phi), where u is sthe displacement as a function of time, cis is the complex sinusoidal term ( cos(X) + i Sin(X)), omega is the angular velocity (complex word for fresuency, represented by the "velocity" of the phase angle on the complex plane- ie f/2pi), t is the time and phi is the constant of intergration.
This is where the major "Phase = time!" fallicy comes into play, because a change in phase will ahve the same effect on u as a change in time would have (as they are both in the same set of brackets)

And that's the simplest form. Once you start looking at other intergration paths, you'll notice that they all have some constant, which, when intergrated out, become the initial phase of the wave.

In other words, every wave has a phase releative to "the great cosmos" or whatever you want to call it. Push your hand forward through the air- you've jsut started a spherical wave with an arbitrary phase. Now, push your hand backwards. You've now just created a spherical wave with a reversed "phase". Whilst it may seem insignifigant until you comapare two waveforms together, every wave has its phase.

What Farview is thinking of in interference, in which you do need two waveforms.
However, if you have two identical waveforms that are totally out of phase, then they will cancel TOTALLY. If you want to start thiking about complex interferance, you've got to shake the sinusoidal notion of waves and start thinking of complex and aperiodic waves. A phase reversal will always result in total destructive interferance. That's basically how you work out the resultant amplitude- you compare the vectors on the complex plane, add them together, and the resultant vector's x component will give you the amplitude. Then, as those vectors spin around, your amplitude will change accordingly (unless, of course, the vectors are exactly opposite, in which case the resultant x component will alwys be 0).

You're also totally wrong on the polarity front- take a shape- any shape, be it a wave form, square... whatever.
Mirror it (ie change it's "polarity")
Add the two together. In the simplest case, the mirror changes the sign of every "part" of the shape, and when you add +x and -x, you get 0 in all cases.
Draw an aperiodic waveform, then draw the same waveform where the amplitude is the negative of the first waveform for all t (ie, siwtch the instantaneous polarity of the wave).
Then, for all t, add the amplutides of the first and second wave together- no matter what the instantenous amplitude, the result will always be 0, so by switching the poliarty of the instantaneous amplitude, then you will get total cancellation, not comb filtering.


In reference to the Katz Quote:
Firstly, I'll say it one more time:
Polatiry is a static vector term
Phase is a dynamic vector term.
If you have a look at at a wave on the complex plane, you will see it's vector spinning around in a circle. It is this behaviour that excites nerdy types, as expressing a wave as a circle makes things so much easier than trying to draw sin waves ad infinitium.
If you express a swith in polatiy on the complex plane, you have a straight line passing through the origin, with equal lengths both sides of the origin.

a "Physical" phase shift is one that you can "do" with your hands- like switching pins 2 and 3, pressing a phase button... whatever.
What this does to the electronics is a poliarty reverse, as it switches two bits of metal, which are static.
However, what it does to the wave (as seen by the next downstream instrument) is switch it's phase.
Once again I reffer to the the cis(omega*t + phi) part of the above equation- whilst a change in time or phase can manifest itself with the same effect as a change in the other, that isn't what's happeneing.


The point I was trying to make earlier in reference to the Katz quote is that whilst a time shift and a phase shift look similar, they aren't the same thing, so by saying that a phase shift is a shift in time, you're creating the false environment where a phase shift of pi will create a differnt delay for different frequencies.
But, we know this is false, becuase phase is time independant, hence a phase shift of pi will leave the original wave intact, just with a phase shift...


One final request... please, please start using your heads people.
If you want to know more about this subjetct, DON'T keep reading this forum, go out and get a basic wave theory textbook and try working through it.
Take everything I've said with a grain of salt, as I haven't verified any of this (although I will on request). However, make sure that you take what everyone else says with that same salt- even if they have a huge reputation and a "big name".
Strive to know your industry, don't just copy others.
 
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cpl_crud said:
One final request... please, please start using your heads people.
You seem to be missing the fact that when sound engineerstalk about 'phase' or 'phase problems' it is shorthand for 'the phase relationship between two or more signals'.


cpl_crud said:
You're also totally wrong on the polarity front- take a shape- any shape, be it a wave form, square... whatever.
Mirror it (ie change it's "polarity")
Add the two together. In the simplest case, the mirror changes the sign of every "part" of the shape, and when you add +x and -x, you get 0 in all cases.
Draw an aperiodic waveform, then draw the same waveform where the amplitude is the negative of the first waveform for all t (ie, siwtch the instantaneous polarity of the wave).
Then, for all t, add the amplutides of the first and second wave together- no matter what the instantenous amplitude, the result will always be 0, so by switching the poliarty of the instantaneous amplitude, then you will get total cancellation, not comb filtering.
How many times does the left overhead and the 2nd tom mic have the same waveform? The only time (in a session) that you will have two waveforms that are exactly the same on two separate tracks is if you copied and pasted one.
 
bennychico11 said:
I personally prefer to physically move the waveform on that track in my recording software BACK in the timeline so that the beginning of the first sound lines up with the beginning of the same sound in the other microphone. Like I said above, polarity reversing/inverting does not shift the audio back in time and I'd rather my audio not be late. That's just me though.

I'll stop it here for now, as I've probably written too much and confused you even more.
(See Glen, I ramble on too ;) )

4 questions I have been meaning to ask for a long time:

1:Is there a point (when using 2 different mics) when the sound is phase-free?
(except from the point where you would put the mics next to eachother)
When I listen and I move the mic : the further I move, the lesser Higher frequency phase I have and the more lower frequency phase I have.
When i'm listening I start to walk back and back and back until I'm 5 meters from the (in this case) Guitar cab.
This can't be right can it?

2: Are there any negative aspects to moving the .wav file in time so the waves match?

3: How about I have 2 out of phase mics a SM57 up close and a Studio Projects C1 up far.

The SM57 is missing some natural high's 7k-13k area and I'd like the C1 to capture those.
So basicly what I do is I low-pass filter the SM57 @ 7k and I high-pass filter the C1 @ 7k. So the C1 alone is just some ''sissling'' but adds a more natural sound to the guitar.

Now my question: If the mics were out of phase, would they still be out of phase if I used this system

and question 4:
How about putting overheads in phase with the snare by moving them in time ?


I know these are lots of : Try it and listen to it, but i'd like to know the theoretical difficultys/problems/impossibilitys :)
 
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