So what do you do? Flip-Listen-Flip-Listen. Now, if you have overheads pointing down and a kick drum mic pointing through the drum from the front, that's neither in nor out. If you have two mics on the front of an open cabinet and one mic on the back, you'll want to flip polarity of the one on the back (or the two on the front).Īgain, all the recorded waveforms push/pull together. That way the recorded waveforms all push together, and they all pull together. If your overheads point towards the floor and you have a snare top+snare bottom mic, you most likely want the snare bottom mic to have opposite polarity to all the others. With polarity, assuming all the hardware was wired the same way, all you have to be concerned about is where the microphone is in relation to the source. If the button is on/off then it's polarity Not phase. Steenamaroo bouldersoundguy Farview jimmys69 but I didn't think phase would come into play in a sampled drum program. Would there be something 'wrong' about inverting the phase on that ambient channel? I mean, if it sounds better then good.

Does that sound about right? I didn't think SD had phase inversion, but I guess I've been overlooking that button. I think it sounds better with the phase inverted - it seems the snare is louder, more centered, and less spaced out. But when I bring in the snare bus, solo it with the ambient mid mic, then switch on/off invert phase on the ambient channel, there is something happening there. When soloed, I guess you can't hear the difference between phases since there's nothing to compare it to.

Now, there is an'invert phase' button on each channel. When I mute it, it's sort of obvious that something is missing that was there before. I have it compressed pretty hard, about 6-7db GR, but it is rather low in the mix. On my current project, I have a bit of the ambient Mid mic in the drum mix (Superior Drummer).

Mixing superior drummer 2.0