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SOS March 2018 Issu…
Mix Rescue: Phase Relationships
Mixing & Recording Advice
Production
Mixing
By Mike Senior
Published April 2010
This month, we show how manipulating the phase relationships of some
tracks in your mix, plus a little disciplined pruning, can revitalise
a flat‑sounding track.
Many home recordists seem to find the subject
of phase a bit mysterious. I wrote a long article
on the subject in SOS April 2008
(/sos/apr08/articles/phasedemystified.htm) to
try to clear up any confusion, but there's
nothing like a real‑world example to hammer
a point home, and this month's remix, for rock
band the Black Bloc, fits the bill nicely. Given
the influences the band cite (see 'Rescued This
Month' box), it should come as no surprise that
a tight, live-performance aesthetic is important
to their sound, and phase and polarity
problems turned out to be one of the big
The Black Bloc in a drum- and bass-tracking session:
obstacles to achieving this, with not only the
recorded acoustic drums can sound great, but
drum parts needing careful attention, but also remember to think about phase when recording.
the guitars and lead vocals.
In this article...
Multitrack Drums & Phase
Drum Overheads & Close Mics
Under‑snare Magic
Guitar & Vocal Phase Rotation
Why Linear‑phase EQ?
Just A Phase?
Arrangement Tweaks
Rescued This Month...
Remix Reactions
Audio Files
Multitrack Drums & Phase
My primary concern with the band's original
mix was the soft and unfocused sound of the
drums, because the driving, funk‑tinged
performances of the drummer and bass player
were crying out for something tighter and
punchier. Kick and snare samples had been
triggered to try to ameliorate the situation, but
they hadn't helped a great deal, so I muted
everything and began to troubleshoot the
sound from scratch.
As usual, the first tracks I faded up were the
overheads. They typically capture a mix of the
whole kit and therefore tend to be the most
important tracks in terms of defining the kit's
overall character. Panning the two mics hard
left and right to start with revealed one howler
straight away: the polarity of one of the mics
was inverted compared with the other.
Zooming in on the audio, you could clearly see
the snare waveforms in mirror image, and the
sound had that weird holographic quality to it,
which makes you feel a bit like your brain's
being sucked out through your ear!
The upper screen here shows a zoomed‑in view of
the left and right overheads files, as submitted for
the remix. The drum hit you can see is a snare drum,
and you can see that the polarity of one of the mics is
clearly inverted: the waveform is an approximate
mirror image. Also notice that the snare appears
slightly later on one channel than the other, which
skewed the stereo and affected the sound in mono.
The lower screen shows how Mike matched the
polarity and timing for a punchier and more
mono‑compatible sound.
A simple polarity inversion switch on the offending channel was enough to switch off the
cranial hoover — or so I thought. Suddenly, about three minutes through the track, the sound
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suddenly went freaky again! Somehow, it appeared that one of those overhead mics was only
out of phase for the first half of the track. This wasn't something I'd ever encountered before,
and I was worried it might also afflict some of the other tracks too, so I immediately scoured
them for tell‑tale signs. And a good thing, too, because the main snare track had a similar
anomaly, although the switchover actually occurred a couple of seconds earlier. Engineer
resting their Daiquiri on the console during the take? Never a good idea...
Anyway, once I'd identified the problem, it
wasn't tricky to polarity‑invert just those audio
regions affected. However, I'd also noticed,
while examining the overhead waveforms, that
the snare wavefronts weren't very well
time‑aligned — in other words, that the snare
wasn't the same distance from the two
microphones. (In fact, given that sound travels
roughly a foot per millisecond, it looked like
one mic was four or five inches further away.)
Shifting the audio on one of the tracks so that
the wavefronts lined up had two effects: firstly,
the snare's stereo position felt a bit more
focused into the centre of the stereo image, where I wanted it; and secondly, the drum's tone
was slightly clearer and snappier when summed to mono.
Once all that was sorted out, I returned to the matter of evaluating the overheads sound.
Because there were no tom‑toms in the kit, and close mics were provided for snare, kick, and
hi‑hat, I wasn't hugely bothered about instrument balance issues; one of the big advantages of
recording close mics is that they allow you much more scope to rebalance the kit components
at mixdown. More of a concern was the tonality of the snare, which had a couple of very
pronounced undamped resonances. I traced these ringing frequencies to 354Hz and 797Hz
using Schwa's Schope frequency analyser (which I find much quicker and more accurate than
trying to track them down manually with an EQ band) and then zapped both with 12dB of cut
from high‑Q peaking filters. How much to cut in these instances is best judged in the context of
a full mix, though, so I later revisited these settings with the other instruments going and
discovered that slightly less severe attenuation produced a meatier sound.
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Drum Overheads & Close Mics
I then had a listen to the two kick‑drum mics:
one placed inside the shell and the other
(judging by the time delays involved) positioned
just in front of the kit. The outer mic had a little
spill from the rest of the kit, but otherwise
sounded great, so I all but left that alone. My
only real processing touch was to enhance the
tightness of the drum with SPL's Transient
Designer plug‑in (running on a Universal Audio
UAD2 processing card), emphasising the punch
with about 5dB attack and shortening the
sound's release with ‑6dB sustain.
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There were over‑prominent snare resonances in the
overheads signal at 354Hz and 797Hz, as you can see
Mixing the outer close mic with overheads, it
in the upper screen here. Targeting those with
was clear that the low‑frequency elements of
narrow peaking‑filter cuts courtesy of DDMF's LP10
the overheads were making the kick drum a bit
plug‑in (lower screen) made for a much more
too distant and ambient, which I didn't feel
appropriately balanced snare sound.
would sit well with the precisely punctuated
bass playing, so I applied a 24dB/octave high‑pass filter at 120Hz, using DDMF's LP10 linearphase EQ, to clean things up. I then checked to see which close‑mic polarity setting might give
a better combination, but there wasn't much difference between the two settings now that
there was so little real low end in the overhead response.
The other kick track was quite
unnatural‑sounding, even for an internal close
mic: though well endowed with beater slap and
flabby, rumbling low end, it lacked anything
much else. For this reason I high‑pass filtered it
at 30Hz with another instance of LP10, setting
limits on the reach of its low end, and then
kept its contribution quite low in the mix. The
pair of mics seemed to work better than the
outside mic on its own, but there was
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a tubby‑sounding build‑up of energy around 200Hz, so I pulled this down with 4dB of peaking
cut. I also experimented with lining up the initial kick waveform peaks of the two close‑mic
tracks by sliding one slightly backwards in time and, while this technique won't produce
something worthwhile every time, here it seemed to give a slightly harder and more cohesive
outcome that I liked.
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As usual, the snare‑drum close mic over the top of the drum wasn't particularly pleasant to
listen to, despite a reasonable dose of attack transient, because it lacked noise components
and possessed an extended resonant and metallic‑sounding sustain tail. Taking out the worst
of the resonances with hefty LP10 peaking filter dips at 865Hz and 1037Hz helped a little, but
even so it was clear that this mic was only going to be useful for adding attack, rather than
full‑bodied noisy sustain, to the overheads. With that in mind, I mixed the mic in with the
overheads, checking its polarity switch for the beefiest attack, but found that I couldn't get the
snare hitting as hard as the kick without +3dB of attack from another Transient Designer
plug‑in.
Under‑snare Magic
The under‑snare mic was, as you'd expect, out of polarity with
the top snare mic, but it was also very slightly out of sync as
well, so polarity inversion, combined with a little timing nudge,
ended up giving the crispest bite. The mic now supported the
rest of the drum mix pretty well, adding welcome rasp and noise
to the existing 'poing'! I did need a couple more narrow peaking
cuts, though, this time at 156Hz and 179Hz, to rein in some
ringing of the kick drum (or possibly an otherwise idle tom‑tom)
that had been picked up.
I love under‑snare mics, because they usually catch all the
instruments in the kit to some extent, and so can be used to
help glue a kit together in much the same way overhead mics
can. One way to maximise this cohesion is to compress the
under-snare to bring up the spill contributions, much as you
might with overheads or room mics. However, the beauty of the
under‑snare placement in this situation is that compressing it
doesn't carry as great a risk of washing out the sound with room
ambience, and this was especially relevant here, as the drums
had been recorded in quite a large room with quite a wet
sound. I tried a couple of less‑than‑gentle compressors to give
the under‑snare mic a hammering, eventually deciding on SSL's
freeware Listen Mic Compressor, which added a nice edge to
the snare sound in particular.
A software version of SPL's
Transient Designer (in this case
running on Universal Audio's
UAD2 platform) was useful for
adding snap to both kick and
snare. This screen shows the
setting used for the former.
The hi‑hat was the last track to blend in, and because the hat's tone was pretty good, with
well‑controlled snare spill, all it warranted was a polarity check (no inversion required) before
I could fade it up and pan it to match the hat position in the overheads. There was no point in
getting too anal about the panning, though, because hat spill on all the other close mics
militated against pinpoint imaging. I could have achieved a sharper stereo picture by targeting
this spill with careful filtering and gating, but this would have been at the expense of the
'organicness' of the kit as a whole, which appeared to me to be much more important.
The upshot of all this was that some very basic EQ, a couple of instances of Transient Designer
and a single compressor were enough to dramatically improve this drum mix — but only once
the important phase/polarity groundwork had been done. Yes, I also did some further polishing
of the drums with parallel compression, tempo‑sync'ed stereo delay, and hall reverb, but none
of that would have amounted to a hill of beans without the basic sound already being 90
percent of the way there. So the moral of the story is this: when mixing drums, you ignore
phase relationships at your peril!
Guitar & Vocal Phase Rotation
You've got so many options when mixing
a multi‑miked drum set that the simple phase
tools I've already mentioned (polarity inversion
and time‑shifting) rarely feel underpowered for
the task. Bass usually also seems to respond
well to these same tools, in my experience.
However, when you start combining different
electric-guitar mic signals, perhaps even from
The overhead and snare tracks all switched their
different amps driven by a splitter box, greater polarity halfway through the track. Here's the
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waveform of the snare recording: can you tell where
control is often called for — and this is where
specialised phase rotators come into their own. the polarity switches? Answers on a postcard...
These devices are designed to adjust the phase relationships between the different frequencies
in a sound, but without any adjustment of the frequency response. This effect should be pretty
much inaudible on soloed sounds, but the moment you use it on one signal of a multi‑mic
setup, it alters the phase‑cancellation effects within the combined sound, and can therefore
radically alter the final tone, particularly if the contributing mic signals are at similar levels.
I've often used Betabugs' handy little Phase
Bug utility in this capacity in previous columns,
but I was keen, on this occasion, to try out the
more controllable software emulation of Little
Labs well‑known IBP phase rotator (running on
Universal Audio's UAD2 DSP system), so
I turned to this instead when trying to make
sense of the three separate signals that
contributed to each of the main guitar parts. In
The guitars and lead vocals were both improved
its virtual incarnation, IBP offers variable
adjustment of both time delay and phase and, using phase rotation from Little Lab's new IBP
Workstation plug‑in, running on the UAD2 platform.
as with any phase rotator, setting it up is very
Here's the setting used for the guitars.
much a process of trial and error: you just have
to spend a bit of time twiddling the controls until you like what you hear. In this case,
I considered the guitars to be a bit too soft and distant‑sounding (partly on account of a heavy
delay effect that had been printed during recording), and wanted to focus the sound and give it
more presence.
It's important to remember that you'll only hear the effects of the phase rotation when the
different mic signals are all mixed together, so there's no point in soloing the track while
processing! Another thing to bear in mind is that most EQ will also adjust the phase
relationships of frequencies within the processed signal — so you'll probably need to revisit
your phase rotator setting after you've EQ'd, to check that you're still getting the best out of it.
I tried phase‑adjusting all three guitar parts, but only one of them really benefited, and as
I decided to put this part lower in the mix anyway, it meant that the phase‑related
improvement to the guitar sound was quite small — although still definitely worthwhile. By
contrast, my final application of phase‑rotation, for the lead vocals, made an enormous
difference.
The band had suggested that some kind of
distorted vocal sound, like Roots Manuva's on
Leftfield's 'Dusted', might be suitable for their
production, and I was in support of this idea
because it enabled me to make the vocals
appear aggressive at a lower level, giving the
band as a whole enough room to sound
powerful in context. For this purpose, I set up
a send from the heavily compressed main
vocal channel to IK Multimedia's Amplitube
X‑Gear, and surfed through the amp models
looking for a suitable contender. Many of the
models simply sounded too big and fuzzy,
Mike used distortion from a Fender Champion 600
whereas in this application smaller amps tend emulation running in IK Multimedia's Amplitube
to produce more controlled and usable results. X‑Gear to add aggression to the lead vocal. The
Finally, I happened on a Fender Champion 600 sound of this was then refined by switching the
default AKG C414 mic emulation for a Beyerdynamic
model that sounded promising, and then
M160 model, and moving the virtual mic off‑axis to
adjusted the volume control and flicked
the cone.
through the different virtual mic models and
placements to refine things a little more. This was pretty close to what I was after, but lacked
grit, so I chucked the output through another instance of the SSL Listen Mic Compressor for
that.
To this point I'd been auditioning the distortion channel solo, in order to hear more easily the
effects of the distortion controls and home in on a sound rich in frequencies that were
recessed in the lead vocal itself. However, you can't evaluate any mix processing properly out
of context, so once I'd set up an initial X‑Gear patch, I hopped out of solo mode... and had
a nasty surprise. The distortion effect was comb‑filtering appallingly with the main lead vocal
track, knocking such a huge hole in the low mid‑range that the singer might as well have been
rocking the inside of a Coke can! IBP rode to my aid again, fortunately, and I was relieved when
a quick twist of the Phase Adjust knob snatched victory from the jaws of defeat — still not
a simple addition of the two tracks, but a much more satisfying combination that made the
vocal more aggressive‑sounding and also blended it better with the track as a whole.
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Why Linear‑phase EQ?
I've already mentioned that most EQ affects
not just the frequency response of a processed
signal, but also the phase‑relationships
between its different frequency ranges.
However, increasing numbers of plug‑ins are
available that offer the option of 'linear phase'
equalisation, where no phase‑relationship
changes occur: IK Multimedia T‑Racks 3's
Linear Phase EQ, 112dB's Redline Equalizer and
DDMF's LP10 are three that spring to mind.
Linear‑phase EQ has a reputation for greater
transparency in critical processing situations
(and higher CPU munch into the bargain!), so it's often more closely associated with mastering
than mixing. However, where you're working with multi‑miked recordings, linear‑phase EQ lets
you make frequency‑balance changes to individual mic channels without affecting their phase
relationship with others. The magnitude of this benefit is fairly small if you're working with
decent recordings where the required EQ changes are minimal, but when you need to really
push your EQ settings for heavier sound‑sculpting, linear‑phase EQ can justify its extra CPU
cost by retaining a more coherent sound with less phasiness. It was for this reason that I chose
to use linear‑phase EQ for dealing with the guitar parts, as I ended up using fairly steep
high‑pass and low‑pass filters in 112dB's Redline EQ to bracket the most promising part of each
mic signal.
I also experimented with linear‑phase EQ for the notches I punched into the various drum
tracks, but ended up deciding against using it there because of one of its most common
side‑effects: pre‑ringing. Most people quickly discover that high‑Q filters in normal EQ 'ring' at
their turnover frequency, but where normal EQ rings after the signal event that excites it,
linear‑phase EQ can ring before it, which sounds pretty weird. When I tried using linear‑phase
peaking filters to notch out the problematic undamped drum frequencies on the snare and
overhead mics, the pre‑ringing side‑effects became too obtrusive. I compared both Redline EQ
and LP10, but they both exhibited similar foibles, and switching out of linear‑phase mode gave
a much better result, albeit at the expense of more interaction with other drum parts.
Just A Phase?
If your primary tactic for tackling mixdown
phase issues in the past has been to run away
shrieking, I really hope that this month's Mix
Rescue feature has demonstrated just how
much you could be losing out. Despite the
mystique surrounding the subject of phase, it's
honestly not terrifically difficult to deal with, as
long as you give it the attention it needs — and
if you're able to get this aspect of your
productions right, it should help you to achieve
a sonic clarity and punch that other processing
options will struggle to match.
The Black Bloc, playing live.
Arrangement Tweaks
In addition to the processing changes I made, a fair amount of my work on the remix
involved working on structure and arrangement issues. Although I had no problems with
the slow‑paced inevitability of the band's build‑ups, there were a number of points where
the rhythm section appeared to be just marking time, so I decided to slim down some of
these eight‑bar sections to four bars to keep the momentum going. The hiatus before the
third and final section also broke up the flow of the track unnecessarily, so I contracted
that as well.
Some copying and pasting of the single double‑tracked guitar part added a bit of textural
variety to help with the overall feeling of build‑up, particularly in the final section. While
I often find myself weeding out unnecessary parts in Mix Rescue, there was very little of
that required here, given the clearly focused band line‑up, but one thing did find its way
onto the cutting‑room floor: the electronic drum pattern (from a Korg Kaoss Pad) that
provided a consistent mechanical backdrop to the original mix. This part obscured a lot
of the drummer's interesting low‑level details, and was also making his groove seem
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bogged down, so I ended up eliminating it everywhere except during the middle section.
The added delay special effects were another significant addition, and while it's difficult
to rationalise the instinct that led me to try those, I think it was mainly because the heavy
delay effects on the guitars (which I couldn't change at all, as they had been printed while
recording) initially seemed somehow unrelated to the rest of the track, whereas the
presence of similar vocal effects made the guitars feel more integral to the production as
a whole. I also wanted to give the choruses a more contrasting textural signature, and
the long feedback delays (in tandem with a change in the bass sound) provided this.
Rescued This Month...
This month's track comes courtesy of Yorkshire‑based band the Black Bloc, whose brand
of politically charged rock has been described as Rage Against The Machine on acid! The
line‑up consists of Michael Bush (lead vocals), James Bush (guitar), Paul Stewart (bass,
backing vocals), and Ady Hoyle (drums). They've already had enthusiastic support from
BBC Introducing and The Joe Strummer Foundation and have been touring like madmen
too, clocking up 100 gigs in their first four months alone and appearing at major festivals
such as Glastonbury, Shambala, and Wychwood. In 2007, the band recorded their debut
album with producer Steve Whitfield, and are currently working on a follow‑up, which
should appear later this year.
www.myspace.com/theblackbloc
www.theblackbloc.com
Remix Reactions
The Black Bloc: "Usually we're working with an engineer/producer at mixdown and
chipping in throughout, so it was a strange experience hearing the remix for the first
time after such a comprehensive rework. No drum machine! Considering that the whole
song had been built around it, that was immediately a pretty radical change. The next
thing that struck us was how big and ferocious the vocals and drums sounded. Without
doubt, Mike definitely got what we were after with the vocals: they're sharp, gritty and
pronounced, providing clarity at all volumes, which is something the original mix lacked.
When the whole band came in halfway through the first verse, it was apparent that this
new mix sounded much clearer. Each instrument had its own defined space and the
whole thing sounded wider.
"The next surprise was the delay that had been added to the vocals. Again, when you're
used to a song in a certain way, something like this can be quite a shock, and at first it
seemed slightly overdone, as if it should have faded out sooner. As the song progressed,
though, everything began to fall into place: Mike had tapped into the trippy nature of the
guitar effects, and the vocal effects were complementing and enhancing them perfectly.
As the song moved through the outro, all these effects began to merge together to create
a really eerie soundscape, and it was at this point that we began to realise why the drum
machine had been removed: it allows the song to breathe, providing space for the vocal
and guitar echoes to play out and entwine, and for Ady's ghost notes and Stewie's bass
to cut through the track.
"Overall, the song now manages to sound both raw and polished at the same time. Not
only this, but Mike's managed to knock almost a full minute off the track time, and
though it's hard for us to admit (considering the time we spent writing it), he's improved
the structure along the way. Besides the improved mix, what we've realised from this Mix
Rescue is the value of having independent creative input from somebody outside the
band, especially when it's someone with the knowledge and experience Mike clearly has
behind him. If you've agonised over the writing of a song for a long time it's very difficult
to detach yourself from that, so it's constructive to have a fresh discerning pair of ears to
provide the finishing touches. Certainly, if someone had suggested ditching the drum
machine we'd have written the idea off straight away, but in fact the gains that came
from having that extra space far outweighed the loss of that particular part's
industrial/electronic/machinegun‑like character.”
Audio Files
We've placed a number of audio files — including both the original track and Mike's
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remix — online so that you can hear for yourself the changes that were made:
/sos/apr10/articles/mixrescueaudio.htm
Published April 2010
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