You are literally a wizard. With every single other youtuber, i watch their videos, maybe get a cool ideas, but walk away having experienced some easy listening little idea thing. But THESE VIDEOS MAN. There comes a point in every single video where i have to squint my eyes and go, "what the fuck did he just do? " and then logically and slowly work my way through the steps to understand the chain of transformations taking place. It's like a college lecture or something. But BUT when I'm done and i understand it, it isn't like i walk away with some new idea to mix or something. That eye watering process of concentration and listening fundamentally changes my perspective and adds to my whole understanding. It's not like i walk away knowing how to make a cool thing with my toolbox. It's like i learned an incantation to unlock a secret drawer and found an entirely new tool, that upon contact, slightly morphs into my hand in a way that changes how i look at and use all other tools. Alright maybe the analogy got a little strained but you get the point. You are the #1 audio engineer mentor for an entire generation of students, young and old. This isn't a trick, this is wisdom. God bless you i hope i can make something so insightful some day
these videos are soo humbling, frustrating and damn relieving at the same time, like you're teaching actual magical tricks that involve so few simple tweaks that it makes me wonder if I'm actually dumb just when I felt I was about to get in the no progress zone in my mixing skills, you just come in and say "not under my watch" and BAM here's black magic for you, enjoy please never stop this
That last trick was awesome. I think in the past few vids a lot of people are asking how these filters are different from regular EQs. It just comes down to convenience for me. If I can move a fader to brighten up my mix instead of having to visit 3 EQs on 3 different tracks, or if I can balance my low end using one fader, that’s just way faster than the classic approach.
He gave a good explanation for this on the last parallel filters video. Paraphrasing, the advantages are what you said, plus the ability to use non-linearities (assuming a colorful filter), plus the ability to morph between filter shapes.
So in that sense, does the simplification of automation give you greater control over the outcome of a mix? Is that just a standard part of 'big picture' mixing that can't be represented quite clearly through youtube tutorial?
@@vAlkemistv I mean I personally think Dan Worrall is quite excellent at representing everything through youtube tutorials haha! I would say something that I've learned is that, if something is hard to do, people won't do it! So for example, There's been ways to use any plugin to do some Mid-Side processing, for a long time, but most people didn't really explore those options, until M/S processing became something you turn on by the press of a button on the plugin interface. So this is similar to that. If I have to work on 3 tracks to get a brighter mix, I may just convince myself that it's bright enough, but a single fader I can move, then it's at least worth trying, even though I may realize that it was bright enough, in which case, a single Command+Z gets me back to where I was :)
Amazing as always!! An idea for fellow Ableton users : Create a new audio track, set it to "Sends Only", route whichever instrument you want to have an inverted polarity send, add a Utility device, flip the polarity on both L and R, and then use this to feed the parallel filter return bus!! Was able to follow along with the video no problem, of course it's a little bit more tedious than on Reaper, but whatever!
Could work, but inside an AER you'd have to create eg 3 channels: Dry, Signal1 with inverted polarity, Signal 2, then instead of having a single fader to decide the volume of Signal1invpol+Signal2 you'd have 2 volume faders (that you could map to an AER macro though), good call anyway for those working more with inserts than sends.
I only got this to work by: Sending the instrument I wanted to stay in phase to the master and also routing it fully to the return track. Sending the instrument I wanted to be flipped to an audio track with the phase invert plugin. Sending that audio track with the plugin to the master. Setting the audio track with the plugin to "In" monitoring mode. Putting my phase flip and other effects on the return track.
You can save ableton tracks to come on with whatever plugins you want. I would set up for every track to come on with a utility, as it takes virtually no processing power.
I figured out a method for Ableton which I feel is relatively simple. 1. Create Delta send channel (pre-fader). Add desired filters. Send anything that isn't being inverted to this channel (e.g. snare for 500Hz bandpass boost). 2. Create second "Inversion" send (pre-fader). Add utility and invert polarity on left and right channels. 3. Set fader on the Inversion channel to -inf (or sends only). Enable send to the delta and set to 0db. 4. Send anything you wish to notch/cut to the inversion channel. It will then be inverted and sent to the delta channel. Hope this helps out.
Hello everyone. Dan, thank you for your awesome videos. I'm Studio One user and I definitely have this worked in my DAW. 1) Send your Synth to Return (FX) channel 2) Send your guitar to Bus, flip the phase of this Bus, turn fader down, and make pre-fader send to Return(FX) channel. 3)Enjoy, or do the macros for shortcut.
my god, what an amazing tip. I really like the idea of construction the channels in a way that the balancing of the mix consists of less and less steps over time. The most common example would be to level multiple percussions relative to eachother, and grouping them for volume control over all of them. This tip takes the concept to a whole new level. I will definitely experiment with this!
For FL Studio users: you can use patcher to make all the parallel chains you want. You can use fruity stereo shaper to flip the polarity of a signal. You can also do this in the mixer with sends and polarity flip (little up and down arrows symbol) like in Reaper
Dude! I got here after watching your analog summing video and subscribing. Now I'm 3 minutes into this one and I'm thinking I just found my favorite new channel. This is brain candy of the best type. Thank you for existing!
This became my favorite production-channel. 1) A soothing voice for doing naps (eeeh... I meant taking notes! That's it. Yes. Notes & learning all day, Sir.) 2) A little self-irony to get through the more theoretical sections. 3) And most important of all: no "Wow! Do you hear that difference?" when there is absolutely zero difference. (thanks for telling us about the Null-Test) Keep up the great work!
What a mind blowing trick, thanks for that! Bitwig Users: Either create a seperate channel for flipping the phase, or: Create a Tool device on the channel you want to send, flip phase L + R if you need to Select the device, press Ctrl + G Turn down the mix knob of the newly created fx layer to 0 Send the FX Layer to the filter bus: either expand the channel strip with the little arrow icon to show the the Tool layer and turn up its send, or select the Tool in the FX Layer and turn up the send in the inspector This way you can choose the point in the signal chain where your send goes out. Peace
This is the best an most amazing stuff. Mind expanding and applicable at the same time. It's dead easy to make kicks and snares punch through now, and I don't even have to set up side chain compression or anything. Hats off.
Dan you are an incredible engineer... I come from this geeky/audio-bender way of mixing because it feels amazing to pinpoint the problem, link knowledge together to find a way and solve it. Lately I've been experimenting with mixing with composition and layered/change of instruments: if the chorus feels too bloated remove an instrument, a layer (of a certain freq.) or change the phrase... if the bass enters maybe change of kick drum or drum pattern, etc. I've found that this usually leads to compositions that I've never thought I can come with and the amount mixing "tricks" are less cause it was kinda mixed by the song itself... Of course these techniques are not of one or another, in fact I think can work together amazing. Anyway thanks for the videos and sharing your knowledge!
A huge thank you for your videos! While they are far above my skillgrade, they inspire me and, what is more important, teach me to hear better. What a treasure!
i just want to say thank you because you are the single biggest mentor I have when it comes to mixing. i’ve picked up so many crucial tips from watching the videos, often times not even the subject of the video. i can safely say dan worral is the reason other people think I know what I’m doing
Got this to work in Logic. You need 3 buses. Bus 1 has normal polarity and it's output is routed to Bus 3. Bus 2 has inverted polarity and is also routed to Bus 3. Bus 3 is where you do all the processing. Have fun!
@@lucianogmyeh that's what i've done. So let's say snare is sent to Bus 3, everything else sent to Bus 2. Bus 2 has No Output and Sends to Bus 3. Seems to do the job... i wonder if you suggest the additional Bus 1 for latency/phase alignment?
I've been following along all those last videos carefully and called those return channels something like "inverse eq" so far but delta really is more concise for this. Thanks for another huge inspiration!
I'm pretty clever so I can usually grasp the concept you're explaining much more readily than I can hear it in the examples you provide. In this video, for example, the snare occurs only once or twice in the span of time you allot to the -∞ and unity fader states. That's not enough time for my mind's ear to pinpoint the differences. Also, you tend to talk in between the different states, which is mildly distracting, despite those dulcet tones. (Speaking as a rabid fanboi.) You might ask why I don't simply fire up REAPER and try this for myself, and that's a fair question. The sad answer is that while I'd love to do just that, these days, all the time I used to devote to making music is taken up by watching videos about making music and lamenting the fact that I no longer make music. I simply can't spare the time, you see. Food for thought.
Outstanding lesson progression. The last 4 or 5 videos got us used to using the tools and mindset necessary to approach and apply the Delta Channel. For Sonar you can create the sends by creating post sends > aux channels. Then the aux channels (which are pole rev-able) can be assigned to another aux channel or a bus. On the bus you must use something like Channel Tools to flip the polarity. I suggest using Channel Tools even if you're on an aux track as the available individual L/R pole revs, mid/side/L/R gain, channel width, and individual delays assignable pre or post encoding, gain, and pan add a whole lot of mojo to that Delta Channel.
I found your channel through a "fundamentals" video on Audio University. In that video, you promised that your regular videos weren't that helpful, because you didn't focus on the fundamentals. While that may be true, you're constantly training me how to listen to music, and how the math works in practice, in nearly every video.
Coming back to comment once again, because here is an equivalent trick : let say you the same snare problem and you want to remove 2 dB on every track except the snare. Put an EQ on the master remove 2 db. Copy the EQ on the snare, boost 2dB. It is like if you did nothing on the snare but cut 2 dB on every other track. It is not rocket science but it works
Hello Dan , I wish you did more videos explaining audio science for beginners and advanced like you did on the Fabfilter channel. This is really you at your BEST!!!
I personally disagree. If you watch all Dan's videos in chronological order across the FabFilter channel and this channel, I think you would be able to follow through all the more recent videos. That's what I've just done (it took me 2/3 months to write down notes and absorb the content) but now this video felt pretty obvious to me. I kind of guessed where he was going the whole time. If you think it's too much effort to start from the beginning, my advice would be if you already know the stuff, you'll move fast anyway. But if you don't, that's probably where you would want to spend your limited learning time first. Start with the basics and build your way toward more advanced material. Enjoy the journey!
At last, the problem of having to adjust two parameters has been solved, I'm amazed anyone managed to get any music out prior to this : ) Honestly sometimes I suspect you just like to tinker around and show off what you've discovered, and there's a pretty decent audio-nerd audience out there who will run with these ideas, but for the rest of us it really isn't an issue having a couple of EQs open and adjusting them to taste.
Sure...but the real deal is creativity and its a lot deeper than 2 knobs.... I think you are missing a whole world of implication 1.WORKFLOW: If you template the above idea and drag and drop the solution...you have trained your brain to use more muscle memory. Muscle memory creates reliance on gut feel rather than looking or thinking about it and this is the real bonus. Ive been mixing for 40 years...these are all little gems to add to the workflow. 2. DYNAMIC FREQ PIVOT: The low mids generally have the most contention...this is a good alternative to sidechain/trackspacing as its both substractive and additive. 3. AUTOMATION EASIER: On top of that...being able to simply use a send per target ie a subtract or add, at will, takes a lot of the drudgery out for larger projects as you localise a common tool for global effect; Push/pulling for subtle movement according to context is a very easy action...once again, you can shut your eyes, grab the control and move according to feel...imagine that. Speed becomes the essence...its like life drawing, learning to capture and complete in 3 mins vs 30 mins of drawing that is wasted because the weight doesnt sit correctly kind of works as analogy...for me anyway. Peace! Or just tweak 2 knobs and the myriad of peripheral that goes with it...either or...but Im thankful for the exposition...Cheers Dan
Channel name Delta -> Deus ... Maybe his needs an upgrade too tho? Deus Maximus Worrall(us) for World President! How calm would the world be? I bet it would sound better too lmao. Seriously tho. BEST AUDIO TUTORIAL ,,, EVER!!! Literally life changing tips for the little bubble of us who didn't know about, but appreciate this kind of trickery. Logic pro ,, after 20 years of use,, is almost redundant compared to an open source "rival"??? AMAZING and THANK YOU (sorry for all the caps but I reserve them for very special occasions, like saxophones). God Mode Active!😶🌫
Thank you for sharing Dan! I was wondering what your opinion is regarding using this technique specifically in the context of a critical scenario like a kick competing with a bass, versus some of the most obvious techniques like side chain compression, complimentary EQ bell boosts & cuts, or simply altering the sound sources. Is there one approach in particular that you feel yields the most compelling results in this kick vs bass scenario or is it more often a combination of multiple techniques used to varying degrees on a case by case basis? Edit: lol I think I found the answer in your other video "Parallel Filters, Pro Level: Flip It And Reverse It", awesome!
Any scenario where parts are conflicting in the same frequency range, and you would otherwise be dialing in reciprocal boosts and cuts with separate EQs.
Awesome tips! I wish I could actually hear the results for a bit longer, though. You could definitely stand to take a few more moments so that we can appreciate the actual result of the effect imo.
U can do it with native compressor, audio effect rack and utility. The compressor sidechain can be heard, making it an aux recieve, basically .If you put various chains Inside a rack with a compresseor in each and flip the polarity of the chain you want to invertet. Then you can put all the filters you want I've been making some rack presets based on Dan's videos I even made a bandpass filter. Abletons Eq doesn't have one, but a rack with a inverted notch in parallel does the trick
A question: functionally this seems quite similar to having a sidechained multiband compressor, or a dynamic eq I guess, on the bass (and other) part(s), that'd trigger when the snare hits. Are there other main benefits to this method other than convenience with the single fader instead of opening plug-ins and tweaking the settings there? I'm thinking results-wise, as in could you achieve the same thing with a compressor or a dynamic eq instead? Thanks for the brilliant video, really shows how important it is to keep the fundamentals of audio in mind when coming up with ways to change things in a mix.
The parts all interact, and the processing naturally gets more intense when there are more parts fighting for space in that region. Plus you can tweak the amount of processing with a fader in the mixer, no need to open any plugins again.
@@DanWorrall lol this answer literally avoided your only question. Exactly what I wondered as well mate. Probably gonna stick to the multiband sidechaining too
As soon as the video started I directly understood where this was going .... Yet I would have never though of this ! It is very clever, and so convenient ! I think I will use this for the "final" stage of EQing in my mix, to experiment carving frequency slots for diverse instruments. Not only it allows to easily boost vs Carve at different places, but it has also the advantages of being easy to remove and A/B compare..... That is so cool. The only downside to me is that it might make stem creation of my projects a bit more tedious.
@@DanWorrall Hahaha, Yes that is a great idea, but actually, I also use stems when a song is finished for live shows reasons. I typically render one unique multichannel wav file contaning all the stem tracks that groups the project tracks per element (drums, bass, synt, acoutics, main vocals etc). Then I create a live project, I import this multichannel stem in reaper and depending on my mood, I add effetcs mapped to midi controllers and/or replace some of the tracks live instruments (microphone inputs with looper pedal or not, drum machines, etc). So it does not really fit this application, unless I duplicate the "delta channel" several time and change the routing so that every duplicate doesn't receive several tracks anymore but only one . Also, by doing so, I kind of loose the ability to add a dynamic processor after the band pass filter. Maybe you have other suggestions ?
Ha I found a solution. It works using "render stem through master". I didn't know it, but this options actually render not only through master, but also with sends. I know it can cause problem with dynamics/saturation that are applied on subgroups but I should be able to manage it.
One question. Is there any other advantage to using parallel processing like that other than workflow efficiency improvement (6:27)? Nothing's stopping you to do all this stuff with a couple EQs, right? Also, 5:43, my first thought was multiband sidechain compression. I thought it was an obvious solution. Am I wrong? Am I right? Or am I just using a different approach? Don't get me wrong, I'm not salty or anything, I'm just trying to understand these choices. I know you don't reply very often to the comments, Dan, but I would love to hear from you.
Parallell processing like this is in a whole other ballpark than where most engineers play at. The result is surprisingly musical, but the method is extremely bespoke so I assume this is nothing you can really turn into a template. In a way, it actually brings back a lot of the handcraft expertise that audio engineers has lost due to automated work flows and digital solutions
Depends on the DAW really. Something like Bitwig you wouldn't really use a traditional mixer-type send approach to create this, you create it outside the channel-based mixer approach in the Grid and as it's in modular form you save it as a preset which is basically then reusable just like anothoer VST plugin in the signal flow or as Bitwig call it a Device chain.
@@SamHocking That's interesting! I have only a very limited insight into Bitwig but I hear lots of interesting stuff about it. What I meant with "template" wasn't really about the ability to save a template in the DAW, but more about the method of parallell filtering in mixing. Seems to me that it can solve very specific issues in a mix and opens up a lot of interesting and creative solutions, which are all dependent on the specific mix itself with all its instruments and arrangements. I do see your point however, like creating new instruments by doing some weird filtering effects that morphs with dynamics and stuff by itself.
I'm using Reaper now for two years, and still there are things I learn from it. It becomes a top notch DAW, or was already, and like you said, the stock plugins does the trick too, thanks for new insights Dan. BTW I use the unfiltered downward expander, these guys makes good stuff as well, sometimes weird plugins, but that's creativity is all about, right?
@@Musikproduzent that really isn't a problem, you just send the track to a group track and flip the polarity there before sending it to the main group.
@@Musikproduzent in cubase a channel is a channel no matter of its a send or bus. And each has a polarity flip. The plugin itself doesn't need to have it.
@@AboveEmAllProduction they just dont know cubase : ) with the new midi remote I press 2 buttons on my external controller and the parallel send with polarity flip is set up in 2 seconds...
If you want to recreate this in Cubase create an aux channel, flip its phase and use this as your actual aux send, but make it pre fader and pull the fader down entirely. Thanks Dan!
These tricks are really useful, but once certain elements are grouped together with group processing the null doesn’t work well enough. One solution I came up with is duplicating the drum bus compressor onto all the individual drums but then sidechaining the compressors to the drum bus. It allows for group compression while also making the parallel filters play nice with individual tracks
Ableton - if you want to send a channel with polarity fliped you can also create an extra send chanell and set it to "sends only" and flip phase before the final chanel (in case you cant dublicate tracks (if its a bus with many tracks))etc
i’m interested in more about steep EQ filters audibly ringing. What causes that (in the simplest terms possible). Is that a linear behavior? etc. I know nothing on the subject
Hello Dan. Hope you are doing well! Why dont you use an all pass filter? Its becouse the 6dB boost for the non polarity signal ? Im using this technic to mix drums samples with the acoustic hiits, replacing the sample 5k region with the live drums. Its working good so far!!! Sending the sample to a notch and the live drum flipped! This way i keep a clean fundamamental and avoid the machine gun issue. Thank you Dan
Great tip! Did you know that you can Delta an FX on Reaper by Alt+Left Clicking the Vol Wheel at the top right of an FX window? Very helpful! I love this technique you just showed, outstanding way to put phase to work! By the way, the theme you are using is lovely, what theme is it?
i've been rewatching the parallel filters video series over and over again. so brutally phenomenal these techniques are. i was wondering, can't we just extend the all pass filter trick by..adding more all pass filter bands? yea, the phase difference caused by the bands will interact with each other and the equivalent target frequency might be a slight bit different from the value show in the plugin, but if we're gonna use our ears anyway... So anything you send to this parallel channel with all pass filter bands will get a notch at those frequencies and any track that's flipped and sent would be like band passed? dialing in the fader level of the parallel channel will make it more subtle.. I guess all this is would be common sense after the video but i just realized it xd, oooh an eq curve that boosts certain freq and cuts the same for others, similar to super separate trick but this time the frequencies are in our control??
My goodness, Dan is still rocking the old RME MUltiface II converters! Those are over 14 years old.. Actually, I'm still using a Multiface II with my Win 7 rig; the PCI cards allow for incredibly low latency, and the feature set is awesome. The specs are not a whole lot worse than the newer UFX series (on paper at least - though I'm sure that cumulative improvements in analog circuitry, clocking & filter design make a huge difference). Until I need to get a new computer (which is expensive these days), I'll be sticking with the old converter. Nice parallel EQ tricks, BTW.
To accomplish this, your DAW needs an invert polarity toggle on both the track and the send. If this is missing, you can use a plugin like Flipper to achieve the same. Now you can use any DAW, but I'm not recommending that you should. I prefer to tune each instrument to fit in the mix and this never involves changing exactly the same frequencies. So while this trick is cool and all, I would only use it as an effect, driven by some crazy automation.
Hello! I used your « par.filter trick » u show on another video on a piano that was missing body and it Works really fine. Did a bump in the mid low, another in the mid high and my piano was less « dead sounding ». It is a piano/voc track, to be complète, and I needed that piano to be « fatter sounding ». Thanks for your videos ! Although Ifound them sometimes very very technical! To me of course! 😎😊
I know I'm not allowed in this meeting (cuz I'm not a Reaper guy), BUT I'm still gonna stop in just to hit a LIKE button for Dan because all his videos are pretty much God Tier. He deserves it.
Just had a thought but am yet to test this. If you parallel processed a track with ReaFir in subtract mode, removing everything except the highest peaking resonances, and then flipped the phase, surely you’d then have the same effect as Soothe? Yes it would be far less elegant, but it would also be free.
Studio One users: try using either an audio or aux track that's fed from a send or bus to achieve the same ability to flip the polarity using the Mixtool plugin. I'll be testing that myself sometime soon, but if anyone gets to a better route more quickly def leave a comment!
Hello everyone. Dan, thank you for your awesome videos. I'm Studio One user and I definitely have this worked in my DAW. 1) Send your Synth to Return (FX) channel 2) Send your guitar to Bus, flip the phase of this Bus, turn fader down, and make pre-fader send to Return(FX) channel. 3)Enjoy, or do the macros for shortcut.
Even if you were just coming up with audio trickshots, the thing about trickshots is that every once in a while you find yourself in a position where knowing one can really save your ass.
Holy nuts. This is excellent. I mainly use Pro Tools so I was thinking... Since you are using mono tracks for these, if you used a stereo bus to a stereo aux track, and then flipped one side's polarity with a multi-mono Trim plug-in, you could use the left as your normal polarity send and the right as your inverted. Just pan your sends accordingly and put the Aux pans to center. It seems like that work work, no? I may find out :D
Even easier in Bitwig Grid, just audio receive the two tracks and run through multiply * -1 device. Heck apply a constant module and you can even decide how much you want to phase invert haha.
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You are literally a wizard. With every single other youtuber, i watch their videos, maybe get a cool ideas, but walk away having experienced some easy listening little idea thing. But THESE VIDEOS MAN. There comes a point in every single video where i have to squint my eyes and go, "what the fuck did he just do? " and then logically and slowly work my way through the steps to understand the chain of transformations taking place. It's like a college lecture or something. But BUT when I'm done and i understand it, it isn't like i walk away with some new idea to mix or something. That eye watering process of concentration and listening fundamentally changes my perspective and adds to my whole understanding.
It's not like i walk away knowing how to make a cool thing with my toolbox. It's like i learned an incantation to unlock a secret drawer and found an entirely new tool, that upon contact, slightly morphs into my hand in a way that changes how i look at and use all other tools.
Alright maybe the analogy got a little strained but you get the point. You are the #1 audio engineer mentor for an entire generation of students, young and old. This isn't a trick, this is wisdom. God bless you i hope i can make something so insightful some day
Well said! This guy is AWESOME
"If you love it then you gotta put a filter on it."
these videos are soo humbling, frustrating and damn relieving at the same time, like you're teaching actual magical tricks that involve so few simple tweaks that it makes me wonder if I'm actually dumb
just when I felt I was about to get in the no progress zone in my mixing skills, you just come in and say "not under my watch" and BAM here's black magic for you, enjoy
please never stop this
That last trick was awesome. I think in the past few vids a lot of people are asking how these filters are different from regular EQs. It just comes down to convenience for me. If I can move a fader to brighten up my mix instead of having to visit 3 EQs on 3 different tracks, or if I can balance my low end using one fader, that’s just way faster than the classic approach.
He gave a good explanation for this on the last parallel filters video. Paraphrasing, the advantages are what you said, plus the ability to use non-linearities (assuming a colorful filter), plus the ability to morph between filter shapes.
So in that sense, does the simplification of automation give you greater control over the outcome of a mix? Is that just a standard part of 'big picture' mixing that can't be represented quite clearly through youtube tutorial?
@@vAlkemistv I mean I personally think Dan Worrall is quite excellent at representing everything through youtube tutorials haha! I would say something that I've learned is that, if something is hard to do, people won't do it! So for example, There's been ways to use any plugin to do some Mid-Side processing, for a long time, but most people didn't really explore those options, until M/S processing became something you turn on by the press of a button on the plugin interface. So this is similar to that. If I have to work on 3 tracks to get a brighter mix, I may just convince myself that it's bright enough, but a single fader I can move, then it's at least worth trying, even though I may realize that it was bright enough, in which case, a single Command+Z gets me back to where I was :)
Amazing as always!!
An idea for fellow Ableton users :
Create a new audio track, set it to "Sends Only", route whichever instrument you want to have an inverted polarity send, add a Utility device, flip the polarity on both L and R, and then use this to feed the parallel filter return bus!!
Was able to follow along with the video no problem, of course it's a little bit more tedious than on Reaper, but whatever!
thank you for this tip lmfao i just wrote a comment being like damn this shit hard, but you have blessed me with a good solution.. thank you
Could work, but inside an AER you'd have to create eg 3 channels: Dry, Signal1 with inverted polarity, Signal 2, then instead of having a single fader to decide the volume of Signal1invpol+Signal2 you'd have 2 volume faders (that you could map to an AER macro though), good call anyway for those working more with inserts than sends.
I only got this to work by:
Sending the instrument I wanted to stay in phase to the master and also routing it fully to the return track.
Sending the instrument I wanted to be flipped to an audio track with the phase invert plugin.
Sending that audio track with the plugin to the master.
Setting the audio track with the plugin to "In" monitoring mode.
Putting my phase flip and other effects on the return track.
Yeah, you can do it in most daws, it's just not as neat, because you have to use an intermediate track.
You can save ableton tracks to come on with whatever plugins you want. I would set up for every track to come on with a utility, as it takes virtually no processing power.
I figured out a method for Ableton which I feel is relatively simple.
1. Create Delta send channel (pre-fader). Add desired filters. Send anything that isn't being inverted to this channel (e.g. snare for 500Hz bandpass boost).
2. Create second "Inversion" send (pre-fader). Add utility and invert polarity on left and right channels.
3. Set fader on the Inversion channel to -inf (or sends only). Enable send to the delta and set to 0db.
4. Send anything you wish to notch/cut to the inversion channel. It will then be inverted and sent to the delta channel.
Hope this helps out.
Hello everyone. Dan, thank you for your awesome videos. I'm Studio One user and I definitely have this worked in my DAW.
1) Send your Synth to Return (FX) channel
2) Send your guitar to Bus, flip the phase of this Bus, turn fader down, and make pre-fader send to Return(FX) channel.
3)Enjoy, or do the macros for shortcut.
This doesn't work. How would you get it to flip on and off
The parallel filter series has been awesome! We're happy to hold your gin & tonic any time.
my god, what an amazing tip. I really like the idea of construction the channels in a way that the balancing of the mix consists of less and less steps over time. The most common example would be to level multiple percussions relative to eachother, and grouping them for volume control over all of them. This tip takes the concept to a whole new level. I will definitely experiment with this!
This is straight magic
Most complex sidechaining I’ve ever seen lol
For FL Studio users: you can use patcher to make all the parallel chains you want. You can use fruity stereo shaper to flip the polarity of a signal. You can also do this in the mixer with sends and polarity flip (little up and down arrows symbol) like in Reaper
Patcher, the drug induced wet dream of sound engineers.
Dude! I got here after watching your analog summing video and subscribing. Now I'm 3 minutes into this one and I'm thinking I just found my favorite new channel. This is brain candy of the best type. Thank you for existing!
Your videos put me in such a good headspace to work, man. This is brilliant, THANK YOU!
This became my favorite production-channel.
1) A soothing voice for doing naps (eeeh... I meant taking notes! That's it. Yes. Notes & learning all day, Sir.)
2) A little self-irony to get through the more theoretical sections.
3) And most important of all: no "Wow! Do you hear that difference?" when there is absolutely zero difference. (thanks for telling us about the Null-Test)
Keep up the great work!
How cool, it never crossed my mind that you can make a dynamic eq with stock plug ins this easily! Super useful!
What a mind blowing trick, thanks for that!
Bitwig Users:
Either create a seperate channel for flipping the phase, or:
Create a Tool device on the channel you want to send, flip phase L + R if you need to
Select the device, press Ctrl + G
Turn down the mix knob of the newly created fx layer to 0
Send the FX Layer to the filter bus: either expand the channel strip with the little arrow icon to show the the Tool layer and turn up its send, or select the Tool in the FX Layer and turn up the send in the inspector
This way you can choose the point in the signal chain where your send goes out.
Peace
This is the best an most amazing stuff. Mind expanding and applicable at the same time. It's dead easy to make kicks and snares punch through now, and I don't even have to set up side chain compression or anything. Hats off.
btw since a lot of people dont seem to know, FL studio has also polarity switch button in the mixer
Dan you are an incredible engineer...
I come from this geeky/audio-bender way of mixing because it feels amazing to pinpoint the problem, link knowledge together to find a way and solve it.
Lately I've been experimenting with mixing with composition and layered/change of instruments: if the chorus feels too bloated remove an instrument, a layer (of a certain freq.) or change the phrase... if the bass enters maybe change of kick drum or drum pattern, etc.
I've found that this usually leads to compositions that I've never thought I can come with and the amount mixing "tricks" are less cause it was kinda mixed by the song itself...
Of course these techniques are not of one or another, in fact I think can work together amazing.
Anyway thanks for the videos and sharing your knowledge!
A huge thank you for your videos! While they are far above my skillgrade, they inspire me and, what is more important, teach me to hear better.
What a treasure!
i just want to say thank you because you are the single biggest mentor I have when it comes to mixing. i’ve picked up so many crucial tips from watching the videos, often times not even the subject of the video. i can safely say dan worral is the reason other people think I know what I’m doing
Got this to work in Logic. You need 3 buses. Bus 1 has normal polarity and it's output is routed to Bus 3. Bus 2 has inverted polarity and is also routed to Bus 3. Bus 3 is where you do all the processing. Have fun!
i've done the same - but without bus 1. what is the need for bus 1?
Did you Try avoiding buss 1 and send those signals direct to buss 3?
@@lucianogmyeh that's what i've done. So let's say snare is sent to Bus 3, everything else sent to Bus 2. Bus 2 has No Output and Sends to Bus 3. Seems to do the job... i wonder if you suggest the additional Bus 1 for latency/phase alignment?
@@lucianogm That would actually be better. Don't know why I had the bus 1.
@@ala_lana_music Actually. It's not needed. Don't know why I had it
good lord this channel just keeps blowing my mind...
Man, that's one of those, "why didn't think of that???" tricks. Love it.
Cool, thanks. Impressed with the comments from people who paid attention, I'm gonna install that Audiotomato Damager thingy right now.
So many new things to think about! Thank you! and thank you for using Reaper. I wish more people would get on board.
I've been following along all those last videos carefully and called those return channels something like "inverse eq" so far but delta really is more concise for this. Thanks for another huge inspiration!
This is audio alchemy! I'm relatively certain you're some type of AI or alien Dan. Thank you for another fantastic video!
Enjoying learning basic stuff in amongst the God-Tier goings-on these past few videos. Thank you Dan. Inspiring.
The 3rd video this week… Dan are you ok?
Actually feeling more myself for the first time in ages...
Don't stop
@@DanWorrall that's lovely to hear. Makes my whole day when one of these videos comes out :)
@@DanWorrall Good to hear. You seem very passionate. Love
Wow using the same aux and an inverted polarity send is genius. Never thought to do anything like that. All about working smarter!
I'm addicted to your channel... Why are you so good like this Dan?
I'm pretty clever so I can usually grasp the concept you're explaining much more readily than I can hear it in the examples you provide. In this video, for example, the snare occurs only once or twice in the span of time you allot to the -∞ and unity fader states. That's not enough time for my mind's ear to pinpoint the differences. Also, you tend to talk in between the different states, which is mildly distracting, despite those dulcet tones. (Speaking as a rabid fanboi.)
You might ask why I don't simply fire up REAPER and try this for myself, and that's a fair question. The sad answer is that while I'd love to do just that, these days, all the time I used to devote to making music is taken up by watching videos about making music and lamenting the fact that I no longer make music. I simply can't spare the time, you see.
Food for thought.
Best mix tip on the internet right here. You're a gem Worrall.
I came across your channel a few days ago and feel like I've stumbled into a sound engineering masterclass at a university.
Outstanding lesson progression. The last 4 or 5 videos got us used to using the tools and mindset necessary to approach and apply the Delta Channel.
For Sonar you can create the sends by creating post sends > aux channels. Then the aux channels (which are pole rev-able) can be assigned to another aux channel or a bus. On the bus you must use something like Channel Tools to flip the polarity. I suggest using Channel Tools even if you're on an aux track as the available individual L/R pole revs, mid/side/L/R gain, channel width, and individual delays assignable pre or post encoding, gain, and pan add a whole lot of mojo to that Delta Channel.
I found your channel through a "fundamentals" video on Audio University. In that video, you promised that your regular videos weren't that helpful, because you didn't focus on the fundamentals. While that may be true, you're constantly training me how to listen to music, and how the math works in practice, in nearly every video.
Coming back to comment once again, because here is an equivalent trick : let say you the same snare problem and you want to remove 2 dB on every track except the snare. Put an EQ on the master remove 2 db. Copy the EQ on the snare, boost 2dB. It is like if you did nothing on the snare but cut 2 dB on every other track. It is not rocket science but it works
This would have been easier to understand if the two channels weren't competing with the full mix. Excellent stuff though. Appreciate the knowledge
Dan you’re a wizard. Thank you so much for sharing this knowledge.
Dan is the man.
Entender estos últimos 3 videos me va a tomar un buen tiempo, another level. Gracias Dan!
If you liked it you shoulda put a ring (modulator) on it!
can you explain more!!
@@Septimopiso I take it you don't listen to Beyonce? :)
Thank you, Dan for always giving top notch info tips tricks and audio knowledge. "God Tier" almost always equals a "Dan vid" Cheers
Hello Dan , I wish you did more videos explaining audio science for beginners and advanced like you did on the Fabfilter channel.
This is really you at your BEST!!!
I personally disagree. If you watch all Dan's videos in chronological order across the FabFilter channel and this channel, I think you would be able to follow through all the more recent videos. That's what I've just done (it took me 2/3 months to write down notes and absorb the content) but now this video felt pretty obvious to me. I kind of guessed where he was going the whole time. If you think it's too much effort to start from the beginning, my advice would be if you already know the stuff, you'll move fast anyway. But if you don't, that's probably where you would want to spend your limited learning time first. Start with the basics and build your way toward more advanced material. Enjoy the journey!
At last, the problem of having to adjust two parameters has been solved, I'm amazed anyone managed to get any music out prior to this : ) Honestly sometimes I suspect you just like to tinker around and show off what you've discovered, and there's a pretty decent audio-nerd audience out there who will run with these ideas, but for the rest of us it really isn't an issue having a couple of EQs open and adjusting them to taste.
Sure...but the real deal is creativity and its a lot deeper than 2 knobs.... I think you are missing a whole world of implication
1.WORKFLOW: If you template the above idea and drag and drop the solution...you have trained your brain to use more muscle memory. Muscle memory creates reliance on gut feel rather than looking or thinking about it and this is the real bonus. Ive been mixing for 40 years...these are all little gems to add to the workflow.
2. DYNAMIC FREQ PIVOT: The low mids generally have the most contention...this is a good alternative to sidechain/trackspacing as its both substractive and additive.
3. AUTOMATION EASIER: On top of that...being able to simply use a send per target ie a subtract or add, at will, takes a lot of the drudgery out for larger projects as you localise a common tool for global effect; Push/pulling for subtle movement according to context is a very easy action...once again, you can shut your eyes, grab the control and move according to feel...imagine that.
Speed becomes the essence...its like life drawing, learning to capture and complete in 3 mins vs 30 mins of drawing that is wasted because the weight doesnt sit correctly kind of works as analogy...for me anyway. Peace!
Or just tweak 2 knobs and the myriad of peripheral that goes with it...either or...but Im thankful for the exposition...Cheers Dan
I don't understand much but i know i will eventually and it gives me hope for the future
This is really next level… gonna take me a while to really grok it but it’s really powerful
Great tip on the delta channel! 🙌🏻
So basically you need a delta channel for any channels/instruments that are clashing in the same freq region.
Is it really as simple as that?
seems like a perfect solution....
DW once again showing us how much we don't know and keeping us learning
The gating idea has so much potential!!
Great video! I think I got it, let me just watch it 20 more times to let it really sink in. Also, thanks for the Automaton tip!
Ableton can flip polarity too with utility device on sends and other channels. good tips, thanks for sharing.
This is some next-level stuff... cheers Dan for sharing
So much knowledge and info. Loving these mixing tricks!
Channel name Delta -> Deus ... Maybe his needs an upgrade too tho? Deus Maximus Worrall(us) for World President! How calm would the world be? I bet it would sound better too lmao.
Seriously tho. BEST AUDIO TUTORIAL ,,, EVER!!! Literally life changing tips for the little bubble of us who didn't know about, but appreciate this kind of trickery. Logic pro ,, after 20 years of use,, is almost redundant compared to an open source "rival"??? AMAZING and THANK YOU (sorry for all the caps but I reserve them for very special occasions, like saxophones). God Mode Active!😶🌫
these are such natural sounding mixing trick you are amazing man thank you
Thank you for sharing Dan! I was wondering what your opinion is regarding using this technique specifically in the context of a critical scenario like a kick competing with a bass, versus some of the most obvious techniques like side chain compression, complimentary EQ bell boosts & cuts, or simply altering the sound sources. Is there one approach in particular that you feel yields the most compelling results in this kick vs bass scenario or is it more often a combination of multiple techniques used to varying degrees on a case by case basis?
Edit: lol I think I found the answer in your other video "Parallel Filters, Pro Level: Flip It And Reverse It", awesome!
Any scenario where parts are conflicting in the same frequency range, and you would otherwise be dialing in reciprocal boosts and cuts with separate EQs.
Awesome tips! I wish I could actually hear the results for a bit longer, though. You could definitely stand to take a few more moments so that we can appreciate the actual result of the effect imo.
Brilliant mixing technique! I’m trying to think of how to pull this off in ableton - I’m sure there is a way although it will take a bit of finagling
U can do it with native compressor, audio effect rack and utility. The compressor sidechain can be heard, making it an aux recieve, basically .If you put various chains Inside a rack with a compresseor in each and flip the polarity of the chain you want to invertet. Then you can put all the filters you want
I've been making some rack presets based on Dan's videos
I even made a bandpass filter. Abletons Eq doesn't have one, but a rack with a inverted notch in parallel does the trick
A question: functionally this seems quite similar to having a sidechained multiband compressor, or a dynamic eq I guess, on the bass (and other) part(s), that'd trigger when the snare hits. Are there other main benefits to this method other than convenience with the single fader instead of opening plug-ins and tweaking the settings there? I'm thinking results-wise, as in could you achieve the same thing with a compressor or a dynamic eq instead? Thanks for the brilliant video, really shows how important it is to keep the fundamentals of audio in mind when coming up with ways to change things in a mix.
The parts all interact, and the processing naturally gets more intense when there are more parts fighting for space in that region. Plus you can tweak the amount of processing with a fader in the mixer, no need to open any plugins again.
@@DanWorrall lol this answer literally avoided your only question. Exactly what I wondered as well mate. Probably gonna stick to the multiband sidechaining too
As soon as the video started I directly understood where this was going .... Yet I would have never though of this ! It is very clever, and so convenient !
I think I will use this for the "final" stage of EQing in my mix, to experiment carving frequency slots for diverse instruments. Not only it allows to easily boost vs Carve at different places, but it has also the advantages of being easy to remove and A/B compare..... That is so cool.
The only downside to me is that it might make stem creation of my projects a bit more tedious.
Bounce all your parallel delta channels together as a delta stem :)
"here are your stems: drums, bass, guitar, vocals, and this one that makes all the rest not suck" ;)
@@DanWorrall Hahaha, Yes that is a great idea, but actually, I also use stems when a song is finished for live shows reasons. I typically render one unique multichannel wav file contaning all the stem tracks that groups the project tracks per element (drums, bass, synt, acoutics, main vocals etc).
Then I create a live project, I import this multichannel stem in reaper and depending on my mood, I add effetcs mapped to midi controllers and/or replace some of the tracks live instruments (microphone inputs with looper pedal or not, drum machines, etc).
So it does not really fit this application, unless I duplicate the "delta channel" several time and change the routing so that every duplicate doesn't receive several tracks anymore but only one . Also, by doing so, I kind of loose the ability to add a dynamic processor after the band pass filter.
Maybe you have other suggestions ?
Ha I found a solution. It works using "render stem through master". I didn't know it, but this options actually render not only through master, but also with sends. I know it can cause problem with dynamics/saturation that are applied on subgroups but I should be able to manage it.
It's so obvious now I've watched 3 times, taken notes and tried it myself. Dan the 🧠strikes again.
Thanks again. I've noted this down as if I was at school :)
This is genius and a huge gamechanger for me! Thank you
One question. Is there any other advantage to using parallel processing like that other than workflow efficiency improvement (6:27)? Nothing's stopping you to do all this stuff with a couple EQs, right?
Also, 5:43, my first thought was multiband sidechain compression. I thought it was an obvious solution. Am I wrong? Am I right? Or am I just using a different approach? Don't get me wrong, I'm not salty or anything, I'm just trying to understand these choices. I know you don't reply very often to the comments, Dan, but I would love to hear from you.
I guess Dan must be a secret fan of Aphex Twin. Anyways a pretty learnful video. Thank you for your badassly good content mate, well appreciated :D
Parallell processing like this is in a whole other ballpark than where most engineers play at. The result is surprisingly musical, but the method is extremely bespoke so I assume this is nothing you can really turn into a template. In a way, it actually brings back a lot of the handcraft expertise that audio engineers has lost due to automated work flows and digital solutions
Depends on the DAW really. Something like Bitwig you wouldn't really use a traditional mixer-type send approach to create this, you create it outside the channel-based mixer approach in the Grid and as it's in modular form you save it as a preset which is basically then reusable just like anothoer VST plugin in the signal flow or as Bitwig call it a Device chain.
@@SamHocking That's interesting! I have only a very limited insight into Bitwig but I hear lots of interesting stuff about it. What I meant with "template" wasn't really about the ability to save a template in the DAW, but more about the method of parallell filtering in mixing. Seems to me that it can solve very specific issues in a mix and opens up a lot of interesting and creative solutions, which are all dependent on the specific mix itself with all its instruments and arrangements.
I do see your point however, like creating new instruments by doing some weird filtering effects that morphs with dynamics and stuff by itself.
I like to picture Dragon Ball Z fights to your music. Reminds me a lot of Bruce Faulconers compositions for DBZ in the US back in the day
I'm using Reaper now for two years, and still there are things I learn from it. It becomes a top notch DAW, or was already, and like you said, the stock plugins does the trick too, thanks for new insights Dan. BTW I use the unfiltered downward expander, these guys makes good stuff as well, sometimes weird plugins, but that's creativity is all about, right?
Works great in cubase since it also has a polarity flip on each channel whether it be an aux or bus
Seems like you should watch that vid again. It's about having the flip on the send, not on the bus itself.
@@Musikproduzent that really isn't a problem, you just send the track to a group track and flip the polarity there before sending it to the main group.
@@lastboxofsparklers jep
@@Musikproduzent in cubase a channel is a channel no matter of its a send or bus. And each has a polarity flip. The plugin itself doesn't need to have it.
@@AboveEmAllProduction they just dont know cubase : ) with the new midi remote I press 2 buttons on my external controller and the parallel send with polarity flip is set up in 2 seconds...
If you want to recreate this in Cubase create an aux channel, flip its phase and use this as your actual aux send, but make it pre fader and pull the fader down entirely.
Thanks Dan!
Luna also has the ability to flip the phase on a send. It's free and on Windows now.
These tricks are really useful, but once certain elements are grouped together with group processing the null doesn’t work well enough. One solution I came up with is duplicating the drum bus compressor onto all the individual drums but then sidechaining the compressors to the drum bus. It allows for group compression while also making the parallel filters play nice with individual tracks
Ableton - if you want to send a channel with polarity fliped you can also create an extra send chanell and set it to "sends only" and flip phase before the final chanel (in case you cant dublicate tracks (if its a bus with many tracks))etc
i’m interested in more about steep EQ filters audibly ringing. What causes that (in the simplest terms possible). Is that a linear behavior? etc. I know nothing on the subject
Hello Dan. Hope you are doing well! Why dont you use an all pass filter? Its becouse the 6dB boost for the non polarity signal ? Im using this technic to mix drums samples with the acoustic hiits, replacing the sample 5k region with the live drums. Its working good so far!!! Sending the sample to a notch and the live drum flipped! This way i keep a clean fundamamental and avoid the machine gun issue. Thank you Dan
Great tip! Did you know that you can Delta an FX on Reaper by Alt+Left Clicking the Vol Wheel at the top right of an FX window? Very helpful! I love this technique you just showed, outstanding way to put phase to work! By the way, the theme you are using is lovely, what theme is it?
i've been rewatching the parallel filters video series over and over again.
so brutally phenomenal these techniques are.
i was wondering, can't we just extend the all pass filter trick by..adding more all pass filter bands? yea, the phase difference caused by the bands will interact with each other and the equivalent target frequency might be a slight bit different from the value show in the plugin, but if we're gonna use our ears anyway...
So anything you send to this parallel channel with all pass filter bands will get a notch at those frequencies and any track that's flipped and sent would be like band passed? dialing in the fader level of the parallel channel will make it more subtle..
I guess all this is would be common sense after the video but i just realized it xd, oooh an eq curve that boosts certain freq and cuts the same for others, similar to super separate trick but this time the frequencies are in our control??
My goodness, Dan is still rocking the old RME MUltiface II converters! Those are over 14 years old..
Actually, I'm still using a Multiface II with my Win 7 rig; the PCI cards allow for incredibly low latency, and the feature set is awesome. The specs are not a whole lot worse than the newer UFX series (on paper at least - though I'm sure that cumulative improvements in analog circuitry, clocking & filter design make a huge difference).
Until I need to get a new computer (which is expensive these days), I'll be sticking with the old converter.
Nice parallel EQ tricks, BTW.
Dan's the man, so much so he recorded and mixed my wife's ep while I was out for work. She didn't want me to do it ;_;
To accomplish this, your DAW needs an invert polarity toggle on both the track and the send. If this is missing, you can use a plugin like Flipper to achieve the same. Now you can use any DAW, but I'm not recommending that you should. I prefer to tune each instrument to fit in the mix and this never involves changing exactly the same frequencies. So while this trick is cool and all, I would only use it as an effect, driven by some crazy automation.
In Ableton, you can reverse polarity with the utility stock pluggin.
For just an aux send?
Hello! I used your « par.filter trick » u show on another video on a piano that was missing body and it Works really fine. Did a bump in the mid low, another in the mid high and my piano was less « dead sounding ». It is a piano/voc track, to be complète, and I needed that piano to be « fatter sounding ». Thanks for your videos ! Although Ifound them sometimes very very technical! To me of course! 😎😊
First compression plugin I paid money for is FabFilter's Pro-C 2, no regrets. Otherwise I tend to use Tunca's Analog Obsession plugins for that.
The dumbledore of mixing itself!
Dude! WTF I'd never have thought about leveraging polarity nulling like that!!!!
Although this is quite fascinating engineering, why not just compress bass with multiband compressor side chained from the snare?
I know I'm not allowed in this meeting (cuz I'm not a Reaper guy), BUT I'm still gonna stop in just to hit a LIKE button for Dan because all his videos are pretty much God Tier. He deserves it.
Amazing video as always! Actually thinking about moving over to reaper;)
Dayumn… can’t wait to try this 🤯
Fl studio users also have the ability to flip polarity with one of the built in plugins. I cannae remeber which
I would love to see Dan let loose in Bitwig FX Grid. That DAW is made for stuff like this imo.
Just had a thought but am yet to test this.
If you parallel processed a track with ReaFir in subtract mode, removing everything except the highest peaking resonances, and then flipped the phase, surely you’d then have the same effect as Soothe?
Yes it would be far less elegant, but it would also be free.
Dan's playing chess, everyone else is playing checkers! 😂
the Reaper enthusiast has logged on 😎
Studio One users: try using either an audio or aux track that's fed from a send or bus to achieve the same ability to flip the polarity using the Mixtool plugin. I'll be testing that myself sometime soon, but if anyone gets to a better route more quickly def leave a comment!
Hello everyone. Dan, thank you for your awesome videos. I'm Studio One user and I definitely have this worked in my DAW.
1) Send your Synth to Return (FX) channel
2) Send your guitar to Bus, flip the phase of this Bus, turn fader down, and make pre-fader send to Return(FX) channel.
3)Enjoy, or do the macros for shortcut.
Even if you were just coming up with audio trickshots, the thing about trickshots is that every once in a while you find yourself in a position where knowing one can really save your ass.
Hold my Gin & Tonic.. love it
Holy nuts. This is excellent. I mainly use Pro Tools so I was thinking... Since you are using mono tracks for these, if you used a stereo bus to a stereo aux track, and then flipped one side's polarity with a multi-mono Trim plug-in, you could use the left as your normal polarity send and the right as your inverted. Just pan your sends accordingly and put the Aux pans to center. It seems like that work work, no? I may find out :D
I'm not a Pro Tools user: try it and let us know how you get on ;)
For the Bitwiggers out there you can just use the tool device (I think, haven't tested it yet)
Even easier in Bitwig Grid, just audio receive the two tracks and run through multiply * -1 device. Heck apply a constant module and you can even decide how much you want to phase invert haha.