The Nature of Phase – Polarity, Phase and Delay
Do not miss! The Justin & Marcel double-act get stuck into Phase – what it is, how it affects your work and how we exploit it’s effects.
Marcel van Limbeek
Soulsound Tutor
Marcel has more than 25 years of experience in the pro audio industry and works in both live and studio sound. Marcel has been the Studio and Monitor Engineer for the artist Tori Amos since 1994 and during this period has recorded, mixed and mastered 15 albums / DVD releases- 4 of which were Grammy nominated. The 2011 album ‘Night of Hunters’ received a prestigious German Echo classical music award.
As Tori’s Monitor Engineer, he has been on 14 world tours. In 1999 he was awarded the Monitor Engineer of the Year Award by the readers of Live! Magazine.
In 1997 Marcel did the acoustic design for Martian Engineering- Tori’s recording studio in Cornwall, England. He is also Tori’s live Broadcast Engineer, having done live broadcast sound on many TV and radio shows across the globe. Through his association with Tori he has worked with some of the world’s best musicians in many of the world’s best studios. Because of Tori’s wide musical scope he is experienced with many different styles of music production.
Marcel has also worked on various other artist’s recordings and shows. He has his own studio space in London which houses an extensive collection of high quality analogue audio equipment.
Marcel is an extremely popular freelance Audio Lecturer and was also an important part of the development of the Alchemea Live Sound Diploma. His deep theoretical understanding of sound engineering combined with his expert ability to pass this knowledge to others has made him very popular with all the students that have passed through his lectures over the years.
See Marcel van Limbeek in action
The Nature of Phase
Do not miss! The Justin & Marcel double-act get stuck into Phase – what it is, how it affects your work and how we exploit it’s effects.
03. Recording Drums: Placing the Kit
Positioning your kick drum within the live room makes all the difference in getting the best out of the low end. Phase comes into play yet again.
02. Recording Drums: Achieving a Realistic Drum Sound
We hear with two ears, so imitating stereo location clues with the overhead mics helps our brains to perceive the recording as realistic.
01. Recording Drums: Mic Choice, Positioning And Phase
A brilliant, very deep discussion about microphone choice, positioning and phase when recording a drum kit.
13. Recording Drums: Mixing The Whole Drum Kit
Back in the control room, Marcel mixes the whole kit – the beautifully in phase mics channels making life easy for the mix engineer.
12. Recording Drums: Alternative Overhead Positioning
Marcel demonstrates the Glyn John method – a means of setting up overheads so that the kick and snare end up in the centre of the stereo image.
11. Recording Drums: Overhead Comparison
We compare the sounds of the AKG 414s and the DPA 4011s and decide which to use.
10. Recording Drums: Overheads & Pan Matching
Creating a realistic stereo image by panning the hi-hat and toms to match the stereo image from the overheads.
09. Recording Drums: Overheads
Marcel delves deeply into phase aligning the whole drum kit. This is a must-see!
Recording Drums with Marcel van Limbeek
Marcel shares his brilliant multi-microphone drum recording technique, all based on getting the phase relationships right.
08. Recording Drums: Floor Tom
Marcel chooses a position for the Floor Tom mic by listening carefully while he scans the surface of the drum.