![]() Stereo acoustic guitar or any instrument recorded with more than one mic is susceptible to phase problems, too.Multitrack drums are by far the most likely source of phase troubles, because they’re recorded with multiple mics at a variety of distances from the kit or each kit element.Here are some common problem-areas to be aware of: But, alas, it’s not a perfect world, and you often have to work with tracks that are problematic from a phase standpoint. If a recording is done properly and carefully, phase should not be a major issue. A more common result is comb filtering, which can cause tracks to drop in level and sound scooped, ‘phasey’ and weird. The worst-case scenario is a total cancellation of the audio if the two elements are 180-degrees out of phase (where the peaks of the waveforms are pointing in opposite directions at a given point in time) during mono playback. When the tracks are summed to mono, they interfere with each other, causing sonic degradation (aka “destructive interference”). The distance variations cause the sound to arrive at the mics (and therefore get recorded) at slightly different times. One of the most common causes of phase problems comes from recordings of the same source made with two or more mics placed at different distances. It’s best to diagnose and eliminate any phase problems as early as possible in the mixing process. Problems with phase can even degrade the sound of your mix in stereo, though to a lesser degree. You’ll know you’ve got it if instruments drop significantly in level or lose body when you hit the mono switch. Outright phase cancellation is another issue entirely. If mono compatibility is important for your project, you might have to work to moderate your panning and use EQ and other methods to carve out space for each of the elements. The flip side of that is when you sum your mix to mono, suddenly the width disappears, and things may sound a bit cluttered and indistinct. The ability to assign each element to a place in the left-to-right spectrum makes it easier to fulfill the mixer’s mission of making sure each part can be clearly heard. The pan pot is one of the most powerful tools available to a mix engineer. ![]() In this article we’ll look at what causes them and discuss preventative remedies. Having phase problems is one of the biggest hurdles for mono compatibility. You can’t control where your music will be heard, and by creating a mix that doesn’t translate well to mono, you’re taking a risk. For example, club sound systems are sometimes mono most mobile phones have mono speakers as do some laptops and Bluetooth speakers stores and other commercial spaces sometimes have mono playback systems and that’s just a partial list. There are still plenty of scenarios in which your music may be heard in mono. A mono-compatible mix isn’t as important as it once was, but neither is it something you can ignore. Mixers must navigate a fine line between creating wide stereo mixes and ones that are phase coherent and will hold up when summed to mono. Find out how to spot it and get your mix great in mono and stereo. Ever summed your mix to mono, only to find that elements become thin and lifeless, or disappear altogether? Chances are you have some degree of phase cancellation.
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