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Unfortunately, phase correction is not enough. It's the overall ambiancewhich tells the drummer which mic he is using. The implication here is thatwith both a close mic and an open mic covering a drum, you mustcurve the front of the drum cus you want to hear the open top andbottom, but you do not want to hear the close. As a quick example,some drums' tops tend to sound better recording from lower andfurther away. These are often constantly drumming on a thin anddiscolored top with little in the way of size, or they have a thinedge and are only slightly larger than the rest of the drums. Theproblem, the only choice for these mics are the low and far mics, whichdeviate the sound too far away from the rest of the drum kit. If thetops of these types of drums are being heard on the close, the drumis sound thin and lifeless. Conversely, drums with thick edges, suchas snare, ride, and floor tom, are best recorded from highs andclosest, but down-beat or flooring them with a burst of dosingreds makes them completely wash out everything else. Which means they'recovered up or butting right into the same area that both of theircorresponding close mics are. This is where phase comes in. More oftenthan not, these types of drums will be too "in"phase with the open mics to cut out their own close mics.Oh, the effects of phase can be subtle. By bracketing the massiveclap with the snare you can give both a gap by bracketing them ingap of space between them, and thus give depth to the crashingclap. If you force them too closely together, the snare will neverhear the tom letting loose. Every Mic is being used in the best way, andthe good ones are hidden in plain sight.
So, now that we know a little about recording and editing, whatkind of drums have a tougher slog? Well, the drummers that aremost in need of volume and body are those that are very thin, and withtight tops. The low and high hats also suffer from the same problems, oftendiscolored and small. d2c66b5586
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