No More Mono Guitar - A Real Way to Stereo-ize a Source
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- เผยแพร่เมื่อ 11 ก.ย. 2024
- A new method to take a mono guitar DI track and make it stereo.
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That is the rare thing I’ve cone across that’s actually new, actually good and super simple - the trifecta! Nicely done.
I see what you did there LOL!
I mean could be a typo but it's a good pun anyway.
I highly agree ! getting to the core of sound is something truly beautiful!
@@kelainefes oh, ha..totally unintentional!
What I love most about a lot of your experiments is you teach how to get more juice out of the equipment one might have. Is a constant reminder that creativity (and to a great extent, analysis) is the queen. Is these times of shiny bright new things every day, this is a humble reminder that craftmanship like yours is what makes good things be great. Congratulations and thanks for this
Yes yes and yes! Well said.
Ooooh, what a tasty trick!!! And mono-safe. It actually sounded better to me than the double tracked. Love it!
i thought so too! makes sense, doublers are in-box and will probably always come in second to effects you can cause and capture in the air itself.
@@liquidstar9 oh was it a doubler? i thought it was literally a 2nd recording (traditional 'doubled'), not a software 'double'. if it was software, then i totally understand and agree with ya, Jon. just putting stuff back in the air makes such a diff. i loved learning that depeche mode put a lot of their synths thru guitar amps and reamped them to give them that girth and power.
@@schance1666 i might have misunderstood then, i'll have to recheck. i never knew that about depeche mode though! good stuff
My man, you are a genius! I personally dont like the sound of double tracked guitars and this is a great way to give a single take that umph factor, regardless of it being mono or stereo. Thank you so much for sharing! 🙏
I can hear the difference and it does sound good, but I still do two guitar takes-one left and one right. To me, that's the only way to get that real stereo sound because of the different dynamics and imperfections of the left side and right side playing off each other.
Agreed, that’s why he said imagine you are stocked with just 1 take
@@victorlara99 Just play another one :P Sure it's great for solos.
I can imagine this technique in a live setting though. Have 2 (of the same) amps and mic them the same way, reverse the input polarity of one, reverse it back on the preamp and pan them out.
Of course that is the ideal scenario. But this is great for someone that is sent a mono recording with no way of actually doubling it “for whatever reason”
@James Levine Mono compatibility has become a real pain in the ass these days, and you also need the highs there. damn mobile phone speakers! I sometimes even record 3 tracks of the same guitar, then pan 2 of them hard L/R, send them to a stereo bus and kill the mid signal there (only keep the sides). Then I add the 3rd track in the middle.
Thats 2 track
This is how the EHX Stereo Memory Man from the very early 80s created "Stereo". It has two out of phase channels. Sounds amazing. Nice that you discovered this trick yourself and are sharing it.
Isn’t this different? Out of phase (meaning small time delay) isn’t the same as flipping the polarity, applying non-linear distortion, and flipping the polarity back again
@@Benji_6969 oh cool, maybe this is different.
@@Benji_6969 So the SMM does flip the phase. Each output has the dry and delay signals for a mono sound, but the phase is reversed to create a decent stereo effect when played live through two amps. But it is not applying the distortion or flipping back, as far as I know.
This sounds really good, and the mono compatibility is impressive
Thanks!
@@creativesoundlab I just tried this on a vocal track using asymmetrical saturation plugins (ie tube emulator), it works just the same.
This is absolutely amazing, pure genius, thanks for sharing, obviously subbed!
speakers playing in reverse polarity do not "stress" an amp or anything, in fact many amps play "backwards" including many classic fenders, and no one notices til they run 2 different amps, and if one is reverse there is phase cancellation, but played alone sounds fine. Also amps can be internally reversing polarity with forwards polarity playing speakers, often both in the same amp ie certain 2 chan fenders
I commented pretty much the same thing. And when playing through different Marshall amps at rehearsal studios, I can get good feedback out of some, but not others. So I suspect the speakers or amp are reverse polarity.
Thanks for the idea! Just tried it with an ITB guitar track. Duplicated the track and hard-panned them. Flipped polarity on one before the amp emulator, then another polarity flip after. Works like a charm! Lots of motion and space between the channels. I'll remember this!
I know this is an old comment of yours, so you may not be able to help. But how did you flip the polarity a second time after the amp emulator? My only thought is to maybe flip the polarity on the guitar track itself, then create a send track with the amp emulator on it and flip the polarity on that track. Would that do it? I would test this myself, but I'm not able to at the moment so I just thought I'd ask how you did it.
I don’t remember how I did it, hmmm… But with Reaper you can flip the polarity on a channel (which would be “after” the amp emu). For “before” I may have done it on the audio track itself. I also have the free DMG plugin “Track Control” which I believe provides control of polarity, as well as other things.
@@dbhammond Thanks for the reply! That's a good idea, I think a lot of plugins have a polarity option so that should give plenty of flexibility in ways to do it.
Indeed. This is really a great idea. I can't imagine that nobody else had this idea before. Congratulations, that's creative.
They have
This trick is cool for lifting a chorus part as well.
Cool! The cone cry at the end of that solo dances around the stereo field separate from the main part. Now I need to run a similar experiment thru my Ox Box and see just how detailed they made their speaker models LOL
Nice! The distortion in gain stages in a guitar amp are asymmetrical, the speaker distortion is asymmetrical. Let's say (arbitrary example), 1st stage clips the top of the waveform and inverts it, so now 2nd stage clips what was the bottom, and so on. When you feed this a flipped signal you're doing the opposite: first clip the bottom, then the top, and so on. At the end you flip it to get in phase, but the harmonic content is different enough to get this effect. BTW you could try the same technique with a guitar amp plugin.
This is actually the correct interpretation of the effect that we hear, non?
It's not the speaker that's causing the increased width, it's the even harmonic distortion in the amp. When you flip the phase, you're still generating those 2nd, 4th, 6th etc harmonics, but you're chopping off the bottom half rather than the top half of the wave to achieve them. So, only the even harmonics will be 180° out of phase, the fundamental and odd harmonics will still be in phase.
Speakers are linear, they don't care if they're pushing or pulling. But amps will distort, they're non-linear, so they do care if they push or pull. However, only on the even harmonics they're generating.
(This is why you can get impulse responses for speakers, but not amps. IRs can only model linear filters, and speakers are mostly linear.)
It's a nice effect, very subtle and balanced between L and R speakers.
For very high volumes I would assume that the speaker itself will also show asymmetric distortion (even harmonics) since it is not built perfectly symmetrical. I currently do not have the environment here to blast a "high power low distortion power amp / guitar speaker / SM57 / low distortion mic preamp" combination into speaker saturation and check the distortion spectrum, though. :D
Would be an interesting thing to research...
@@bavarianmonkey8326 sure, speakers can and do hit their X Max, or maximum excursion on the loud low notes, it'll add some extra girth to the low end in small amounts, but turn into a farty mess if pushed too much - as a bass player, I've destroyed a few speakers this way!
So yeah, you're right, the speaker will be adding some extra harmonic distortion. But since its following a Tweed Delux with a concertina phase splitter, I would guess that's where the bulk of the 2nd order harmonics are coming from.
@@Mikey__R I completely agree on the point that most even harmonics come from the amp.
I have done quite a few tests with impulse responses (self generated ones) and yes, they are close to the "real thing" in an A/B test, but they lack the dynamic effects the real speaker shows. Resonances, cone Breakup and distortion. For me this is only a gut feeling because I did not perform any measurements yet, but the fact that the impulse responses always seemed a little lifeless make me think that there is something to that story.
Especially with very old speaker designs, I would not expect those to have a very linear behaviour mechanically (magnetically), so even if the speaker stays within xmax, the question arises what xmax actually refers to: Mechanical xmax (damage) or linear xmax and what "linear" means. Which brings us back to square one.
I did some tests with rather asymmetric push pull power amplifiers (asymmetry was adjustable) and it felt like inverting the speaker polarity changed the sound at high levels.
Guess that is the area where UA did quite some research for their OX...
@@bavarianmonkey8326 cool! I've never really investigated that deeply. I'm definitely in the "real amps sound better" camp, simulations are entirely useful but they're not perfect. You might well be right, the very minute details could be more important than we realised.
1:13 [citation needed] not saying you're wrong, just that this really doesn't gel with the mental model I've built up of acoustic and electronic audio systems. But I'm nobody, so I guess I could just be ignorant.
I'm pretty sure the biggest factor here is simply asymmetric distortion in the preamp, poweramp, and probably even speaker.
I wonder what the effect is like if you run a clean amp instead of a saturating one. My hypothesis is that with more distortion you get a wider stereo image, and vice versa
Was thinking exactly the same. Dont think that it stresses out the speaker. AC stays AC. The asymetric clipping might be the key and this could be tested with clean settings.
It doesn’t. As you mentioned, it’s asymmetrical clipping of the waveform. When you invert the phase, you’re reversing the positive and negative clipping threshold. The reason why the mono summing of the stereo image sounds different from if it was a single mono track is that you’re now essentially turning two asymmetrical clipping takes into a single symmetrically clipped waveform that will have some appreciably different characteristics from traditional symmetrical clipping methods.
Yeah the speakers (or amp) really don’t care. Speaker polarity often has to be monkeyed with in stereo or wet/dry/wet rigs, and especially in the P.A world where there’s massive speaker cable runs. The amps and speakers really couldn’t care less
I was just going to type this exact comment. A speaker doesn’t sound different when you flip its phase. A quick way to prove this is to perform this same demonstration but invert the wires on the speaker instead of using the phase switch on the box. Speakers do not care at all about phase. The only reason you should pay attention to polarity is when you are using multiple speakers in close proximity, ie; multi-speaker cabinet, to avoid phase cancelling issues.
this deserves a million views. this is groundbreaking.
first, i didn't even know speakers dislike phase-inverted signal.
second, this is such a good trick for tone-focudes yet full sounds.
please share more tricks.
like how to get a plate plugin to sound like a real plate, say similar to the robert plant sound :P
Speakers not liking to be in or out of phase isn't really a thing. Speakers don't know the difference. They move the same both ways.
Hey man! Great video again.
I just tested the speaker part of this theory of yours, with a power amp and a speaker. And I have some interesting results for you.
I noticed that the stereo trick doesn't happen in the speaker. If you go straight into a speaker (with a power amp with a DI of an amp output) out of phase, and then flip the phase back in and pan both tracks the image stays in the center. It gets a little blurry and has a little more depth. When you listen to the cancelled signals you only get a very slight top end distortion difference. But it seems, it's not enough to create the stereo difference.
So that means that most of this effect is more likely happening within the amp.
If he is using the amp to distort, it might be that his particular choice of amp has asymmetric distortion. In which case this won't work with most amps. Or there is something silly like, the mic position changed slightly between the two runs, etc.
I just became aware of this video because I saw the shoutout on Kohle audio cult channel. I am totally ITB and use Tonex and NAM for all my guitar sounds, and was wondering if this would work for me. Short answer; it absolutely does work, and I really dig the result.
Longer answer with method: I’m in Logic Pro, but any DAW with a plugin that flips phase will work. I duplicated my DI track, and loaded up the same amp sim on both with the same settings. On the duplicate track I loaded the Noiseash Pre 73 plug-in before the amp sim. The Noiseash has a phase flip switch. Then after the amp I used logic’s gain plugin to flip the phase back. Hard pan, BOOM. It’s great.
Pretty neat. It has some motion to it. Sometimes I get drawn to the left side, sometimes the right.
Thanks for sharing.
Points for creativity and clever use of “balanced” speaker polarity stereo-tization. But the end result is still really subtle and not really enough to make things pop. I’d still much rather use two separate amps or speakers if these constraints were your only starting point.
Are you sure it's the speaker where the magic happens? The slight asymmetry in the clipping in the preamp should be enough to cause that difference. (And based on what is known on how speakers work the polarity of the signal shouldn't really matter... It's the signal is AC after all. Speaker moves as much in both directions from it's resting position.) Not to take it away from you... This idea is still very good.
I think you're right. If it was the speaker then you could just wire a 2 speaker cab out of phase with each other and mic each. However, guitar amps are highly unbalanced so flipping the signal pre amp will induce enough variation for this to work. Speakers don't care about pushing or pulling first. E.g. A Plexi vs a single channel JCM800 don't have the same polarity of signal (due to the extra inverting stage of the JCM800).
I think this is true and its very easy to check using a loadbox. Will do when I get the chance, will post here my findings
a speaker has some nonlinear operation as well, especially when you turn the volume up. but i also think the main reason this works is the guitar amp, since overdrive and distortion is the essence of nonlinearity.
I would say all these statements are correct and together create the sound we hear: the polarity flip before the asymmetrical clipping stage is part of it, the speaker does not care if it pushes or pulls first, but there a (albeit slight) difference in sound when "biased" pos or neg. It's not uncommon to create a similar effect using eq or reamping w different amp or same amp w diff eq, but I find this take to be quite novel, very excited to try this out!
@@rekeesefil I think the best part is that the stereo version created by this trick is very well balanced without any extra steps. With two different amps the balance might need a bit of work. With this the frequency spectrum is exactly the same but some harmonics created by the distortion are probably flipped. On mono those harmonics wil cancel and the sound is a bit darker but just a bit (it might even benefit the mono).
oh come on... come ooooooon
YOU'RE A FUCKING GENIOUS!
you have a place in the sound engineers history books
Immediately subscribed! This trick is a game changer for mono guitars and potentially more! This is the type of creativity that audio tech needs
I have done similar experiments through analog delays or reverbs, 1 take, two passes (or more). The pedals will never react the same (even with the exact same settings) so you can create huge lush images like that (mono compatible). If you then play a bit with the knobs during the reamping (let's say the feedback or mix, so the timing of the echoes doesn't get all over the place and too distracting later) the results are incredible.
I almost didn't watch this video when YT suggested it to me, but it's not what I thought it was going to be. I'm smacking my forehead that I never thought of this before. Flipping the phase twice! Eureka!
Super cool! Based on your description of the speaker behavior, I expect the Haas effect is what's at play here (meaning the lag at the speaker causes a tiny delay in the return signal). I'm astonished that this works in a DAW with an amp simulator. I tried four different sims from four different companies. Three of the four had a pretty pronounced effect. One had almost no effect. Interesting that the other three seem to simulate the behavior of an out-of-phase signal through the amp and speaker correctly.
Pretty sure Haas isn't much of a factor here as when he nulls it by not flipping the polarity there's only high frequency left. With Haas you'd get a comb filter with some bottom end - notoriously bad in mono.
Pretty sure the whole thing is caused by asymmetrical clipping in the amp, which might only be a thing in certain amp designs. So depending on which amp your sims are based on and how accurately they're modeled, the lack of effect might actually be true to the original. It probably doesn't work very well with a clean amp either.
I wouldn't count in three of them doing it correctly. It may very well be the exact opposite: That a typical signal has an offset and only one out of four amp simulators remove it, which would happen in an amp. More tests would be needed to check for that.
A real amp and speaker does NOT care what phase the signal is. However, the distortion might be asymmetric, and it could also very well be that three out of four simulators emulate the guitar preamp clipping correctly.
yeah this is a pretty cool idea, you can hear that the harmonics are different in the two ears, or in different phase, but the clean guitar underneath is the same. Very cool sound.
0:38 - the effect is almost inaudible without headphones. And the main signal itself stays exactly in the middle, with a second, rather soft, _slightly_ wider, low passed signal in the background. This is _really_ subtle, and completely inaudible on laptop speakers - which usually have no problem resolving the difference between stereo and mono. I doubt this will do much good in a mix when it is barely noticeable in isolation.
On the other hand, -6 dB of bass is barely noticeable on laptop speakers too. This is for a subtle widening.
Listening on my phone “oh yeah HUGE difference” LOL
Amazing video bro!
awesome trick, I tried it and am very happy with how it sounds, it's a great way to add depth to mono chorus pedal guitar sounds.
Wow you are truly innovative and inventive. You communicate your ideas well with no hype or pretense; nicely natural is cool. I will replicate your idea here to duplicate it as could actually be groundbreaking. Well Done!
Thanks so much Bart!
that was mind blowing!! thank you so much for showing the world this cool trick. im definitely gonna start revisiting all my previous mixes and never going to finish them yay!! haha
that is brilliant my friend :)
Just imagine what more you can do with the same principle....
This sound reminds me of my an old surround trick I used in the living room. 3 speakers , 2 stereo in front, one out of phase in the middle behind you-> super-duper surround!
I am always amazed when the demos only come with a distorted sound. You can no longer hear the interference, although it sounds like someone is scratching a piece of sheet metal.
This is sooooo helpful. Thank you so much Ryan for sharing your wisdom with us
thats awseome, and its such an irl effect, cuz flipping the polarity in the box doesnt work the same, so cool thanks!!
Absolutely KILLER pro tip jesus man
This is unbelievable and yet so simple
I think using this for mixing will be quite useful as well because there have been moments I needed a double track but had just one guitar DI
Thanks a lot
Good idea. I think this works because most tube guitar amps have asymetrical saturation and clipping. Maybe mid side proccesing will work too in a similar manner with this technique. Can ne recreates in a daw with an amp sim too
Very nice! What a great way to save a mono guitar track sent to you that just doesn't cut it!
Neat!
I might try this on a solo or something. Usually the go to trick is to throw a phaser on it with the rate all the way down. But this achieves a similar result without a phaser.
Very cool..but it still sounds like a prominent mono guitar in the middle with a kind of "stereo bed" behind it, rather than a hard panned double tracked sound. What happens if you then process the end result with mid/side processing and mute the centre?
Now this is a great tip! I always double rhythms and often double leads (depending on their function in the song and how difficult they are to play) but for some single tracked, centered lead parts I often apply a chorus to widen it. Next time I'm gonna try this technique instead, and in combination with a stereo chorus.
you never cease to amaze me with how innovative your ideas are, incredible work ryan 10/10
My brain hurts but my heart is happy... Lol. Great video, brother!
Great concept, thank you for sharing! As a plugin developer this just gave me some ideas. Not exactly what you were doing but definitely inspired by it.
Fascinating idea!!! Hell yea! Have you seen mason stoops video on getting incredible stereo guitar sounds with two amps?
Sometimes you can get the same effect in the box with just a high pass filter since it messes with the phase
I was wondering about that. If you were to try this itb with an amp sim. I wonder how it would turn out. It would save so much time in post if it were possible or even for just making demos if the result was comparable to double tracking and not just “good enough” if there’s no other option.
Really insightful, thank you for sharing this extremely useful recording trick
That is what I love about my blackstar HD150. The stereo is like 3d and engulfs you playing with its high res effects.
DANG! I want to try this on both vocals and acoustic guitar, and congas, and shakers, and .......
Sweet! Always nice to have a new trick up my sleeve!
I have no idea what you're talking about , but it sounds good .
Hey Ryan, that's pretty cool! Your assumptions as to why it works are not quite correct, though. You said that "speakers don't like to move backwards first, they want to move forwards." That's not correct. If that were true, you would be able to achieve this without that reamp box by swapping polarity of the speaker (and mic preamp).
The reason this works is because of the asymmetrical clipping at multiple gain stages inside the amp.
It's very cool!
It's still mostly mono! Only a few residual frequencies get stereo. If you apply a short stereo reverb to a mono track, you will have the same king of result. Real Stereo comes from differences in amplitude, time and timbre.
that's super awesome!! I have seen a similar teqnique done with a second mic at the back of an open back guitar cab with the mic pre polarity flipped. I am so going to try this. Thanks for sharing
Wow, i am of to she shop for a di box :) :) Thanks for all the great tips and sharing and experimenting, u are a king :)
Wow!!!! this is AWESOME!!!!! Thank You!!!
That is cool.....But I simply pan my lead guitars and sometimes rhythm guitar hard L-R. I change up the eq different for each and then I delay one side 10m-15m or more and wow! Use two mics or simply copy & paste the track if only using one mic (I always use two mics-same exact distance from the speaker to avoid phasing issues). Simple and effective.
wow! very smart. though i'm noticing its stereo field is like isnt constant and kinda slightly moves dynamically
also what about separate speaker (or cabinet) revesed
Yes. That was freakin' cool or what.
Thanks for posting. Subscribed.
I love the idea. I’m not sure if it’s the speaker which is the cause of this or the valves/tubes and transformers being non-linear when they are pushed into saturation/distortion. A good way to test that is to try the same technique with some tubes that are badly biased. Thanks for taking the time to do the video! The effect is awesome!
If this is the case you could verify by just reamping twice without doing any flipping and expect a similar result correct?
Another cracking episode. Thanks!
Could this be done with an impulse response file?
This is friggin genius.
Pretty cool idea! I was thinking you were going to re-amp and record stereo room mics, or perhaps mid-side mic the guitar amp (which now that I think of it could be cool). I'll definitely give this a shot especially for leads/solos where double tracking really isn't the intention.
Eager to see if this concept would work in the box with a good amp sim like Neural DSP. Definitely gonna give it a shot
That's a doozy! What fun, I wonder if it works with virtual amps? I guess it depends on the depth of the modelling...
very cool idea! Stoked to try it out and hear it in a mix context
You watch Steve Albini’s in depth talk about phase and the amount delay an amp has? Just seems like you found the sweet spot in milliseconds of delay. You know more than me…I’m just an armchair coach.
i'm pretty sure it's not a delay thing. it's recorded twice with the same mic in the same position, so there should not be any time difference. also when you listen to it the localisation of most of the signal comes from the center when panned hard right and left. but there are definitely phase differences in the distortion that is produced. but that has little to do with delay.
That’s amazing man, I never would have thought to try that
Thank you for sharing this! I’m not sure I would’ve been so kind if I discovered it! Thank you 🙏
Very cool! I can’t find this reamp online. Any links?
This is very interesting. I wouldn’t say speakers don’t like reverse polarity signals, because half of the signal is always pushing out and the other half in. Also many guitar effect pedals invert the polarity. You don’t normally hear phase differences.
I notice when I play through different amps at rehearsal studios that I can get good feedback out of some, but nothing out of others. I’m guessing the speaker cab’s polarity is reversed (maybe the speaker cable?). At some point I’m going to make a pedal that just flips the polarity and see.
But I do think you’re getting a different sound from the amp. It might also be from the circuitry in the reamp box that inverts the signal. Who knows?
The EHX Stereo Polyphase is pretty sweet…
Reinventing the wheel again.
Cool concept, but that trick created audible artifacts in the side channel. Like you showed, most of it cancels out when hearing the mid channel (mono check), but listem carefully the side channel of this examples and you'll hear some nastiness. Now the good news: Understanding that concept, it is possible to achieve a stereo sound from a mono source in other ways. You can treat the left and right channels with opposite equalization, for example. Mid/side and some smarty ass trickery (like the "Wider" plugin from polyverse) could lead to awesome stereo from mono sources too.
How bad could it be to leave that kind of sound in the side portion of a mix, maybe it is what you looking for, maybe to play with the mic distance from the amp could resolve the issue. None the less, I think it's possible to seek other ways to create stereo signals from mono sources. I hope you understand my point of view, I liked your video and it shows that the concept of treatening left and right channels separated could create some nice effects.
Great video. You should check out Otto Audio's II II II II amp sim. I'm pretty sure they doing the same thing with the amp sim to create a stereo-ized sound from a mono signal with the amp sim.
This is excellent!!! I’m gonna try this next time I record our band and need to use just one guitar track
Great video! Thank you!
Ok, I'm a little confused. Did you flip the polarity back at the amp's preamp or at the preamp of the mic you mic'd the amp with?
He flips the polarity going to the amp, and then flips it back either at the mic preamp or in the DAW.
You look like a younger Dr Steve Turley. He too is a badass musician 👍
Brilliant. Really simple idea and it works well. Thank you for sharing!
My guitar rig evolved out of a pile of sound reinforcement bits for drums so I have some weirdness, like I use a couple of Little Labs IBPs to cock a couple amplifiers slightly off phase- one plus and one minus, and a Panning Tremolo Pedal to swap them up and down. At the moment, they are taking the two upper bands from a three-way crossover for sort of a Heath Robinson/Rube Goldberg Harmonic Tremolo. 😜 My motto is "They make a pedal for that".
This is so simple and so effective. Man. Thank you so much!
Wow man it’s so freaking great 🤯 thanks!
So easy yet so mind-blowing! So cool man! New subscriber :)
my guess is a phase difference only of the distortion part due to the asymmetric saturation behaviour of tubes, and less of the speaker (at least not primarily, only when you push it really hard). tube distortion squashes the upper and the lower half of the waveform to different amounts, that's why it is called asymmetric. my guess is it will not work as good when you use most overdrive/distortion pedals with it, because most of them have symmetric clipping stages built in, resulting in no difference when the waveform is flipped.
I still don't totally understand how this is working. Is it relying on the physical errors/variation of the speaker itself?
Ding...ding...ding...ding...ding... We have a winner!!! 😎
so it puts the room out of phase? cool. lol my only apprehension was mono compatibility. i figured at most you'd just lose the room in mono. but that doesn't seem to be the case. maybe down to tiny changes in amp/mic placement, or some other minute change in the room. thanks for the tip!
i've never heard this thing you mentioned about speakers having preference for forward excursion; i'd be interested to test that out, i've always assumed there is no difference since the speaker's voice coil self-centers itself to the magnet's field, and because sound waves can go either positive or negative first as that's an artifact of timing and mic placement. although technically, air is essentially single-ended as a pressurized gas medium, to put it in tube amp terms. the fluctuations of sound aren't driving the air to "negative pressure," just momentarily to a slightly higher or lower pressure with the air squeezed then stretched as the wavefront moves outward from source. so that's almost exactly like biasing output tubes; the tube never really goes negative, it's normally running partly conducting and the signal rides on that. so i could see how a speaker could be more effective initially pushing rather than pulling. gonna have to dig some more...
I’ll definitely try that on vocals! Great idea! Thanks!
have tested this with amplex ampsim - it works
Gold Nugget. Great stuff!
Fantastic! Will definitely try it out with my next recording.
this is just brilliant
Wow! What a simple, but great idea! Thank you!
Was that you burning the fretboard? Sounded awesome!
thanks dude, I'm gonna try this out this week!