When soloing sounds and flipping phase, it sounds a little different, what's the reasoning for this?
Should the phase be a 'correct' way for the punchiest sound?
I probably should have put individual soundNot sure what a "solo sound" is, or the context of your question, but if the phase is wrong on loudspeakers then you run the risk of the soundwaves from the left and right speakers interfering with each other, cancelling/boosting certain frequencies. An effect popular in the '60s but Beethoven probably wouldn't have approved.
I probably should have put individual sound
I meant a sound on its own, not the phase relationship between 2 sounds, i.e kick and bass
If you listen on a mono speaker and flip the phase of say, a synth, it sounds slightly different
I was under the assumption that because waveform peaks and troughs aren’t parallel, when you flip the phase the speaker is pulling in as apposed to pushing out, and thus sounds slightly differentSure, what I put makes more sense related to a single, stereo instrument/sound/etc sample.
I was under the assumption that because waveform peaks and troughs aren’t parallel, when you flip the phase the speaker is pulling in as apposed to pushing out, and thus sounds slightly different
Run a test with 2 files carrying the same sound but one is inverted. Then do a blind ABX test and post the results.I probably should have put individual sound
I meant a sound on its own, not the phase relationship between 2 sounds, i.e kick and bass
If you listen on a mono speaker and flip the phase of say, a synth, it sounds slightly different
I have tested this many times already, I assume it sounds different because the waveform heights aren’t parallel to the dips, but I didn’t know if there was a term for itRun a test with 2 files carrying the same sound but one is inverted. Then do a blind ABX test and post the results.
Not sure this is what you mean, however if you Yandex 'Clark Johnson absolute polarity' you can find some history on the question of the audibility of polarity, pro and con. Clark (may he RIP) made somewhat of a splash in the '70s (might have been '80s) claiming that absolute polarity (he called it the 'Wood Effect'--I don't remember why) was a huge issue in home stereo listening, and began at the recording front end. He wrote a self-published book about it. The Stereophile and Absolute Sound gang appreciated his 'important research', others such as the Audio Critic took the position of, "Well, theoretically I guess everything in the recording chain from microphone to mixer to tape recorder to multi-track console to home stereo preamp to amplifier to your loudspeakers ought to be one way, but if it's not you won't hear any overall effect on real music."
I guess if your listening habits turn on solo snare drums and/of hi-hats over a single speaker it might be something important. Otherwise...
I think that was the overall conclusion of most people who investigated it. With any reproduced audible effect, generally the simpler the tone(s) the easier it will be to isolate problems.It is very very slight
An associated 'problem' (I first heard about it from the engineers at Rectilinear--a loudspeaker maker in the '60s) and later Aczel in his magazine was 'pulse coherence' of loudspeaker drivers. That is, the tweeter and mid drivers should both operate in time--a positive pulse from the signal should make both drivers go out, and so forth (I don't think the LF bass was considered that critical). However, later in his career I believe he downplayed that criterion as an important design characteristic, at least in the overall scheme of loudspeaker engineering.
1) In the context of 1977 and at their price point the DCM TW was good overall value. Certainly it was the best of the cheap speakers he had tested, which was all he claimed.1) Aczel's infamous "Best Value" reccomendation of the infamous DCM Time Window ... 2) utterly crappy Philips 8" paper cone drivers -- 3) ...nevermind the lack of any output above 12 khz 4) ...or the poorly controlled bass ...tuned to a port res well below what they were intended ...
When soloing sounds and flipping phase, it sounds a little different, what's the reasoning for this?
Should the phase be a 'correct' way for the punchiest sound?
I've been leaving gaps between, I have 2 tracks that alternate back and forth, one has the phase flippedYep, absolute polarity inversion is audible.
However, the process of inverting polarity itself is far more audible than the effects of the inversion.
I'm not sure how you're testing it atm, but if you're switching without any gap in playback, you may find that, when you pause playback to make the switch, the differences are far less obvious than you thought.