RACK/ARRAYS & PHASE
fnullf_{null}

Comb Filter Analyzer

Cancellation notches, peaks and phasor summation from path differences.

MOD-05•COHERENT INTERFERENCE & PHASOR ANALYZER

Comb Filtering & Two-Source Phase Interference

Analyze destructive phase cancellation notches (fnullf_{\text{null}}), constructive +6 dB+6\text{ dB} peaks, and vector phasor summation between two coherent acoustic or electrical paths.

Interference Scenarios & Live Audio
FIRST CANCELLATION NULLfnull,1f_{\text{null},1}
400Hz
Max Notch Depth: -36.5 dB1st Peak: 800 Hz
COMB TOOTH SPACING (PERIOD)Δf=1/Δt\Delta f = 1 / \Delta t
800Hz
Path Δd: 42.9 cm (0.43 m)Max Peak: +6.0 dB
RESPONSE @ PROBE (400 Hz)∣H(fprobe)∣|H(f_{\text{probe}})|
-36.5dB
Phase Δφ: 180°3:1 Rule Target: ΔL ≤ −9.5 dB
DELAY OFFSET, RELATIVE LEVEL & POLARITY
ms
0.05 ms10 ms
dB
-24 dB0 dB
Secondary Source Polarity & Frequency Axis
Hz
20 Hz4000 Hz
MAGNITUDE TRANSFER FUNCTION & PHASOR VECTOR SUMMATION
Summed Magnitude Response (Linear 0–4000Hz)Phasor Probe (400 Hz)
+6dB0dB-6dB-12dB-18dB-24dB-30dB08001.6k2.4k3.2k4.0kPHASOR SUM @ 400Hz
HOW IT WORKS: ELECTRO-ACOUSTIC PHYSICS & MATHEMATICAL DERIVATION

Two-Source Interference, Transfer Function & The 3:1 Microphone Rule

When an identical acoustic signal reaches a microphone or listener ear via two pathways separated by a time delay Δt=Δd/c\Delta t = \Delta d / c, their sinusoidal pressure waves add coherently in some frequency bands and cancel destructively in others. Plotting this summation on a linear frequency scale reveals uniformly spaced notches resembling the teeth of a hair comb.

The first cancellation null occurs at the frequency whose period equals 2 Δt2\,\Delta t (so the delayed path lags by exactly 180∘180^\circ, or λ/2\lambda/2). Successive nulls occur at every odd multiple (2n−1)⋅fnull,1(2n-1) \cdot f_{\text{null},1}. However, comb filtering severity depends heavily on the relative amplitude ratio a=10ΔL/20a = 10^{\Delta L / 20}: if the secondary reflection or mic bleed is attenuated by at least −9.5 dB-9.5\text{ dB} (the basis of the 3:1 Microphone Distance Rule), peak-to-dip ripple shrinks to less than ±2.5 dB\pm 2.5\text{ dB}.

Complex Comb Filter Magnitude Transfer FunctionEQ-01
∣H(f)∣dB=20log⁡10 ⁣(1+a2±2acos⁡(2πf Δt)),a=10ΔL/20|H(f)|_{\text{dB}} = 20\log_{10}\!\left( \sqrt{1 + a^2 \pm 2a\cos(2\pi f\,\Delta t)} \right), \qquad a = 10^{\Delta L / 20}
Destructive Null & Constructive Peak Frequencies (Normal Polarity)EQ-02
fnull,n=2n−12 Δt,fpeak,n=nΔt,Δf=1Δtf_{\text{null},n} = \frac{2n - 1}{2\,\Delta t}, \qquad f_{\text{peak},n} = \frac{n}{\Delta t}, \qquad \Delta f = \frac{1}{\Delta t}

Nomenclature & Physical Variables

  • Δt\Delta t
    Time-of-flight arrival offset between Primary and Secondary paths
    Unit: s (or ms)
  • aa
    Linear voltage/pressure amplitude ratio of Secondary to Primary signal
    Unit: ratio
  • fnull,1f_{\text{null},1}
    Fundamental first destructive cancellation notch frequency
    Unit: Hz
  • Δf\Delta f
    Frequency spacing between adjacent peaks or adjacent nulls
    Unit: Hz
FOH & System Tech Field Application Notes
  • Follow the 3:1 Microphone Placement Rule: keep adjacent open stage microphones separated by at least 3×3\times the source-to-mic distance so acoustic bleed arrives at least −9.5 dB-9.5\text{ dB} lower in level.
  • Never equalize narrow comb-filter notches with steep parametric boost filters; moving 15 cm15\text{ cm} to the left or right shifts every notch frequency, turning your EQ boosts into harsh resonant peaks.