Snare Phase Alignment
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- Опубліковано 4 бер 2022
- #drummixing #audioengineering #studiomixtips
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What are you working on this weekend? Share below!
I've just being on a trip to pick up my 'new to me' pedal steel guitar. So ... yeah ... I'll be working on this wacky guitar for a while.
I am digitizing my ancient 4-track Cassette songs individual tracks!-REAL tape compression!! ;)
Gonna Record some Metal Drums tomorrow. Will be fun! :-)
I actually finished a new song last night. 1st one in about ten years. Just have to finish mixing it. Pretty proud of it. I learned so much from you Warren. Thank you so much...
Phase alignment is the best way to mix drums. Often times you align them and they barely need extreme EQ work. THIS is the trick to remember.
Yess - I do it the same with guitar DI / guitar cab mic - it's the way to go in times of DAWs, accurate to the sample! In a band context, it helps to record an isolated 'adjustment' hit for the source in question before.
Maudio AutoAlign is what i use.
Warren, in a recent mix I ran into the issue, that the delay from: 1. kick to overheads and 2. snare to overheads was pretty different. When adjusting the times individually I found that while both gained in body, the drums lost timingwise. There was no perfect way to do it, because - as I stated - the time-difference between kick to OH and snare to OH was different.
Meaning: If I let the Overheads dictate the timing and adjusted the other tracks accordingly, it sounded crisp.. but also sounded OFF, if I chose the kick-timing for the overheads and adjusted the snare to the OH-track the snare felt a little too early and vice versa. (there was no reasonable way to keep both the kick- and snaretiming, editing the Overheads in that manner seems unreasonable, right?)
I'm not sure if that was just me being "used to" the drum-sound beforehand or what it was, but I finally chose to simply keep the timing provided and not phase-align the Drums at all. Instead I chose to squash the ever living hell out of the overheads which made them sound "washier" eitherway and turned them down a bit. Using mostly the individual kick and snare tracks for the kick and snare-sound and the Overheads more like a crossover between an Overhead- and a Room-track if that makes sense. Have you been in that situation before? What would you have done? (I'm used to programmed drums, where this issue doesn't arise)
My impression is that it's not possible to get your kick and snare equally in-phase with the overheads because your kick drum is (obviously) much further away from them. It's simply not possible to make it appear that a waveform is hitting the kick mic two feet from the beater at the same time as the overheads which are six feet (for instance) from the beater. If you do think your kick sounds thin and you think it might be because of a phase issue, it's much easier to flip the phase in an EQ plugin or directly on the channel (depending on what your DAW lets you do) and see if that helps. EQ also changes phase a bit, so it probably doesn't hurt to go ahead and high-pass your overheads pretty aggressively, and you might find that that makes more room for the low end of the kick. I'm not an expert and I do still struggle with drum mixing myself, but these are probably some things that most engineers would tell you.
I do this all the time while mixing drums, and it makes a huge difference. But in the old days of tape, I could not time align the overheads with the 57 on the snare. Was multitrack tape more forgiving of these subtleties or did better engineers than me had some way to phase align those mikes. thanks!
I love your content, would love if you did a visual ON/OFF so that we can hear the effected and by bypassed signals back to back and uninterrupted. Cheers!
This is why I use electronic drums
Damn that phase! Tricky little beast at times.
Please go over how you treat the overheads and room mics in time and phase with the close mics
Legend!!
I feel like I inspired this short with my comment on the acoustic mic placement video ;)
Often it’s not a good thing. We heard so much music with no time aligned close mics and we love it. Actually I remixed some of my works with time aligning off and it starts to sound more deep in terms of space and dimension. I think that’s because ohs acts like room mics for the close mics and because of interaction between all the close mics and ohs. Moving close mics we’re changing its relationships with each other, we break the space-time continuum, if you want:). It’s especially can make sound worse if it’s a live performance with multiple mics in the same room. But it also can be a good thing if mix is very busy and heavily gated. I suggest listen to ohs (cymbals) and space when moving close mics and not doing it by default.
Just setup both of the overhead mics to cover the whole kit but placed at an equal distance from the center of the snare. Voila! No phase.
Another amazing video Warren. For my latest project, I use nugen audio's alligner, and it did a great job!
I literally just posted the same type of video! Lol. Great just Warren!
Haha thanks ever so much
One does not simply get the snare in phase 👌
Stuff like this is the reason I use samples. Using live drums gets too complicated.