3 Great Tips to Get your Phase right
Phase issues can turn your mix into a mess real quick. But don't stress – we've got some no-BS solutions from mixing legends Sylvia Massy, Nick Launay, and Tchad Blake. Swipe through for 3 practical fixes you can use today. No fancy gear needed, just smart thinking. 🎚️
SonicScoop
Align phase between snare mics to avoid a thin snare sound
Sylvia Massy emphasizes the importance of aligning the phase between the top and bottom snare mics for a full snare sound. The phase inversion typically occurs because when the snare is hit, the top and bottom heads move in opposite directions relative to their respective mics – the top head moves away from the top mic, while the bottom head moves towards the bottom mic. This opposing movement creates a phase discrepancy, often resulting in a thin, papery snare sound when both mics are mixed. To fix this, Massey flips the phase on the bottom mic, thus restoring the fullness and tone of the drum. She points out that checking and correcting phase between drum mics (snare mics, overheads against the snare, etc.) is an essential step at the beginning of every mix.
Mix with the Masters
Manipulate phase to make the bass cut through
Nick Launay illustrates how he enhances the presence of a bass recording through phase alignment. He achieves this by applying varying amounts of sample delay between the direct input (DI) and the microphone signal, specifically in the verse and chorus sections. This approach modifies the phase interactions, which in turn affects the EQ characteristics of the combined bass signal. It allows him to precisely tailor the bass's impact, ensuring it has a consistent presence and cuts through effectively in each part of the mix.
Avid
Add mid-range punch to a kick with parallel distortion
Tchad Blake employs the SansAmp distortion plugin to infuse the kick drum with additional grit, character, and mid-range presence. He implements this effect in parallel, allowing him to preserve the original sound and dynamics of the drum while gaining more control over the distortion's setup and manipulation. Blake often experiments with filtering and inverting the polarity on the distorted parallel track. Adjusting these parameters results in varying degrees of comb filtering when blended with the original track, thus shaping the sound in distinct ways. His method typically revolves around experimenting with the settings to discover a balance that best complements the song.