mick wrote:So that's how to do it with analogue gear and vinyl disc.
As mentioned earlier in the thread, that would depend on how the song was mixed. It worked well in that case because the vocal was centered in the stereo field and because George Martin had an unusual way of strongly panning most other elements. Many modern mix techniques respond in a pretty poor way to this technique. And I am pretty certain that's exactly how Vocal Zap works for what its worth. Simple.
mick wrote:I just tried a similar stunt with Mixcraft and found this...
If you put one vocal track on two separate tracks and invert the phase on one you will get complete silence.
Using two identical
tracks and inverting one is complete, or perfect phase inversion and yes, one perfectly cancels out the other. And what you have discovered, perhaps by accident, is a basic method/tool for comparing tracks to audibly compare phase cohesion. It can be very useful once you understand it.
mick wrote:As soon as you disturb one track by tweaking the mixer the phase cancellation will no longer work and the vocal comes in. I haven't tried leaving the mixer settings alone and adding an effect to one or both tracks but would imagine (maybe) something would happen in between the cancellations.
Experiment with EQ settings and you will begin to see why EQ effects phase, simply because that's how (most) EQ works, by shifting phase. And that's why you see some higher end EQ product producers discussing "linear phase" characteristics that reduce the phase shift when EQing a sound.
Delay effects can also have interesting results. Add a hint of reverb to one of the two tracks and see what happens.
Its all very weird!
Not really, once you understand the physics of audio. But surprises do often lie waiting to pop up on you.
If you are recording audio of any type with multiple mics, especially drums for example, it is a very good idea to get a strong understanding of this stuff.