How PhaseLock aligns

Two microphones can disagree in two different ways, and PhaseLock treats them separately.

1. One microphone can receive the whole sound earlier or later. PhaseLock calls this Time Alignment.
2. The timing difference can vary by frequency, because of the microphones, room reflections, filters, and acoustic paths. PhaseLock addresses this with Phase Coherence.

Correcting one does not automatically correct the other. PhaseLock keeps them separate so you can preserve natural arrival time while improving how the tracks combine.

Phase Coherence

Phase Coherence compares a track with its reference across the frequency range. PhaseLock can invert polarity when needed and apply all-pass filters that rotate phase without directly changing level.

The per-track control is called Improve Coherence.

Phase Coherence is useful when two tracks sound thin, hollow, or unfocused together even though their transients appear close. It is enabled by default in the plugin.

Time Alignment

Time Alignment applies a fixed offset in the plugin. It moves a lane earlier or later relative to its chosen Time Reference. Time Alignment is off by default, so a room mic keeps its natural delay unless you choose otherwise.

Phase Reference

Each group has one Phase Reference. It is the final anchor for the group’s phase relationship. A lane that follows another Time Reference can use that processed lane as an intermediate phase anchor, so coherence remains consistent through an alignment chain.

A useful Phase Reference usually has:

• A strong, clear recording of the source
• Enough frequency range to compare with the other microphones
• A role you want the other tracks to support

For drums, an overhead often makes a useful first choice because it represents the whole kit. A snare mic may be better when the task is narrowly focused on several snare microphones. There is no universally correct reference. Choose one, listen, and compare another if needed.

Time Reference

A Time Reference controls where a lane is placed in time. It can be the group Phase Reference or another lane in the same group.

For example, a snare-bottom mic can align to the snare-top mic while the snare pair remains related to the overhead reference. This creates an alignment chain.

Polarity correction

Polarity inversion flips every sample around zero. It is the familiar Ø or invert control found on consoles and preamps. A polarity problem is not the same as a small time delay, but the two can sound similar when tracks are combined.

PhaseLock measures polarity during analysis and uses the measured result when Auto is selected. You can override it when you know the recording chain was inverted, or when listening supports a different choice.

Frequency-dependent phase correction

A fixed delay moves every frequency by the same amount of time. Real microphone relationships are often more complicated. Reflections, microphone response, crossovers, and filters can produce a phase difference that changes across the spectrum.

PhaseLock fits a limited set of all-pass filters to reduce those differences. All-pass filters change phase while leaving the intended frequency magnitude unchanged. This is the process behind the Improve Coherence and COH controls. You can inspect the fitted filters for any lane in the all-pass panel.

Original timing versus aligned timing

Original timing preserves the arrival-time differences captured by the microphones. This often matters for depth, width, and the sense of a room.

Aligned timing moves chosen tracks toward a shared arrival point. It can tighten a close-mic pair or remove a delay caused by recording hardware, but it can also reduce the depth of room microphones.

For unfamiliar material, use this order:

1. Listen to the unprocessed tracks.
2. Analyze with Phase Coherence enabled and Time Alignment off.
3. Compare Phase Coherence on and bypassed.
4. Add Time Alignment only to tracks whose arrival time you intend to change.