Hi Joe, thanks for this InPhase video. I would like to know your strategy and thought if we handle a festival or night club gig with several band but 1 drum kit, means every band which will perform has different angle, placement of microphones (overhead especially consider to every drummer of certain band will have different cymbals setup). How would you correcting the phases of those? Do you ask each drummer to hit some 4bar groove (include toms hit) and record it on reaper, play it back from input B (but mute prevent it sounding from PA) and move quicky to do inphase correction? Or how you overcome with this kind of situation? Please let me know your thought, thank you.
That's a great question. Step 1: Evaluate if it's really necessary. If yes, go to step 2. Step 2: When everything is set for the new band I would have someone up on stage to do 3 hits on each snare/tom and sample that into each InPhase instance. This takes roughly 40 seconds and hopefully you have time for that. Then the show can start and you just adjust the delay when you have the time. If all the toms are not 100% in phase for the first song no one will die. But you are absolutely right in that as soon as you change the position of a drum or a mic you need to start over. Recording into Reaper and play back is also a solution. When I have tight sound checks that's often how I do it. And correct the phase after soundcheck.
@@joevegna I am working on an LV1 too and even have the plugin, but as we have digital drums I never tried it. Very cool demo! If I ever get acoustic drums I will try it.
Yeah there you go. This is the video Im gonna show people next time they say phase doesnt matter in rock or metal contexts... It matters in any context 😅
I would argue it matters especially in rock and metal where you really want things to be tight and powerful. Send them my way, I’ll set them straight 😅
That’s an interesting idea. I think it might bring too much delay in most cases. But I have never tried so I can’t really know. Also there’s a chance the singer moves the mic, and then it all falls apart. Would be interesting to try though. Sometimes it feels like there are more drums than vocals in the vocal mic, so yeah, why not have it in phase then.
Phase correlation and time alignment are closely related, but two different things. It might be different with live venues having their own unique sounds. However, in studio situations you don't really want to time align everything because you sacrifice stereo imaging and depth of the recording space. Similar concept to the pre delay on reverbs giving a sense of size. Try adding around 10 ms delay on over heads relative to the snare or kick and notice how it increases the perceived depth and width of the drum kit. An interesting feature with In phase are the all pass filters. You are able to manipulate the phase correlation between two sources without moving them in time.
Hi Joe, thanks for this InPhase video.
I would like to know your strategy and thought if we handle a festival or night club gig with several band but 1 drum kit, means every band which will perform has different angle, placement of microphones (overhead especially consider to every drummer of certain band will have different cymbals setup). How would you correcting the phases of those? Do you ask each drummer to hit some 4bar groove (include toms hit) and record it on reaper, play it back from input B (but mute prevent it sounding from PA) and move quicky to do inphase correction? Or how you overcome with this kind of situation?
Please let me know your thought, thank you.
That's a great question.
Step 1: Evaluate if it's really necessary. If yes, go to step 2.
Step 2: When everything is set for the new band I would have someone up on stage to do 3 hits on each snare/tom and sample that into each InPhase instance. This takes roughly 40 seconds and hopefully you have time for that.
Then the show can start and you just adjust the delay when you have the time. If all the toms are not 100% in phase for the first song no one will die.
But you are absolutely right in that as soon as you change the position of a drum or a mic you need to start over.
Recording into Reaper and play back is also a solution. When I have tight sound checks that's often how I do it. And correct the phase after soundcheck.
Crazy! I even hear the difference on my phone!
Cool right! And this can be done on any digital console. Waves just makes it super simple.
@@joevegna I am working on an LV1 too and even have the plugin, but as we have digital drums I never tried it. Very cool demo! If I ever get acoustic drums I will try it.
@@MrWillihelmdueckOh, I never thought of that. Digital drums will of course be in phase by default. See, we learn from each other 👍🏻
Yeah there you go. This is the video Im gonna show people next time they say phase doesnt matter in rock or metal contexts... It matters in any context 😅
I would argue it matters especially in rock and metal where you really want things to be tight and powerful.
Send them my way, I’ll set them straight 😅
Have you ever used a vocal mic as your “zero reference” mic in situations where you have a lot of drums bleeding into the vocals?
That’s an interesting idea. I think it might bring too much delay in most cases. But I have never tried so I can’t really know. Also there’s a chance the singer moves the mic, and then it all falls apart.
Would be interesting to try though. Sometimes it feels like there are more drums than vocals in the vocal mic, so yeah, why not have it in phase then.
Phase correlation and time alignment are closely related, but two different things.
It might be different with live venues having their own unique sounds. However, in studio situations you don't really want to time align everything because you sacrifice stereo imaging and depth of the recording space. Similar concept to the pre delay on reverbs giving a sense of size. Try adding around 10 ms delay on over heads relative to the snare or kick and notice how it increases the perceived depth and width of the drum kit.
An interesting feature with In phase are the all pass filters. You are able to manipulate the phase correlation between two sources without moving them in time.