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Junior Varsity
Polarity invert toms ?
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<blockquote data-quote="Tim Weaver" data-source="post: 19619" data-attributes="member: 317"><p>Re: Polarity invert toms ?</p><p></p><p></p><p> </p><p>I play with polarity all the time. I will cue up the snare + another drum mic (like an OH) and flip the polarity in and out until I see which one sounds better. Continue on down the line comparing the other mics on the kit with the snare. Use your EARS and not your brain when you do this and you just might be surprised at the results.</p><p></p><p>I will listen to the bass with the PA on and flip the polarity in/out and see if one way sounds better or not. Often times you'll hear a big suckout somewhere and a big addition somewhere else. This is usually the bass cab to PA interaction. Adjusting the polarity here won't solve all the problems, but often one way is more pleasing than the other.</p><p></p><p>When using area mics on a theatre stage it helps to have one or two mics out of polarity with the others to prevent feedback. If you have 5 PCC's across the front of the stage, then throw at least one of them out of polarity. If you get a little ring in the PA, it'll prevent the whole line of mics from picking that up and taking off. I actually flip the polarity switch on floor and hanging mics as my first step in ringing them out. Usually one way will offer more GBF than the other way. That's where I start EQ'ing from.</p></blockquote><p></p>
[QUOTE="Tim Weaver, post: 19619, member: 317"] Re: Polarity invert toms ? I play with polarity all the time. I will cue up the snare + another drum mic (like an OH) and flip the polarity in and out until I see which one sounds better. Continue on down the line comparing the other mics on the kit with the snare. Use your EARS and not your brain when you do this and you just might be surprised at the results. I will listen to the bass with the PA on and flip the polarity in/out and see if one way sounds better or not. Often times you'll hear a big suckout somewhere and a big addition somewhere else. This is usually the bass cab to PA interaction. Adjusting the polarity here won't solve all the problems, but often one way is more pleasing than the other. When using area mics on a theatre stage it helps to have one or two mics out of polarity with the others to prevent feedback. If you have 5 PCC's across the front of the stage, then throw at least one of them out of polarity. If you get a little ring in the PA, it'll prevent the whole line of mics from picking that up and taking off. I actually flip the polarity switch on floor and hanging mics as my first step in ringing them out. Usually one way will offer more GBF than the other way. That's where I start EQ'ing from. [/QUOTE]
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