Phase Reversing to Kill High End In Guitars

[AntonioPetrole]

Anyone know anything about this? I know Putney supposedly does this and I'm absolutely in love with all of his guitar tones. Supposedly he phase reverses one mic and blends them on guitars and that gets rid of all the high end/fizz in his tones? I would love to know more.

Also just because I thought of it today, couldn't you technically mic a cab while reamping, then change the position and reamp it again? As long as it's in phase, i can't see any reason why it wouldn't work. You could always play the first position along with it and then flip the phase on the new track to find the position while monitoring. But then again I know nothing about this topic haha

Cheers!

 

[Sweetnothing]

Its cancellation, the so-called "fredman technique" is about that

 

[AntonioPetrole]

Its cancellation, the so-called "fredman technique" is about that

I know about the fredman technique, but that includes the whole cancellation and killing the high end? I need another SM57 haha, I only have my SM57 and Sm7b.

 

[Sweetnothing]

http://www.ultimatemetal.com/forum/4358295-post135.html

 

[amarshism]

Who told you that?

 

[AntonioPetrole]

Who told you that?

I read it on a thread for your band I believe.

It's still the only album I've played in my car since I got it, unbelievable work man

 

[JeffTD]

He usually uses a Palmer feed for this IIRC; play around with a plugin that can give you sample-specific delays, just tweak it until it sounds good.

 

[Mago]

Anyone know anything about this? I know Putney supposedly does this and I'm absolutely in love with all of his guitar tones. Supposedly he phase reverses one mic and blends them on guitars and that gets rid of all the high end/fizz in his tones? I would love to know more.

Also just because I thought of it today, couldn't you technically mic a cab while reamping, then change the position and reamp it again? As long as it's in phase, i can't see any reason why it wouldn't work. You could always play the first position along with it and then flip the phase on the new track to find the position while monitoring. But then again I know nothing about this topic haha

Cheers!

I dunno anything about Putney specifically, but yeah, as the others said, you can use cancellation to erase specific frequenzies in the tone.

And about your second question, sure you can.
I haven't tried if it is 100% the same as recording it at the same pass, but I guess it would be close enough the be called it's the same.
I dunno if the speaker/head always behaves the 100% same when recording the same bit twice, but the difference should be minimal.
Would be interesting to try...reamping the exact thing twice, then reversing the phase on one, to see how much it cancels out.

That way you can use 2 57s even if you just have one. If you're limited with the inputs, as I am. Worked for me so far, altho I never really ended up using more than 2 mics

 

[Uros]

Dunno what Putney actually does, but from description of it the principle should be pretty simple: mic an amp with an 57 for ex., find what you think is a good spot for it. Then add another 57 (or any mic you like, experiment as always), but flip the polarity switch on it, and just move it around until you find the shrillest tone possible (I mean on the sum of these 2 mics), and then just flip the polarity back. You should find the result pretty smooth sounding. That's if you want to all do on the spot by just combining mics. You can adjust the 2nd mic's phase (its time component anyways) with a sample delay plugin, as Jeff mentioned.

Fredman - style micing (the 2nd mic under ~45 degrees angle) is useful if you have a rather brittle sounding amp/guitar/both (for ex. an alder bodied guitar loaded with emgs 81, going to a 6505) and when you want a lot of mid-range in your miced gtr tracks. But if the amp/gtr in question is on a darker side, then IME it's better to use both mics straight on the speaker/speakers, if you need to use the 2nd mic at all. Otherwise, it may often sound cloudy.

 

[if6was9]

I do this all the time when setting up a 2nd mic, exactly as Uros above described. Works great but I'm always wary of tracking for another engineer to mix it as they mightn't realise what you've done and may think the 2nd mic sound like shit on it's own. For this reason I always make sure the first mic (usually a 57) sounds killer on it's own before you add the 2nd mic.