Excellent demo of phase interference / comb filtering. This worst when the signals are the same level, differing only in phase, which usually translates to same distance.
👉Extra tips: it might be a good idea to render the phase corrected audio, to have waveform on the arrange view matching the audio Post-FX. This will make drum editing (quantizing etc) more accurate. Also, it will off-load the CPU of all the Auto-Align instances.
I learned a method that puts all mics equidistant from the snare mic. Maybe this was mentioned, but I missed it? Very nice illustration/demonstration of ideas presented. Thanks. Love your lessons. I predicted your focus here would be on phase alignment. Yeah me! Loved the voice pan demo making the vox fly to the left. (if my playback system's correct.) My mentor and friend, Sound Pioneer Bill Hanley, asked me if I'd read Leo Beraneck's seminal acoustics book. I believe he developed the perfect loudspeaker model expressed as a sphere that changes size, compared to a simple diaphragm. Too hard, I said. Too much math! Bill employed Leo's column theory before 1970 to fly a line array for the Rolling Stones in Manhattan. He's credited for many modern stage concepts; directional mics and wedge monitors among them.
Another excellent video. Auto Align sounds like a great tool. My two cents worth if I may. A snare drum has a unique sound due in part to the acoustical distance between the heads. Some prefer a deeper shell like a 8" and some like a 5" etc. My goal is to try and capture that sound. I stand in the room in front of the set listen to the snare so I can best capture it. My point is when processing drums or any instrument is not to over process or you'll be chasing your tail. And I have to admit using Auto Align sounds like the best way to experiment without spending hours going from control room to studio adjusting mics and baffles. To be able to compare alignment and phase settings in real time, whether laying down tracks or with tracks already recorded. Wish I had that long time ago. Question, can Auto Align be used in a live show situation? Is there any significant propagation delay?
What are your thoughts on leaving the room mics out of time/phase alignment? My practice right now has been delaying my kick and snare mics (one each) to the overhead mics (in glyn johns method positioning) and then leaving the two omni room mics (which are about 20 feet away) as is. I suppose I'm using my room mics as more of a reverb/delay to capture the room sound.
My position on this boils down to two things: 1. The only people who care are either drummers or people who like to play air drums when listening to music, which is more than a few people. And they all want drummer's perspective. 2. Audience perspective would really be mono, unless the audience is standing over the kit with their head between the cymbals. So yes, I agree with you. Audience perspective makes no sense.
@@AudioUniversity Yes but also as a listener - audience POV for drums implies an idea that the listener is supposed to be facing the band from a theoretical audience, but that's just not how I perceive music when I listen to it. I want to feel like I'm within the music; SURROUNDED by the music. In that sense, it's more like you're on stage with the band than in an audience that doesn't exist because I'm not at a concert. Also mixing from the drummer's POV tells me that the drummer probably had a say in how the album was mixed, which is cool. The best drummers are mixing all the time when they're playing, and when they're making decisions over what gear to use
@@ClearEchoSound You make a really good point. The average person probably wouldn't notice or care, but mixing drums from audience POV bothers me so much that I will go out of my way to invert the panning on Logic's producer kits. It legitimately ticks me off lmao
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One of the best places to check when you’re searching for solutions to audio issues. Great job, Kyle.
I appreciate that!
1:32 despite the context, I STILL thought my headphones lost their right cable... it's such an instinctual panic at this point hahaha
Excellent demo of phase interference / comb filtering. This worst when the signals are the same level, differing only in phase, which usually translates to same distance.
Great tutorial, as always! Thank you very much, Kyle, and congratulations!
Thanks for watching!
Another great video with good visuals to explain the topic.
👉Extra tips: it might be a good idea to render the phase corrected audio, to have waveform on the arrange view matching the audio Post-FX. This will make drum editing (quantizing etc) more accurate. Also, it will off-load the CPU of all the Auto-Align instances.
you have the best learning videos!
Once again. Good job on the topic Kyle!
Thank you!
Good stuff right from the start 🤘
Appreciate it! Thanks for watching!
So good explanation! Thank You!
Nice and clear Thanks!
Thank you!
I learned a method that puts all mics equidistant from the snare mic. Maybe this was mentioned, but I missed it?
Very nice illustration/demonstration of ideas presented. Thanks. Love your lessons. I predicted your focus here would be on phase alignment. Yeah me!
Loved the voice pan demo making the vox fly to the left. (if my playback system's correct.)
My mentor and friend, Sound Pioneer Bill Hanley, asked me if I'd read Leo Beraneck's seminal acoustics book. I believe he developed the perfect loudspeaker model expressed as a sphere that changes size, compared to a simple diaphragm. Too hard, I said. Too much math! Bill employed Leo's column theory before 1970 to fly a line array for the Rolling Stones in Manhattan. He's credited for many modern stage concepts; directional mics and wedge monitors among them.
"sometimes less is more"
me, who can only afford a single sm57: "tell me more"
This is an excellent tutorial, Kyle. Of course, a lot of this can be avoided by mic'ing the drums with a coincident pair... ; >)
Amazing video man! I'll try that for sure!🤘🤘🤘
Let me know what works and what doesn't!
so real, i loved this
Glad you liked it!
@@AudioUniversity yesyes
Another excellent video. Auto Align sounds like a great tool. My two cents worth if I may. A snare drum has a unique sound due in part to the acoustical distance between the heads. Some prefer a deeper shell like a 8" and some like a 5" etc. My goal is to try and capture that sound. I stand in the room in front of the set listen to the snare so I can best capture it. My point is when processing drums or any instrument is not to over process or you'll be chasing your tail. And I have to admit using Auto Align sounds like the best way to experiment without spending hours going from control room to studio adjusting mics and baffles. To be able to compare alignment and phase settings in real time, whether laying down tracks or with tracks already recorded. Wish I had that long time ago. Question, can Auto Align be used in a live show situation? Is there any significant propagation delay?
Can you make a video on layering multiple guitar parts
That's better! ❤
Any tips on how to solve this in GarageBand, or do I have to pay the $250 for logic to solve this?
What are your thoughts on leaving the room mics out of time/phase alignment? My practice right now has been delaying my kick and snare mics (one each) to the overhead mics (in glyn johns method positioning) and then leaving the two omni room mics (which are about 20 feet away) as is. I suppose I'm using my room mics as more of a reverb/delay to capture the room sound.
Mixing drums from audience POV is diabolical
You must be a drummer!
My position on this boils down to two things:
1. The only people who care are either drummers or people who like to play air drums when listening to music, which is more than a few people. And they all want drummer's perspective.
2. Audience perspective would really be mono, unless the audience is standing over the kit with their head between the cymbals.
So yes, I agree with you. Audience perspective makes no sense.
@@AudioUniversity Yes but also as a listener - audience POV for drums implies an idea that the listener is supposed to be facing the band from a theoretical audience, but that's just not how I perceive music when I listen to it. I want to feel like I'm within the music; SURROUNDED by the music. In that sense, it's more like you're on stage with the band than in an audience that doesn't exist because I'm not at a concert.
Also mixing from the drummer's POV tells me that the drummer probably had a say in how the album was mixed, which is cool. The best drummers are mixing all the time when they're playing, and when they're making decisions over what gear to use
@@ClearEchoSound You make a really good point. The average person probably wouldn't notice or care, but mixing drums from audience POV bothers me so much that I will go out of my way to invert the panning on Logic's producer kits. It legitimately ticks me off lmao
Will AA2 analyse the channels post-processing also? Say if a few channels had compressors and EQ added?
Could i use an analog guitar delay pedal to do the delay portion? 🤔
time smearing
If I eq the close mic, does it not make the Snare mic not in phase with the overheads anymore, which makes the track Aligning pointless?
I dunno...
I have not yet understood how EQ is related to phase.
Apparently, this has been solved anyway?
Nobody repositions mics after changing EQ...do they?
@freemanz4051 EQ adjustments creates phase shifting. This is where all-pass filters can help.
Confusing 😅
3:30 NOT QUITE EITHER DAY OR NIGHT, SHE'S PERFECTLY MISALLIGNED