2019/09/03

THE BASICS ABOUT COMB FILTERING (AND HOW TO AVOID

IT)

What is comb filtering?

Comb filtering occurs when a sound adds to itself within a short time interval. This interval typically ranges from
less than one ms to approximately 25 ms. Comb filtering can emerge in two ways:

Due to reflections
 Because more than one microphone is open and picking up the same signal at different positions.

In addition, in order for comb filtering to occur, the levels of the signals must be within 10 dB from each other.
This phenomenom is called comb filtering because the effect acts as a filter with a frequency response looking
like a comb for the hair.

This curve shows the resulting filter response of a direct sound and a delayed sound when added.
This filter function could be the result of a single reflection picked up by the microphone or it could
be the result of adding the signals of two microphones of which one is 0.6 m (1.9 ft) further apart
compared to the other.

Comb filtering caused by reflections

Sound is reflected when it hits hard surfaces, like a floor, a wall, a window - or even when the sound hits a water
surface.

When making a recording setup, it is important to look for reflecting surfaces near the microphone. Even the
musical instruments, such as a piano, a cello, a double bass, a kick drum, etc., that you are recording may act as
reflectors. In addition, loudspeaker cabinets and amplifiers can generate comb-filtering challenges.

Choosing directional microphones can help, but you should always prioritize better positioning.

In film sound, it can be a problem to record the dialog of people talking facing a window, whether they be in a
room, car or other setting.
Reflections from nearby surfaces cause comb filtering.

In situations where you, for instance, are measuring the frequency response of a PA-system, you will also
experience the comb-filtering problem. You may have heard it at an empty venue, if the system is playing pink
noise, when walking the empty floor from the back to the front it sounds more or less like a jet plane taking off.
(The problem disappears when an audience fills the floor).

Top: The microphone points its "deaf end" at the sound source and only a small amount of sound
is picked up (off-axis).
Bottom: A reflecting surface makes the sound bounce back into the microphone’s sensitive end
(on-axis).
 DPA Microphones
Guitar Reflection 90 Degrees

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Pink noise from a loudspeaker is recorded by a 4011 Cardioid Microphone from its' backside. Then
a guitar body is put in front of the microphone perpendicular to the direction of the sound field.
Now the sound is reflected back into the front of the microphone. This is done twice. The distance
between loudspeaker and microphone is 1.5 m (4.9 ft). The distance between guitar body and
microphone is 10 cm (3.4 in).
 DPA Microphones
Guitar Reflection 45 Degrees

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The same as above; however, now the guitar body is put in front of the microphone at reflecting
angle of 45° to the direction of the sound field.

Comb filtering caused by several open microphones

The other way to create comb filtering is by having more than one microphone open simultaneously. In a talk
studio, sometimes you can hear that the host’s microphone may sound a little muddy, while the interviewed
guest’s microphone sounds much cleaner. Why? The host is speaking loud, so the host’s microphone is
somewhat attenuated. The guest may speak in a weaker voice; thus, this microphone is turned up. So, the voice
of the host is picked up by two microphones with some distance between them. The guest is literally only picked
up by the nearest microphone as the other microphone is further away and even attenuated.

In addition, microphone setups for panel discussions or choir setups may generate the filtering. In fact, the
problem even exists when using headset microphones on stage – the voices of two actors standing close may
be picked up by both microphones.

Avoiding comb filtering

If the problem is caused by reflecting surfaces, you can remove the reflector. However, sometimes it is enough to
turn/move the reflecting element and redirect the reflections. Furthermore, using absorbing material on the
reflecting surface may help.
In some cases, it is possible to place the microphone so close to the reflecting surface, that there is no delay
between the direct sound and the reflected sound. In the instance mentioned above of a person looking out the
window while talking, or in the car, it is sometimes better to place the microphone on the window glass or the
windshield. In this way, it becomes a boundary layer microphone.

If several open microphones are causing the comb filtering, there is a (golden) rule:; Attenuate delayed sound
picked up by the microphone by at least 10 dB to minimize the problem of comb filtering.

The 3:1 rule

As mentioned, when several microphones are used simultaneously, the same sound source is often picked up by
more than one microphone.

In this case, the distance between the sound source and microphones comes into play. The golden rule is that a
neighboring microphone should be at least three times further away, (given the sensitivity and the gain is the
same on both microphones).

(20 *log (1/3) ≈ -10 dB).

However, if you arrange two or more microphones at an equidistant lineup, the distance between the source and
the neighboring microphones, in theory, should be 4.5:1 (again given the sensitivity and the gain is the same on
all microphones).

However, when using directional microphones, the directionality of the microphones comes into play. In this
case, a distance factor of 3 is normally ok even though there are two neighboring microphones. So, apply the
rule like this: The distance to neighboring microphones should be at least three times that of the distance to the
primary (nearest) microphone.

As mentioned, the sensitivity and the gain of the individual microphones play a role. If one microphone has a
higher gain than the other microphones, it will pick up more of the distant sound.

What comb filtering sounds like

 DPA Microphones
-…
0ms - 1ms - 10ms - 20ms - 50ms - 100ms - Mono -…

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The file contains a male voice originally recorded in mono. The signal is added to itself at the same
level and with a delay of 0 ms, 1 ms, 10 ms, 20 ms, 50 ms, and 100 ms respectively.

Notice that the sound is clear and well defined when the added sound is not delayed. However, at a 1 ms delay,
the timbre of the sound is colored. Increasing the delay makes the sound more “robotic”. When the delay is 50
ms, the ear begins to perceive the delayed sound as an echo, which is even more evident at 100 ms delay.

DPA Microphones
-…
0ms - 1ms - 10ms - 20ms - 50ms - 100ms - Mono -…

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The file contains a male voice originally recorded in mono. The signal is added to itself at a
reduced level (5 dB attenuation), and with a delay of 0 ms, 1 ms, 10 ms, 20 ms, 50 ms, and 100
ms respectively.

The coloration of the 1 ms delay is now less noticeable. However, when the delay increases the effect of the
delay is still very audible.

DPA Microphones
-…
0ms - 1ms - 10ms - 20ms - 50ms - 100ms - Mono -…

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The file contains a male voice originally recorded in mono. The signal is added to itself at a
reduced level (10 dB attenuation), and with a delay of 0 ms, 1 ms, 10 ms, 20 ms, 50 ms, and 100
ms respectively. Notice that the 3:1 rule provides a 10 dB reduction at the microphone that is three
times further away.

The coloration of the 1 ms delay is now almost unnoticeable. However, when the delay increases the effect of
the delay is still audible.

DPA Microphones
-…
0ms - 1ms - 10ms - 20ms - 50ms - 100ms - Mono -…

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The file contains a male voice originally recorded in mono. The signal is added to itself at a
reduced level (15 dB attenuation), and with a delay of 0 ms, 1 ms, 10 ms, 20 ms, 50 ms, and 100
ms respectively. Notice that the 3:1 rule provides a 10 dB reduction at the microphone that is three
times further away.

The coloration of the 1 ms delay is inaudible. Even the 10 ms and 20 ms delays are hardly noticeable. However,
when the delay increases to 50 and 100 ms, the effect is still clearly heard.

General rules from psychoacoustics

We know from various psychoacoustic studies that any delayed sound that arrives within the first 15 ms after the
direct sound (for instance in the form of a reflection or recording by two microphones on one channel) should be
attenuated by 15 dB. Another rule (from another study) is that all reflections within the first 20 ms should be
attenuated by at least 20 dB.

Why we only use a 10 dB reduction in the general microphone technique is due to the fact, that often other
sounds sufficiently mask the coloration, especially in sound reinforcement.

Delay due to 3:1 rule

In the diagram below, you can see the delay between two microphones of which one is placed three times further
away compared to the nearest microphone (according to the 3:1 rule). The calculation is based on normal room
temperature (20⁰C/68⁰F).
How to use this diagram:
Define the distance to the nearest microphone and find it – cm or inch – on the X-axis.
From that point go vertically upwards until you hit the curve (blue if you use cm or red if you use
inches). Now, look at the corresponding value on the Y-axis to find the related delay.
Example: The distance to the nearest microphone is 100 cm (hence, the distance to the second
microphone is 300 cm). The blue curve at 100 cm corresponds to a delay of 6 ms.

References
Hass, H: Über den Einfluss eines Einfachechos auf die Hörsamkeit von Sprache. Acoustica. (1951).
Brixen, Eddy B.: Audio Metering. Focal Press 2010, ISBN 13: 9780240814674.
Brixen, Eddy B.; Voetmann, Jan: Electroacústica Práctica. Editorial Tebar. ISBN 978-84-7360-482-6, 2013. ISBN
978-84-7360-625-7, 2018.

2 0 2 8 Vo c a l M i c
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