What IN / OUT of Phase Sounds Like on Guitar - Hear the Difference!

[@hillblocksview]

@2:18 Your face was going *in and out of phase* I think this four second clip was all I needed to understand. _Thank you!_ 🙏

[@customcutstudios]

lol, I finally put a stop to that in my latest video.. (I think). Videography skills are catching up. Have no fear! We got this

[@lonniebiz]

In phase and out of phase in audio recording refers to the alignment of sound waves between two or more audio signals. When audio signals are in phase, their waveforms are perfectly aligned - the peaks and troughs of the waves move together in the same direction at the same time. This creates reinforcement of the sound, resulting in fuller, stronger audio. When you record properly with stereo microphones or combine multiple tracks, you want them to be in phase. When signals are out of phase, their waveforms are misaligned so that the peaks of one wave correspond to the troughs of another. This creates phase cancellation, where the opposing waves partially or completely cancel each other out. This results in thin, weak, or hollow sound. In extreme cases with waves 180 degrees out of phase, they can cancel completely resulting in silence. Phase issues commonly occur when using multiple microphones at different distances from the source, when cables or connections have reversed polarity, through improper microphone placement, from digital plugin delays, or from signal routing problems. They can also happen with stereo width enhancement effects. You can detect phase problems by: - Listening to your mix in mono - Using a phase correlation meter - Visually inspecting waveforms - A/B testing with phase inversion - Comparing with frequency analyzers - Conducting null tests To fix phase issues: - Adjust microphone positions and distances - Use phase alignment plugins/tools - Flip the polarity switch (180° rotation) - Time-align your tracks - Check all cable connections - Ensure proper gain staging Phase alignment is crucial for achieving professional, full-sounding recordings and mixes. Poor phase relationships can seriously degrade sound quality and should be addressed during both recording and mixing stages.

[@gearheadrumbum]

There is a plugin called Mautoalign by Melda Productions that align tracks up perfectly. It's one of my favorite best plugins.

[@slowcreep6978]

If I take the exact same mono audio track, duplicate it, and invert one, the result is silence correct? So that's what we're hearing. The characteristics unique to each mic make the individual tracks similar, because they're recording the same thing, but different enough that, when one is out of phase with the other, the common tones are removed? Just want to be sure that my understanding is correct.

[@customcutstudios]

@slowcreep6978. Sorry I thought I answered this ealier. I just replied to the same question for someone else, so I'm recopying it here because it was a rather in depth answer. Hope this helps with your understanding. If you zoom in all the way and look at a sound wave you will see that the line in middle is the equator. When the wave is above the line consider that sound pushing. When the wave is below the line consider that sound pulling. When multiple mics (or a mic(s) and DI) are recorded Simultaneously, you must make sure each mic(s) (or mic and di) is being hit with the sound wave the same way on all things Simultaneously recorded. The pushing sound waves must be pushing at the same time, and the pulling sound waves must be pulling at the same time. If they are in phase, this will be the case. If they are out of phase, the pushing sound waves will be fighting with the pulling sound waves and result in cancellation of sound. That's why the sound becomes much "thinner" so to speak, when things are out of phase. If you duplicate a track, and flip the phase (same thing as inverting the track) on one of them, then you are correct.. in that they will cancel eachother out (because it is the exact same wave form pushing and pulling 100% equally against itself). If you duplicate the track and do not flip the phase on one of the tracks, the result will just be more volume for no reason. Since headroom is always a concern (especially in the digital world), if you need more volume from something, its best to lower everything else to achieve more volume on what was lacking, instead of duplicating tracks for volume. You got this! Thanks for watching.

[@fen3184]

Thank you.

[@customcutstudios]

No problem! Glad you found it useful.

[@cloud9savagehenry]

Ok I can hear that I was also in the dark about this. Now... what causes out of phase like that? And... if you put 2 copied identical frequencies back to back it causes what's known as phase cancelling. Is that correct?

[@customcutstudios]

@cloud9savagehenry If you zoom in all the way and look at a sound wave you will see that the line in middle is the equator. When the wave is above the line consider that sound pushing. When the wave is below the line consider that sound pulling. When multiple mics (or a mic(s) and DI) are recorded Simultaneously, you must make sure each mic(s) (or mic and di) is being hit with the sound wave the same way on all things Simultaneously recorded. The pushing sound waves must be pushing at the same time, and the pulling sound waves must be pulling at the same time. If they are in phase, this will be the case. If they are out of phase, the pushing sound waves will be fighting with the pulling sound waves and result in cancellation of sound. That's why the sound becomes much "thinner" so to speak, when things are out of phase. If you duplicate a track, and flip the phase (same thing as inverting the track) on one of them, then you are correct.. in that they will cancel eachother out (because it is the exact same wave form pushing and pulling 100% equally against itself). If you duplicate the track and do not flip the phase on one of the tracks, the result will just be more volume for no reason. Since headroom is always a concern (especially in the digital world), if you need more volume from something, its best to lower everything else to achieve more volume on what was lacking, instead of duplicating tracks for volume. Hope this helps. You got this! Thanks for watching.

[@irishRocker1]

You go from talking about how people say they understand but dont understand it etc. to saying its pretty obvious, it's not a mystery. The description you hear about phase is if it sounds ok with the Mics solo'd but together they sound thin, then its out of phase. Don't think anyone is lying about understanding that. As you said later its pretty obvious. I thought this was gonna be more about how sometimes you might get phase issues from panning guitars, rather than mics being out of phase.

[@customcutstudios]

This particular vid (I have others on phase also) was for anyone who wanted to hear an example of in phase compared to out of phase as the title suggests. Some people requested to hear the difference. I believe some may benefit from being shown what the difference sounds like. Until you are shown a clear difference, it’s hard to know what to listen for. A bigger issue you mention is that you believe Panning the guitars (plural) creates phase issues. This is not true. Phase is only an issue with a source that has multiple mics being recorded simultaneously, and/or mic(s) & di being recorded simultaneously. Since you said guitars (plural), I assume you are talking about two different performances. So no, phase has nothing to do with two different performances being panned. When you perform the part again, it will inherently always be different enough for there not to be a phase issue. That is why you double the part by performing it again, and Not by duplicating the track in the DAW. And unless you are going for an out of phase sound on guitar, you always process/ treat the multiple mics / di & mic(s) as 1 track for guitar (after you get them in phase). Wherever you pan 1 of the mics, the other mic/di goes exactly with it and you won’t have phase issues from panning the guitars. Criteria to avoid phase issues on guitar: 1) you are treating both mics and / or di & mic(s) as 1 track. 2) the guitars you are panning are different performances. 3) helpful tip, pan hard Left and Right on guitars to widen out the stereo field (never pan the bass as you want that centered). Contrast this with a more narrow or centered guitar(s) for maximum benefit in certain parts of the song (without contrast nothing is wide!). Also make sure to make the left guitar performance, and the right guitar performance sound at least slightly different. The sound, not the part you are doubling. Changing any or all of these between performances will help with increased perceived stereo field on your doubled guitar performances: different guitar, different pickups, pedal, preamp, head, speaker, etc. Thank you for the question. Hope this helps you and anyone else who sees it.

[@Jessees902]

Good video but the sound sample seems to have some kind of effect on it that alters the phase itself (chorus possibly?)

[@customcutstudios]

Most definitely on bass (that maybe what you are hearing), but I don't believe there is any on the guitars.. but maybe. Was done a little while ago so I wouldn't swear to it. I only recall some overdrive being used which is why I chose this sample to demonstrate on.

[@BaRRe0n]

Do phase problems on happen if its recorded with mics or does it happen with DI and XLR out as well ?

[@nedim_guitar]

It shouldn't happen when recording DI, because you're taking away the variable of mic placement. Basically, if the mics aren't placed at equal distance to the sound source, you could have phase issues, because one mic will pick up the sound before the other. Or, if you're placing one mic close and the other one further back, the other one needs to be placed at the correct distance (I've read somewhere that it has to be e.g. three times the distance of the first mic). When you record DI, the sound goes straight in, there's no variable because there's no mic, so there will be no phase issues. But if you record DI and a mic, you can simply just delay the DI recording to match the mic's wave. If anyone has more information than I do, or if I got something wrong, please do correct me!

[@kw9172]

@@nedim_guitarMy understanding too, if I am not mistaken, if you mix a DI signal with a mic, phase becomes an issue again I guess?

[@nedim_guitar]

@@kw9172 Yes, that sounds right. Delaying the DI, aligning it with the mic signal should suffice.

[@customcutstudios]

Prepare for shoutout! Your answers are solid and I feel your general understanding is there. Only critical piece which you may already know is that phase is only a factor when you are recording multiple mics and /or DI and mic(s), simultaneously. I just want to reiterate that because that’s the main reason a DI by itself (with no amp mic) is always gonna be fine. And the same reason, that multiple performances (panned or not) have nothing to do with phase. It’s only a factor when recording multiple mics simultaneously, on a source or sources. Separate note, I’m not a fan of rules like 3 feet away will be in phase etc.. I find that there are too many variables to contend with, so you’ll always have to check it and adjust as needed. Seriously tho, you have a good grasp. Thanks for helping out with some needed info. You got this!

[@nedim_guitar]

@@customcutstudios Cool! The distance of the second mic being three times the distance of the first mic is something I read. It's important to question things we read and go to multiple sources.

[@tvman7916]

How does something become out of phase? What exactly is happening?

[@customcutstudios]

@tvman7916 Just replied to the same question for someone else, so I'm recopying it here because it was a rather in depth answer. If you zoom in all the way and look at a sound wave you will see that the line in middle is the equator. When the wave is above the line consider that sound pushing. When the wave is below the line consider that sound pulling. When multiple mics (or a mic(s) and DI) are recorded Simultaneously, you must make sure each mic(s) (or mic and di) is being hit with the sound wave the same way on all things Simultaneously recorded. The pushing sound waves must be pushing at the same time, and the pulling sound waves must be pulling at the same time. If they are in phase, this will be the case. If they are out of phase, the pushing sound waves will be fighting with the pulling sound waves and result in cancellation of sound. That's why the sound becomes much "thinner" so to speak, when things are out of phase. If you duplicate a track, and flip the phase (same thing as inverting the track) on one of them, then you are correct.. in that they will cancel eachother out (because it is the exact same wave form pushing and pulling 100% equally against itself). If you duplicate the track and do not flip the phase on one of the tracks, the result will just be more volume for no reason. Since headroom is always a concern (especially in the digital world), if you need more volume from something, its best to lower everything else to achieve more volume on what was lacking, instead of duplicating tracks for volume. Hope this helps. You got this! Thanks for watching.

[@tvman7916]

@@customcutstudios Fantastic reply! That is some wild stuff, I finally understand.

[@ZAY________]

🙏🏾🙏🏾🙏🏾