As time changes, so does the phase of a periodic signal. Since our phase measurement changes as we move, we can recognize that phase is proportional to time. All of the values in between apply as well. Half way through the sine wave we’re at 180° phase. 1/4 of the way through our sine wave and we’re at 90° phase. We can think of phase as our position in the sine wave. The “over time” part is important!Īs we move down the sine wave, the current phase value changes. We can think of a sine wave as being a circle that’s unwrapping over time. I start with a circle, then unwrap it in to a sine wave. Luckily there’s a relationship between circles and sine waves they are the same thing expressed differently.Ī sine wave can be thought of as an “unwrapped” circle. When working with audio though, we think of sine waves. Hopefully you remember from school that your position in a circle can be described as an angle in radians or degrees. I’ve discussed this with dozens of people, and their eyes glaze over when using radians, so I have learned to stick with degrees.) (I will be discussing using degrees as the angular measurement. I covered this once before, but I’m going to do it again. The first thing that we need to know is: What is phase. Your browser does not support the video tag. I’ve taken some minor liberties with mathematical purity in the explanations to help the reader better understand the practical implications of the subject. Just a visual and ‘intuitive’ method of understanding the subject. I’m going to break these down without any complex math. This includes scenarios without physical recordings, so you electronic musicians may get something out of it too!įirst we need to arm ourselves with some basic concepts. I’m going to try and cover these questions starting from the very basics. What does that mean? Why would you attempt to do that? When should you look for problems? How do you do it? This is the first time I've done any sort of audio spectrum analysis, so I'd like to hear what everyone else knows on the subject.Often the phrase “Fixing the phase” or “Flipping the phase” (or more correctly, “Flipping the polarity”) is used in audio production. With a tool like sonic visualiser, you could accurately measure the attack and release times of a sidechaining compressor. The "smears" in the mid-range melody are a result of sidechaining to the kick drum. Lastly, and more subtle, is the ability to see additional audio effects such as sidechain compression. You could visually determine the key of the song as well as write out the bassline of a piece of music only by looking at this type of information. Next, the bass and subbass lines are clearly visible and spaced an octave apart. It's by far the most harmonically energetic part of the song, which is a major trait of most progressive house music. ![]() What really stood out to me is the amount of energy in the kicks (seen at the bottom, ~40-100Hz). To start off, I ran a Melodic Range Spectrograph on "The Veldt" by Deadmau5. Even if you're not currently taking the class, the subject of complex audio analysis isn't very common on this subreddit but I feel like there is a lot that can be learned from it, especially when analyzing your own music. Some of them seem to work well and some of them don't, but I'm curious what you all have found. I made this post because there are literally hundreds of transforms available with all the various plugins. The program and all the plugins you can use with it are available for free at and can be run on Mac, PC, or Linux. ![]() For those who are unfamiliar with it, it allows you to take an audio file and perform a variety of useful transforms such as note and harmony identification, key extraction, and a number of spectrographic methods. This week in the sound design class we were introduced to the Sonic Visualiser audio analysis program.
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