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I think the feedback phase cancellation only works with omnis, and very carefully spaced too. This technique was employed by the Grateful Dead on their 'Wall Of Sound' tour to enable them to fly the PA stage rear without feedback, as seen here, once you get past the really stinky hippies.

Dear Eliya, I think they are father / son . You may be right though? 'Twas a while back .

johnnyshape wrote:I think the feedback phase cancellation only works with omnis, and very carefully spaced too. This technique was employed by the Grateful Dead on their 'Wall Of Sound' tour to enable them to fly the PA stage rear without feedback, as seen here, once you get past the really stinky hippies.

this is one of the tours my dad was talking about. he said that other people were doing it as well back then.

When you see dylan he sings through a regular mike and a shure green bullet this is as someone else says to get the "telephone effect" on his voice. I think it is run through a amp or something for a dirty sound.

m.koren wrote:Dear Eliya, I think they are father / son . You may be right though? 'Twas a while back .

anyhow, I hate this alge dude.

Damn right Eliya! To hell with his ocean dwelling ass.

johnnyshape wrote:I think the feedback phase cancellation only works with omnis, and very carefully spaced too. This technique was employed by the Grateful Dead on their 'Wall Of Sound' tour to enable them to fly the PA stage rear without feedback, as seen here, once you get past the really stinky hippies.

Yep. However, Crown has a microphone that does this with two elements in a single capsule. Sounds slightly 'phased', though...and you have to cement it to your face, OM7 style.

I've done this in the studio many times just to mix different vocal mic characteristics together eg a tube mic and a condensor to balance the body and brightness of a vocal sound.

Also, I sometimes run one through a guitar amp and balance it with an untreated one though that can completely bollocks up the phase

I always wondered if the phase (on two or more sources heard together) is helped by subtractive eq. Take for example, bass guitar. There's the standard D.I. blended with a miced track. I ended up several times, with a nice sound by eq'ing the lows out of one and the highs out of the other. The mixer did not have a polarity switch so I couldn't go there that time. Comments anyone?

You can do interesting 'EQ's' and phase games by combining the patterns of...say an omni and a cardioid, or an omni and a figure 8 pattern...and placing the mic's elements coincident. This way you can literally create 'new' microphones with a limited arsenal. I used to do this a bit at the University, with mixed results. If you are going for room sounds, this can work well. You can get a good sounding omni to reject from where you place the cardioid response by flipping polarity on the latter, for instance. More work than it's worth, more often than not, though.