"If you got two parts that tend to sit in the same frequencies as each other: Try copying the haas delay for the first part and reuse it for the second. Before you try changing the delay time, try inverting the polarity instead. This gives the opposite comb filtering response and maximum possible separation between the two parts." This part blew my mind so much that I had to pause the video and take a deep breath. That's so cool
@@wagner9585 I understood it like this (hope I am right): You have the dry signal and the delayed one, so 2 tracks panned to either side. Changing the delay time of the delay track (2nd track) can cause silence, I mean the sound evens out and gets quieter. This is because of 2 tracks and the amplitude of each waveform If you swap the polarity you will get the opposite, so it gets loud and present again (check at 7:35, there the silence comes but this is the opposite) But I think he means 2 instruments in the same frequency spectrum and you do the trick with both, but use the same parameters of the delay for both and for the 2nd track you swap the polarity so these 2 tracks are not hurting each other (" maximum possivle separation between the two parts") this won't work all the time so instead of swapping the polarity, you can change the delay time by 1 or 2ms or smth.
Damn...These videos with Dan Worrall are developing a strong sense of what the sound actually is and how to achieve anything you want without any super-duper-game-changer plugins. Thank you, guys, your tutorials are priceless, appreciate that they are free.
This is incredibly great. Thanks. But it occurs to me, after getting a UA-cam video education for a year and a half, that no one else makes a video like this on these techniques. It makes me suspect that all those "expert" mix engineers making videos aren't as expert as they claim. Or, maybe they don't want to share these techniques. Or, they think their viewers aren't able to understand. But I think they don't understand.... Anyway, thanks a million for this series!
dude you've blatantly explained in full detail why in the past few years, despite primarily producing electronic i've been listening to rock/metal, its the fact its actually recorded in a room! it sounds so much fuller! it really does! like, its absolutely not impossible to get a synth to sound good of course but i realize now that its probably conducive to my own production to add even more acoustic elements, i've even thought of micing my monitors with synths to get room reverb so i absolutely have to try that now
@@Gabriel_Mercado honestly phasey and shite, even with a single monitor lmfao, the flatness of the studio monitors really didn't help, the only real usable results I got were putting a bluetooth sized speaker in my bathroom lol
@@Gabriel_Mercadoit sounds great, listen to Michael Jackson synths on Thriller. Bruce Swedien commonly mic'd the room while having the synth parts play on speakers. He would then blend in the room sound to taste with the dry synth sound.
Is this the best production channel ever? Quite possibly. Very knowledgable and pleasant speaker, engaging music that applies to the topic points throughout the song, and fantastic illustrations and animation that applies the subject matter directly to what you're hearing. I can't get enough of this content and I'm honestly surprised it's free.
i have no idea who you are but ive been struggling with properly mixing my first tracks after years of 'producing' and these videos are amazing. so glad i clicked on your channel in the suggested vids.
Another idea for Haas delays: Have one channel that is down the center of your mix. Then create a delayed duplicate for the left and a differently delayed duplicate for the right channel. Bus the delayed duplicates together and apply a mid/side balance control to that bus. Turn the side signal up and the mid signal down for these panned and delayed tracks. This will add width but allow any Haas phasing issues to disappear in mono. This is because reducing the mid signal and boosting the sides on any track with pre-existing stereo information will make the track's signal disappear considerably in mono but add lots of width in stereo.
So, is this basically delaying a copy of the mid signal and converting it to side signal? ‘Cause Ozone Imager 2’s Stereoize Mode (Mode 1) says it does something like that.
@@armansrsaits very close to the real trick. Which is to have a dry signal and a delayed signal, but the delayed signal you flip the polarity of one of the sides. This will create stereo width but when collapsed to mono the side signal will cancel out itself. Keeping integrity the integrity of the sound in both mono and stereo
Excellent tutorial. Regarding the first tweak, the delayed signal SHOULD always be attenuated, simply because with a single source, the waveform arriving at the offside ear not only arrives a bit later, but with slightly less amplitube (due to travelling a slightly greater distance)
This three videos are amazing, incredibly full of tips that can seem hard to undestand but that are really helpful to achive that "level up" in the mixing process. This videos need to be watched more than one time to undestand every word. Thank for this amazing stuff Dan!
Finally i know how to achieve this stereo width ("outside of your head" effect). Thank you!
5 місяців тому
Oh, my... I'm not sure how to thank you for these series of vídeos, @Dan Worrall and @Fabfilter. You taught me how to fix a big issue that I wasn't able to fix by myself.
A dislike? Really? Who could dislike this? Once again, Professor Worrall schools us in the fundamental principles upon which we can build a career of wise, creative choices. What I wouldn't give for an hour of Dan on Saturn. Brilliant man.
this is just stupidly good. I got so frustrated with my phase issues that I just mainly cut out stereo effects. Wish I had seen this earlier and I hope to see more of this series.
These tutorials make me anticipate and sense wonder in the world. And the world of sound is both closer to understanding and at the same time it looks more diverse than seemed before. 🌞Thank you for so much advice and nice plentiful examples! Also it raises my hopes that my ears aren’t too old and deaf yet. Cool to actually *hear* all these things despite tinnitus and all.
thanks for these videos, they're so useful because I can actually learn why these effects are happening, and they're also understandable for bedroom producers :)
Suggestion... Volcano seems to be purpose built for this Haas Delay comb filter tuning... maybe fabfilter should include an optional dialog that will display the expected response curve of the comb filtering that happens when the plugin is used for this technique, providing the user with some visual/mathematical feedback to use in addition to his or her ears... maybe even give it the same ability that pro q has to compare it to other existing pro q instances...
haha, i can't get over how mad and stupid i feel after watching this. like i barely had enough $ to pay for drums to be recorded in a studio, but then to have knowledge/skills for mixing. i feel like i'm way late. i've been playing music since middle school, i'll be 40 this year, but damn. kudos to you, dude, and cool you share these things. black magic wizadry
I'd wager the view count would go up much faster if Dan's name was mentioned in the title to show up in searches. Love this dude; such a great teacher.
An approach I've used for a long time is to somehow re-synthesize or process the pitch of the duplicate track to make more compatible (and still wide) tracks. It rarely disappoints me!
WE LOVE FABFILTERS!!!!! WOOOOOOOOO! GREAT VIDEOS AND AMAZING CUSTOMER SUPPORT AND SERVICE!! ALSO THE PLUGINS ARE AMAZING AND WELL WORTH THE INVESTMENT!! IT'S ALL YOU NEED FOR MIXING AND MASTERING!!!
damnn... who would've thought you could use phasing issues to your advantage? I am flabbergasted to say the least. can't wait to use the haas effect everywhere next hahah
Hi. I would like to see you analyse two plugins that I use frequently, Brainworks bx Stereomaker and TDR Labs Proximity. They both do simulated stereo, They probably both use Haas delay techniques but I'm sure that there are extra tweaks going on in the background that I would love to truly understand. Your in-depth analyses have really helped me understand what's going on under the hood of several plugins, notably the Reaper plugins. So, if time permits and this tickles your fancy, please check these two out. Thanks
The first minute and a half of this video just blew my mind. How do I know which ear is hearing how much of which signal? If I hear something from the right, I'm hearing it with my left ear? I'm totally freaking out rn.
I ususally use the plugin canopener when I mix in headphones as it's made to give speaker like stereo characteristics to headphones. But I recently thought about using it sparingly on my masterbuss as an effect to get more spaceous mixes, as long as it is not sounding like shit on speakers it must be a good idéa right? maybe even use it on "fake" drum rooms to create that spaced pair feeling on the reverb
Dear @Dan Worrall , if you have the chance to listen to Prince track "Cream", there are some hard panned elements, such as guitar licks. For me they sound the same loud in mono, side and left/right. (If they are panned to the left i.e. they're muted on the right). Could you tell me your thoughts on that? Thank you for sharing your knowledge.
god stuff, bit surprising that there weren't any examples of using stereo imaging plugins though since that's often what people use to create width on a channel. i guess most do work on the haas principle though
Possibly due to the frequency of the volume jumps, if the level is pumping up and down at more than 30 times a second you’ll start hearing that as it’s own discrete superimposed tone
The video thumbnail shows some sound lines making curves do go to the opposite ears, which is really misleading. Sounds is filtered by the head, it doesnt go curve arround it
This makes me angry... I've studied at Berklee mixing and mastering... And never got taught with this depth... It makes fully sense now why I hated this technique, always darn p. Cancelation. Thanks a lot! 🙏
This is very interesting but seems very unlikely people would go to the extent of actually adjusting the delay time to tune the sound to the song. Do people really do this often?
Would you always put delay and reverb on a send Chanel and make it mono? (I make mainly electronic music) And how can i make a different delay time for the highs and lows with a stock plugin?
Just discovered this series and, boy, what a great video! Thanks a lot for all this info and showing it I have one question, though: In the graph at 17:41, when the polarity is flipped, the two curves aren't symmetrical. The pink (polarity flipped) one, at the first dip circa 80Hz seems to be getting to its nadir quicker than the green (original polarity) is getting to its zenith. In fact, all the negative dips are pointier than the positive counterparts. Is there a reason for this? Maybe the polarity flip button needs some processing time/power or whatever to do its job, so it isn't a perfect mirror?
This tutorial is awesome! But I‘m puzzled about "create a mono send from the dry guitar track to the Volcano track". Does it mean either guitar track is mono, or Volcano track is mono? Or does it mean both guitar track and Volcano track are stereo, but the DAW could send mono guitar signal to Volcano track? I don't recognize the DAW in this video, and I can't find similar function in studio one. Hope you could answer my question. Thanks a lot!
The DAW is Reaper, which is a little quirky in that it doesn't have conventional mono channels. If I pan the (mono) guitar hard left and send to the delay track, it will be panned hard left on the delay track as well, so when I pan the delay right we won't hear it. So I switch the send to mono after I create it to avoid that issue. If you're using a different DAW this won't apply.
@@DanWorrall So if i'm on ableton, would i duplicate the track, put the duplicated track in mono and apply Volcano onto the duplicated track, and then pan the original track left/duplicated track with Volcano right, and then also make the master channel mono too?
Every mix trick I discover is one that Dan already Haas.
I see what you did there. 🙃
I'm width you on that one
It's an important phase in your mixing education.
he helps me gain a wider knowledge
He really makes a difference!
"If you got two parts that tend to sit in the same frequencies as each other:
Try copying the haas delay for the first part and reuse it for the second. Before you try changing the delay time, try inverting the polarity instead. This gives the opposite comb filtering response and maximum possible separation between the two parts."
This part blew my mind so much that I had to pause the video and take a deep breath. That's so cool
Crazy stuff right???
someone please explain
now i just need to know how to change the polarity with ableton live ... hm
part means instrument? or what?
@@wagner9585 I understood it like this (hope I am right):
You have the dry signal and the delayed one, so 2 tracks panned to either side.
Changing the delay time of the delay track (2nd track) can cause silence, I mean the sound evens out and gets quieter. This is because of 2 tracks and the amplitude of each waveform
If you swap the polarity you will get the opposite, so it gets loud and present again (check at 7:35, there the silence comes but this is the opposite)
But I think he means 2 instruments in the same frequency spectrum and you do the trick with both, but use the same parameters of the delay for both and for the 2nd track you swap the polarity so these 2 tracks are not hurting each other (" maximum possivle separation between the two parts")
this won't work all the time so instead of swapping the polarity, you can change the delay time by 1 or 2ms or smth.
watching such a guy can make you feel really stupid, but again, you can learn so much in those 20 minutes. Keep up the lessons. Thank you
dont let it make you feel stupid, man. just let it make you feel like you gotta keep learning, even 20 years from now. just never stop learning
Dan Worrall. National treasure
wow this vids are pure gold in the youtube wasteland, a man that actually knows what hes talking about
Damn...These videos with Dan Worrall are developing a strong sense of what the sound actually is and how to achieve anything you want without any super-duper-game-changer plugins. Thank you, guys, your tutorials are priceless, appreciate that they are free.
its air pressure
Noah Hornberger 😂😂 I laughed at that comment more than I should have. 😅 Lol.
the best STEREO tutorial in ALL UA-cam, the only one that talks physics and the real reason of all the stereo thingy
at 6:13
as a Logic user, that zooming stabs me in the heart.
This is incredibly great. Thanks. But it occurs to me, after getting a UA-cam video education for a year and a half, that no one else makes a video like this on these techniques. It makes me suspect that all those "expert" mix engineers making videos aren't as expert as they claim. Or, maybe they don't want to share these techniques. Or, they think their viewers aren't able to understand. But I think they don't understand.... Anyway, thanks a million for this series!
dude you've blatantly explained in full detail why in the past few years, despite primarily producing electronic i've been listening to rock/metal, its the fact its actually recorded in a room! it sounds so much fuller! it really does! like, its absolutely not impossible to get a synth to sound good of course but i realize now that its probably conducive to my own production to add even more acoustic elements, i've even thought of micing my monitors with synths to get room reverb so i absolutely have to try that now
Did you try this yet? how does it sound?
@@Gabriel_Mercado honestly phasey and shite, even with a single monitor lmfao, the flatness of the studio monitors really didn't help, the only real usable results I got were putting a bluetooth sized speaker in my bathroom lol
@@Gabriel_Mercadoit sounds great, listen to Michael Jackson synths on Thriller. Bruce Swedien commonly mic'd the room while having the synth parts play on speakers. He would then blend in the room sound to taste with the dry synth sound.
Dan Worrall is the God of audio tutorials
The explanation of the haas effect is legendary. Thanks for the solutions.
Is this the best production channel ever? Quite possibly. Very knowledgable and pleasant speaker, engaging music that applies to the topic points throughout the song, and fantastic illustrations and animation that applies the subject matter directly to what you're hearing.
I can't get enough of this content and I'm honestly surprised it's free.
The absolute best.
i have no idea who you are but ive been struggling with properly mixing my first tracks after years of 'producing' and these videos are amazing. so glad i clicked on your channel in the suggested vids.
Another idea for Haas delays: Have one channel that is down the center of your mix. Then create a delayed duplicate for the left and a differently delayed duplicate for the right channel. Bus the delayed duplicates together and apply a mid/side balance control to that bus. Turn the side signal up and the mid signal down for these panned and delayed tracks. This will add width but allow any Haas phasing issues to disappear in mono. This is because reducing the mid signal and boosting the sides on any track with pre-existing stereo information will make the track's signal disappear considerably in mono but add lots of width in stereo.
Holy shit this is genius
that will cause comb filtering in stereo as you will be combining the dry signal with a delayed signal in each speaker
So, is this basically delaying a copy of the mid signal and converting it to side signal? ‘Cause Ozone Imager 2’s Stereoize Mode (Mode 1) says it does something like that.
@@armansrsaits very close to the real trick. Which is to have a dry signal and a delayed signal, but the delayed signal you flip the polarity of one of the sides. This will create stereo width but when collapsed to mono the side signal will cancel out itself. Keeping integrity the integrity of the sound in both mono and stereo
Excellent tutorial. Regarding the first tweak, the delayed signal SHOULD always be attenuated, simply because with a single source, the waveform arriving at the offside ear not only arrives a bit later, but with slightly less amplitube (due to travelling a slightly greater distance)
This three videos are amazing, incredibly full of tips that can seem hard to undestand but that are really helpful to achive that "level up" in the mixing process. This videos need to be watched more than one time to undestand every word. Thank for this amazing stuff Dan!
This is the best Mix video I have watched in all of my 35 years. Thank you.
This is the dopest video on using the haas effect.
Finally i know how to achieve this stereo width ("outside of your head" effect). Thank you!
Oh, my... I'm not sure how to thank you for these series of vídeos, @Dan Worrall and @Fabfilter. You taught me how to fix a big issue that I wasn't able to fix by myself.
Every time I think I'm pretty much on top of things, Dan throws yet another spanner into the works!
A dislike? Really? Who could dislike this? Once again, Professor Worrall schools us in the fundamental principles upon which we can build a career of wise, creative choices. What I wouldn't give for an hour of Dan on Saturn. Brilliant man.
Always learning something new from Dan.
this is just stupidly good. I got so frustrated with my phase issues that I just mainly cut out stereo effects. Wish I had seen this earlier and I hope to see more of this series.
I love how these vids incorporate example music as backround music, and it I love it!
The world makes sense again
Exactly my thought ❤
These tutorials make me anticipate and sense wonder in the world. And the world of sound is both closer to understanding and at the same time it looks more diverse than seemed before. 🌞Thank you for so much advice and nice plentiful examples!
Also it raises my hopes that my ears aren’t too old and deaf yet. Cool to actually *hear* all these things despite tinnitus and all.
Thank you Dan! You truly have the best tutorials in the world!
thanks for these videos, they're so useful because I can actually learn why these effects are happening, and they're also understandable for bedroom producers :)
Game changer.. can't stress this enough. Huge work and so many knowledge shared!
I love you fabfilter man
Suggestion... Volcano seems to be purpose built for this Haas Delay comb filter tuning... maybe fabfilter should include an optional dialog that will display the expected response curve of the comb filtering that happens when the plugin is used for this technique, providing the user with some visual/mathematical feedback to use in addition to his or her ears... maybe even give it the same ability that pro q has to compare it to other existing pro q instances...
haha, i can't get over how mad and stupid i feel after watching this. like i barely had enough $ to pay for drums to be recorded in a studio, but then to have knowledge/skills for mixing. i feel like i'm way late. i've been playing music since middle school, i'll be 40 this year, but damn. kudos to you, dude, and cool you share these things. black magic wizadry
I'd wager the view count would go up much faster if Dan's name was mentioned in the title to show up in searches. Love this dude; such a great teacher.
An approach I've used for a long time is to somehow re-synthesize or process the pitch of the duplicate track to make more compatible (and still wide) tracks. It rarely disappoints me!
These tutorials are amazing, thank you so much 🙏🤍
So much information that is new to me. Excellent as always, very much appreciated Dan and FF
Brilliant example from the wind recording - nice to hear Blumlein vs Spaced
AHA! Comb filtering actually looks like a comb! Always wondered how it got the name!
I've been waiting for these videos since Dan's LCR video. Totally worth the wait!
Again, another brilliant video.
WE LOVE FABFILTERS!!!!!
WOOOOOOOOO!
GREAT VIDEOS AND AMAZING CUSTOMER SUPPORT AND SERVICE!!
ALSO THE PLUGINS ARE AMAZING AND WELL WORTH THE INVESTMENT!!
IT'S ALL YOU NEED FOR MIXING AND MASTERING!!!
best content i found in a loooong time
damnn... who would've thought you could use phasing issues to your advantage? I am flabbergasted to say the least. can't wait to use the haas effect everywhere next hahah
Mr. Fab Filter, who are you? You´re so smart.
This like/dislike ratio here is phenomenal! Great video thanks!
These 3 parts are totally awesome. Thanks Dan.
Bravo. Simply brilliant explanation.
This will be perfect for a mix I'm working on at the moment - cheers!
10:29 -> that would be a pretty sick riser with that ringmodulation type sound at the end if we put a bit of distortion on it as well
I thought the same; heard these kind often 👍
These videos are absolutely fantastic
Hi. I would like to see you analyse two plugins that I use frequently, Brainworks bx Stereomaker and TDR Labs Proximity. They both do simulated stereo, They probably both use Haas delay techniques but I'm sure that there are extra tweaks going on in the background that I would love to truly understand. Your in-depth analyses have really helped me understand what's going on under the hood of several plugins, notably the Reaper plugins. So, if time permits and this tickles your fancy, please check these two out. Thanks
Great presentation and very informative as always 👍
This is mind blowing. Thanks for this.
Well, it finally made sense to me why listening in headphones cannot be the same as listening in a pair of speakers.
really great video love you dan
Such good info. Thank you!
Thanks Dan. Great series.
The first minute and a half of this video just blew my mind. How do I know which ear is hearing how much of which signal? If I hear something from the right, I'm hearing it with my left ear? I'm totally freaking out rn.
You guys are the best! Thank you so much!
Dan is the man!
Keep these tutorials coming!
I ususally use the plugin canopener when I mix in headphones as it's made to give speaker like stereo characteristics to headphones. But I recently thought about using it sparingly on my masterbuss as an effect to get more spaceous mixes, as long as it is not sounding like shit on speakers it must be a good idéa right? maybe even use it on "fake" drum rooms to create that spaced pair feeling on the reverb
Marvelous!! Gracias Dan. REALLY
Dear @Dan Worrall , if you have the chance to listen to Prince track "Cream", there are some hard panned elements, such as guitar licks. For me they sound the same loud in mono, side and left/right. (If they are panned to the left i.e. they're muted on the right). Could you tell me your thoughts on that?
Thank you for sharing your knowledge.
I have no idea, but maybe they achieved it with lots of saturation? Did you ever figure out an answer?
god stuff, bit surprising that there weren't any examples of using stereo imaging plugins though since that's often what people use to create width on a channel. i guess most do work on the haas principle though
It was very god indeed.
Loved this tutorial!
why do i feel like Waves "inphase" plugin would help this out a lot
really insightful but at 17.39 wont flipping the polarity cause the two signals to cancel out? I must be missing something here :(
fantastic! yet another time!
as always, the best videos! Is there a book with all this lectures?
GOAT
you are amazing!!!!!!!!!!!!!!!
Thank you so much
10:14 why at the final sweep stage you can hear alisaing? (those frequencies reflecting back down)
Possibly due to the frequency of the volume jumps, if the level is pumping up and down at more than 30 times a second you’ll start hearing that as it’s own discrete superimposed tone
This is rocket science now.
Wow! Great video
The chapter starting at 5:55 is labelled "Harz" delay instead of Haas. Mistake or inside joke?
thank you very much for such good lessons - You are Awesome !
The video thumbnail shows some sound lines making curves do go to the opposite ears, which is really misleading. Sounds is filtered by the head, it doesnt go curve arround it
This makes me angry... I've studied at Berklee mixing and mastering... And never got taught with this depth... It makes fully sense now why I hated this technique, always darn p. Cancelation. Thanks a lot! 🙏
So can I not do this in logic because I can’t invert phase on sends
it starts to act like a flanger when I start to dial the delay knob on volcano !!!! why is that ??
Do i dont need to care about correlation meter heading to -1 while I using this skill?
This is very interesting but seems very unlikely people would go to the extent of actually adjusting the delay time to tune the sound to the song. Do people really do this often?
Would you always put delay and reverb on a send Chanel and make it mono?
(I make mainly electronic music)
And how can i make a different delay time for the highs and lows with a stock plugin?
Two tracks with a filter and delay. Set to high pass and low pass respectively.
Thank you!
Just discovered this series and, boy, what a great video! Thanks a lot for all this info and showing it
I have one question, though:
In the graph at 17:41, when the polarity is flipped, the two curves aren't symmetrical.
The pink (polarity flipped) one, at the first dip circa 80Hz seems to be getting to its nadir quicker than the green (original polarity) is getting to its zenith.
In fact, all the negative dips are pointier than the positive counterparts.
Is there a reason for this? Maybe the polarity flip button needs some processing time/power or whatever to do its job, so it isn't a perfect mirror?
using the filter delay is the same as inputting a track delay on a send channel like you can in ableton right?
amazing tutorial!! thank you so much!!!
How to show the comb filter curve in plugindoctor????
Now I don't know whether I should be phase-correcting multi track live recordings
This video made my cat go crazy
PURE GOLD
Thank for this, amazing
This tutorial is awesome! But I‘m puzzled about "create a mono send from the dry guitar track to the Volcano track". Does it mean either guitar track is mono, or Volcano track is mono? Or does it mean both guitar track and Volcano track are stereo, but the DAW could send mono guitar signal to Volcano track? I don't recognize the DAW in this video, and I can't find similar function in studio one. Hope you could answer my question. Thanks a lot!
The DAW is Reaper, which is a little quirky in that it doesn't have conventional mono channels. If I pan the (mono) guitar hard left and send to the delay track, it will be panned hard left on the delay track as well, so when I pan the delay right we won't hear it. So I switch the send to mono after I create it to avoid that issue. If you're using a different DAW this won't apply.
@@DanWorrall So if i'm on ableton, would i duplicate the track, put the duplicated track in mono and apply Volcano onto the duplicated track, and then pan the original track left/duplicated track with Volcano right, and then also make the master channel mono too?
I love you Dan
Treasure, this guy is
Why don't you release your tutorial music? These are really good loops.
izotope dislikes this
what plugin can create the effect at 1:50?