Do you understand PHASE COMPLETELY? : An F9 Video made for musicians
Vložit
- čas přidán 11. 10. 2022
- Give me a few minutes of your day and I will fully explain phase - One of 'the' most miss-understood yet vital components of audio engineering, See how a circle, a power station, a snare drum and a 1980's stereo system can help explain and de-mystify an audio property that every musician, engineer producer and artist will fight with at some time in their life.
Kick Drum Top 10 Tips : • F9 Top 10 Tips for Con...
F9 KICK! Full Walkthrough : • F9 KICK! - Argon Drums...
Why you should not Key your kick drums: • You Should Never 'Key'...
Free Sequential TOM Drum Kit • Free Drum kit & Stems ...
visit us here at:
www.f9-audio.com
All F9 Releases:
www.f9-audio.com/collections/...
All F9 Ableton releases:
www.f9-audio.com/collections/...
All F9 Logic Releases:
www.f9-audio.com/collections/...
All F9 TRAX Releases:
www.f9-audio.com/collections/...
All F9 Cubase Releases:
www.f9-audio.com/collections/...
All F9 Kontakt Releases:
www.f9-audio.com/collections/...
All F9 Bitwig Releases:
www.f9-audio.com/collections/...
All F9 Tutorials:
www.f9-audio.com/blogs/tutorials
---------
CZcams Playlists:
F9 Tips Videos:
• F9 Tips Videos
F9 Plug in Videos:
• F9 Plug In Tips, Trick...
F9 Ableton Walkthrough / Demo Videos
• F9 Ableton Walkthrough...
F9 Logic Pro Walkthrough / Demo Videos
• F9 Logic Pro X Walkthr...
F9 Kontakt Walkthrough / Demo Videos
• Kontakt Walkthroughs &...
F9 Sample Pack videos
• Sample Packs from F9 A...
F9 Disco Tutorials
• All F9 Disco Tutorials
F9 Venus Rack Videos
• F9 Venus Racks for Abl...
---------
F9 Social Media
F9 Facebook: / f9audio
Threads: www.threads.net/@f9_audio
X: / f9_audio
Instagram: / f9_audio
---------
You can now use TRAX instruments to make sample packs
It's with great pride we announce that effective from June 1, 2023, all F9 playable instruments and kits have been granted license for usage in the development of audio loops. These loops can be included in commercial sample packs designed for your personal use, your individual sampler store, or for third-party platforms such as Loopcloud, Splice, Arcade, NI sounds and more. There's only one restriction to bear in mind: the midi. When creating for these releases, you must compose original musical or rhythmic parts and avoid using any midi or musical motifs from this or any other F9 release.
This updated licensing term now encompasses stem creation and "track-outs," which are frequently seen in beat marketplaces. It also applies to ghost production and collaborative projects. Our goal is to provide you with even greater flexibility and creative potential in your music production endeavours.
To read more about this exciting development, follow this link: www.f9-audio.com/pages/license. - Hudba
This was by far the most sophisticated presentation on phase I have ever seen. Many thanks!
Thank you Christian - That means a lot ... I returned to the physics I always loved in my eduction over lockdown and came across Richard Feynmans' BBC interviews - I loved the way he was able to explain the quite abstract subject of reactions so simply so borrowed a touch of that presentation for this - It appears I might be onto something as teh response has been wonderful - will dig deep for other topics in music soon.
When I used to DJ (not a proper DJ) at weddings and stuff when I was in sixth form and a bit at uni with some decks, tons of vinyl (that I still own) and dodgy homemade light boxes, I used to get that effect by throwing the same record on both decks at the same time to test if the belts needed replacing (couldn’t afford direct drive) 😂
underrated. Too much fire 🔥
Thank you Max - We are lucky in that we have no wish to play to the YT algorithm as these information videos are not our principal business - Hoping to do more along these lines soon - Just planning the next compression video and one explaining why we have 44.1Khz and 48Khz
@@F9Audio I think I just found a new home. I am writing a lesson on phase, and in my research, your video popped up. I am about to watch the compression one. If this is anything to go by, my mind should be similarly blown and entertained.
I am a big fan of sample rate debates, especially people's philosophy around this subject. I look forward to all of it
A loudspeaker actually works opposite of what you say. The displacement is general in anti-phase with the pressure, so the highest pressure is seen when the driver is all the way in. One way acoustic engineers are tricked is by looking at how the driver moves at low frequencies, where the voltage and displacement follow each other, but above the characteristic frequency of the driver this relationship switches 180 degrees, which is exactly what we want to have the driver moving inwards for a positive pressure in the frequency range of interest. This relates to how the driver generally plays into a mass-like environment.
Could you point me at the literature on this ? - Facinated - I was taught the inverse but I totally undertand my eductaion had to cover a large range and certainly did'nt dial down into the precise mechanics of speaker design - which having been around the Bowers and Wilkins Factory twice i can see is an extraordinary discipline and alwasy keen to learn !
@@F9AudioSure. You can for example look up Sound and Signals by Tohyama (pages 39-41; can be found via Google Books). But since some books will say otherwise, it is always best to carry out the analysis yourself, and I have done that in an AudioScienceReview post called something like 'Which way is up?"
Ahhh ok - so there is debate on this .. so to be clear an audio signal positive above the resting position will actually translate to a negative air pressure around that instant ?
@@F9AudioWell, not really a debate, it is more that intuition will typically tells us the opposite of what happens here, and some authors state it incorrectly while not going into the theory. But yes, in general, without going into all details, the elevator pitch should be that positive displacement drives negative pressure, or better that positive accelerations drives positive pressure.
This is why I love youtube - I've just found your article .. I think I now understand - it's the acceleration causing the pressure, not the movement, the vector, not any given momentary value - This is actually very intuitive once you look at it as there must be a force applied to move anything, and force and acceleration are directly proportional, The deep maths is beyond me, but Anotehr day, some new learnt ! - Thank you and wonderful to meet you !
www.audiosciencereview.com/forum/index.php?threads/which-way-is-up-which-way-does-a-loudspeaker-driver-move.42697/
The passion for sound is so evident! Awesome video
Thank you ! ... yes I LOVE all this and F9 has allowed me to concentrate on it more than ever before in my life so I'm looking forward to going through as many of the principles as possible
So much knowledge!!! Keep this great videos coming!
Amazing as always James 👏👏👏👏
Very well presented James!!!
Wow…well done and commonly understandable for all who need some input for example to do better mixes. Subscribed and checking all your other videos.
Thank you - wishing you all the best for your music this wiinter and into 2024
i love F9 tuts... so good its even entertaining
Amazing explanation as always thank you James
Another interesting session related to the sound phase... Thank you F9 for all your willingness to share information and content with us!
Very helpful, thank you.
i enjoyed this video a lot more than i should have lol love it ,thanks a lot!
Good Work!
Buttoned it up at a nice speed.
Thanks for the brilliant video and for sharing your knowledge!
Brilliant mate thanks ❤
James my man! Been waiting for a proper explanation regarding this for a while now. Big ups and a thanks a bunch for this! Love from Nate in Sweden..
A pleasure Nate - been a long time coming this one
This video is of fantastic quality
Great video! Look forward to the tips and tricks.
Thanks Martin - yes just adding up all the ideas for that - anything else you'd like to see covered ?
Wow!! Fantastic Explanation!! Thanks a lot!!
A pleasure - more coming
Precision and quality in those videos. That's a great channel and products are awesome. Cheers
Thank you ! ... Means an awful lot as I really love all this so comments like thsi spur me on to the next one - Let me know if there's anything you'd like to see covered
Legend! Thank you. Look forward to more vids!
Will get some out as soon as humanly possible
GReat video. Hey what happened to the part 2 with the tips and tricks related to phase? I couldn't find it :( But This was probably one of the most important subjects and not explained well anywhere else!
I promise i will get round to it .. Been so busy here and the last release caused some real issues with attempting Cubase support - well reminded
Brilliant video - great watch, thanks James
Than you Mark - Any other topics you'd like covered ?
I honestly had no idea what Phase was other than 180 out was bad news. I needed this video so hard. Thank you!
Brilliant to hear ... Whats great about all these engineering principals - Once you understand it, you'll have that knowledge for life
Such a wonderfully passionate teacher. Thanks for sharing!
Very kind of you to say ... I do love all this stuff - been obsessed with Physics since I was 8
Very well articulated thank you 🙏
Thank you Steven - I'm thinking of a series of "ask me anything" videos this autumn / winter - anything you'd like to add - can be technical, industry, artistic ?
Fantastic content, as always. Thank you James! ℹ️❤️🏠🎵
Thanks so much for the comment - means so much to get such a reaction as this from everyone - do let me know if there's any other subject you'd like to see covered
@@F9Audio I know you already touched this topic, but arrangement (aka getting out of the loop), dj intro and outro vs radio edit (nowadays Spotify edit) would be a nice idea both as informative content per se and as promo for F9 great Beats packs
@@alessiorossi Great idea - already have the start for this one !
It's incredible the passion you exude when you explain it, it's contagious and I love it!! I wish every ''professional'' was like that. Thank you for your excellent work James. :)
Great video as always James and I will also salute you for the Recent Kick pack - what a brilliant way to sculpt and also create variations during a mix with these fantastic tools.
Thank you so much Jens - Had such great reaction to this video and only just had time to sit down and reply to all the comments - Yes I'm ever so pleased with the KICK! pack -- been asked for "SNARE! " next .. will have to do it as I'd love that too
Another excellent masterclass! 🔉Thank you James, this is very well explained and helpful.
A pleasure Thomas .. We’re on a roll with the production of these now so will try to get as much out as possible in between the commercial releases
Learnt so much thank you loved it
A pleasure... this video was actually inspired in part by a brilliant and legendary physicist called Richard Feynman who had an amazing ability to explain complex physics in such a way it was easy to understand - here's an example from a BBC interview ( he's from Brooklyn so has an accent like a 50s film star ) czcams.com/video/N1pIYI5JQLE/video.html
Amazing video James, certainly explains exactly what needs to be done in order to stop running into as many problems, especially with the bottom end! Many thanks for your factual and perfectly explained examples. Keep up the good work 🎧🎛🎚🎛🎧
Thank you James !! I can listen to you for hours !! God bless you Sir !!
Very Kind Fahim
You are a fantastic teacher. Thank you for this.
Thank you ever so much - Hoping to do as much as possible here in between the F9 releases - Anything you'd liek to see covered ?
@@F9Audio I was introduced to you via a video of you teaching parallel processing many years back. You were presenting to a small group and using Reason, if memory serves me right. It would be amazing to see a 2022 version of that. Additionally, mid/side mixing tips would be nice to have covered, from your perspective.
@@LuxElliott Great Call - Yes it's definitely time to revisit this I feel as there's so much more potential now
Everything about this video from the visual editing to the delivery, and not to mention the information included, is incredible. Thx for improving my mixes!
Wow, thank you sir ... ever so kind of you to say
This is a REAL TRUE vid explanation....BEST on YT 👈🏾🧢💯!!!
Thank you so much - more coming .. let me know if anything you'd like to see covered
Superb video many thanks.
Most welcome!
This is one of the single best Audio and producing channels in all of CZcams. In depht, clear and straight to the point! Love watching your videos 🤘🏽❤
Thank you
Knew about phase already, watched anyway, still learned some things, great vid
Excellent and thank you so much for watching - If we're adding to people very knowledgeable on the subject, I'm very happy and spurs me on for the next one - Anything you'd like to see covered.
@@F9Audio As I said in the tips video you did, would love to see a dive into reverb and delays and how to fit them in a mix, apart from that keep doing what you're doing the vids are all informative!
Top notch explanations. I touched on harmonics and partials in my explanation of why most synths have sawtooth waves. I really enjoyed how you took very clear real life examples to explain.
Thank you Mike - I'm off to watch your channel now ... I'm a big fan of Richard Feynman and his examples of physics principles - here's my fav ( also love that 50s Brooklyn accent ) czcams.com/video/N1pIYI5JQLE/video.html
@@F9Audio Thanks for sharing - I love his Cornell lectures 👌. Feynmann was amazing.
Awesome video mate! Very well done. However I have to debunk the myth of the snare phase cancelation. You're describing it as if it was a single surface vibrating, but it's not. And the demonstration is clear with the slightly detuned saw waves. There's no phase cancelation by putting a mic at the top and a mic at the bottom of a snare, or any other drum. Otherwise, you wouldn't hear the snare by placing your ear at the same distance of the top and the bottom right? Because the phase relation is far more complex between the top and the bottom and what's happening inside the snare than just "the bottom is the opposite of the top". Reversing polarity on one of the mic may sound better, sometimes =) Nothing personal, I hear that one all the time, it's like an old audio engineer urban myth. Cheers and keep up the very good work.
Thank you for the kind words - But i must absolutely agree interms of upper harmonics and their complexity but when we consider the big LF weight of the principal skin movement, I need to call this out as not true - I've only ever seen this be the case once and that was down to an incorrectly wired cabling and I think this is where a lot of the reports of this not being a vital move come from.
Before I became an electronic-based musician, I worked as an Engineer and programmer across London and have been in hundreds of live Drum sessions, often with the best engineers and drummers in circulation and I can absolutely promise you that with correctly wired studios, microphones, and cables, if you don't invert the phase of the bottom snare drum mic, you will lose a ton of weight and low-frequency body when it's mixed with the upper - Now that might just be what you want, but the phase effect i mention here is very much in play.
I have though seen all sorts of bad cables, mic repairs, and other anomalies that might make it seem that a certain recording didn't need it ( including a Neve 88 where the patch bay only had 2 pins connected to the live room tie lines, or tie-lines having their hot pin revered by mistake during installation) but never in a technically perfect setup.
Now I'm all up for learning so if you can prove me wrong - please do and It'd be great to see this in video .
Thanks for taking the topic back to first principles. I'm going to try some of this for myself. I'll be ordering some F9 party plates for my lads 4th birthday!
Please do try Gareth - it's quite something when you work out what's going on and suddenly a few things start to make sense - anything else you'd like to see covered ?
Although probably worth noting that you can't technically invert phase, this is inverting polarity (swapping the positive and negative of the signal) - phase is a function of time and therefore you can only 'rotate' phase. Meaning when we look at non simple waveforms such as time varying audio, you can't cancel audio out through rotating phase 180 degrees for example, but you can if you invert the polarity.
Of course we use inverting phase as a colloquialism of inverting polarity - so no biggie, the above is useful information if you ever wanted to differentiate between phase and polarity.
Also the ossicles are comprised of the malleus, incus AND stapes (the little stirrup-looking bone that connects to the oval window of the cochlea).
- Just a pedantic guy who studied acoustics and electroacoustics.
Excellent details Mathew - I would also add you can't 'drop' a track at a gig and that would be silly - you'd break the CDJ / Laptop / USB ... Also I find it ridiculous that all my leads are called Jack ;)
@@F9Audio stop trying to trigger me 🤣
Jokes aside, colloquialisms are fine in any case, but in rare occasion you may find your self ‘rotating’ phase by pi or 180 degrees, as opposed to using an ‘invert button’ - in this case people may find that tracks do not totally cancel. So I do hope the above goes somewhere in helping someone - whether it’s some know it all arsehole like myself or whomever 😂
@@producermathew Ha ha .. Thank you, Mathew - Always keen to make everything here as on point as possible,but also fit the current language paradigm so that it slots into the surface knowledge that people have already so I'll make sure to include this - by the way - did you watch further on where I graphically show the rotational relationship of phase? - Very proud of that bit as it's nowhere to be seen in current tuition for new producers ... It's here : czcams.com/video/qptvf5hUi4g/video.html
@@F9Audio yes absolutely! On a whole I loved this video as visually, it follows the mathematics itself and you really do cover the principles of physics which are at play here!
I always perceive yourself and your channel as a superpower of production knowledge and expertise - this video does not fall short (again I’m more so being pedantic with the above comment)!
Keep them coming, absolutely love these videos and have been subbed for quite a few years now!
Cool explanation. If you think about it, it makes no sense to measure sound in Hz since the actual sound is a pressure wave and hence non-transverse. This is just a cultural artefact though, stemming from professionals just referring to the electrical signal causing the pressure wave and just not mentioning this to the agnostic listener. Thank you for your amazing work.
It's surprising how many people can't hear phase issues. It bothers me so much when I'm out in public and I can hear it when speakers are wired out of phase. It makes my eyes water!
Ha ha ... I know what you mean ( hence the Dixons story - I must have told about 30 staff members back in the day - many couldn't believe the difference when they re-wired correctly ! ) , .... One that's making me laugh at the moment is Disney's "Bluey" from OZ - my kiddie loves it and we have an Atmos capable telly and we think the music was mixed in Atmos at some level ( but not very well ) as every now and again half the instruments in the music start phasing for a couple of bars then go back to normal .....
@@F9Audio That's funny you mentioned Bluey - great writing and my son loves it too! Haven't noticed the music issue as we don't have an Atmos TV but I'm surprised stuff like this makes it to production.
Quality explanations! Huge thanks F9 you are the boss!
So stocked for the next Phase tricks video! 😍
Btw any Trap/Hip-Hop/Phonk F9 Kick collection scheduled in future?
Your House Kick collection is so smart designed, I mean every producers should have the mindset+knowledge associated to this collection to proprely produce their music.
Gold 💛
Thank you ! .... Yes we will be venturing across genres much more in the coming months - Great idea for another KICK collection - The bar is high in these genres and I'm fascinated at the short nature of them ... Next video will be great fun and hopefully with a few surprises on board ... Let me know if there's anything else you'd like to see covered
@@F9Audio So nice! Of course, i'm very interested about how to manage the phase between a Kick & Bass essentialy (=technics with the special weapon : SSL X Phase)
@@evadz579 The only time you ever really need to worry hugely about the Phase between kick and bass is if you tune your kicks to the tonic ( sometimes called root ) note - or the main note in your bassline - the moment your kick is tuned away - even slightly the phase problems disappear in the manner shown above - This is why we are telling everyone to please please please stop listening to all this nonsense about tuning your kicks to the key of your track - the whole idea revolves around the need for everything to be tuned to the notes of a scale and it's just not the case at all ... To give a practical example - the 909 kick is tuned 40Cents Sharp of a note in our scale and that has successfully been used for 30 years on a growing number of massive slub records in every key imaginable - The fact that it's not tuned to specific note is in my opinion why it's worked so well - We simply don't have the same relationship with harmony at the lower frequencies as we do with the lower mids and tops for reasons I will explain in future videos -I hope this all makes sense
Thanks a bunch for diving straight in and not "mucking about" as you often say lol. I use ur products everyday. Keep the secret sauced coming
Ha ha .... Yes time to retire that one i think ... will try to get as many videos out in between releases as possible - Anything you'd like to see covered
@@F9Audio I love the phrase personally. Sets u apart from the please like and subscribe scripts wasting so much of our viewing time nowadays. As for content? Thx for asking and pardon the long wind. Since getting half a dozen, or so, of F9s products I've been signed for bunch of releases with smaller labels. What they don't tell you is the lack of promotion provided. Maybe some content on the actual business side of said business from a pros point of view of what to expect or do oneself. Secondly advanced songwriting and arrangement tips. The when and where to put stabs, slams, payouts, arps and chords without cluttering or having a sparce and/or repetitive mix. Techniques beyond just dropping audio and programming midi into a project. The advanced manipulation of elements to make productions more palatable to bigger labels who have better promotional structures in place for the lesser known artists. I've raised my kids now and house is my side gig for the remainder of this lifetime. I greatly wish to actually collect a royalty payment lol. Thanks again and hope all the best for the F9 organization 😀
15:14 oh that shift from electric poles to Ableton Live
You gotta have some fun doing this !
This can also affect your mixes if you DJ. If you're mixing 2 tracks with similar low end profile and the kick transients are lined up just slightly off, the bottom end thump the kick will drop out massively due to the phase cancellation. This was more of a problem on vinyl when mixing by hand, but even with digital vinyl systems, this can happen if your beat map is slightly off on the kick drum transients. In both cases a slight nudge can bring the 2 tracks right back into phase and restore your missing low end. :)
Absolutely - and as shown at the end of the video - the reason it's the kicks that phase is the length of their waveforms - it's incredibly difficult to get the top end elements to phase as minute movements like the kind of wow/flutter you'd get from vinyl systems constantly is enough to stop cancelations at the short Wavelengths at the top, but not the kicks ( although I have heard 2 tracks both with 909 hats have a real moment a few times )
I cut lower the bass eq of the incoming track, then when the mix is finishing bring the bass back in whilst simultaneously reducing the bass eq of the outgoing track.
Incredible presentation James! 👏
Looking forward to the next one! 😆
Thank you Jonathon - Anything else you like to see us cover ?
How is this related to reamping, how does picking up the sound from a mic at different distances effect the phase? Can you reamp something and double it with the original signal, would that then cause double volume with perfect phase or a bunch of phase issues?
Or can i avoid phase issues by seperating the low end or something like that
Realized it was alot of questions but maybe you can hint some aspect of this or who knows maybe all of it in the upcoming video.
Anyway, Great video, really well explained and digestable with the visuals. Would love more technical / mixing related stuff from you.
Great question - so as we show in the video - Phase is basically a function of time - In the same way that we see a lightening flash first then hear the thunder a few seconds later, the speed of sound is much slower than light - Now this is important as Electrical signals travel down wires at close to the speed of light, where as air pressure moves at the speed of sound ... One last point - as I show in the last stages of the video, low frequency tones have longer wavelengths and so can be more effected by phase ... So applying this to Guitar cabs - having even just one microphone re-amped ( or just plained amped ) signal alongside a direct guitar signal will be subject to the tiny phase difference caused by the air gap between speaker and mic - This is why its always best to try different mic positions and I found over the years the best result is wear a great pair of closed back headphones playback the combined signal , get in the room with the amp and try moving the mic about till you hit the sweet spot... Now obviously two microphone confuses this and it's one of the reasons a second mix is often setup Off-Axis from the speaker, or is placed further back from the cone ,... Here comes the interesting bit - in the real world, the speaker is a point source that radiates out in all directions and picks up room ambience as it does so - this makes the signal more complex , and will often reduce phase cancellations - If you take this to the utter extreme and consider a guitar cab in a church with a very distant mic - the signal will bear very little resemblance to the original and fit nearly perfectly , but this effect starts much earlier than you'd imagine ... Again - I always try to get in the actual room and move the mix about to see what tones I can get .... one gotcha - if you have two mics, very similar distance from the cone(s) and on the same axis related to the cone(s) you will have issues so basically look for contrast
Consider the length of the path sound takes to get to the microphone. For each frequency f, which will have wavelength T, consider the number of complete cycles that fit into that distance, and the bit left over. For a fixed distance from source to microphone, how much of a wave cycle is left over changes with frequency. That bit of a wave left over is a phase shift.
Are you still planning to publisg the follow up video to phasing that you mentioned at the end? Or am I just not finding it in my search?
I certainly will do - There is so much for record and I have to balance it with the commercial work at F9 as I don't want to end up playing to the YT algo so please bear with me
This only matters when sequencing synths in DAWs, and even then isn't really worth worrying about, bit is interesting to think about. But if you think about it, 120bpm = 2hz. Now if you have two identical sine waves playing on separate tracks, one starting at beat 1 and the other at beat 2, then the tempo will affect the relative phase. Generalising, changing the tempo changes the relative phase of partials of sounds that begin at different musical times (i.e. are positioned according to beats and musical subdivisions of beats).
Please believe me when I say this matters every single session no matter what you are doing ( putting mics in front of guitar cabs, adding weighty snares on top of kicks, using very wide stereo processing - Getting your monitors setup correctly, measuring your room for deadspots and low end dropouts - the list goes on and on ) - Phase interactions happen constantly and often people could solve weak sounding mixes with a few tricks - I'll explain everything more in the next video
Where is the video that was mentioned to come after this one? Can someone help please? 🙏🏻
I've not recorded it Yet Tommy - This is'nt a full time channel, but a part of our sound design business and we had one release screw us up on timing, so have had to throw more time at that side of what we do - it will come
So quick question..... is this the reason why every thing above the bass track goes silent, because some of the higher tracks are out of phase when the bass kicks in? Essentially creating a muffled sound affect on the mid and high tracks?
Sorry - need some more details here are you talking about something that's happening your end ?
@@F9Audio yeah so, in the past I have made songs with a pumping bass that is arpeggiated.... I would notice sometimes on songs like these during production that volume would drop. As if the frequency from the bass line and synth pads were fighting each other? Is it possible what you explained in your video is a result of that?
I wouldn't have thought so - without seeing whats going on it's hard to say, but when I have seen people do this ebofe it's because they are way too loud inside their DAWs, using small speakers and a bass sound with a ridiculously large amount of sub information that the speakers can't reproduce ( and possibly over-loading submixes or the mixbuss ) - this would. certainly cause the effect you mention - Gain staging is very hard, but a crucial skill to master - Here's a hack for it czcams.com/video/Bt_dgSEe0yo/video.html
@@F9Audio
Thanks!
3:28 flanger right?
Yes ! .. Well kinda - Flanging actually got it’s name from reels of tape - it was found you could run two together with the same material and then touch the edges or ‘flanges’ of the tape reels caused pitch variations and the much loved effect
Although credited to Beatles recordings it’s actually Les Paul who first used it via acetate discs
@@F9Audio really cool. Decreasing the speed down definitely creates a delay between the untouched. With magnetic tape that must have been a discovery with a lovely sound.
I had a look back through anecdotes last night and it’s rumoured that Lennon heard the effect being created and asked about it -George Martin gave a slightly nonsensical answer that included ‘putting it through a flange’ .. So from that moment whenever he wanted that sound he asked for the Flanger …. Probably lore but a great story …
One thing though - considering the Fairchild 660/670 came from a circuit used in Les Paul’s studio ( and that he practically invented overdubbing and multitracks ) - it’s astonishing to think how much came from one man’s innovation - he would be so proud to see where he led us
Great content! - But your vocals are clipping on my end - Right click on the video and go to "Stats for Nerds" (Autistic people like me with high IQs lol) and you'll see why: CZcams "Normalized" (digitally brick walled / compressed) your original audio by 67% when you uploaded it. This is related to "loudness" (LUFS) and most platforms have a standard loudness above which they SMASH your audio and jack it up - the gain reduction is clipping your voice by almost -5db, and it sounds awful on my end.
But again, I'm autistic, so these things drive me crazy. Most people probably wont notice. But it makes your EXCELLENT content almost unlistenable for me.
FabFilter's channle has a great series of videos on this topic and how to avoid having your audio STOMPED ON by these REALLY BAD digital compression algoryms. No use spending years learning how to mix audio and days or weeks tweaking an individual mix only to Spotify and CZcams run it through their audio meat grinders and trash compactors....
Here's a link to the Fab Filter Series. It's called "Maximum Loudness" and it's excellent in the same way your content is excellent - clear and concise: czcams.com/video/-10h7Mu5VP8/video.html
I'm sure you'll immediately dig what he's laying down, and work it into your production workflow....
All working fine here on every system ... Have you tried turning down the volume on the YT player - sounds like you have a playback system overload?
@@F9Audio Yea, no, I'm an autistic -savant / audiophile / muscian. I'm also a lisenced architect. I know what I'm doing with audio. That's why I came to your channel. I'm currently building my Reaper skill set. I mix on the system, and it never lies. CZcams is compressing and clipping the audio because of ecessive loudness in your master. Problem is, they dont publish the cut-off. You want to avoid "normalization" try cooling down the master when you export, and make sure nothing is clipping in your tracks of course, and render out a cooler master. After it's uplaoded to YT do the whole right-click, stats for nerds thing. You want "0db" not "-4.9db" Normalized value.
Autistic people like me tend to be straightforward. We hate any sort of error. I hope I don't sound critical. Your content is outstanding. I used to be an architecture professor, and I taught AutoCAD and various other software at the college level for over 15 years. It's how I made my living. Before that I was a CAD production manger / architect at Walt Disney Imagineering doing multi billion dollar theme parks. Your stuff is comprehensive, well organized, and to the point.
...but the nasty, audible digital clipping/compressing as your voice goes up at certain points drives me nuts. If you master your mixes at less that -14 LUFS or whatever youtube currently favors, I suspect they will sound better.
My apologies if I'm mistaken.
I went back and reviewed Part 2 of Fab Filter's "Maximum Loudness" series. It's interesting: The problematic vocal audio on your end starts at round 3:00 . There's a raspy clipping noise on your 'plosives and 'esses that only happens when the dynamics are extreme - it's like the attack on whaterver you or CZcams used to compress and normalize the vocal track or master was set too slow or something, and so those portions get nasty. Later in the video it's gone, which suggests something snuck through on your end when you were mixing. It could be that CZcams's meat grinder normalization algorythm selectively mangled your vocals due to some capricious bug in the code.
I was incorrect about your needing to cool off your master. Apparently, it's the opposite. The "Volume/Normalized" stats for nerds reports "-4.9dB" as CZcams's normalization value for your content, which is actually a BOOST to your master, not a cut as I'd assumed. So it's the amplification side of YTs audio leveling process that may be the problem, or it might be a combination of a bum compression setting or vocal capture on your end, AND YT''s end.
According to FabFilter, -14 LUFS is YTs baseline for content loudness. Assuming YT hasn't changed this value - and audio and video streaming services are notorius for screweing around with this loudness normalization crap without warning content creators - if you master your audio to render out as close to -14 LUFS as possible, YT won't smash or amplify your carefully mixed sound at 96kbps or whatever their cheezy 1990s era software does and WRECK the dynamics with digital noise / clipping
Here's part two of Fab Filter's run-down of this arcane yet critical topic: czcams.com/video/brXOrmgPCfE/video.html
I hope you find it interesting. I know he's selling plug-ins, but again, his content is excellent, just like yours - and his audio never clips ;-)
are the captions done by AI? they're pretty bad.
I think in some areas It's defaulted to the Automatic ones , we do have a transcript in but as your english is so good, just turn them off for now :)