selig wrote: ↑12 Sep 2019
RobC wrote: ↑12 Sep 2019
When you mix two sounds together, it's more than likely that there will be at least some cancellation happening.
Has anyone ever seen such device, that compares two samples, and automatically offsets them, so there will be the least amount of cancellation?
There are three things to potentially address: timing, polarity, and phase. Timing involves things like latency, and there is ADC to address that in most cases. Polarity is pretty simple, and given there are two choices and in most cases there's no "Right" answer (except for with multi microphone setups), you're better off choosing for yourself. The last choice is phase, which many folks don't fully understand often thinking it's the same thing as polarity (it's not).
There are devices like Little Labs IBP that can address the phase issues, while Norman Henson's VMG-01 can address the timing issues, and you can use you're ears for polarity.
PeterP wrote: ↑12 Sep 2019
I use Harrison MixBus for this.
http://www.harrisonconsoles.com/mixbus/ ... -maximizer
If I'm mixing a rock song or something that has a multi miced acoustic drum kit then I just drag in the raw tracks into Harrison, select a section of the song where all the drums are hit, run the polarity optimizer, write down the results and manually apply it in the Reason mixer.
Thank both of you for the help. If it's okay, I reply in one comment:
Hmm, these rather seem to solve issues where the two or more samples are rather identical. What I meant is rather when specific frequencies of (for example) a kick, bass and snare interfere with each-other. (And let's rather think of simple 1 shot samples, that are much more easy to manipulate.)
With a basic solution, a tool would analyze the waveforms, and do a comparison, watching how much cancellation happens at what position, if the two are mixed together, with one being delayed (it would "sweep" through, side-by-side).
Of course, one problem is, that this can create a flam/attack effect ~ which, if desired, one should set themselves. The other problem is, that even if the tool finds the perfect setting, some desired frequencies still might drop out. Doing a Linear Phase multi-band split not only has artifacts, but even if offsetting multiple frequency bands might technically help, once the bands are rejoined, there's a good chance, the original sound will be pretty much musically wrecked.
So, there can be some heavy trade-offs with what I want. A side solution (also imperfect) might also be that two samples are again split into multiple frequency bands, a tool analyzes their loudness, calculates how loud each band ideally should be when mixed together, and once the two actually are mixed together, it would automatically compensate the loss, by adding either a static, or expander-style gain.
I've also looked at phase rotators, and while they can create headroom, and pretty much morph the given sample, it seems they create too much audible artifacts.