Can anyone explain why when I record are jam sessions that after a certain amount of time the recording starts sounding like there is effects being added and the guitar starts to sound like it's off in the background with a twang effect. I am clueless

I've recently made a comparison between Rde and Oktava mics placed right beside each other and matching their gain pretty well on the mixer. When you added the signals without phase reversal, most of the bass was gone.

Sound Phase Inverter Software 21

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Now the point here was for comparison purposes, so the end product contained either one or the other, but if I had wanted to create a musically useful product by combining two microphones, I'd have been pretty annoyed (my mixer doesn't have phase inversion switches, but my DAW has). Also when switching in full sound, a phase mismatch would cause loud clicks.

In contrast, there is the trick of tying two microphones to each other, sing straight into one, and combine them phase inversed. That make most sound from a larger distance cancel and helps against acoustic feedback.

Itsy features independent left and right channel phase inversion switches and a corresponding correlation (phase) meter for checking the phase of your stereo signal. At +1 both L+R are in-phase, and means you have a mono signal; at -1 the signal is entirely out-of-phase. Stereo signals will typically be between -0.5 and +0.5. The phase controls can be applied to the stereo inverter, or the phase section can be split from the stereo inverter and used on a second signal instead.

Before you go to a pricy output set of tubes and a possible need to rebias the amp think about a simple phase inverter change. There are no amp adjustments necessary when you change the phase inverter.

It makes sense that the phase inverter is very important. It's feeding the signal from the pre-amp into the power-tubes and has to make that signal change very cleanly, without adding any distortion. At least that's the idea for an amp running very cleanly.

With a lot of amps we rely on the pre-amp stage to provide the distortion, so the power-amp tubes really should only amplify. But, there's a really nice distortion you get when the power-tubes are getting pushed, and, according to that article it's the phase-inverter that is responsible for that sound. So, making sure that tube is in good shape is important otherwise the output-stage distortion will be weak or flabby sounding instead of fat, like it should sound.

In any case the tube will have about the same effect as any other tube in the chain. Any tube will have more of an effect the harder it is driven. All tubes will behave approximately the same if they are kept in in their linear range. Even bad tubes can sound good if not driven hard enough(All physical devices behave linearly within some range).

The reason why some tubes do work better typically have to do with the type of circuit the amp is built around rather than the tube itself. I know this sounds contradictory but the point is that some circuits happen to be out of spec and some tubes can handle it better(or worse depending on your perspective). What this means is that it's more of a problem with the circuit itself than something special about the tube and instead of changing the tubes you can fix the circuit. Of course it's easier for people to change tubes rather which is why you get so many people doing it and claiming some tubes are better than others.

If you are comparing PI tubes make sure you are driving them as hard as the amp allows to get the real difference else they will all sound almost identical(i.e., the whole point of saying they are operating in the linear region).

Apologies for answering my own question, but after performing some empirical experiments the answer in short is: yes. A phase inverter has an effect on the tone of your amplifier. I performed some experiments with the following tubes:

After I have A/B'd these clips, I can tell that there are obvious differences between all of them. Take the two clips with the JJ's for the Preamp tube for example. There is a very noticable harshness to the clip using another JJ in the PI, while the Mullard is less so--fatter and more evenly spaced. There is, of course, also the fact that the Mullard is a 12AT7 and the JJ is a 12AX7. That could attribute to the fatter sound due to higher headroom and a much lower gain rating.

Wish I could listen to those audio files, but the links seem to be broken. I've recently gotten a Bugera V55HD that has the same setup - 3 12AX7's, 2 being for the gain stage, and the 3rd being a phase inverter.

Only a few people realize this, but every single tube in an amplifier affects the sound of that amp, and even fewer realize that even though a brand new set of tubes may have the same identifying part numbers and may even be from the same manufacturer and the same batch of tubes, they are not all created equal when it comes to gain capability and frequency response. The best results usually come about by matching the tubes up with each other as far as gain characteristics are concerned and then giving the matched tubes a listen while installed in the chosen amplifier. When compared with any number of other tubes of the same type and manufacture in a given amplifier, There will be tubes that stand out as desirable in the way they sound, and others that just don't seem to offer anything special in the way they sound. It can involve extra time and money to purchase a number of tubes from which you can select the ones that perform best for you, but if you want the absolute best performance from your amplifier, this is one way to get it. Then again, I suppose not everyone requires top performance.

I have a Signex CP44 unbalanced patchbay in which I've wired some sockets in parallel, so splitting the signal is no problem. On the returns, could I use balanced cable and swap the hot and cold pins to create the phase inversion, or would this not work, as the original signal and patchbay are unbalanced?

Technical Editor Hugh Robjohns replies: The technique you're referring to works by adding some of the right-hand signal to the left-hand channel out of phase and some of the left-hand signal to the right-hand channel out of phase. You can read the original article on-line at www.soundonsound.com/sos/oct00/articles/stereomix.htm, but I've included the original diagram here for easy reference. Many phase-inversion tricks aren't mono-compatible, but one advantage of this widening technique is that when the left and right channels of the final mix are summed to mono, the effect disappears without causing any problems.

Swapping the hot and cold pins at one end of the cable feeding a balanced input will indeed invert the phase of the signal. Another way you can achieve the same thing is to use a pair of aux outputs from the main channels (one for the left signal, the other for the right) instead of splitting the signal at the patchbay. The advantages are, firstly, that the aux outputs are properly buffered and, secondly, if you make these post-fade sends, the inverted return channel levels will follow the input-signal level, making mixing easier. You may also benefit from the fact that in many budget consoles the aux outputs are phase-inverted relative to the main inputs, which would avoid the need to make up inverting cables! You'd have to experiment to find out if your mixer provides inverted aux outs.

Phase-inverter circuits evolved through the years as amp designers and manufacturers sought greater efficiency and that long-desired marriage of optimum headroom and increased output power. Some of the earlier topologies have continued to be in use nonetheless, either in amps intending to emulate a more vintage-correct sound, or in smaller or simpler designs that simply work well enough with those more archaic circuits in place.

well.. on my mesa, an at sounds too dry. i've tried it-- and even though it DOES give you a {censored}load more 'headroom'... it just sounds too hard. the 5751 was good, but also had a grainier feel to it. i kinda like my amp with the ax, just because it rounds the sound off a bit, and really pulls out the harmonic content.. but mind you.. i play pretty low gain-- which'd surely explain the discrepancy of opinion..

i played with the AT for a while-- and i'll give 'er a crack again soon, probably, just to make sure i'm not nuts (i just retubed too)... but it seemed to go very hi def on me with midgain sound-- but in a way that got gritty instead of just more defined-- could also be the circuit, or just plain 84's.. i'll report back though if i'm on crack!

I've done lots of tube rolling with these and my other tubes. (By the way, the Sylvania 5751 are the best sounding V1 tube I have ever heard in a Hot Rod Deluxe.) I can't tell you why, but I can tell you that the 1980s GE 5751s are exceptional phase inverters. In most amps in which I have tried them, I heard better note definition. The clarity and soundstage really come through. In amps that had shrill highs, they seemed to tame it. In my humble amp collection, I have two B-52 AT-100 heads. The one with the GE 5751 in the phase inverter has a slightly, but definitely noticeable better tone.

Admittedly, there are amps in which I don't hear much of a difference. I have a Blue Voodoo 100 watt head in which I can't hear much difference. The 12AX7 in the phase inverter leaves you with piercing, shrill highs. However, running either a 12AT7 or a 5751 produces a a nicer, less piercing high in either the clean or the gain mode. (The drive channel, V2 in these amps is way over the top. Instead of a 12AX7, a lower Mu tube there gives you much nicer and broader tone sweep. I'm using a 12AU7 in the V2 of my American made Crate tube amps.) I run the Blue Voodoo with a 12AT7 in the PI slot.

Many people might ask: "What is phasing?". That can be very difficult to explain, but I will do my best. When you produce artificial sound from multiple sources, you always run the risk of being out of phase. What I mean by out of phase is this: one source is "contradicting" what the other source is doing. When a speaker produces sound, it is vibrating back and forth. When you phase a speaker, the idea is to have both speakers moving in the same direction.

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